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Journal articles on the topic 'Indian Cinema'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

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 (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, exe

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2

Snehal, S. Warekar. "Representation Of The Queer Culture In Indian Cinema." International Journal of Advance and Applied Research 10, no. 3 (2023): 576 to 580. https://doi.org/10.5281/zenodo.7757341.

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<em>The present research paper is an overview of cinemas made about and on queer culture. It has been observed that Bollywood has stereotyped the queer culture. Hardly the Indian cinemas have featured queer culture in some of the movies. Mostly the queer culture has been shown in a poor light, therefore, the term Bollywood is not considered while analysing Indian Cinema as it includes the different industries present in India. It will throw light on the ideas in the cinema traditions in India about the love between women and the love between men. </em> <em>It is an attempt to understand that p

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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 (2018): 24–29. http://dx.doi.org/10.47968/gapgyan.11003.

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

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Mathur, Medha, Navgeet Mathur, Anjana Mathur, Nitika Keshri, and Dewesh Kumar. "Cine Medicine in Indian Scenario: A SWOT Analysis." Indian Journal of Community Medicine 49, no. 2 (2024): 255–59. http://dx.doi.org/10.4103/ijcm.ijcm_499_23.

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Cinema has the ability to convey important messages in an engaging and interesting manner. Cine medicine also known as cinema medicine or Cinemeducation has the potential to teach medical students and healthcare professionals about various aspects of medical conditions and illnesses. It is an innovative approach that can enhance empathy among the students and understanding toward patients with various medical conditions. Indian cinema has played a significant role in promoting health awareness and educating people about various medical conditions. Cinemeducation/Cine medicine can be instrument

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5

Vasudevan, R. "Indian commercial cinema." Screen 31, no. 4 (1990): 446–53. http://dx.doi.org/10.1093/screen/31.4.446.

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6

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 (2020): 1930–38. http://dx.doi.org/10.37200/ijpr/v24i5/pr201867.

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7

Kanojia, Atul Kumar. "Myth, History, and Resistance: Postcolonial Narratives in Bhojpuri and Awadhi Regional Cinemas." Integrated Journal for Research in Arts and Humanities 5, no. 3 (2025): 344–49. https://doi.org/10.55544/ijrah.5.3.43.

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This research paper explores the postcolonial narratives embedded in Bhojpuri and Awadhi regional cinemas, focusing on how myth, history, and resistance are employed as cinematic tools to articulate subaltern voices and challenge hegemonic narratives. While mainstream Indian cinema has received extensive scholarly attention, regional cinemas, particularly Bhojpuri and Awadhi, remain understudied despite their rich engagement with local cultures, oral traditions, and socio-political realities. These films serve not only as entertainment but also as repositories of collective memory and cultural

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8

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

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

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9

Dhanalakshmi, D., and S. Sobana. "Retelling Diaspora through Films." Kristu Jayanti Journal of Humanities and Social Sciences (KJHSS) 4 (December 18, 2024): 13–19. https://doi.org/10.59176/kjhss.v4i0.2412.

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Theorizing cinema from a national and transnational perspective is central to diasporic cinema, which also centers on questions of home, belonging, and nationality. Films provide a platform for the expression of multi-faceted identities rooted in doubt, as opposed to rigid allegiances to ethnicity and nationalism. The Indian Diaspora has used a variety of ways to portray its mindset. Topics such as identity, transnationality, migration, and nationalism are introduced through Diaspora as a technique in film presentation across disciplines when these human journeys are discussed. One of India's

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10

Mr., Rajendra Ashok Pradhan. "Transformation in Bollywood Cinema: A Socio-Cultural Perspective." International Journal of Advance and Applied Research 10, no. 3 (2023): 761–67. https://doi.org/10.5281/zenodo.8016437.

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<em>It is a common knowledge that Bollywood is one of the largest film industries in the world. It has a glorious history of origin and its development. After the independence, the Indian film industry passed through many changes. It handled several socio-cultural issues in its tremendous past. A sincere study of the Bollywood film industry and the cinema reveals that it was closely associated with the ancient Indian culture, customs, traditions and beliefs. However, the 21<sup>st</sup> century has seen a kind of paradigm shift in the Bollywood cinemas in many aspects. Cinema was not only the

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11

Jena, Deepak Ranjan. "Indian Cinema Turns 100." Media Watch 3, no. 2 (2012): 69–72. http://dx.doi.org/10.1177/0976091120120212.

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12

Ramzia Albakri. "Brand Placement in Indian Cinema: A 42-Year Journey in Indian Cinema." Journal of Information Systems Engineering and Management 10, no. 49s (2025): 922–31. https://doi.org/10.52783/jisem.v10i49s.10007.

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This work analyzes the way brand placements have evolved, how they are now used strategically and what the audience makes of them in Indian movies from the past 42 years. This research uses content analysis, statistical correlations and a look at sentiment to study how brands appear in films from multiple genres and through the decades. We studied data collected from 50 leading Indian films released between 1983 and 2025 using SPSS (v26) and NVivo for coding. People associated brands with movies more by watching blockbusters and the amount of things a character used was linked to the number of

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13

Sarkar, Bhaskar. "Encyclopaedia of Indian Cinema:Encyclopaedia of Indian Cinema." Visual Anthropology Review 11, no. 2 (1995): 54–58. http://dx.doi.org/10.1525/var.1995.11.2.54.

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14

Shashi, Kumar P., and Sanjeeva Raja N. "Girish Karnad's Evolutionary Impact on Indian Cinema: A Comprehensive Study." AKSHARASURYA 05, no. 01 (2024): 96 to 103. https://doi.org/10.5281/zenodo.13870902.

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Girish Karnad, a luminary in Indian cinema, has left an indelible mark on the industry through his multifaceted contributions as an actor, playwright, director, and cultural commentator. This abstract delves into the evolutionary impact of Karnad’s work on Indian cinema, presenting a comprehensive study of his enduring influence.  Karnad’s journey began in the 1960s, where he pioneered a shift in the Indian cinematic landscape by blending traditional storytelling with contemporary themes. As a playwright, his works like “Tughlaq” and “Hayavadana” introd

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15

Agrawal, Deepika. "Influential Relationship Between Indian Cinema, Literature, and Society." EXPRESSIO: BSSS Journal of English Language and Literature, no. 01 (June 30, 2024): 104–11. http://dx.doi.org/10.51767/jen020108.

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Literature and Cinema are among the best means of communicating with people. Literature is believed to be the mirror of society. Literature and Cinema are artistic expressions of human experience and mind. It is said whatever occurs in society is reflected in cinema and literature. Literature exists with the existence of humanity. It is the consequential fusion of substance, style, meaning, and medium. Literature consists of sundry genera like Poetry, Prose, drama short stories, novels, and many more. Cinema is one of the most noteworthy innovations of the nineteenth century. It’s a wonderful

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16

Rajarshee, Gupta. "Popular Indian Cinema in Conversation with Reincarnation: Some Aspects." postScriptum: An Interdisciplinary Journal of Literary Studies 2, no. 1 (2017): 28–40. https://doi.org/10.5281/zenodo.1318837.

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The paper strives to explore various facets of reincarnation as a theme or device in popular Indian cinema. Reincarnation has been a popular theme in Indian cinema since the early days of Indian film industry. The take of Indian cinema on the subject is very different from that of World cinema or Hollywood; its root can be traced back to traditional Indian philosophy professing Karma and the concept of rebirth. The cyclic pattern of birth and death as professed in Indian philosophy is reflected in a number of ways in the reincarnations movies: through the repetitive usage of various tropes of

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17

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 (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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18

Dr., Amit Mishra, and Karunesh Saxena Dr. "CINEMA AS A MEDIUM OF SOCIAL REFORMS IN INDIA." SANGAM International Journal of Multidisciplinary Research 1, no. 2 (2024): 78–82. https://doi.org/10.5281/zenodo.10939854.

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The Indian cinema has unveiled significantly in the recent times but not restricting itself to just being a source of entertainment but also experimenting to stride towards showcasing social awareness and responsible cinema to people slowly but steadily the Cinema focus on social issues and his ready to take and create awareness among the audience. Cinema has the power to influence the thinking of the people they can change the society and social trend also. They may be described as trend makers they can create direct impact in our social life cinema addresses various social issues of the soci

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19

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

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

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20

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 (2018): 18–24. http://dx.doi.org/10.24321/2395.3810.201804.

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21

Kaur, Harmanpreet. "At Home in the World: Co-productions and Indian Alternative Cinema." BioScope: South Asian Screen Studies 11, no. 2 (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 acceptab

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22

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

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23

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 (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

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24

Pandey, Bandana, and Monika Gaur. "Antyodaya: The Intersection of Cinema and Marginalized Communities." Journal of Communication and Management 4, no. 01 (2025): 1–7. https://doi.org/10.58966/jcm2025411.

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Cinema has a vibrant role to play in every society. Cinema and society affect each other in many ways and are interdependent. It has been over a century since Hindi cinema ruled the people's minds. Being such a highly impactful medium, it constructs meaning and eventually leads to a culture people follow. India's cinema has always been more than just a form of amusement; it reflects the country's complex and varied social structures. Through the viewpoint of the concept "Antyodaya," a Sanskrit phrase that means the upliftment of the most oppressed, this study explores the relationship between

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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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26

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

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

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

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29

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

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

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31

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

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

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33

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

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34

Sharma, Dr Shiva. "Women empowerment and Indian Cinema." International Journal of Research in English 5, no. 2 (2023): 22–24. http://dx.doi.org/10.33545/26648717.2023.v5.i2a.111.

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35

Adnan, Mohammed Ahmed Khan. "Literature and Hindi Cinema." Aksharasurya Journal 05, no. 05 (2025): 108 to 113. https://doi.org/10.5281/zenodo.14619614.

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Hindi cinema has a history of more than 100 years old. Dadasaheb Phalke after understanding the audience’s interest, screened a speechless film named “Raja Harishchandra” on 3 May 1913 at the Coronation Cinema House in Bombay. This is how the foundation of Indian cinema was laid. This was the first film to be fully recognized as the first Indian feature film. On March 14, 1931, Ardeshar Irani made the first spoken film in Hindi titled ‘Alam Ara’ through engineering cinema. The first talkie film presented by Prabhat Film was ‘Ayodhya Ka Raja’ which was

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Sudarshan, Kumar A. "Educate, Agitate, Organize: Ambedkar's Ideals and their influence on Indian Cinema." AKSHARASURYA JOURNAL 06, no. 05 (2025): 332 to 338. https://doi.org/10.5281/zenodo.15505001.

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Dr. B.R. Ambedkar’s profound impact on Indian society extends beyond his role as the chief architect of the Indian Constitution, influencing various art forms, including cinema. His principles of equality, dignity, and resistance against caste-based oppression have inspired filmmakers to challenge social hierarchies and advocate for justice. This article explores the intersection of Ambedkar’s ideology and Indian cinema, highlighting how filmmakers use their medium to amplify marginalized voices and promote social change. Although Ambedkar didn’t directly discuss cinema, his

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Krishna Sankar Kusuma and Saroj Kumar. "Pan-Indian Cinema: Dominance and the Industrial Evolution of Creative Cultures." ijpmonline 3, no. 1 (2024): 22–26. http://dx.doi.org/10.26524/ijpm.3.5.

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The concept of "Pan-Indian cinema" has gained significant traction in recent years. While Hindi films traditionally attempted a nationwide appeal, South Indian film industries have emerged as major players in this space. Blockbusters like Baahubali, KGF, RRR, and Pushpa showcase a distinct "Pan-Indian" approach, with storylines and production values that transcend regional boundaries. This paper investigates the factors driving this new wave of Pan-Indian cinema. Does the rise of new media technologies, OTT platforms, and increased investment play a key role? Does the socio-political climate o

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38

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

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Researcher. "NEW CINEMA AND FILM SOCIETY MOVEMENT: CINEMA IN SEARCH OF AN AUDIENCE." International Journal of Journalism and Mass Communication Research and Development (IJJMCRD) 3, no. 1 (2024): 1–12. https://doi.org/10.5281/zenodo.14257554.

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Film Society Movement in India and its trajectories, spanning from 1947 to 1980. The film society movement initiated and boasted by the prominent Bengali luminaries filmmakers’, such as Chidananda Dasgupta, Satyajit Ray, Bangshi Chandragupta, Harishadhan Dasgupta, Ritwik Ghatak, Mrinal Sen, and later on, a gang of film school alumni, Mani Kaul, G. Aravindan, Kumar Shahani, Adoor Gopalakrishnan, Sayed Akhtar Mirza, Girish Kasaravalli, Nirod Mahapatra, Manmohan Mahapatra, Jahnu Barua, etc. were part of it, and alongside a substantial following of film enthusiasts that grew to approximately

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Roy, Mouparna. "Male Gaze in Indian Cinema: The Presentation of Women in Mainstream Cinema." Journal of Humanities and Education Development 3, no. 5 (2021): 94–101. http://dx.doi.org/10.22161/jhed.3.5.13.

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Since the advent of motion pictures, movies have had a great impact on the masses. It has been used as a medium of communication with society as it has been said that movies are the reflection of society. In the Indian context, we can see the depiction of different identities in the cinemas, like gender, queer, ethnic groups and so on (multiculturalism). But the question is how far it is to address the problems of these marginalized sections. Even as a common person, we can notice the less or misrepresentation or misrecognition of the subaltern groups in Indian cinema. One of the most misrepre

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Roy, Mouparna. "Male Gaze in Indian Cinema: The Presentation of Women in Mainstream Cinema." Journal of Humanities and Education Development 3, no. 5 (2021): 94–101. http://dx.doi.org/10.22161/jhed.3.5.14.

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Since the advent of motion pictures, movies have had a great impact on the masses. It has been used as a medium of communication with society as it has been said that movies are the reflection of society. In the Indian context, we can see the depiction of different identities in the cinemas, like gender, queer, ethnic groups and so on (multiculturalism). But the question is how far it is to address the problems of these marginalized sections. Even as a common person, we can notice the less or misrepresentation or misrecognition of the subaltern groups in Indian cinema. One of the most misrepre

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

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

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Swagata, Chatterjee. "Aesthetics of Disability: The Growing Interest in Disability in Popular Hindi Cinema." postscriptum: An Interdisciplinary Journal of Literary Studies 1, no. 1 (2016): 11–21. https://doi.org/10.5281/zenodo.1318984.

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Disability studies have emerged as an important field of critical studies. It has branched itself out beyond its limited medical and psychological sphere and has placed itself in the social, cultural sphere as well. As a marginalised ‘body’, disability has also inter mingled itself with theories of gender or post colonization. Especially in its representation in media and literature; Disability has posed a challenge against its traditional, stereotyped presentation and demands for a centralized representation of the disabled body. This article shall study the idea of representation

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Martin-Jones, David. "Towards Another ‘–Image’: Deleuze, Narrative Time and Popular Indian Cinema." Deleuze Studies 2, no. 1 (2008): 25–48. http://dx.doi.org/10.3366/e1750224108000147.

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Popular Indian cinema provides a test case for examining the limitations of Gilles Deleuze's categories of movement-image and time-image. Due to the context-specific aesthetic and cultural traditions that inform popular Indian cinema, although it appears at times to be both movement- and time-image, it actually creates a different type of image. Analysis of Toofani Tarzan (1936) and Dilwale Dulhania Le Jayenge (1995) demonstrates how, alternating between a movement of world typical of the time-image, and a sensory-motor movement of character typical of the movement-image, popular Indian cinema

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

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

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Marwaha, Priyanka. "The Portrayal of Gender Inequality in Selected Female Oriented Bollywood Movies." SMART MOVES JOURNAL IJELLH 8, no. 5 (2020): 23. http://dx.doi.org/10.24113/ijellh.v8i5.10578.

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Men have been considered superior in most cultures since they have been the ones who bring home the bacon, whereas women have always been considered a subject to her father, husband or son, thus inferior. Cinema is not just a modern-day art; rather it is a modern-day mind; while watching a film, we are constantly watching ourselves. In the form of a mirror, Cinema has sharply reflected the Indian psyche and the changing roles of women from time to time. This paper deals with gender inequality and its influence on the patriarchal Indian society with a focus on some female-oriented Bollywood mov

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Yaqoub, Muhammad, Zhang Jingwu, and Jonathan Matusitz. "The Chinese Love Affair with Indian Films: A Promising Future." India Quarterly: A Journal of International Affairs 79, no. 3 (2023): 370–86. http://dx.doi.org/10.1177/09749284231183333.

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This cross-sectional study examines the acceptance of Indian cinema among Chinese cinephiles to determine how the audience perceives and is influenced after watching Indian films. Researchers surveyed the local Chinese audience and collected 2,129 valid self-structured e-questionnaires. Respondents belonged to Mainland China. Results showed significant characteristics that make Indian movies attractive to about 50% of the Chinese population. Findings also indicate that Chinese people still welcome good stories from India in blockbuster Bollywood films, despite tense Sino-Indian relations. Indi

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

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Kumar, Akshaya. "Re-Visioning Caste in Indian Cinema." Soundings: An Interdisciplinary Journal 104, no. 4 (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 t

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

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