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An insight into the Indian film industry, past and present.
Provides a road map of the scholarship on modern Hindi cinema in India, with an emphasis on understanding the interplay between cinema and colonialism, nationalism, and globalization. This book attends to issues of capitalism, nationalism, orientalism, and modernity through understandings of race, gender and sexuality, religion, and politics.
'Prepare to laugh, sob and dance: this lively history of Indian cinema is imprinted with the memories of a life-long cinephile.' The Telegraph 'A gem of a book and a must for film lovers everywhere' Abir Mukherjee 'My biggest recommendation of the year. Sunny Singh's honouring of story and history shine through powerfully - an exquisitely enjoyable read' Nikita Gill Like all Indians, Sunny Singh was born and brought up in a country of film fanatics. She and her friends waited impatiently for the latest releases, listened to the songs on radio and wore clothes inspired by those seen on screen. They learned about India and the world, determined their enemies and friends, and chose their moralities thanks to films. A Bollywood State of Mind is a personal, intellectual and emotional journey which crosses five continents and 50 years of modern Indian history and cinema and explores why Bollywood means so much to so many across the globe. Sunny describes how this exceptional cinema retains its hold on the national imagination, how Bollywood has enhanced India's global standing in the 21st century, and how its characteristics endure despite the social and political changes. Ranging over history, aesthetic theory and politics, A Bollywood State of Mind explores encounters with Bollywood in the market places of Dakar and Marrakesh, in the nightclubs of New York, Barcelona and Mexico City, and in the ruins of Egypt's Valley of the Kings, Petra and beyond. It shows how the pioneers and heroes of Bollywood cut across national, linguistic and cultural lines not only in India but in far reaches of Somalia, Peru, Malaysia and Russia.
Providing a critique of a common scholarly tendency in the field of popular Indian cinema, this text argues that Indian cinema cannot be understood in terms of a national paradigm, but must instead be considered as a field of visual and cultural production that interlinks diverse sites, in India and beyond.
‘We are like the Corleones in The Godfather’—Randhir Kapoor There is no film family quite like the Kapoors. A family of professional actors and directors, they span almost eighty years of film-making in India, from the 1920s to the present. Each decade in the history of Hindi films has had at least one Kapoor—if not more—playing a large part in defining it. Never before have four generations of this family—or five, if you include Bashesharnath Kapoor, Prithviraj Kapoor’s father, who played the judge in Awara—been brought together in one book. The Kapoors details the professional careers and personal lives of each generation—box-office successes and failures, the ideologies that informed their work, the larger-than-life Kapoor weddings and Holi celebrations, their extraordinary romantic liaisons and family relationships, their love for food and their dark passages with alcohol. Based on extensive personal interviews conducted over seven years with family members and friends, Madhu Jain goes behind the façade of each member of the Kapoor clan to reveal what makes them tick. The Kapoors resembles the films that the great showman Raj Kapoor made: grand and sweeping, with moments of high drama and touching emotion. ‘Few books on Indian cinema have been written with such wit, clarity and sparkle’—Outlook ‘Jain writes in a language that is simple and pithy. . . it will keep alive public interest in the Kapoors who refuse to call it a day’—Telegraph ‘Immensely readable...will surely find a place in the Indian cineaste’s library’—Biblio
This book explores representations of gender, sexuality and ethnicity in Hindi films, in the socio-political context and in terms of how young audiences in India and the UK construct them. In-depth interviews, observations and photographs provide insights into spectatorship and comparison with theories about Hindi film and popular culture.
Filming the Line of Control charts out the history of the relationship between India and Pakistan as represented in cinema, especially in light of the improved political atmosphere between the two countries. It is geared towards arriving at a better understanding of one of the most crucial political and historical relationships in the continent, a relationship that has a key role to play in world-politics and in the shaping of world-history. Part of this exciting study is the documentation of popular responses to Indian films, from both within the two countries and among the Pakistani and Indian diaspora. The motive of this has been to locate and discuss aspects that link the two sensibilities — either in divergence or in their coming together. This book brings together scholars from across the globe, as also filmmakers and viewers on to a common platform to capture the dynamics of popular imagination. Reverberating with a unique inter-disciplinary alertness to cinematic, historical, cultural and sociological understanding, this study will interest readers throughout the world who have their eye on the burgeoning importance of the sub-continental players in the world-arena. It is a penetrating study of films that carries the thematic brunt of attempting to construct a history of Indo–Pakistan relations as reflected in cinema. This book directs our holistic attention to the unique confluence between history and film studies.
The largest film industry in the world after Hollywood is celebrated in this updated and expanded edition of a now classic work of reference. Covering the full range of Indian film, this new revised edition of the Encyclopedia of Indian Cinema includes vastly expanded coverage of mainstream productions from the 1970s to the 1990s and, for the first time, a comprehensive name index. Illustrated throughout, there is no comparable guide to the incredible vitality and diversity of historical and contemporary Indian film.
Bollywood is India's most popular entertainment and one of its most powerful social forces. Its blockbusters contest ideas about state formation, capture the nation's dispersed anxieties, and fabricate public fantasies of what constitutes "India." Written by an award-winning scholar of popular culture and postcolonial modernity, Bollywood's India analyzes the role of the cinema's most popular blockbusters in making, unmaking, and remaking modern India. With dazzling interpretive virtuosity, Priya Joshi provides an interdisciplinary account of popular cinema as a space that filters politics and modernity for its viewers. Themes such as crime and punishment, family and individuality, vigilante and community capture the diffuse aspirations of an evolving nation. Summoning India's tumultuous 1970s as an interpretive lens, Joshi reveals the cinema's social work across decades that saw the decline of studios, the rise of the multi-starrer genre, and the arrival of corporate capital and new media platforms. In elegantly crafted studies of iconic and less familiar films, including Awara (1951), Ab Dilli Dur Nahin (1957), Deewaar (1975), Sholay (1975), Dil Se (1998), A Wednesday (2008), and 3 Idiots (2009), Joshi powerfully conveys the pleasures and politics of Bollywood blockbusters.
A rare compilation of hand-printed as well as digitalized landmark Hindi film posters from the 1930s to the present - both tracing the journey of an art form and the evolution of cinema in India. The text accompanying each poster carries a synopsis, banner, details of cast and technical crew, date of release, famous songs, awards won, and some lesser-known anecdotes about the film. The posters are from young Hindi film buff, S M M Ausaja's personal collection of posters, lobby cards, record album covers and other memorabilia.