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Introduction to A Companion to Indian Cinema
2022, Wiley Blackwell
Introduces some of the key debates in the field of Indian Film Studies.
Related Papers
A Companion to Indian Cinema
Ranjani Mazumdar , Neepa Majumdar
A new collection on Indian cinema in the Wiley Blackwell Companions to National Cinemas series In A Companion to Indian Cinema, film scholars Neepa Majumdar and Ranjani Mazumdar bring together 25 established and emerging scholars to deliver new research on contemporary and historical questions on Indian cinema. Engaging with current debates in film and media studies, the collection reflects on production cultures, media infrastructures, material cultures, censorship, stardom, media aesthetics and circulation, and Indian cinema's movement through transnational networks. From regional cinemas such as Bhojpuri, Bengali, Malayalam, Manipuri, and Marathi to Indian cinema in China, the chapters also span the range from art cinema to commercial Bombay/Bollywood to B movie circuits. Even as scholarship on earlier decades of Indian cinema is challenged by the absence of documentation and films, the innovative archival and field work in this volume extends from cinema in early twentieth century India to a historicized engagement with more recent dimensions of technology, aesthetics, and the archival impulse of film. Suitable for undergraduate and graduate students of film and media studies, South Asian studies, and history, A Companion to Indian Cinema is also an important new resource for other scholars with an interest in the context and theoretical framework for the study of India's moving image cultures.
Soumik Chatterjee
DEV SANSKRITI: Interdisciplinary International Journal (2016), 7, 38-49 (ISSN: 2279-0578) ABSTRACT 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 made.” Gaston Roberge; The Indian Film Theory: Flames of Sholay, Notes and Beyond, (Sampark) p. 11 The questions respectively deal with the content of a movie, the validity of the content in terms of the prevailing socio-political circumstance,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. Keywords : Bollywood, Indian Cinema, Natyasastra,
C S H N MURTHY
Aditi Sen-Chowdhury , Deimantas Valanciunas , Anugyan Nag , spandan bhattacharya
Wide Screen
Kuhu Tanvir
REVISITING PAN-INDIAN CINEMA
Santhosh kumar Putta
This research paper critically re-examines the landscape of Pan-Indian cinema, particularly in light of the transformative success of South Indian films on the Pan-Indian stage, Departing from the conventional dominance of Bollywood. The study synthesizes insights from the 'Baahubalisation' phenomenon, scrutinizing its democratizing effects on the Indian cinematic landscape. Employing a methodological approach involving a critical review of existing perspectives on Pan-Indian cinema, the paper navigates the intricate interplay of viewpoints, cultural authenticity, and industry dynamics. A key focus is the shifting dynamics in the recognition of regional cinemas, with specific attention to the influential role of South Indian blockbusters in reshaping the dominant narratives. The emergence of cultural authenticity as a central theme is explored with filmmakers representing regional identities on a global scale. The analysis also delves into nuanced shifts in industry dynamics, mainly through cross-regional collaborations that challenge established norms. Noteworthy is the acknowledgement of South Indian stars on a Pan-Indian platform, signifying a departure from previous oversights and recognizing the diverse talent contributing to the cinematic tapestry. As a result, the study offers valuable insights into the evolving nature of Indian cinema and the impact of South Indian films on the broader Pan-Indian narrative. Future research avenues are proposed, including the exploration of streaming platforms' impact on audience preferences, an investigation into the convergence of technology and storytelling, and an examination of the ongoing transformation of the industry landscape. This critical review establishes a foundation for a comprehensive re-evaluation of Pan-Indian cinema and also attempts to trace the beginnings of pan-Indian narrative from the regional cinema in Indian cinema history, fostering a nuanced understanding of the changing cinematic dynamics in India and engaging stakeholders in an ongoing conversation that embraces the diversity of voices within the broader concept of Pan-Indian cinema.
The South Asianist
Gopalan Mullik
Susmita Dasgupta
The present paper suggests in the light of the various developments in film theory why most of these do not fit the case of the Indian popular cinema. Given the circumstances of origin of cinemas in India and in the West, the differences in democratic politics between them, theories which suit Hollywood cinema or European cinema may not apply congruently for the Indian films. The paper explores the points of difference between Hollywood and Bollywood and attempts to build a new theoretical approach to the Indian popular cinema using the conventional theories as tools. The end result of this paper is to be able to put a context to the Indian popular cinema.
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The purpose of this paper is to document the impact of movies/cinema on Indian culture and to investigate the ongoing cultural transformations that have happened over a point of time in India ...
Abstract. This research paper critically reexamines the landscape of Pan-Indian cinema, particularly in light of the transformative success of South Indian films on the Pan-Indian stage, Departing ...
It has been more than 100 years now that Indian Cinema has flourished and Mumbai being the hub of Indian cinema has expanded multifold becoming a global industry of more than 183 billion Indian rupees. India celebrated 100 years of cinema on 3 May 2013, the same day when Dadasaheb Phalke made the film Raja Harishchandra (1913), a film that was directly inspired by Life of Jesus Christ, a ...
Popular Indian cinema, or Bollywood, is one of the largest film industries in the world. Cinemas are said to be 'the temples of modern India' (Mishra, 2002, p. 3), with Bollywood producing more than 1000 films per year that are almost double the production of Hollywood (Diwanji, 2020).A simple search of Bollywood online will come up with hundreds of results that reveal how this popular ...
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This research paper aims to conduct a comparative study of films from different decades in the 21st century to explore the evolution of socio-cultural representation in Indian cinema. By analyzing a diverse selection of films from the early 2000s, the 2010s, and up to the current year, this
Indian cinema continues to grow more inclusive, empowering, and reflective of the changing times. Research Objective This thesis delves into the depths of Indian cinema, embarking on a critical voyage to unravel the tapestry of feminism within its frames. Through the meticulous analysis of narratives, characters, and themes, our
Research Paper Indian Cinema-Its Progress in Times of Globalisation Prof. Anuradha Jaiswal. ABSTRACT Films in India has evolved over the years and with globalisation it has reached out to the world. The Bombay based film industry resonates throughout the world, in places where the Indian diaspora has settled and in
This paper reviews the attempts of Indian and diasporic film scholars to theorise about the many popular cinemas (including 'Bollywood') of the subcontinent. While some scholars use western film theories to make sense of the multilinguistic and multicultural cinemas of India, a growing body of scholars find these inadequate and thus argue ...
Indian cinema has now become an inspiration for many Hollywood filmmakers, producers and actors. There are several reasons that contribute to the growing change. The present study is an attempt to explore and analyse the various films that were largely influenced with Indian culture and talent leading to an exposure worldwide. ...
The research paper aims to cover the holistic effects of Indian cinema on movie buffs through a discussion and box office success of certain movies belonging to realistic cinema. The objective of the paper is to ... The Indian cinema is the world's largest producer of feature films, producing about 800 to 1000
Aswin Punathambekar (2013) analyses the transition of India's media industry, documenting how the Bombay film industry became Bollywood. His field research included interviews, attendance at Indian and US media events, and analysis of studio and local production companies and the movies they made. Punathambekar examines three factors that ...
The research paper is going to look at how Indian movies have a big impact on people who see them. It will do this by talking about and looking at movies that make people happy and movies that make people sad. The goal of the paper is to praise the social ambition of the movies, which shines a light on how the showbiz industry has changed over ...
Looking at the roots of film history in India, it surfaces that the first feature film was made in the year 1912-13. Dadasaheb Phalke is acknowledged as the father of Indian cinema. He released in 1913, a historical themed movie - Raja Harischandra. Those were the days when women avoided participation in films.
University, Hyderabad, India Abstract This research paper critically re-examines the landscape of Pan-Indian cinema, particularly in light of the ... Additionally, it prefers specific themes and perspectives in film theory and research (Kumar, 2013). Today, Indian cinema, with its kaleidoscopic array of languages, cultures, and narratives ...
present paper is to offer an understanding of t he. impact of movies on Indian culture especially on. the youth extracting information from the. structured and in-depth interviews. This paper ...
present day Indian cinema in addressing issues of prime importance and their acceptance by the Indian audience. Keywords: Taboos, Indian cinema, social change, contemporary. INTRODUCTION Cinema is an immensely powerful tool of expression and depiction of events, whether they are real, fictional, animated or mythological.
The West may have the biggest stalls in the world's media bazaar, but it is not the only player. Globalization isn't merely another word for Americanization — and the recent expansion of the Indian entertainment industry proves it. For hundreds of millions of fans around the world, it is Bollywood — India's film industry — not Hollywood, that spins their screen fantasies. Bollywood ...
A new collection on Indian cinema in the Wiley Blackwell Companions to National Cinemas series In A Companion to Indian Cinema, film scholars Neepa Majumdar and Ranjani Mazumdar bring together 25 established and emerging scholars to deliver new research on contemporary and historical questions on Indian cinema.
To provide readers a thorough overview of this thriving film business, the research makes use of both quantitative and qualitative data. The films that have been chosen for examination include "Pushpa," "Minnal Murali" "KGF Chapter 1 and 2," and "Ponniyin ... Indian cinema grew significantly between the 1940s and the 1960s. During the 1940s ...
East Asian Journal of Multidisciplinary Research (EAJMR) Vol. 2, No. 1, 2023 : 27-42 ... The purpose of this paper is to document the ... Impact of Indian Cinema on Indian adolescents with special ...
IJCRT2306315 International Journal of Creative Research Thoughts (IJCRT) www.ijcrt.org c881 ... The paper employs a comparative analysis approach to highlight the shifts in ... over time as a result of the work done by Indian cinema as well as to document the influence of films and cinema on Indian culture. Additionally, an effort is made to ...
PDF | Built heritage has shaped the visual language of Indian cinema in the form of backdrops and visual motifs. There is a unique relationship between... | Find, read and cite all the research ...
This paper focuses on the second chapter of the text titled Indian Popular Cinema: A Narrative of Cultural Change written by Wimal Dissanayake and K. Moti Gokulsing. Discover the world's research ...