Relevant bibliographies by topics / Indian Cinema

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Indian Cinema'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 January 2023

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Journal articles on the topic "Indian Cinema"

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Japee, Dr Gurudutta. "INDIAN FILMS IN GLOBAL CONTEXT - MONEY OR CREATIVITY!" GAP GYAN - A GLOBAL JOURNAL OF SOCIAL SCIENCES 1, no. 1 (September 5, 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 stream Hindi films. But the South is building multiplexes too and it is worth noting that Hollywood distributors have started to release films in India dubbed into several languages. India's various popular cinemas are not all alike, and the differences among them are not restricted to language. They address different identities; the language communities sometimes transcend national boundaries, as when Tamil cinema is followed avidly in Malaysia. "Bollywood" is a recent, global appellation, but mainstream Hindi cinema tried to address national concerns even under colonial rule. When the English-spoken media in India clamour for a better quality of cinema, what they desire is a cinema that is forged in the Western tradition of storytelling and narrative.
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Devasundaram, Ashvin. "Cyber Buccaneers, Public and Pirate Spheres: The Phenomenon of Bittorrent Downloads in the Transforming Terrain of Indian Cinema." Media International Australia 152, no. 1 (August 2014): 108–18. http://dx.doi.org/10.1177/1329878x1415200112.

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The polemic circumscribing the rise and regulation of new independent Indian cinema is a compelling example of vicissitudes in India's public sphere. This article locates a growing access to new independent Indian films through pirate spheres, reflected in the burgeoning popularity of BitTorrent websites, particularly among young, urban Indians, disenchanted by inaccessibility due to regulations and multiplex cinemas' expensive ticket-pricing system. It precipitates deeper discourses of ‘migrating’ cinema audiences, an ambivalent state of film and internet regulation, and civil resistance, exemplified in the recent Madras High Court volte face, unblocking banned BitTorrent websites. This article invokes interviews with independent filmmakers also utilising the paradigm of independent Bengali film Gandu (2010) – purportedly denied a release for its graphic sexual content, and yet widely accessed via BitTorrent and YouTube. Ultimately, this study examines the discursive ramifications of new independent Indian cinema in a metamorphosing Indian cinema sphere.
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Nefedova, Darya N. "Indian Cinema: Past and Present." Journal of Flm Arts and Film Studies 8, no. 3 (September 15, 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 problems of the society, directly connected with striving for independence. 1970-1980s were characterized by relative imperturbation in the country and the lives of the Indians, so the results of this time became widely known in the USSR and influenced on Russian melodrama. The first Indian TV-series wore melodramatic and mythoephic nature. In 1990s the process of globalization touched upon film industry in India. As a result the films underwent substantial Europeanization, but on the other hand appealed to domestic traditions and values, performing a kind of popularization and propaganda. There is a fully manifested characteristic of the Indian film industry mixture of genres called "masala". In 2000s the line of reasonable combination of modern trends with traditional culture and national originality of cinema went on. Currently, the Indian film industry continues to develop. Conservative technology combined with modern technical equipment are actively used in the shooting process and in the cinematic action. However despite this the cinema of India is a vivid example of conservation of the unique national art in a world cultural unification process.
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Vasudevan, R. "Indian commercial cinema." Screen 31, no. 4 (December 1, 1990): 446–53. http://dx.doi.org/10.1093/screen/31.4.446.

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Kak, Dr Sabzaar. "Fort and Fortress in Indian Cinema: Study on the Role of Indian Historical Monuments on Indian Cinema." International Journal of Psychosocial Rehabilitation 24, no. 5 (March 31, 2020): 1930–38. http://dx.doi.org/10.37200/ijpr/v24i5/pr201867.

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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 (February 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 article surveys the different modes through which aesthetic philosophies were translated into formal strategies of sound recording, designing and mixing. Using previous scholarship on art cinema in India as the point of departure, this study combines theoretically informed textual analysis with new historical insights on Indian cinema.
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Nefedova, Darya N. "Destiny of Indian Cinema in Russia." Journal of Flm Arts and Film Studies 8, no. 4 (December 15, 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 (frivolous story, improbable fights, numerous songs and dances, etc.), which have been preserved by this day, in spite of the changes that occurred in the Indian film industry. In the 1990s, there was a revision of values on the part of the domestic audience and interest for Indian cinema began to wane. Development of various types of video media has allowed fans to buy movies for personal viewing. At the turn of the century a number of television companies obtained broadcasting rights for the classic Indian films. Broadcasting of the channels India TV and Zee-TV, completely dedicated to the Indian culture, marked a new stage in distribution of Indian cinema in this country. In addition, the Internet technology gave way for development of various kinds of specialized resources. These facts, as well as resumed festivals of Indian cinema in the last decade in this country, speak in favor of the revival of the audience interest to it. Despite the virtual absence of the joint Russian-Indian films in the last decades and a small amount of Indian films, audience sympathy gives rise to the assumption of the prospects for this kind of cooperation, as well as accentuation of resuming heavy study of Indian cinema by Russian researchers.
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Atwal, Jyoti. "Widowhood and Motherhood in Cinematic Imagination in the Historical Context." Past and Present: Representation, Heritage and Spirituality in Modern India 4, Special Issue (December 25, 2021): 01–11. http://dx.doi.org/10.12944/crjssh.4.special-issue.01.

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This article engages with the question of how Hindi cinema sought to synergize and imagine the nation, community and land in independent India as the embodiment of widowhood. I suggest that this process of embodiment was the culmination of a long historical-political process. The focus of this chapter is a 1957 Hindi film by Mehboob Khan named Mother India. The film stands out as a powerful emotional drama. On the one hand, this film marked continuity with the Indian literature, painting, theatre and cinema of the colonial period,1 on the other, Mother India influenced the culture of a new Indian nation after 1947. Within a decade after India attained independence from Britain, the Indian cinema became an undisputed site where the cultural engineering of a new nation could be enacted.2
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Sarkar, Bhaskar. "Encyclopaedia of Indian Cinema:Encyclopaedia of Indian Cinema." Visual Anthropology Review 11, no. 2 (September 1995): 54–58. http://dx.doi.org/10.1525/var.1995.11.2.54.

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Rachamalla, Suresh. "Influence of Liberalisation & Globalisation on Indian Cinema - A study of Indian cinema and it’s diasporic consciousness." Journal of Advanced Research in Journalism & Mass Communication 05, no. 01 (February 27, 2018): 18–24. http://dx.doi.org/10.24321/2395.3810.201804.

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Dissertations / Theses on the topic "Indian Cinema"

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Mullik, Gopalan. "Cinema and wild meaning : phenomenology, classical Indian theories and embodiment in cinema." Thesis, University of East Anglia, 2015. https://ueaeprints.uea.ac.uk/63132/.

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The aim of this project has been to explore the possibility of applying Phenomenology and Classical Indian Theories to cinema with the hope that their systematic application would generate new insights in a deeper understanding of cinema. This need has been felt in the context of the existing film discourse having reached a stage of stagnation, even a “crisis”, in recent times. The reason for this moribund state of contemporary film discourse has been analyzed in my thesis as due to the failure of the existing film theories to incorporate film audiences‟ ordinary experiences of cinema, viz. the romance, the thrills, and the emotions which motivate them to come to the cinema halls all over the world. The film theories have failed to acknowledge the importance of this phenomenon which is built on the audiences‟ embodied experiences of the world and their socio-cultural practices that have grown on top of them which together form, at the very basic level, what constitutes the audiences‟ ordinary response to cinema. It has been argued in this thesis that, while this very basic response of the audiences to cinema has been entirely by-passed by the existing film theories, they have concentrated instead on how the audiences should ideally respond to cinema. As a result, the film theories present a sanitized version of the audience experiences that entirely miss the „gut-feelings‟ that cinema generates among them. It is unfortunate that film theorization has progressively moved away from this experience. Thus, while the schools of realism and montage, which together constitute the two contrary branches of classical film theory, deal with the nature of reality underlying the surface reality of cinema, contemporary film theory, based on the notion of disembodied vision, render the audiences into passive viewers manipulated by a subversive ideology operated by a schemeing bourgeoisie and cognitive film theory considers the audiences to be transparently intelligent entities, who, like an ideal buyer, infer the film narrative by optimally using the clues provided by the film and respond appropriately. It has been argued in this work that none of these theories acknowledge the film audiences‟ normal response to cinema, thereby missing the very starting point from where theorizations should have started in the first place. When phenomenology and classical Indian theories are applied to cinema, they do not assign extraordinary powers 11 of perception to the audiences who, by dint of it, should tear asunder the „fake‟ reality presented on screen; rather, they help to understand how normal processes of perception operate producing identifications and their corresponding affective states among the audiences that keep them glued to cinema all over the world. Merleau-Ponty‟s phenomenology and Nyāya theory are similar in revealing how the audiences‟ perception generates meanings and emotions on the basis of their embodied experiences of the world and the socio-cultural practices built up around them. In this connection, both Nyāya and Merleau-Ponty‟s notion of synaesthetic experiences make the audio-visual images to be so much richer than has been acknowledged so far. Further, Nyāya, by positing that the perception of things is a product of their mode of appearance and mode of presentation, offers a rare insight into how the perceptual process works under normal circumstances. Nyāya offers a further insight into the perceptual process by holding that, at the most basic level, the perceiver constructs an integrated whole of the elements occurring within view in order to ensure that the organism offers an unique response to whatever is confronting it essential for the survival of the organism. Since this integration occurs in terms of the organism‟s embodied and socio-cultural practices of life, it represents a process of narrative integration of a scene which remains in-built in the human psyche. This aspect assumes crucial importance in case of cinema. Bharata‟s theory of aesthetic pleasure or rasa delineates how various levels of identification develop between an artwork and its audiences which, in turn, evoke their corresponding affective states among them that enable them to relive a scene portrayed in the work. A question which had defied a satisfactory solution for a long time, why do the audiences enjoy tragedies, Abhinavagupta offers the solution that this happens because the audiences identify with the fictional mode of the artwork even before they have set their foot in the auditorium. By removing the audiences from their practical life, it has the effect of generalizing the audiences‟ future experiences in relation to the artwork. In this state, aesthetic experiences produce what has been called “ownerless” emotions among the audiences which are “tasted” from outside rather than personally “suffered” by them. Bharata‟s theory also anticipates Merleau-Ponty‟s notion of the chiasm involving 12 subjective-objective alterations between subjects and objects in an artwork generating a much more enriching experience among the audiences. Ānadavardhana‟s theory of dhvani or suggestion conveys to the audiences the sense of a scene to the audiences that inheres beyond the meaning that occurs on the surface. Thus, the expression “The village is on the river Ganges” not only conveys a sense of „coolness‟ and „serenity‟ associated with a river, but also connotes „piety‟ and „holiness‟ to a section of people for whom Ganges happens to be a holy river. In a larger sense, this process, dhvani theory gives voice to certain experiences by human beings which they cannot express normally due to reaons such as social repression, existential crisis, or erasure of memory all of which keep influencing their actions on the surface. By helping human beings to confront what remains supressed within them, dhvani seeks to restore full subjectivity to human beings. In this sense, dhvani becomes one of the most potent instruments of understanding the deeper relevance that cinema has for the audiences.
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Athique, Adrian Mabbott. "Non-resident cinema transnational audiences for Indian films /." Access electronically, 2005. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060511.140513/index.html.

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Narain, Atticus Che deCaires. "The role of Indian cinema amongst Indo-Guyanese." Thesis, Goldsmiths College (University of London), 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.445022.

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Ghosh, Sanjukta T. "Celluloid nationalism : cultural politics in popular Indian cinema /." The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487759914758891.

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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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Williams, Jennifer Ashley. "Vignettes of Bollywood 1990-present: a scholarly approach to Indian cinema." Thesis, Wichita State University, 2010. http://hdl.handle.net/10057/3340.

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This project highlights the importance of the Indian film industry as a legitimate field of scholarly and academic research. Through interdisciplinary eyes, the Indian film industry and its byproducts are examined through a multitude of different approaches including gender, film, and cross-cultural studies. The films mentioned in this research are the highest grossing, have the most famous actors and actresses, and are from the 1990s to present. Films were watched with a critical eye to see what exactly was shown and examined. Other scholars’ and critics’ work was read, films discussed, and critical assumptions were made based on all of the information gathered and perspectives observed. The reason research was conducted on this subject and in this fashion is because there was none of its kind that dealt specifically with Indian cinema in a critical light. Any research referenced is older and discusses older films. If society were really able to understand culture today in a world of generalized hybridity, scholars must study objects such as Bollywood. With the industry’s mobility, it creates new kinds of audiences who do not speak the same language, share the same local knowledge about cinema, but instead find themselves as active participants in reading, enjoying, and interpreting film. By doing this, new viewers are exposed to Bollywood as well as new meanings and ways of looking are created. Hopefully with the advent of this thesis, it will inspire others to view Bollywood film as a legitimate field of scholarly and academic research.
Thesis (M.A.)--Wichita State University, College of Liberal Arts and Sciences, Program of Liberal Studies
Removed from view at the request of the author
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Valančiūnas, Deimantas. "Construction of Identity in British and Indian Cinema: a Postcolonial Approach." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2013~D_20131129_114315-79626.

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The object of the dissertation is British and Indian popular (commercial) cinema and the construction of identity there. The problem of identity construction in Indian and British films was researched employing three approaches found in the postcolonial theory: the critique of colonial discourse, anticolonial nationalism and the construction of national identity and the problematics of diasporic identity. The comparative analysis of the films from the two industries of the countries which were bounded by colonial relationships in the past let us see the complex ways of how identity is articulated in the postcolonial period. It also shows that the colonial memory is not merely a historical relict, but one of the ways to construct identity, which is always brought up and rethought in contemporary popular culture. The comparative analysis of British and Indian films leads us to the following conclusions: Nadion constructs itself through the constant employment of the resources of colonial memory – and does so depending on various goals: fantasy, nostalgia, fear etc. The ever-present use of colonial memory in the context of the present shows that postcoloniality is a process rather than achieved state, thus letting us observe the positions and functions of imperialism not only in the past, but present as well. British as well as Indian cinema includes the cultural “otherness” in the narratives, which is modeled and manipulated according to the historical period when the film was... [to full text]
Disertacijos objektas yra komercinis Britanijos ir Indijos kinas bei jame konstruojamos tapatybės. Tapatybės konstravimo problematika Indijos ir Britanijos filmuose yra tiriama remiantis trimis tapatybės analizės pokolonijinėje teorijoje pjūviais: kolonijinio diskurso kritika, antikolonijiniu nacionalizmu ir tautinės tapatybės konstravimu bei diasporinės tapatybės problematika. Lyginamasis dviejų, praeityje kolonijiniais saitais susietų valstybių kino filmų tyrimas leido pažvelgti į kompleksines tapatybės artikuliavimo pokolonijiniame laikotarpyje galimybes ir parodė, kad kolonijinė praeitis nėra vien tik istorinis reliktas, bet viena iš tapatybės konstravimo priemonių, nuolat sugrąžinama ir permąstoma šiuolaikinėje populiariojoje kultūroje ir kinematografijoje. Išanalizavus medžiagą disertacijoje prieita prie šių išvadų: tauta konstruoja save per nuolatinį kolonijinės atminties resursų panaudojimą – ir atlieka tai vedina skirtingų tikslų: fantazijos, nostalgijos, baimės ir kt. Nuolatinis kolonijinės atminties eskalavimas dabarties kontekste rodo pokolonializmo procesualumą, bet ne substanciškumą, atverdamas kelius pažvelgti į imperializmą ir jo poziciją ne tik praeityje, bet ir dabartyje. Tokiame kontekste tiek Britanija, tiek Indija į filmų naratyvus įtraukia kultūrinės kitybės kategoriją, kuri yra modeliuojama priklausomai nuo filmo sukūrimo laikmečio ir išreiškia skirtingas ideologines sanklodas. Kalbėjimas apie „Kitą“ tampa susietas su „Savimi“, taip sukuriant reikšmių... [toliau žr. visą tekstą]
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Kumar, Akshaya. "Provincialising Bollywood : Bhojpuri cinema and the vernacularisation of North Indian media." Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/6520/.

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This thesis is an investigation of the explosive growth of Bhojpuri cinema alongside the vernacularisation of north Indian media in the last decade. As these developments take place under the shadow of Bollywood, the thesis also studies the aesthetic, political, and infrastructural nature of the relationship between vernacular media industries – Bhojpuri in particular – and Bollywood. The thesis then argues that Bhojpuri cinema, even as it provincialises Bollywood, aspires to sit beside it instead of displacing it. The outrightly confrontational readings notwithstanding, the thesis grapples with the ways in which the vernacular departs from its corresponding cosmopolitan form and how it negotiates cultural representation as an industry. The two chapters in Part I provide a narrative account of the discourses and media-texts that saturate the Bhojpuri public sphere. The prevailing discourses and the dominant texts, the thesis argues, resonate with each other, but also delimit the destiny of Bhojpuri film and media. The tug of war between the cultural and economic valuations of the Bhojpuri commodity, as between enchantment and discontent with its representative prowess, as also between ‘traditional’ values and reformist ‘modernity’, leaves us within an uncomfortable zone. The thesis shows how aspirations to male stardom consolidate this territory and become the logic by which the industry output keeps growing, in spite of a failing media economy. Each of the three chapters in Part II traces the historical trajectory of language, gendered use of public space, and piracy, respectively. In this part, the thesis establishes the analytical provenance for the emergence of Bhojpuri cinema in particular, and vernacular media in general. While Bhojpuri media allows Bhojpuri to seek its autonomy from state-supported Hindi, it also occupied the fringe economy of rundown theatres as Bollywood sought to move towards the multiplexes. If the advent of audiocassettes led to the emergence of Bhojpuri media sanskar, the availability of the single-screen economy after the arrival of multiplexes cleared the space for the theatrical exhibition of Bhojpuri cinema. The suboptimal transactions of counterfeit media commodities, on the other hand, regulate the legal counterpart and widen the net of distribution beyond the film theatre. I argue that the suboptimal practices are embedded within the unstable meanwhile. As an occupant of this meanwhile temporality, Bhojpuri film and media, whether in rundown theatres or on cheap mobile phones, grow via contingent and strategic coalitions. This thesis, then, argues that cinema as a form makes it possible for Bhojpuri speaking society to confront, and reconcile with, its own corporeality – the aural and visual footprints, the discursive and ideological blind spots, and the aspiration to break free. On account of the media economy and its power to ratify a new order of hierarchy via celebrity, Bhojpuri media threatens to transform the social order, yet remains open to the possibility of manipulation by which the old order could rechristen itself as new.
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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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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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Books on the topic "Indian Cinema"

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Oommen, M. A. Economics of Indian cinema. New Delhi: Oxford & IBH Pub. Co., 1991.

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Pioneers of Indian cinema. Hyderabad: Sri Sai Movies, 2011.

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History of Indian cinema. New Delhi: Diamond Pocket Books, 2012.

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Paul, Willemen, ed. Encyclopaedia of Indian cinema. New Delhi: Oxford University Press, 1999.

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Rajadhyaksha, Ashish. Encyclopedia of Indian cinema. London: British Film Institute, 1998.

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Bhaumika, Someśvara. Indian cinema, colonial contours. Calcutta, India: Papyrus, 1995.

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Paul, Willemen, ed. Encyclopaedia of Indian cinema. Chicago, Ill: Fitzroy Dearborn, 1999.

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Paul, Willemen, ed. Encyclopaedia of Indian cinema. London: British Film Institute, 1999.

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Paul, Willemen, ed. Encyclopaedia of Indian cinema. London: British Film Institute, 1994.

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Rajadhyaksha, Ashish. Encyclopaedia of Indian cinema. New Delhi: Oxford University Press, 1995.

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Book chapters on the topic "Indian Cinema"

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Eswaran, Swarnavel. "Indian Cinema, Hunger, and Food." In The Routledge Companion to Caste and Cinema in India, 132–47. London: Routledge India, 2022. http://dx.doi.org/10.4324/9781003343578-14.

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Kusuma, Krishna Sankar. "South Indian Cinema." In Handbook of Research on Social and Cultural Dynamics in Indian Cinema, 303–13. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-3511-0.ch025.

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Cinema scholars often refer to Hindi cinema as Indian cinema. India has diverse languages, cultures, and a long history of Cinema of its own. Regional cinema in numbers, as well as quality, competes with any cinema in the world. The study is an attempt to present the case of five film industries in the southern part of India, which includes Tamil, Telugu, Malayalam, Kannada, and Tulu language films. The southern film industries is theorized as 'South Indian cinema' as they share similar features, yet each one of them is unique. South Indian cinema has often been looked down upon as it is cheap and vulgar. The research also explores the gender dimensions in both the industry as well as on-screen presentation. This chapter aims to provide a theoretical and philosophical interpretation of South Indian cinema.
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Mehta, Rini Bhattacharya. "Indian Cinema, Indian Democracy." In The Cold War and Asian Cinemas, 194–213. Routledge, 2019. http://dx.doi.org/10.4324/9780429425202-11.

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Ahmed, Omar. "Popular Narratives." In Studying Indian Cinema, 11–32. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733681.003.0002.

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This chapter discusses the cinema of Raj Kapoor. Raj Kapoor's key role in helping to popularise Indian cinema proves to be a worthy starting point in tracing the origins and development of popular narratives and genres. The Kapoor dynasty was paramount in the evolution of mainstream Indian cinema. Indeed, the international success of Awaara (The Vagabond) in 1951 marked the beginning of a decade that would produce some of Indian cinema's most memorable films. The chapter considers a range of areas, comprising of Raj Kapoor's status as an auteur, ideological representations, visual styles ranging from noir to expressionism, the use of song and dance as a narrative tool, and the film's relationship with the wider context of post-partition India under the leadership of Jawaharlal Nehru.
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"Colonial Indian Cinema:." In Unruly Cinema, 19–60. University of Illinois Press, 2020. http://dx.doi.org/10.5406/j.ctv137973k.5.

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Mehta, Rini Bhattacharya. "Colonial Indian Cinema." In Unruly Cinema, 19–60. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043123.003.0002.

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This chapter focuses on the hybridity and modernity of early Indian cinema, which managed to survive the control and surveillance of the colonial government. The first crisis of Indian cinema was its precarious existence, threatened by colonial control and regulation on the one hand and Hollywood’s dominance over Indian film-market on the other. This chapter details the unlikely growth and resilience of a disorganized medium, leading to the 1930s when the Indian “talkie” ended Hollywood’s dominance in the Indian film-market.
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"8 Indian Cinema." In Contemporary World Cinema, 156–74. Edinburgh University Press, 2020. http://dx.doi.org/10.1515/9780748680573-010.

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Ahmed, Omar. "Angry Young Men." In Studying Indian Cinema, 145–64. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733681.003.0009.

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This chapter addresses how, unlike Hollywood, which has seen the rise of high-concept cinema overshadow the power a film star once possessed at the box office, Indian cinema, especially mainstream Hindi films, continues to underline the significance of film stars and views them as paramount to the development and marketing of most feature films. The angry-young-man persona of Indian cinema's biggest film star, Amitabh Bachchan, forged in an era of widespread political disillusionment, found its greatest expression in the 1975 super-hit Deewaar (The Wall), directed by Yash Chopra. The chapter moves away from Indian art cinema to the attractions of the mainstream film Deewaar. It engages with a range of key areas, such as the wider political context of the 1975 Indian Emergency and the angry young man as a sociopolitical symbol. It also looks at representations encompassing matriarchy, religion and poverty; Amitabh Bachchan's star image; and the lasting legacy of Deewaar for today's cinema.
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Ahmed, Omar. "Parallel Voices." In Studying Indian Cinema, 127–44. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733681.003.0008.

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This chapter assesses Shyam Benegal's seminal Ankur (The Seedling, 1972). The emergence of state-sponsored film-making in the late 1960s with Mrinal Sen's Bhuvan Shome (1969) laid the foundations for a new cinematic discourse, giving way to the next phase in the development of Indian art cinema, dubbed by many as ‘parallel cinema’. The work of film-maker Shyam Benegal forms a major part of the parallel cinema movement, and the rural trilogy of films characterising his early work not only sympathised with the oppressed underclass but also established an influential political precedent for many of the young film-makers emerging from the prestigious Film and Television Institute of India. The chapter looks at the origins and context of New Indian cinema, as well as the definitions of parallel cinema and its importance to the development of art cinema. It also considers Shyam Benegal's authorial status, key ideological strands, and the film's role in helping to politicise cinema in India.
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Ahmed, Omar. "Representing Terrorism." In Studying Indian Cinema, 183–200. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733681.003.0011.

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This chapter explores Mani Ratnam's 1998 film Dil Se (From the Heart) to engage critically with changing representations of terrorism in contemporary Indian cinema. Mani Ratnam is recognised by many critics and the Indian film industry as one of its finest and most commercially successful film-makers. Dil Se was Ratnam's first Hindi film and the third part in a loose trilogy of films dealing with the relationship between nationalism, terrorism, and urban violence. The chapter then looks at regional film-making in India, particularly Tamil cinema. It also considers Mani Ratnam's concerns as an auteur, the music of Dil Se and composer A.R. Rahman, and perhaps most importantly, the impact the film had at the UK box office with the Non-Resident Indian (NRI) audience.
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Conference papers on the topic "Indian Cinema"

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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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Moura, Alan, Cristina Nobre, Antônio Cabral, and Lucas Babadopulos. "EFEITO DA ENERGIA DE COMPACTAÇÃO NA RESISTÊNCIA MECÂNICA DE CONCRETOS SECOS COM ADIÇÃO DE CINZA PESADA E USO DE ADITIVO PLASTIFICANTE." In XVIII ENCONTRO NACIONAL DE TECNOLOGIA DO AMBIENTE CONSTRUÍDO. UFRGS, 2020. http://dx.doi.org/10.46421/entac.v18i.1043.

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A utilização de concreto seco na confecção de peças pré-fabricadas tem ganhado relevância no mercado da construção civil, evidenciando a necessidade de pesquisas sobre este tema. Nesse sentido, este artigo pretende analisar o efeito da energia de compactação na resistência à compressão de concretos secos, utilizando como variáveis de entrada a variação da energia de compactação aplicada na moldagem (10, 20 ou 30 golpes), a substituição ou não de 30% da areia natural por cinza de fundo e a utilização ou não de aditivo plastificante. Os corpos de prova foram moldados por meio de compactação utilizando um soquete metálico tipo Proctor. Os resultados obtidos indicam que a compactação tem efeito significativo sobre a resistência à compressão das peças produzidas, evidenciando a necessidade da utilização de equipamentos que garantam uma moldagem eficiente a fim de assegurar a qualidade e durabilidade das peças produzidas. A presença da cinza de fundo mostrou-se eficiente conduzindo a maiores resultados de resistência para uma mesma energia aplicada. O aditivo plastificante também se mostrou eficiente facilitando a compactação e conduzindo a resultados de resistência satisfatórios mesmo para a menor energia aplicada. A ação conjunta da cinza e do aditivo conduziu aos melhores resultados obtidos.
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Reports on the topic "Indian Cinema"

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Carvalho Pereda, Paula, Maria Dolores Montoya Diaz, Fabiana Rocha, Gabriel Facundes Monteiro, and Jesús Mena-Chalco. Diferenças de gênero no financiamento acadêmico: evidências do Brasil. Banco Interamericano de Desenvolvimento, March 2022. http://dx.doi.org/10.18235/0004059.

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Este estudo investiga se há diferença na distribuiço de recursos entre pesquisadores homens e mulheres para financiar a pesquisa academica no Brasil nas áreas de Cincia, Tecnologia, Engenharia e Matemática acrescidas da área de Economia (STEEM). Verificamos se a probabilidade de conseguir financiamento para pesquisa difere entre homens e mulheres e testamos se o montante de recursos para a pesquisa difere entre as cientistas mulheres e os cientistas homens. Utilizamos dados das distribuiçes de bolsas de produtividade em pesquisa do Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) de 2017 e 2020, dados das concesses de auxílios pela Fundaço de Amparo à Pesquisa do Estado de So Paulo (FAPESP) de 2015 a 2020, e dados sobre as características dos pesquisadores brasileiros cadastrados na Plataforma Lattes. Nossos resultados indicam que as candidatas mulheres a bolsistas de produtividade do CNPq possuem menor probabilidade de terem a bolsa aprovada, mesmo controlando por área de atuaço, instituiço de doutorado, quantidade e qualidade média de publicaçes nos últimos cinco anos, entre outras características. O resultado é mantido e intensificado no recorte para pesquisadores das áreas STEEM. Em relaço à FAPESP, no so encontradas diferenças significativas de genero na probabilidade de aprovaço de financiamento de projeto, tanto na amostra geral quanto entre as áreas STEEM. Todavia, observamos que as mulheres solicitam e tm aprovado e recebido valores menores de financiamento de projetos. Encontramos evidencias de que as pesquisadoras mulheres com mesmo perfil de pesquisadores homens tm maior corte de recursos nos projetos aprovados pela FAPESP.
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