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Books > Performing Arts > Bollyworld: Popular Indian Cinema through a Transnational Lens
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Bollyworld: Popular Indian Cinema through a Transnational Lens
Bollyworld: Popular Indian Cinema through a Transnational Lens
Description
From the Jacket:

Popular Indian cinema is clearly a worldwide phenomenon. But what often gets overlooked in this celebration is this cinema's intricate relationship with global dynamics since its very inception in the 1890s. With contributions from a range of international scholars, this volume analyses the transnational networks of India's popular cinema in terms of its production, narratives and reception.

The first section of the book, Topographies, concentrates on the globalised audio-visual economies within which the technologies and aesthetics of India's commercial cinema developed. Essays here focus on the iconic roles of actors like Devika Rani and Fearless Nadia, film-makers such as D.G. Phalke and Baburao Painter, the film Sant Tukaram, and aspects of early cinematography.

The second section, Trans-Actions, argues that the 'national fantasy' of Indian commercial cinema is an unstable construction. Essays here concentrate on the conversations between Indian action movies of the 1970s and other genres of action and martial arts films; the features of post-liberalisation Indian films designed to meet the needs of an 'imagined' global audience in the 1990s; and the changing metaphor of 'the vamp' as portrayed through desirous women in films with examples of the Anglo-Asian, the westernized Indian woman of 'low character', and the contemporary figure of the 'heroine'.

The final section, Travels, focuses on the overseas reception of Indian cinema with ethnographic case studies from Germany, Guyana, the USA, South Africa, Nigeria and Britain. The contributors highlight various issues concerning modernity, racial/ethnic identity, the gaze of the 'mainstream Other', gender, hybridity, moral universes, and the articulation of desire and disdain.

Overall, this volume provides valuable insights into a subject of immense historical and contemporary importance. It will attract a wide readership among those involved in film/media studies, cultural studies and anthropology.

About the Editors:

Raminder Kaur is Lecturer in Anthropology at the University of Sussex.

Ajay J. Sinha is Associate Professor of Art History and Chair of the Film Studies Program at Mount Holyoke College, USA.

CONTENTS

List of Illustrations7
Acknowledgements9
1.Bollyworld: An Introduction to Popular Indian Cinema through a Transnational Lens
Raminder Kaur and Ajay J. Sinha
11

PART I
TOPOGRAPHIES

2.Not Quite (Pearl) White: Fearless Nadia, Queen of the Stunts
Rosie Thomas
35
3.Figures of Locality and Tradition: Commercial Cinema and the Networks of Visual Print Capitalism in Mahashtra
Kajri Jain
70
4.Icons and Events: Reinventing Visual Construction in Cinema in India
Gayatri Chatterjee
90
5.Reflected Readings in Available Light: Cameramen in the Shadows of Hindi Cinema
Shuddhabrata Sengupta
118

PART II
TRANS-ACTIONS

6.Sexuality, Sensuality and Belonging: Representations of the 'Anglo-Indian' and the 'Western' Woman in Hindi Cinema
Geetanjali Gangoli
143
7.'Fight Club': Aesthetics, Hybridisation and the Construction of Rogue Masculinities in Sholay and Deewaar
Koushik Banerjea
163
8.The Consumable Hero of Globalised India
Sudhanva Deshpande
186

PART III
TRAVELS

9.The Scattered Homelands of the Migrant: Bollyworld through the Diasporic Lens
Christiane Brositus
207
10.In Search of the Diasporic Self: Bollywood in South Africa
Thomas Blom Hansen
239
11.Belonging and Respect Notions vis-à-vis Modern East Indians: Hindi Movies in the Guyanese East Indian Diaspora
Narmala Halstead
261
12.Bandiri Music, Globalisation and Urban Experience in Nigeria
Brian Larkin
284
13.Cruising on the Vilayeti Bandwagon: Diasporic Representations and Reception of Popular Indian Movies
Raminder Kaur
309
About the Editors and Contributors330
Index333

Bollyworld: Popular Indian Cinema through a Transnational Lens

Item Code:
IDE830
Cover:
Hardcover
Edition:
2005
ISBN:
0761933212
Language:
English
Size:
8.5" X 5.5"
Pages:
343 (Color Illus: 17, B & W Illus: 12)
Other Details:
438 gms
Price:
$40.00   Shipping Free
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From the Jacket:

Popular Indian cinema is clearly a worldwide phenomenon. But what often gets overlooked in this celebration is this cinema's intricate relationship with global dynamics since its very inception in the 1890s. With contributions from a range of international scholars, this volume analyses the transnational networks of India's popular cinema in terms of its production, narratives and reception.

The first section of the book, Topographies, concentrates on the globalised audio-visual economies within which the technologies and aesthetics of India's commercial cinema developed. Essays here focus on the iconic roles of actors like Devika Rani and Fearless Nadia, film-makers such as D.G. Phalke and Baburao Painter, the film Sant Tukaram, and aspects of early cinematography.

The second section, Trans-Actions, argues that the 'national fantasy' of Indian commercial cinema is an unstable construction. Essays here concentrate on the conversations between Indian action movies of the 1970s and other genres of action and martial arts films; the features of post-liberalisation Indian films designed to meet the needs of an 'imagined' global audience in the 1990s; and the changing metaphor of 'the vamp' as portrayed through desirous women in films with examples of the Anglo-Asian, the westernized Indian woman of 'low character', and the contemporary figure of the 'heroine'.

The final section, Travels, focuses on the overseas reception of Indian cinema with ethnographic case studies from Germany, Guyana, the USA, South Africa, Nigeria and Britain. The contributors highlight various issues concerning modernity, racial/ethnic identity, the gaze of the 'mainstream Other', gender, hybridity, moral universes, and the articulation of desire and disdain.

Overall, this volume provides valuable insights into a subject of immense historical and contemporary importance. It will attract a wide readership among those involved in film/media studies, cultural studies and anthropology.

About the Editors:

Raminder Kaur is Lecturer in Anthropology at the University of Sussex.

Ajay J. Sinha is Associate Professor of Art History and Chair of the Film Studies Program at Mount Holyoke College, USA.

CONTENTS

List of Illustrations7
Acknowledgements9
1.Bollyworld: An Introduction to Popular Indian Cinema through a Transnational Lens
Raminder Kaur and Ajay J. Sinha
11

PART I
TOPOGRAPHIES

2.Not Quite (Pearl) White: Fearless Nadia, Queen of the Stunts
Rosie Thomas
35
3.Figures of Locality and Tradition: Commercial Cinema and the Networks of Visual Print Capitalism in Mahashtra
Kajri Jain
70
4.Icons and Events: Reinventing Visual Construction in Cinema in India
Gayatri Chatterjee
90
5.Reflected Readings in Available Light: Cameramen in the Shadows of Hindi Cinema
Shuddhabrata Sengupta
118

PART II
TRANS-ACTIONS

6.Sexuality, Sensuality and Belonging: Representations of the 'Anglo-Indian' and the 'Western' Woman in Hindi Cinema
Geetanjali Gangoli
143
7.'Fight Club': Aesthetics, Hybridisation and the Construction of Rogue Masculinities in Sholay and Deewaar
Koushik Banerjea
163
8.The Consumable Hero of Globalised India
Sudhanva Deshpande
186

PART III
TRAVELS

9.The Scattered Homelands of the Migrant: Bollyworld through the Diasporic Lens
Christiane Brositus
207
10.In Search of the Diasporic Self: Bollywood in South Africa
Thomas Blom Hansen
239
11.Belonging and Respect Notions vis-à-vis Modern East Indians: Hindi Movies in the Guyanese East Indian Diaspora
Narmala Halstead
261
12.Bandiri Music, Globalisation and Urban Experience in Nigeria
Brian Larkin
284
13.Cruising on the Vilayeti Bandwagon: Diasporic Representations and Reception of Popular Indian Movies
Raminder Kaur
309
About the Editors and Contributors330
Index333

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