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Relevant bibliographies by topics / Cinema, India

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Academic literature on the topic 'Cinema, India'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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Journal articles on the topic "Cinema, India"

1

Japee, Dr Gurudutta. "INDIAN FILMS IN GLOBAL CONTEXT - MONEY OR CREATIVITY!" GAP GYAN - A GLOBAL JOURNAL OF SOCIAL SCIENCES 1, no. 1 (2018): 24–29. http://dx.doi.org/10.47968/gapgyan.11003.

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‘Art does not go global because its creator is consciously working towards a worldwide impact.’ It ought to be straightforward to present a description of the ‘world’s biggest film industry’, but Indian film scholars find it difficult to come to terms with its diversity and seeming contradictions. The biggest single mistake that non-Indian commentators make is to assume that ‘Indian Film Industry ’ is the same thing as Indian Cinema. It is not. The Indian film industry is always changing and as traditional cinemas close in the South and more multiplexes open, there may be a shift towards main

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CHATTERJEE, SOUMIK. "The Cinema of India." Dev Sanskriti Interdisciplinary International Journal 7 (January 31, 2016): 38–49. http://dx.doi.org/10.36018/dsiij.v7i0.74.

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With what outlook should one construct, analyze or dissect film theory? Should one view cinema as a medium of mass communication? Propaganda? Entertainment? Art? Or should cinema be considered a concoction of them all? In trying to formulate a film theory, dealing with all these elementary characteristics of cinema poses a serious problem. Gaston Roberge notes that – A theory of movies would tell us what a movie is, what it is made for, how it is created in images and sounds, and for whom it is made1. The questions respectively deal with the content of a movie, the validity of the content in t

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3

Nefedova, Darya N. "Indian Cinema: Past and Present." Journal of Flm Arts and Film Studies 8, no. 3 (2016): 106–14. http://dx.doi.org/10.17816/vgik83106-114.

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Indian cinema is a unique, original phenomenon of world culture with a rich history and deep roots. The dawn of the era of cinema in India is referred up to 1913, when the film 'Raja Harishchandra' by J.G. Phalke was shot. Further development of cinema going in different directions in several chronologically successive stages, and the most famous center of the film industry has gradually led Bollywood in Northern India. The early cinema works are not enough accessible to study, and the first stage is clearly traced in the span of 1940-1960s, when the plot has become the basis of the social pro

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Bhattacharya, Indranil. "Sound and the masters: The aural in Indian art cinema." Studies in South Asian Film & Media 12, no. 1 (2021): 49–66. http://dx.doi.org/10.1386/safm_00037_1.

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The study of art cinema has emerged as a richly discursive, but, at the same time, a deeply contested terrain in recent film scholarship. This article examines the discourse of art cinema in India through the prism of sound style and aesthetics. It analyses the sonic strategies deployed in the films of Satyajit Ray, Ritwik Ghatak, Mrinal Sen and Mani Kaul, in order to identify the dominant stylistic impulses of sound in art cinema, ranging from Brechtian epic realism on one hand to Indian aesthetic theories on the other. Locating sound as a key element in the discourse of art cinema, the artic

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Stjernholm, Emil. "Visions of Post-independence India in Arne Sucksdorff’s Documentaries." BioScope: South Asian Screen Studies 8, no. 1 (2017): 81–102. http://dx.doi.org/10.1177/0974927617699648.

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This article studies two post-war documentary films set in India, Indian Village (1951) and The Wind and the River (1953), directed by the celebrated Swedish filmmaker Arne Sucksdorff. While many scholars have studied these films in relation to Sucksdorff’s biography and Swedish national cinema, less emphasis has been placed on these Indian documentaries in relation to other international documentary work that took place in India during the post-independence period. The excursion to India took place on commission from the Swedish Cooperative Union and Wholesale Society and therefore the films

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Rani Barooah, Papori. "SPECTACULAR SHAKESPEARE IN THE 21ST CENTURY CINEMA: MERGE OF CULTURES." International Journal of Advanced Research 8, no. 10 (2020): 624–32. http://dx.doi.org/10.21474/ijar01/11885.

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In the entire gamut of publication and performance history, William Shakespeare is one of the most popular names and most of his plays have been acted and reacted, adapted and published in various forms. In many countries, to be particular, in India, perhaps due to the colonial heritage, Shakespeare has never ceased to fascinate – both in the pre- and post-independence era. Indian cinema has seen many versions of his plays in popular cinema. Amongst all the performances of Shakespeares plays, Vishal Bharadwaj movie Omkara (2006) may be considered as one of the best ever Indianized performances

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Hong, Yanyan. "The power of Bollywood: A study on opportunities, challenges, and audiences’ perceptions of Indian cinema in China." Global Media and China 6, no. 3 (2021): 345–63. http://dx.doi.org/10.1177/20594364211022605.

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India has long been known for its prestigious Mumbai-based film industry, namely Bollywood, and remains by far the largest producer of films in the world. With the growing global reach of Indian cinema, this study looks at an intriguing Indian-film fever over the last decade in the newly discovered market of China. Through examining key factors that make Indian films appealing to Chinese and exploring the opportunities and challenges of Indian cinema in China, this article draws upon insights gained from the narratives of local audiences. Data were collected from semi-structured interviews wit

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Dutta, Minakshi. "Screening the Urban: An Analysis of the Urban Life and Subjectivities in the Assamese Films of Bhabendra Nath Saikia and Jahnu Barua." CINEJ Cinema Journal 5, no. 2 (2016): 130–46. http://dx.doi.org/10.5195/cinej.2016.140.

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Amidst the clichéd representations of the urban world in Indian cinema in post-independence times, where ‘the urban’ is often perceived as the inevitable vice, there are few directors in both mainstream and regional cinema of India who attempted to dwell on a more engaged and critical reading of the newly emerging urban world and subject in Indian contexts. Within the domain of the Assamese cinema, Bhabendra Nath Saikia and Jahnu Barua have been the two prolific serious film makers who are noted for such engagement of their films with urbanity. This paper aims to describe, analyze and compare

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Antonina Łuszczykiewicz. "Dealing with Colonial Past." Politeja 16, no. 2(59) (2019): 123–38. http://dx.doi.org/10.12797/politeja.16.2019.59.08.

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This paper is dedicated to reconstructing the image of the British colonial rule in India in modern Hindi cinema. The main stress in the analysis is laid upon the depiction of the political and cultural impact of the British rule on common Indian people, as well as the colonizers’ attitude towards the independence movement. Consequently, the author intends to enquire, how movies made after 2000 – among which Lagaan: Once Upon a Time in India (2001), Mangal Pandey: The Rising (2005), Water (2005) and Rang De Basanti (2006) are given special attention – deal with the difficult colonial past from

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Dwyer, Rachel. "BOLLYWOOD'S INDIA: HINDI CINEMA AS A GUIDE TO MODERN INDIA." Asian Affairs 41, no. 3 (2010): 381–98. http://dx.doi.org/10.1080/03068374.2010.508231.

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Dissertations / Theses on the topic "Cinema, India"

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Roy, Srabanti. "Changing trends of new wave cinema in India and the emergence of an "unconventional" Indian cinema in the early phase of the twenty-first century." Thesis, University of Wales Trinity Saint David, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683056.

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Ray, Radharani. "The rhetoric of postcolonialism Indian middle cinema and the middle class in the 1990s /." Access restricted to users with UT Austin EID, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3035171.

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Saini, Roopa. "Crossing boundaries : Indian diasporic screen culture in the USA and UK." Thesis, Goldsmiths College (University of London), 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.517894.

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Kilaru, Sunilrao Mohanrao M. ""Tales of My Cities"." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248487/.

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Tales of My Cities is a poetic observation of life in the cities of Hyderabad and Secunderabad, India. The documentary is an intimate first-person exploration of the culture in these cities. The viewer should find a surreal peace in the life and atmosphere of the cities where life extends from centuries old traditions to the current hi-tech pace of life.

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Biswas, Moinak 1961. "Historical realism : modes of modernity in Indian cinema, 1940-60." Monash University, School of Literary, Visual and Performance Studies, 2002. http://arrow.monash.edu.au/hdl/1959.1/7582.

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Hardy, Jennifer. "Bollywood style: the melodramatic lens." Thesis, Boston University, 2014. https://hdl.handle.net/2144/21168.

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Thesis (M.F.A.)<br>The purpose of this project is to redefine the word "Bollywood" as more than a regional or cultural cinema, focusing instead on the unique style of the films that is often neglected or dismissed by film critics. The aspects explored are the development of Bollywood style from 1995 to the mid 2000s as exhibited by the films Dilwale Dulhania Le Jayenge (1995), Kuch Kuch Hota Hai (1998), and Dhoom (2004), and a subsequent development of a reflexive neo-Bollywood style beginning in the mid-2000s, exhibited by the films Rab Ne Bana Di Jodi (2008), Dhoom 2 (2006), and Chennai Expr

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Sircar, Ajanta. "Framing the nation : languages of #modernity' in India." Thesis, University of East Anglia, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.361480.

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Hurlstone, Lise Danielle. "Performing Marginal Identities: Understanding the Cultural Significance of Tawa'if and Rudali Through the Language of the Body in South Asian Cinema." PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/154.

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This thesis examines the representation of the lives and performances of tawa'if and rudali in South Asian cinema to understand their marginalization as performers, and their significance in the collective consciousness of the producers and consumers of Indian cultural artifacts. The critical textual analysis of six South Asian films reveals these women as caste-amorphous within the system of social stratification in India, and therefore captivating in the potential they present to achieve a complex and multi-faceted definition of culture. Qualitative interviews with 4 Indian classical dance i

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McHodgkins, Angelique Melitta. "Indian Filmmakers and the Nineteenth-Century Novel: Rewriting the English Canon through Film." Connect to this document online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1130955416.

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Thesis (M.A.)--Miami University, Dept. of English, 2005.<br>Title from first page of PDF document. Document formatted into pages; contains [2], 52 p. Includes bibliographical references (p. 51-52) and filmography (p. 50).

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Sathe, Namrata. "You Only Live Once: Bollywood, Neoliberal Subjectivity and the Hindutva State." OpenSIUC, 2020. https://opensiuc.lib.siu.edu/dissertations/1812.

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In 1991, India entered the global market as a liberalized economy when, coerced by the International Monetary Fund, it adopted “structural adjustment” policies. The early period of economic liberalization in India engendered a sense of optimism and forward-looking aspiration in the national imaginary and culture. This faith in novelty and change, for the urban middle-classes, was a result of the increase in incomes in white-collar jobs and the availability of greater choices in the commodity market for consumers. Thirty years later, the fantasy of wealth and abundance that was supposed to tran

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Books on the topic "Cinema, India"

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Cinema, culture, capital: Context, India. Monfakira, 2010.

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Vinnels, David. Bollywood showplaces: Cinema theatres in India. E & E Plumridge in collaboration with Decorum Books, 2002.

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Vinnels, David. Bollywood showplaces: Cinema theatres in India. Plumridge, 2002.

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Bengali cinema: 'an other nation'. Routledge, 2010.

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Silent cinema in India: A pictorial journey. Collins, 2012.

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Bandhu, P. Black and white of cinema in India. Odyssey, 1992.

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Mittal, Ashok. Cinema industry in India: Pricing and taxation. Indus Pub. Co., 1995.

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Hindi cinema: An insider's view. Oxford University Press, 2009.

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Gopalan, Lalitha. Cinema of interruptions: Action genres in contemporary Indian cinema. British Film Institute, 2002.

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Cinema of interruptions: Action genres in contemporary Indian cinema. British Film Institute, 2002.

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Book chapters on the topic "Cinema, India"

1

Celli, Carlo. "The Promises of India." In National Identity in Global Cinema. Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230117174_5.

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Bose, Nandana. "“We do not certify backwards”: Film Censorship in Postcolonial India." In Silencing Cinema. Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137061980_12.

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Gopalan, Lalitha. "Untitled: Amitabh Chakraborty’s Cinema." In Cinemas Dark and Slow in Digital India. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-54096-8_7.

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Putnam Hughes, Stephen. "Silent Film Genre, Exhibition and Audiences in South India." In Explorations in New Cinema History. Wiley-Blackwell, 2011. http://dx.doi.org/10.1002/9781444396416.ch17.

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Van Fleit, Krista. "Mao and Gandhi in the Fight Against Corruption: Popular Film and Social Change in China and India." In The Palgrave Handbook of Asian Cinema. Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-349-95822-1_15.

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Dinkar, Niharika. "Mythologies of the Artist in Modern India: Cinema, Melodrama, and Ravi Varma." In The Mediatization of the Artist. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-66230-5_14.

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"Cinema as Public Fantasy." In Bollywood's India, edited by Priya Joshi. Columbia University Press, 2015. http://dx.doi.org/10.7312/columbia/9780231169615.003.0002.

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"Cinema as Family Romance." In Bollywood's India, edited by Priya Joshi. Columbia University Press, 2015. http://dx.doi.org/10.7312/columbia/9780231169615.003.0003.

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Krishen, Pradip. "Cinema and Television." In India Briefing, 1993. Routledge, 2019. http://dx.doi.org/10.4324/9780429041846-7.

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"2. Cinema as Public Fantasy." In Bollywood's India. Columbia University Press, 2015. http://dx.doi.org/10.7312/josh16960-004.

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Conference papers on the topic "Cinema, India"

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Yashmin Rohman, Farha. "BOLLYWOODISATION OF SPORTS IN INDIAN CINEMA." In World Conference on Media and Mass Communication. The International Institute of Knowledge Management (TIIKM), 2019. http://dx.doi.org/10.17501/24246778.2019.5106.

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Pal, Joyojeet. "Rajnikant's laptop: Computers and development in popular Indian cinema." In 2009 International Conference on Information and Communication Technologies and Development (ICTD). IEEE, 2009. http://dx.doi.org/10.1109/ictd.2009.5426687.

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Kaur, Avneet, and Dr Gur Pyari Jandial. "Rediscovering the Notion of Self in Post-1990s Indian Cinema with special reference to Deepa Mehta’s Fire, Mahesh Manjrekar’s Astitva and Nagesh Kukunoor’s Dor." In 2nd Annual International Conference on Language, Literature and Linguistics (L3 2013). Global Science and Technology Forum Pte Ltd, 2013. http://dx.doi.org/10.5176/2251-3566_l313.45.

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