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Journal articles on the topic 'Indian Cinema'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 January 2023

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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 (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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Needham, G. "Cinema of Interruptions: Action Genres in Contemporary Indian Cinema." Screen 45, no. 2 (June 1, 2004): 168–71. http://dx.doi.org/10.1093/screen/45.2.168.

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12

Rehman, Sharaf N. "Om Puri: The man who presented the real faces of the subcontinent of India." Asian Cinema 31, no. 2 (October 1, 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 allowed to play as Indians. Sam Jaffe and Abner Biberman played as Indians in Ganga Din; Peter Sellers was the Indian actor in The Party, and Shirley MacLaine was the Princess Aouda in Around the World in 80 Days (1956). It is reasonable to assume that many film viewers may be unfamiliar with Om Puri, an actor who played in over 325 films in India, Pakistan, the United Kingdom and the United States, and made films in English, Bengali, Punjabi and Tamil languages. Om Puri passed away in 2017. His name may be unfamiliar, but his face and his work as an actor will remain unforgettable. Between Gandhi (1982) and Viceroy’s House (2017), Puri acted in two dozen films in the United Kingdom, Canada and the United States. This article discusses Puri’s work in popular Hindi cinema, in Indian Parallel Cinema, and European and North American films.

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13

Singh, Rashmi, and Sachin Bharti. "Technological advancements in Indian cinema." Mass Communicator: International Journal of Communication Studies 15, no. 1 (2021): 37–40. http://dx.doi.org/10.5958/0973-967x.2021.00006.5.

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14

Binford, Mira Reym, Robert W. Lucky, and Sumita Chakravarty. "Indian cinema: An annotated bibliography." Quarterly Review of Film and Video 11, no. 3 (October 1989): 83–92. http://dx.doi.org/10.1080/10509208909361317.

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15

Raj, Sony Jalarajan, and Rohini Sreekumar. "Colonial Rebels in Indian Cinema." Journal of Creative Communications 8, no. 2-3 (July 2013): 251–63. http://dx.doi.org/10.1177/0973258613512563.

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16

Mandal, Somdatta. "Indian diasporic literature and cinema." South Asian Diaspora 7, no. 2 (June 25, 2015): 184–86. http://dx.doi.org/10.1080/19438192.2015.1057984.

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17

Thomas, R. "Indian Cinema: Pleasures and Popularity." Screen 26, no. 3-4 (May 1, 1985): 116–31. http://dx.doi.org/10.1093/screen/26.3-4.116.

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18

Gopalan, L. "Avenging women in Indian cinema." Screen 38, no. 1 (March 1, 1997): 42–59. http://dx.doi.org/10.1093/screen/38.1.42.

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19

Gooptu, Sharmistha. "The ‘Nation’ in Indian Cinema." History Compass 9, no. 10 (October 2011): 767–75. http://dx.doi.org/10.1111/j.1478-0542.2011.00800.x.

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20

Athique, Adrian M. "Review: Encyclopaedia of Indian Cinema." Media International Australia 107, no. 1 (May 2003): 167–68. http://dx.doi.org/10.1177/1329878x0310700130.

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21

Villarejo, Amy. "Latitudes: New Indian Transnational Cinema." Journal of Lesbian Studies 18, no. 3 (June 27, 2014): 209–22. http://dx.doi.org/10.1080/10894160.2014.896609.

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22

Kaur, Harmanpreet. "At Home in the World: Co-productions and Indian Alternative Cinema." BioScope: South Asian Screen Studies 11, no. 2 (December 2020): 123–45. http://dx.doi.org/10.1177/0974927620983941.

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Several Indian filmmakers and production houses making ‘alternative’ and ‘independent films’ have sought to develop co-production deals with European film funds, international film festivals, film markets and sales agents. Their bid is to build a profile with art house and ‘specialty cinema’ audiences in Europe, Asia and the USA, while also seeking to impact the Indian domestic market. This article analyses the assembling of such productions, and their aesthetic form, including a reflection on charges that their adaptation to international distribution requires a conformity to what is acceptable and intelligible to ‘international audiences’. It also explores how alternative films oriented to international art cinema affect the understanding of what constitutes ‘national cinemas’. The article explores these themes through two films, Qissa (2013) and The Lunchbox (2012).

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23

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 (October 11, 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 the characteristics of the cinematic projections of the urban life and urban subjectivities in the films of Saikia and Barua.

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24

Magal, Uma. "Indian Cinema Fifty Years After Independence: A Cinema of Ferment." Asian Cinema 10, no. 1 (September 1, 1998): 193–97. http://dx.doi.org/10.1386/ac.10.1.193_1.

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25

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 (June 14, 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 with 32 Indian-film audiences residing across 14 different cities in mainland China. Thematic analysis identified the following five appealing factors, which explain why the Chinese enjoy Indian films: content-driven story, social values, star power, audience reviews and cultural connections. While a comprehensive list of opportunities was derived showing the potential future of Bollywood in China, results found that China’s unique institutional context and an ongoing India–China geopolitical tensions also present challenges, which in turn add to the overall complexity of films’ success in the Chinese market. This article argues the powerful role of Bollywood in bridging cultures and improving India–China ties, as Indian films have made Chinese people more aware of India in a favourable way.

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26

Escobedo de Tapia, Carmen. "Origins and Evolution of Indian Cinema: A Caleidoscopic Vision of India." Revista Canaria de Estudios Ingleses, no. 83 (2021): 21–36. http://dx.doi.org/10.25145/j.recaesin.2021.83.02.

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The Western image of India has traditionally been based on the attraction of stereotypes like the exotic, the mystical or the spiritual; if this imaginative construct is evident in literature, with examples like Paul Scott’s The Jewel in The Crown and E.M. Forster’s A Passage to India. I suggest that this recreation could also be applicable to cinema through stereotypcal visions that originally appear in films about India. In this article I aim to explain the evolution of Indian cinema as a genre of its own, using postcolonial concepts like ‘mimicry’, ‘hybridity’ or ‘liminality’ discussed by H.K. Bhabha in The Location of Culture (1994), and through the threefold perspective developed by Priyamvada Gopal in The Indian English Novel: Nation, History and Narration (2009).

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27

Escobedo de Tapia, Carmen. "Origins and Evolution of Indian Cinema: A Caleidoscopic Vision of India." Revista Canaria de Estudios Ingleses, no. 83 (2021): 21–36. http://dx.doi.org/10.25145/j.recaesin.2021.83.02.

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The Western image of India has traditionally been based on the attraction of stereotypes like the exotic, the mystical or the spiritual; if this imaginative construct is evident in literature, with examples like Paul Scott’s The Jewel in The Crown and E.M. Forster’s A Passage to India. I suggest that this recreation could also be applicable to cinema through stereotypcal visions that originally appear in films about India. In this article I aim to explain the evolution of Indian cinema as a genre of its own, using postcolonial concepts like ‘mimicry’, ‘hybridity’ or ‘liminality’ discussed by H.K. Bhabha in The Location of Culture (1994), and through the threefold perspective developed by Priyamvada Gopal in The Indian English Novel: Nation, History and Narration (2009).

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28

Oza, Preeti. "GAGGED NARRATIVES FROM THE MARGIN: INDIAN FILMS AND THE SHADY REPRESENTATION OF CASTE." GAP GYAN - A GLOBAL JOURNAL OF SOCIAL SCIENCES 2, no. 3 (August 16, 2019): 131–34. http://dx.doi.org/10.47968/gapgyan.230021.

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Popular Hindi cinema provides a fascinating account of Indian life history and cultural politics. Hindi cinema is always a mirror of the Indian society but films also have fascinated entertained the Indian public for more than a hundred years and sometimes when we analyze the history of Indian cinema we can get an amazingly interesting but actual history of the contemporary society with all its virtues and vices in different colors. This paper deliberates on the various issues pertaining to the portrayal of specific caste, especially the Dalits in Indian films- both Hindi and regional.

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29

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 (March 21, 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 ‘Bollywood’) that has dominated national Indian cinema and its audiovisual culture and hegemonized the entire film industry as well as other popular technology-based art forms including the press, radio, television, music, advertising, the worldwide web, the social media, and telecommunications media. The form and substance of these modern art forms, while adapting to the demands of the new media technologies, continued to be rooted in the visual arts and practices of folk and classical traditions of earlier times.

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30

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 (March 21, 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 ‘Bollywood’) that has dominated national Indian cinema and its audiovisual culture and hegemonized the entire film industry as well as other popular technology-based art forms including the press, radio, television, music, advertising, the worldwide web, the social media, and telecommunications media. The form and substance of these modern art forms, while adapting to the demands of the new media technologies, continued to be rooted in the visual arts and practices of folk and classical traditions of earlier times.

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31

Patra, Parichay. "Beyond the Metanarratives of Indian Cinema." Discourse 44, no. 1 (January 2022): 101–8. http://dx.doi.org/10.1353/dis.2022.0007.

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32

Kumar, Akshaya. "Re-Visioning Caste in Indian Cinema." Soundings: An Interdisciplinary Journal 104, no. 4 (November 1, 2021): 362–91. http://dx.doi.org/10.5325/soundings.104.4.0362.

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Abstract Adding nuance to the accusation of sustained caste blindness against Indian cinema, this article situates Nagraj Manjule’s Marathi blockbuster Sairat (2016) within the trajectories of Marathi cinema, and vis-à-vis the historical traffic between the Hindi film industry and its southern counterparts. The article grapples with sociological and formal valences of realism and melodrama, which co-constitute Sairat, so as to argue that the re-visioning must address the “invisible” embeddedness of caste in universalized abstractions; or more appropriately, in its (mis)translations away from the “limiting” particularity of caste politics to be subsumed under more universally legible aesthetic of social justice.

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33

Vasudevan, R. S. "National pasts and futures: Indian cinema." Screen 41, no. 1 (March 1, 2000): 119–25. http://dx.doi.org/10.1093/screen/41.1.119.

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34

Mahadevan, Sudhir, and Anuja Jain. "The poetics of Indian cinema: introduction." Screen 58, no. 1 (2017): 59–63. http://dx.doi.org/10.1093/screen/hjx005.

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35

McEwan, Paul. "In Focus: Teaching Indian Cinema: Introduction." Cinema Journal 47, no. 1 (2007): 93–94. http://dx.doi.org/10.1353/cj.2007.0055.

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36

Binford, Mira Reym. "Indian popular cinema: A selected filmography." Quarterly Review of Film and Video 11, no. 3 (October 1989): 79–81. http://dx.doi.org/10.1080/10509208909361316.

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37

Sawhney, Rashmi. "THE VIRTUAL REALITY OF INDIAN CINEMA." Interventions 14, no. 3 (September 2012): 395–409. http://dx.doi.org/10.1080/1369801x.2012.704498.

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38

Dasgupta, Gautam. "The fantasy wallahs of Indian cinema." Wasafiri 10, no. 21 (March 1995): 39–41. http://dx.doi.org/10.1080/02690059508589420.

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39

Sen, Meheli. "Bombay Talkiesand the Indian cinema centenary." South Asian Popular Culture 13, no. 1 (January 2, 2015): 77–80. http://dx.doi.org/10.1080/14746689.2015.1026654.

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40

Kapse, Anupama. "Afterthoughts on the Indian cinema centenary." South Asian Popular Culture 13, no. 1 (January 2, 2015): 61–64. http://dx.doi.org/10.1080/14746689.2015.1028213.

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41

Hand, Felicity. "Snapshots of Indian Otherness in Aparna Sen’s Cinema." Revista Canaria de Estudios Ingleses, no. 83 (2021): 91–104. http://dx.doi.org/10.25145/j.recaesin.2021.83.07.

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Aparna Sen turned to film directing in 1980 after a highly successful career as an actor. Her debut film, 36 Chowringhee Lane (1981) highlights the loneliness of an elderly Anglo-Indian woman. One of her best-known films outside India is Mr & Mrs Iyer (2002), in which an upper caste Hindu woman saves the life of a Muslim stranger in an act of personal commitment with the Other. In 15 Park Avenue (2005), a film that focusses on schizophrenia, Sen shows how the female members of a family struggle to cope with mental illness. In this article I discuss how Sen explores different ways of being Indian in these three films and how she draws attention to values such as personal commitment and tenacity in the face of disability, ageing and communalism

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42

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 (March 26, 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 development. Using the films as cases in point, the article attempts to develop a framework in which the changing landscape of the city of Kolkata, shifting codes of the cultural habits of the middle class and reconfigured ideas about a ‘Bengali nation’ can be seen operating to develop a refashioned relationship between the state of Bengal and the rest of the country. It suggests that the global cultural inflow, along with the localized notions of the new, globalized Bengali-ness, are engaged in developing a new politics of representation for the city and the Bengali society in the cinemas of India.

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43

Rahman, M. Sadiqur. "Early ‘Glocalization’ in Indian Cinema: An Analysis of Films of Dada Saheb Phalke and Himanshu Rai." Asiatische Studien - Études Asiatiques 73, no. 3 (March 26, 2020): 521–44. http://dx.doi.org/10.1515/asia-2019-0047.

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AbstractThat the adaptation of international ideas and foreign technology had an impact on local film culture, is not a new idea in Indian cinema. Nevertheless, more scholarship and greater familiarity with extant literature are needed. This article aims to contribute to the study of the integration process of early Indian films into World cinema. This article considers the early ‘glocalization’ in Indian cinema which traces the process of universalizing particular experiences in silent cinema and transcending from the local to (achieve) global levels. Through the analysis of the films of Dada Saheb Phalke and Himanshu Rai, two film producers who were hugely impacted by the European style of filmmaking, I will discuss how their global vision with local considerations played a decisive role in shaping the early Indian film history. I argue how local and global forces in Phalke and Rai’s cinema boosted cultural open-mindedness and economic growth.

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Dixon, Ian. "ALTERNATIVES TO LOVE: INDIAN CINEMA REINVENTED IN GREATER ASIA." Miguel Hernández Communication Journal 13 (July 28, 2022): 407–27. http://dx.doi.org/10.21134/mhjournal.v13i.1505.

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As conventional Bollywood continues to thrive, independent productions supported by Netflix and other streaming apps are embracing more insurgent themes and challenging storylines. While Netflix steers its Asian production arm toward South Korea, India remains a vital focus on the world cinema scene. Following the lead of maverick actor/producer Amir Khan in the wake of Dhobi Ghat (2010), films such as A Death in the Gunj (2016) and Sir (2018) not only feature women’s themes but aggregate the colour and movement of Indian cinema while enlisting serious subject matter. Netflix and other streaming apps may provide a vital platform, but the traditions of culture and cinema predate this distribution opportunity by centuries. Drawing from film theorists such as Ashvin Devasundaram, Madhuja Mukherjee, Chidananda Das Gupta and Neelam Sidhar Wright, I examine the two exemplary films as textual analysis and story-based in a historical context. Along with the influence of Hindu mythology, this paper seeks a template for effective, globally relevant cinema which does not pander to Edward Said’s notion of Orientalism. While considering the storytelling traditions of Rabindranath Tagore and Satyajit Ray as literary and cinematic voices, this paper also consults Western screenwriting gurus Stephen Cleary and Robert McKee in its search to support the artistic aims of streaming-based art cinema from India. India, especially at this time of pandemic crisis, deserves to be championed for its centuries of unrivalled artistic achievement and unparalleled cinematic exuberance.

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Kulkarni, Damini. "Screening Bodies." Interactive Film & Media Journal 2, no. 3 (June 23, 2022): 23–38. http://dx.doi.org/10.32920/ifmj.v2i3.1507.

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As the COVID-19 pandemic continues to violently underscore the pre-eminence and precariousness of corporeality, the audiences’ bodily engagement with the screens on which they watch cinema is apt to undergo a range of shifts. When India implemented one of the strictest shutdowns in the world to control the spread of COVID-19, a population renowned for its fervent film fanbase, was forced away from film theatres. A privileged minority, however, was able to continue their pursuit of cinema by turning to the screens within their possession. This study engages with Indian women who have access to digital screens to watch Indian films. Based on in-depth interviews conducted with over forty women from predominantly urban India over the course of three months, this study observes how these reconfigurations primarily proceed along three axes: shifts in the linguistic and ideological rubric where the body’s investment in the digital screen becomes emplaced, the emergence of new constellations of women’s communities centered around cinema, the increased introspection among women about the genre of cinema watched on digital screens, and the subsequent impact on their gendered identity.

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Sahasrabudhe, Ira. "The Dialectical Cinema of Tomas Gutierrez Alea: Insights for Indian Cinema." Media Watch 5, no. 1 (January 2014): 127–36. http://dx.doi.org/10.1177/0976091120140112.

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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 (October 31, 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 of his play Othello. This study is an attempt to critically study the recreation of Othello in the Indian setting in the light of the original play. It is aimed at capturing the universality in the works of Shakespeare to establish the acceptability of his creations in each age, the significance of his citation, and the purchase of his status in various cultural niches and registers. In the adaptation of Shakespeares plays in Indian films, the Bard is not only absorbed into the cultural fabric of India but still maintains a catalyzing presence in post-colonial India.

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Antonina Łuszczykiewicz. "Dealing with Colonial Past." Politeja 16, no. 2(59) (December 31, 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 an over 50-year-long perspective. Moreover, the author explains, how modern Hindi cinema shapes Indian viewers’ opinions on the British rule, intending to strengthen their patriotic feelings and national pride.

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Mukherjee, Riya, and Suraj Gunwant. "Reimagining Witches in Contemporary Hindi Cinema: A Study of “Bulbbul” and “Roohi”." IAFOR Journal of Arts & Humanities 9, no. 1 (July 29, 2022): 37–51. http://dx.doi.org/10.22492/ijah.9.1.03.

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Witch-hunting, an age-old practice in India, survives in a myriad of avatars in rural and urban areas. These avatars of witch-hunting have often been trapped in the binary of Indian modernity and Indian traditions, with the latter often embracing unchallenged superstitious beliefs. Herein we study the way the binary is handled in two recent telefilms, namely Bulbbul and Roohi, as they aim to revolutionise the portrayal of witches in Hindi cinema. The paper looks at how the films in question subvert the genesis of witches and witch-hunts, and how in the process of undermining superstitious belief, they situate witches as embodiment of an emancipatory discourse that resists the silencing of women, a practise still serves the patriarchal standards of a heteronormative, bourgeois society. In so doing, our reading of the films engages with questions such as: How have witches been defined in Indian culture? How are these witches being imagined in the films in question? What implications do these redefinitions have in terms of the feminist movement in India, or in terms of the larger portrayal of Indian women in Hindi cinema?

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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 terms of the prevailing socio-political circumstances, the form of the movie and the target audience of the movie. Now, obviously, it is required for Indian cinema to be able to provide at least a level of generalization in answering the aforementioned questions to be considered to have a theory of its own. The purpose of this article would be to investigate whether or not such a generalization (subsequently, a film theory) is possible for Indian cinema, and then to delve further to find out how much of that theory is rooted in our original outlook toward audio-visual art. Now obviously the span of one article does not allow analysis of every type of cinema produced in as cinema-crazy a country as ours, where almost every state has its own regional cinema, independent cinema, art-house cinema and recently, underground cinema. For the purpose of the present article, therefore, we would restrict ourselves to the popular Indian cinema, namely Bollywood productions that some critics coin as commercial or entertainment cinema

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