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Journal articles on the topic 'Cinema, India'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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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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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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Chavda, Mrunal. "Bollywood's India: Hindi Cinema as a Guide to Contemporary India." South Asian Popular Culture 13, no. 1 (2015): 103–5. http://dx.doi.org/10.1080/14746689.2015.1032479.

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MAJUMDAR, ROCHONA. "Debating Radical Cinema: A History of the Film Society Movement in India." Modern Asian Studies 46, no. 3 (2011): 731–67. http://dx.doi.org/10.1017/s0026749x11000710.

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AbstractThis paper offers a history of the creation and development of film societies in India from 1947 to 1980. Members of the film society movement consisted of important Indian film directors such as Satyajit Ray, Ritwik Ghatak, Shyam Benegal, Basu Chatterji, Mani Kaul, G. Aravindan, Kumar Shahani, Adoor Gopalkrishnan, and Mrinal Sen, as well as film enthusiasts, numbering about 100,000 by 1980. The movement, confined though it was to members who considered themselves film aficionados, was propelled by debates similar to those that animated left-oriented cultural movements which originated

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Nefedova, Darya N. "Destiny of Indian Cinema in Russia." Journal of Flm Arts and Film Studies 8, no. 4 (2016): 66–74. http://dx.doi.org/10.17816/vgik8466-74.

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The relationship of domestic moviegoers to the works of Indian cinema has a complex and heterogeneous development history. The Soviet audience watched the first Indian movie back in the 1950s, which gave a powerful impetus to the formation of multifaceted contacts between Indian and Soviet film industry. As a result such films were shot as Journey Beyond Three Seas, Black Prince Adjouba, The Adventures of Ali Baba and the Forty Thieves, the famous My name is clown by Raj Kapoor, and others. However, a sympathy to the Indian cinema of the 1970-80s led to the formation of the stereotypes (frivol

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Bhattacharya, Binayak. "Seeing Kolkata: Globalization and the Changing Context of the Narrative of Bengali-ness in Two Contemporary Films." Asiatische Studien - Études Asiatiques 73, no. 3 (2020): 559–74. http://dx.doi.org/10.1515/asia-2019-0050.

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AbstractThe article engages with the question of an exclusivity, an ‘otherness’ of the Bengali culture, in the available representative modes of Indian cinema. It studies the socio-cultural dynamics through which this ‘otherness’ can be found reorienting itself in recent years in a globalized perspective. It takes two contemporary films, Kahaani (Hindi, 2012) and Bhooter Bhobishyot (Bengali, 2012) to dwell upon. The analysis aims to historicise the construction of a cultural stereotype called ‘Bengali-ness’ in Indian cinema by marking some significant aspects in the course of its historical de

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Ghosh, Abhija. "Memories of Action: Tracing Film Society Cinephilia in India." BioScope: South Asian Screen Studies 9, no. 2 (2018): 137–64. http://dx.doi.org/10.1177/0974927618814026.

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The inception stories of early film societies in India from the 1940s to the 1960s reveal how these groups initiated an access to international, art and alternative cinemas through a network of circulation and exhibition created separately from mainstream cinema markets thereby forming a parallel network of societies, foreign consulates, embassies, government institutions and the National Film Archive of India (NFAI). This paper navigates the early history and memories of film societies in an attempt to map the cinephiliac energy of the film society movement through their erstwhile network of

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CHATTERJEE, PARTHA. "Theatre and the Publics of Democracy: Between Melodrama and Rational Realism." Theatre Research International 41, no. 3 (2016): 202–17. http://dx.doi.org/10.1017/s0307883316000419.

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The theatre that developed in late nineteenth-century India, especially in the Bengal and Maharashtra regions, catered to an audience that was much wider than the new educated middle-class males who introduced the European stage form in Kolkata, Mumbai and Pune. Driven by private capital, the new Indian theatre adopted the melodrama as its main dramatic form. When performance capital shifted to the more lucrative field of cinema in the middle of the twentieth century, the melodramatic form again became the chief narrative mode. Such is its power that it has become the principal rhetorical form

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Kumar, Keval Joseph. "The 'Bollywoodization' of Popular Indian Visual Culture: A Critical Perspective." tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society 12, no. 1 (2014): 277–85. http://dx.doi.org/10.31269/triplec.v12i1.511.

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The roots of popular visual culture of contemporary India can be traced to the mythological films which D. G. Phalke provided audiences during the decades of the ‘silent’ era (1912-1934). The ‘talkies era of the 1930s ushered in the ‘singing’ /musical genre which together with Phalke’s visual style, remains the hallmark of Bollywood cinema. The history of Indian cinema is replete with films made in other genres and styles (e.g. social realism, satires, comedies, fantasy, horror, stunt) in the numerous languages of the country; however, it’s the popular Hindi cinema (now generally termed ‘Bolly

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Kumar, Keval Joseph. "The 'Bollywoodization' of Popular Indian Visual Culture: A Critical Perspective." tripleC: Communication, Capitalism & Critique. Open Access Journal for a Global Sustainable Information Society 12, no. 1 (2014): 277–85. http://dx.doi.org/10.31269/vol12iss1pp277-285.

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The roots of popular visual culture of contemporary India can be traced to the mythological films which D. G. Phalke provided audiences during the decades of the ‘silent’ era (1912-1934). The ‘talkies era of the 1930s ushered in the ‘singing’ /musical genre which together with Phalke’s visual style, remains the hallmark of Bollywood cinema. The history of Indian cinema is replete with films made in other genres and styles (e.g. social realism, satires, comedies, fantasy, horror, stunt) in the numerous languages of the country; however, it’s the popular Hindi cinema (now generally termed ‘Bolly

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Dickey, Sara. "The Politics of Adulation: Cinema and the Production of Politicians in South India." Journal of Asian Studies 52, no. 2 (1993): 340–72. http://dx.doi.org/10.2307/2059651.

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Popular south Indian cinema is a highly melodramatic entertainment form, plotted around improbable twists of fate and set in exaggerated locales, filled with songs, dances, and fight scenes. Patronized primarily by the poor, it is typically dismissed by critics, who find its vast popularity either bemusing or indicative of viewers moral and intellectual degradation. Even more confounding for many observers has been cinema's critical role in state and national politics.

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Devasundaram, Ashvin Immanuel. "Interrogating Patriarchy: Transgressive Discourses of ‘F-Rated’ Independent Hindi Films." BioScope: South Asian Screen Studies 11, no. 1 (2020): 27–43. http://dx.doi.org/10.1177/0974927620935236.

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Since its inception at the Bath Film Festival 2014, the ‘F-Rating’ has been adopted as a yardstick to foster equitable representation of women in film. The rise of a new sub-genre of Hindi ‘Indie’ cinema (Devasundaram, 2016, 2018) has been augmented by an array of bona fide Female-rated independent films. These films fulfil the triune criteria for F-Rating, featuring women both behind and in front of the camera – as directors, actors and scriptwriters. I argue that these distinct female voices in new independent Hindi cinema have engendered discursive filmic spaces of resistance – alternative

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Athique, Adrian Mabbott, and Douglas Hill. "Multiplex Cinemas and Urban Redevelopment in India." Media International Australia 124, no. 1 (2007): 108–18. http://dx.doi.org/10.1177/1329878x0712400111.

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The aim of this article is to introduce the phenomenon of the multiplex theatre as it is being played out within the complex urban geographies of metropolitan India. Since its inception a decade ago, the multiplex cinema in the subcontinent has become an intrinsic component of a new leisure infrastructure configured around the notion of a ‘consuming class’ keen to take its place amongst a ‘global middle class’. The dramatic growth in multiplex cinemas, projected to grow in numbers by 300 per cent over the next three years, has been greatly encouraged by urban planning and taxation policies des

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Thomas, Rosie, and Sara Dickey. "Cinema and the Urban Poor in South India." Man 29, no. 4 (1994): 1013. http://dx.doi.org/10.2307/3034012.

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Osuri, Goldie, and Devleena Ghosh. "India/cinema: an archive of politics and pleasures." Continuum 26, no. 6 (2012): 799–802. http://dx.doi.org/10.1080/10304312.2012.731209.

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Mannil, Bindu Menon. "The gendered film worker: Women in cinema collective, intimate publics and the politics of labour." Studies in South Asian Film & Media 11, no. 2 (2020): 191–207. http://dx.doi.org/10.1386/safm_00028_1.

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Although Indian cinema studies as a discipline has long been involved in various theoretical elaborations of film production, not until recently has it engaged with the question of the gendered nature of film work. In this piece, I attempt to develop a framework centred around the politics of labour to provide a useful case to highlight how thoughtful engagement with these categories provides immense value for both contemporary film scholarship and feminist histories of media. In trying to situate Women in Cinema Collective, the first collective of women film workers to be formed in India, in

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Guneratne, Anthony R. "Specificities: Other Cinemas Mediating the Rise of Neo Nationalism in India: Television, Cinema and Carnival." Social Identities 4, no. 2 (1998): 263–81. http://dx.doi.org/10.1080/13504639851825.

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Rehman, Sharaf N. "Om Puri: The man who presented the real faces of the subcontinent of India." Asian Cinema 31, no. 2 (2020): 269–78. http://dx.doi.org/10.1386/ac_00028_7.

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The Indian film industry continues to turn out between 1600 and 2000 films every year, making it the largest movie-producing country in the world. Yet, it would be a challenge for an average European or American moviegoer to name a film actor from the Indian subcontinent. Naming the films may be easier. For instance, millennials may be able to name Slumdog Millionaire (2008), Generation X crowd may mention Gandhi (1982) and the older audiences may recall The Party (1968) and Ganga Din (1939) as movies about the Indians and India. It was not until the movie Gandhi that Indian actors were allowe

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Athique, Adrian M. "Review: Cinema India: The Visual Culture of Hindi Film." Media International Australia 108, no. 1 (2003): 179–80. http://dx.doi.org/10.1177/1329878x0310800124.

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Kunkler, Odara. "Do cinema à literatura: "India Song" de Marguerite Duras." Non Plus 7, no. 13 (2018): 93–110. http://dx.doi.org/10.11606/issn.2316-3976.v7i13p93-110.

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O presente trabalho compara aspectos linguísticos e visuais do texto dramático India Song, da escritora francesa Marguerite Duras, com os do filme homônimo. Traz também conteúdos biográficos, almejando aprofundar-se no entendimento de suas escolhas e propostas estéticas. O argumento do artigo parte da vida da autora para a sua obra, e desta para o personagem que se repete, Anne-Marie Stretter. Podemos assim observar textos reescritos, em diversos suportes e diferentes épocas da vida da autora. São temas, personagens, lugares que sempre retornam ao imaginário de Duras, como fantasmas que assomb

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Gupta-Cassale, Nira. "Bearing Witness: Rape, Female Resistance, Male Authority and the Problems of Gender Representation in Popular Indian Cinema." Indian Journal of Gender Studies 7, no. 2 (2000): 231–48. http://dx.doi.org/10.1177/097152150000700206.

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Indian cinema in its preoccupation with rape shows a parallel between feminist resistance and nationalist resistance. While Mirch Masala (1985), set in pre-Independence rural India, is able to draw upon a mythology of nationalist resistance, which also, at the same time, 'sanctions and mediates the potentially subversive politics of female resistance', later films like Zakhmi Aurat (1988) and Damini (1993) qualify women's autonomous resistance by including male partners to witness, support and legitimise their actions. We conclude that in popular cinema 'the more radical the gesture of resista

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Gehlawat, Ajay. "Bollywood studies at 2020." Studies in South Asian Film & Media 12, no. 1 (2021): 83–91. http://dx.doi.org/10.1386/safm_00039_5.

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Review of: Dark Fear, Eerie Cities: New Hindi Cinema In Neoliberal India, Sarunas Paunksnis (2019) New Delhi: Oxford University Press, 172 pp., ISBN 978-0-19949-318-0, h/bk, $30 Unruly Cinema: History, Politics, and Bollywood, Rini Bhattacharya Mehta (2020) Urbana, IL: University of Illinois Press, 233 pp., ISBN 978-0-25208-499-7, p/bk, $25

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Mukherjee, Debashree. "Somewhere between Human, Nonhuman, and Woman." Feminist Media Histories 6, no. 3 (2020): 21–51. http://dx.doi.org/10.1525/fmh.2020.6.3.21.

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In 1939, at the height of her stardom, the actress Shanta Apte went on a spectacular hunger strike in protest against her employers at Prabhat Studios in Poona, India. The following year, Apte wrote a harsh polemic against the extractive nature of the film industry. In Jaau Mi Cinemaat? (Should I Join the Movies?, 1940), she highlighted the durational depletion of the human body that is specific to acting work. This article interrogates these two unprecedented cultural events—a strike and a book—opening them up toward a history of embodiment as production experience. It embeds Apte's emphasis

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Hughes, Stephen. "Mythologicals and Modernity." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 1, no. 2-3 (2005): 207–35. http://dx.doi.org/10.1558/post.v1i2_3.207.

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During the 1920s mythological films provided the first Indian cinematic formula for commercial success based on this presumed all-India appeal of Hindu religious stories. This article examines the early history of mythological films as a particularly useful site for addressing questions about the complex and changing relations between media, religion, and politics. In particular, this article concentrates upon a series of significant films and debates contesting the contemporary significance of mythological films in Tamil speaking south India during the 1920s. It argues that mythological cinem

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Dasgupta, Rohit K. "Book Review: Rachel Dwyer, Bollywood’s India: Hindi Cinema as a Guide to Contemporary India." South Asia Research 35, no. 3 (2015): 392–93. http://dx.doi.org/10.1177/0262728015598703.

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Akser, Murat. "Editorial." CINEJ Cinema Journal 2, no. 2 (2013): 1–3. http://dx.doi.org/10.5195/cinej.2013.75.

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This issue of CINEJ deals with approaches to films from different parts of the world ranging from India and China to Italy and Canada. Detailed analyses on films about Ghandi, docufictions on New York City, reflections of contemporary terror in historical cinema, Chinese Soft Film Movement, road movies, religious identification in films, documemory, Italian neorealism and female performance in Canadian cinema are presented in this issue.

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Lahiri-Roy, Reshmi. "Women and Marriage in Bollywood and Diasporic Cinema: Impact of Indian Cinema on the Role of Women and Marriage in Urban India." International Journal of the Humanities: Annual Review 7, no. 10 (2009): 79–90. http://dx.doi.org/10.18848/1447-9508/cgp/v07i10/42758.

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Hansen, Kathryn. "Languages on Stage: Linguistic Pluralism and Community Formation in the Nineteenth-Century Parsi Theatre." Modern Asian Studies 37, no. 2 (2003): 381–405. http://dx.doi.org/10.1017/s0026749x03002051.

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The Parsi theatre was the dominant form of dramatic entertainment in urban India from the 1860s to the 1930s. Named for its Bombay-based pioneers, the Parsi theatre blended certain European practices of stagecraft and commercial organization with Indic, Persian, and English stories, music, and poetry. Through the impact of its touring companies, it had a catalytic effect on the development of modern drama and regional theatre throughout South and Southeast Asia. Moreover, Parsi theatre is widely credited with contributing to popular Indian cinema its genres, aesthetic, and economic base. With

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Tumbaga, Ariel Zatarain. "Indios y burros: Rethinking “la India María” as Ethnographic Cinema." Latin American Research Review 55, no. 4 (2020): 759–72. http://dx.doi.org/10.25222/larr.646.

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Kapoor, Hansika, Prachi H. Bhuptani, and Amuda Agneswaran. "The Bechdel in India: gendered depictions in contemporary Hindi cinema." Journal of Gender Studies 26, no. 2 (2015): 212–26. http://dx.doi.org/10.1080/09589236.2015.1102128.

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Thussu, Daya Kishan. "The soft power of popular cinema – the case of India." Journal of Political Power 9, no. 3 (2016): 415–29. http://dx.doi.org/10.1080/2158379x.2016.1232288.

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MANKEKAR, PURNIMA. "Cinema and the Urban Poor in South India. SARA DICKEY." American Ethnologist 22, no. 4 (1995): 1047–48. http://dx.doi.org/10.1525/ae.1995.22.4.02a00800.

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Sawhney, Rashmi. "Apotheosis or Apparition?: Bombay and the Village in 1990s Women‘s Cinema." Film Studies 11, no. 1 (2007): 1–13. http://dx.doi.org/10.7227/fs.11.3.

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This article examines the representation of Bombay in Aruna Raje‘s Rihaee (1988) and Sai Paranjpyes Disha (1990). It has been argued here that in both films, Bombay functions as a narrative anchor to the fictive village, which is depicted as the locus of Indian modernity. Symbolism of the village-city trope is used to reorganise the syntagm of modernity-location-gender in new relations of power and also to present alternative visions of national development within the socio-economic context of 1990s liberalisation in India. The dialectic between city and village in these films emphasises the r

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Atwal, Jyoti. "Embodiment of Untouchability: Cinematic Representations of the “Low” Caste Women in India." Open Cultural Studies 2, no. 1 (2018): 735–45. http://dx.doi.org/10.1515/culture-2018-0066.

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Abstract Ironically, feudal relations and embedded caste based gender exploitation remained intact in a free and democratic India in the post-1947 period. I argue that subaltern is not a static category in India. This article takes up three different kinds of genre/representations of “low” caste women in Indian cinema to underline the significance of evolving new methodologies to understand Black (“low” caste) feminism in India. In terms of national significance, Acchyut Kanya represents the ambitious liberal reformist State that saw its culmination in the constitution of India where inclusion

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Coen, Carlo. "Stolen bicycles and exploited children: Italian cinema and its relation to the cinema of independent India (1947–1977)." Journal of Italian Cinema & Media Studies 4, no. 3 (2016): 353–68. http://dx.doi.org/10.1386/jicms.4.3.353_1.

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Gopalan, Lalitha. "Film Culture in Chennai." Film Quarterly 62, no. 1 (2008): 40–45. http://dx.doi.org/10.1525/fq.2008.62.1.40.

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Abstract A survey of cinema activities in Chennai, capital of Tamil Nadu province, south India, covering: film releases, production facilities, film schools, archival screenings, and the city's emerging role as a techno-center.

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Paunksnis, Šarūnas. "The lost identity of Mother India: Rape, mutilation and a socio-political critique of Indian society." Acta Orientalia Vilnensia 11, no. 2 (2010): 63–76. http://dx.doi.org/10.15388/aov.2010.3647.

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Vytautas Magnus UniversityThe article discusses a film by Deepa Mehta, a filmmaker who is a part of the so-called Indian Parallel Cinema, and a critic of Indian culture and society. The main argument of the article is that in the landmark film Earth, Mehta portrays a character to personify the idea of Mother India. Mehta’s vision of Mother India is rendered psychoanalytically as being raped by her sons—something that had started during the partition of India and continues till our times. The article introduces and re-thinks categories of Indianness, rape, alienness, which are vital to our unde

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Dandekar, Dr Niteen Vasant. "The Semiotics of the Visuals, Songs, Dances and Music: Analysing Aesthetics of Indian Cinema with Reference to 3 Idiots, An Adaptation of Chetan Bhagat’s Fiction Five Point Someone." Psychology and Education Journal 58, no. 2 (2021): 5579–90. http://dx.doi.org/10.17762/pae.v58i2.2977.

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The present paper is in the form of a humble attempt, on the part of the researcher, to explore the possibility of analyzing the Aesthetics of Bollywood Cinema by looking at the selected film adaptation with Semiotic perspective. After defining the terms ‘Semiotics’, and ‘Mise-en-Scene Analysis’, he aims at deciphering Aesthetics of Indian Cinema. Here the terms ‘visual design’, ‘signs and codes’, ‘symbols’, ‘metaphors’, ‘discourse-words and phrases’ and other compositional elements in the film are discussed elaborately. Great care has been taken, here, to avoid the film jargon. He refers to t

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Gopalan, L. "'Tamil Cinema: History, Culture, Theory', Chennai, India, 15-19 August 1997." Screen 39, no. 2 (1998): 196–200. http://dx.doi.org/10.1093/screen/39.2.196.

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Choudhary, Mona. "The Bollywood Bureaucrat." Public Voices 4, no. 2 (2017): 63. http://dx.doi.org/10.22140/pv.317.

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Film makers in India cash in on the negative stereotypes of the corrupt, incompetent and uncaring bureaucrat. The assault on the public servant in mainstream cinema is incessant and devastating. Most films feed on the negative and dysfunctional aspects of bureaucracy.

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Gowda, Chandan. "Inclusive Imagination: A Comment on Religion and Culture in India." Religion and the Arts 12, no. 1 (2008): 118–22. http://dx.doi.org/10.1163/156852908x270953.

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AbstractLiberal-secular thought, which relegates religion to the realm of the private, is limited in its ability to create a prejudice-free inter-religious life in India. Therefore, discovering or creating political languages that can appeal to the popular ethical imagination is a moral imperative for our times. Living ethical traditions need to be examined closely for imagining new forms of democratic existence. For instance, cinema, the most powerful source of public narratives in contemporary India, can offer lessons for fashioning a contemporary morality.

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Arfeen, Ayesha. "Same-sex love in Muslim cultures through the lens of Hindustani Cinema." CINEJ Cinema Journal 6, no. 1 (2017): 51–70. http://dx.doi.org/10.5195/cinej.2017.147.

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This paper tries to explore same-sex love in Muslim cultures in India as represented in Hindustani cinema. My focus will be on Muslim female same-sex love which is generally not touched upon. Female same-sex love and male same-sex love is widely discussed and debated upon. The recent film Dedh Ishqiya (Bhardwaj, 2014) is taken as a case study to examine female same-sex love in a Muslim context. Other films will be dealt in periphery. The influence of language, place and peer group is to be checked. Amradparashti or male same-sex love is discussed in comparison to female same-sex love for which

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