Relevant bibliographies by topics / Cinéma populaire hindi

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Cinéma populaire hindi'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

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Journal articles on the topic "Cinéma populaire hindi"

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Chattopadhyay, Saayan. "Boyhood, Ideology, and Popular Hindi Cinema." Thymos: Journal of Boyhood Studies 5, no. 2 (2011): 138–51. http://dx.doi.org/10.3149/thy.0502.138.

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Mishra, Vijay. "Bollywood: A Guidebook to Popular Hindi Cinema." Asian Studies Review 38, no. 2 (2014): 314–15. http://dx.doi.org/10.1080/10357823.2014.902741.

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Rai, Dhananjay. "Popular Hindi Cinema as Gandhi’s Alter Ego." Social Change 41, no. 1 (2011): 63–78. http://dx.doi.org/10.1177/004908571104100103.

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Nagar, Ila. "Bollywood: a guidebook to popular Hindi cinema." Contemporary South Asia 22, no. 2 (2014): 210–11. http://dx.doi.org/10.1080/09584935.2014.902662.

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Athique, Adrian M. "Book Review: Reframing Bollywood: Theories of Popular Hindi Cinema." Media International Australia 139, no. 1 (2011): 165. http://dx.doi.org/10.1177/1329878x1113900126.

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Ciolfi, Sabrina. "Demure Heroines Expressing Sexual Desire. Hints of traditional motifs in popular Hindi cinema." Acta Orientalia Vilnensia 12, no. 2 (2011): 91–100. http://dx.doi.org/10.15388/aov.2011.1.3930.

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Università degli Studi di MilanoIn some of the most successful and representative popular Hindi films released between the 1990s and the early 2000s, the depiction of amorous feelings often takes traditional forms. The reference here is essentially to those films that come more or less within the broad category of classical family dramas: love stories that come up against all sorts of opposition, characterised by the celebration of the traditional Hindu values and the sacrality of the Indian joint-family institution. A particularly interesting aspect emerging here lies in the way in which the
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WILKINSON-WEBER, CLARE. "BEHIND THE SEAMS: DESIGNERS AND TAILORS IN POPULAR HINDI CINEMA." Visual Anthropology Review 20, no. 2 (2004): 3–21. http://dx.doi.org/10.1525/var.2004.20.2.3.

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Lee, Francis L. F. "Bollywood and globalization: the global power of popular Hindi cinema." Asian Journal of Communication 24, no. 5 (2014): 505–7. http://dx.doi.org/10.1080/01292986.2014.915128.

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Odabasi. "Streaming Popular Hindi Cinema: Digital Media Platforms and Diaspora Audiences." Global South 13, no. 2 (2019): 130. http://dx.doi.org/10.2979/globalsouth.13.2.06.

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Chakrabarti, Pritha. "The disavowal of dance as labour in popular Hindi cinema." Studies in South Asian Film & Media 11, no. 2 (2020): 209–23. http://dx.doi.org/10.1386/safm_00029_1.

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In this article, I analyse screendance texts from Hindi cinema to introduce a theoretical framework called the ideology of amateurism which, I argue, made space within the narrative of the Hindi film for the ‘ideal’ Indian woman to dance publicly while simultaneously disavowing modernity. Through an analysis of selected film dance texts, I show how this turned the dancing heroine into the restorer of the moral order of the narrative. I argue that this ideology of amateurism amounted to a denial of dance labour, which was a necessary precondition for the cultural legitimation of the viewers’ de
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Dissertations / Theses on the topic "Cinéma populaire hindi"

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Azevedo, Amandine d'. "Cinéma indien, mythes anciens, mythes modernes : résurgences, motifs esthétiques et mutations des mythes dans le film populaire hindi contemporain." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030126.

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Le cinéma populaire indien est à la fois un lieu de création de mythes filmiques puissants et un univers qui interagit avec un autre corpus, celui des mythes et des épopées classiques, plus particulièrement le Ramayana et le Mahabharata. Si ces derniers ont souvent été l’objet d’adaptations, surtout dans les premières décennies du cinéma indien, le cinéma contemporain compose des rapports complexes et singuliers vis-à-vis des héros et de leurs hauts faits. Les mythes traditionnels surgissent au détour d’un plan, à la manière d’une résurgence morale, narrative et/ou formelle, tout comme – dans
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Séguineau, de Préval Jitka. "Le mélodrame de l'incompréhension dans le cinéma de Raj Kapoor (1924-1988), Inde." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA084/document.

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Parmi les réalisateurs, producteurs et acteurs de Bombay, Raj Kapoor (1924-1988) est certainement l’un des plus célèbres et des plus originaux, qu’il s’agisse de son œuvre ou de sa personnalité. Sa vaste filmographie qui rassemble quelques-uns des plus beaux mélodrames du cinéma populaire hindi reste méconnue en France. Proches du peuple, ces mélodrames révèlent un phénomène présent dans différentes situations et sous différents aspects : le sentiment d’incompréhension.Ce travail de recherche, inspiré par la lecture de Peter Brooks et Stanley Cavell sur le mélodrame, se donne pour but de montr
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Datta, Pulkit. "Bollywoodizing Diasporas: Reconnecting to the NRI through Popular Hindi Cinema." Miami University Honors Theses / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1209924713.

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Vasudevan, Ravi. "Errant males and the divided woman melodrama and sexual difference in the Hindi social film of the 1950s /." Thesis, Boston Spa, U.K. : British Library Document Supply Centre, 1991. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.303507.

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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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Ayob, Asma. "The changing construction of women characters in popular Hindi-language cinema from 1970 to 2007." Thesis, 2009. http://hdl.handle.net/10539/7064.

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Abstract and research report are on separate disks.<br>Abstract This study examines the changing construction of women characters in popular Hindi-language cinema from 1970 to 2007 using six films, typical of the genres at their times of release, as case studies: Pakeezah (1971, Kamal Amrohi), Umrao Jaan (1981, Muzaffar Ali), Prem Rog (1982, Raj Kapoor), Salaam Namaste (2005, Siddharth Anand), Baabul (2006, Ravi Chopra) and Ta Ra Rum Pum (2007, Siddharth Anand). The study examines general elements of Indian culture, religion, politics and economics in order to contextualise an understanding o
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Durr, Jonathan Douglas. "'Seeing' song in Bollywood landscape, the postnational, and the song-and-dance sequence in Hindi popular cinema /." 2001. http://catalog.hathitrust.org/api/volumes/oclc/48043656.html.

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Thesis (M.A.)--University of Wisconsin--Madison, 2001.<br>Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 74-79).
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Ramlutchman, Nisha. "Gendered representations in contemporary popular Hindi cinema : femininity and female sexuality in films by Pooja Bhatt and Karan Johar." Thesis, 2006. http://hdl.handle.net/10413/10485.

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This dissertation focuses on a textual analysis of the representation of femininity and female sexuality in popular Hindi cinema. Popular Hindi cinema has been a major point of reference for Indian culture in the last century, and will undoubtedly persist in the 21 st century. To an extent, Hindi cinema has shaped and reflected the burgeoning transformation of a 'traditional India' to a 'modern India'. (I use the term modern to reflect the impact the west has had on Indian society, and how this impact in turn is reflected on screen). Issues surrounding gender and sexuality tend to be avoided,
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Books on the topic "Cinéma populaire hindi"

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Mehta, Rini Battacharya. Unruly Cinema. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043123.001.0001.

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Unruly Cinema is a meta-history of Indian cinema’s emergence and growth in correspondence with the colonial, postcolonial, and the neoliberal state. Indian popular cinema has grown steadily from the largest national film industry to a global cultural force. Between 1931 and 2000, Indian cinema overcame Hollywood’s domination of the Indian market, crafted a postcolonial national aesthetic, resisted the high modernist pull of art cinema, and eventually emerged as a seamless extension of India’s neoliberal ambitions. The major agent of these four shifts was a section of the Hindi cinema produced
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Iyer, Usha. Dancing Women. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190938734.001.0001.

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Dancing Women: Choreographing Corporeal Histories of Hindi Cinema, an ambitious study of two of South Asia’s most popular cultural forms—cinema and dance—historicizes and theorizes the material and cultural production of film dance, a staple attraction of popular Hindi cinema. It explores how the dynamic figurations of the body wrought by cinematic dance forms from the 1930s to the 1990s produce unique constructions of gender, stardom, and spectacle. By charting discursive shifts through figurations of dancer-actresses, their publicly performed movements, private training, and the cinematic an
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Book chapters on the topic "Cinéma populaire hindi"

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Mukherjee, Madhuja. "Hindi Popular Cinema and Its Peripheries." In Bollywood and Its Other(s). Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137426505_6.

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Creekmur, Corey K. "Bombay Bhai: The Gangster in and behind Popular Hindi Cinema." In Cinema, Law, and the State in Asia. Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230604919_3.

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Ghosh, Arunabha Ghosh, and Partha Ray. "Munna and Gandhi: Rethinking Gandhi, ‘Gandhigiri’ and Popular Hindi Cinema." In Gandhian Thought and Communication: Rethinking the Mahatma in the Media Age. SAGE Publications Pvt Ltd, 2020. http://dx.doi.org/10.4135/9789353287849.n8.

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Shahid, Mohammad, and Dharmalingam Udaya Kumar. "Study of Visual Ergonomic Issues in Title Design in Popular Hindi Cinema Posters." In Ergonomics in Caring for People. Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-4980-4_42.

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Kothiyal, Shikha. "“naye naam nit naye roop dhar” (Don New Names and New Forms Daily): The Figure of the Actress in Popular Hindi Cinema." In 'Bad' Women of Bombay Films. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-26788-9_20.

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Mehta, Rini Bhattacharya. "India’s Long Globalization and the Rise of Bollywood." In Unruly Cinema. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043123.003.0005.

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The final chapter will elucidate how the renewed threat posed by imports after globalization to Indian cinema is neutralized by two simultaneous reinventions. The first is Indian cinema’s reinvention of the nation, as defined by a hegemonic Hindu nationalism on the one hand and the diaspora as an extended national family on the other. The second is Bombay-based Hindi cinema’s reinvention of itself as Bollywood, adopting the name that was previously used only sarcastically and almost always within quotes. Both reinventions invigorated popular Indian cinema, both in and outside of Bollywood.
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Roy, Anjali Gera. "Qissa and Popular Hindi Cinema." In Storytelling in World Cinemas. Columbia University Press, 2013. http://dx.doi.org/10.7312/columbia/9780231163378.003.0015.

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Roy, Anjali Gera. "Qissa and Popular Hindi Cinema." In Storytelling in World Cinemas, edited by Lina Khatib. Columbia University Press, 2013. http://dx.doi.org/10.7312/khat16336-016.

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Dube, Reena. "Postmodern Cinema of Seduction." In Seduction in Popular Culture, Psychology, and Philosophy. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-0525-9.ch007.

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If there is one phrase that has been used most often by Western audiences for popular Indian cinema, it is the phrase “musicals.” The description gestures both at the fixation of Indian cinema on an earlier stage of cinematic evolution and the simple and uncomplicated pleasure derived by the audience from popular Hindi films that have an audience all over the world. This essay examines Hindi film “song and dance” spectacles as the art of deferment in the postmodern cinema of seduction, a notion derived from the work of Jean Baudrillard and the insights of Freud-Lacan-Zizek and Baudrillard himself on deferral and seduction. This chapter makes this claim not as an overarching theoretical nomenclature for all song and dance sequences in Hindi films. Instead the author argues for the primacy of the art of deferment and play in a postmodern cinema of seduction within the limited scope of her reading of a North Indian subaltern/folk-inspired song and dance Hindi film, Amol Palekar and Sandhya Gokhale directed Paheli (Riddle, 2005).
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Mehta, Rini Bhattacharya. "Culture Wars and Catharses." In Unruly Cinema. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043123.003.0004.

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This chapter focuses on a While the New Cinema movement of the 1960s and 1970s reinvigorated the medium to the excitement of a section of the educated middle-class, the Hindi mainstream industry in Bombay reoriented the national imaginary to focus on physical violence and cathartic revenge. This is the era that saw a clear bifurcation between two distinct cinemas – the popular commercial cinema and the new art cinema – existing in almost every Indian language.
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