Indian cinema in the time of celluloid : from Bollywood to the emergency

Level A JA791.43 /741962 Available
Level A JA791.43 /741962 Available
Level A JA791.43 /741962 Available
Full title: Indian cinema in the time of celluloid : from Bollywood to the emergency / Ashish Rajadhyaksha.
Main author: Rajadhyaksha, Ashish.
Format: Book           

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100 1 |a Rajadhyaksha, Ashish. 
245 1 0 |a Indian cinema in the time of celluloid :  |b from Bollywood to the emergency /  |c Ashish Rajadhyaksha. 
260 |a Bloomington, Ind. :  |b Indiana University Press,  |c 2009. 
300 |a x, 441 p. :  |b ill. ;  |c 25 cm. 
490 1 |a South Asian cinemas 
504 |a Includes bibliographical references and index. 
505 0 |a 1. IntroductionPART I: THE 'CINEMA-EFFECT' OUTSIDE THE CINEMA: 'BOLLYWOOD' AND THE PERFORMING CITIZEN2. 'Bollywood' 2004: The Globalized Freak Show of what was Cinema; 3. When Was Bollywood?; 4. The 'Cinema-Effect': Cultural Rights Vs. The Production Of Authenticity; 5. Social Lineages of the Cinema-Effect: Demonstrating Spectatorial AbilityAfterword: Bollywood And The Cinema-Effect: A Concluding NotePART II: ADMINISTERING THE SYMBOLS OF AUTHENTICITY-PRODUCTION: THE CINEMA-EFFECT AND THE STATE - AND REVISITING A 1990s CONTROVERSY6. Administering the Symbols of Authenticity-Production; 7. 'You Can See Without Looking': The Cinematic 'Author' and Freedom Of Expression in the Cinema; 8. 'People-Nation' And Spectatorial Rights: The Political 'Authenticity-Effect', the Shiv Sena and a Very Bombay HistoryPART III: 1970S QUESTIONS: THE CINEMA-EFFECT, THE NATIONAL SYMBOLIC AND THE AVANT-GARDE9. The Nation Detours; 10. The Indian Emergency; 11. The Problem, and a 'Coproduction Of Modernities'; 12. 'Taking' The Shot': Alternative Beginnings To The Mechanism; 13. The Practice: Two Films And A Painting (1): Bhupen Khakhar's List; 14. The Practice: Two Films And A Painting (2): Mani Kaul And The 'Cinematic Object' - Uski Roti; 15. The Practice: Two Films And A Painting (3): Gautam Ghose's Maabhoomi, Territorial Realism And The 'Narrator'. 
520 |a Indian Cinema in the Time of Celluloid reconstructs an era of film that saw an unprecedented public visibility attached to the moving image and to its social usage. The cinema was not invented by celluloid, nor will it die with celluloid's growing obsolescence. But 'celluloid' names a distinct era in cinema's career that coincides with a particular construct of the twentieth-century state. This is not merely a coincidence: the very raison d'etre of celluloid was derived from the use to which the modern state put it, as the authorized technology through which the state spoke and as narrative practices endorsing its authority as producer of the rational subject. The book throws new light on a phenomenon that is arguably basic to all cinema, but which India's cinematic evidence throws into sharpest relief: the narrative simulation of a symbolically sanctified rationality at the behest of a state. This evidence is explored through three key moments of serious crisis for the twentieth-century Indian state, in all of which the cinema appears to have played a central role. Bollywood saw Indian cinema herald a globalized culture industry considerably larger than its own financial worth, and a major presence in India's brief claim to financial superpower status. The debate on Fire centrally located spectatorial negotiations around the constitutional right to freedom of speech at a key moment in modern Indian history when Article 19 was under attack from pro-Hindutva forces. And the Emergency (1975-77) saw a New Indian Cinema politically united against totalitarian rule but nevertheless rent asunder by disputes over realism, throwing up new questions around the formation of an epochal moment in independent India. 
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650 0 |a Socialism and motion pictures  |z India. 
830 0 |a South Asian cinemas. 
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