375 © the Author(S) 2019 S. Sengupta Et Al. (Eds.), 'Bad' Women

Total Page:16

File Type:pdf, Size:1020Kb

375 © the Author(S) 2019 S. Sengupta Et Al. (Eds.), 'Bad' Women INDEX1 A Anti-Sikh riots, 242, 243, 249 Aarti, 54 Apsaras, 13, 95–97, 100, 105 Achhut Kanya, 30, 31, 37 Aranyer Din Ratri, 143 Actress, 9, 18, 45n1, 54, 67, 88, 109, Armed Forces Special Powers Act, 170, 187, 213, 269, 342, 347–362, 255, 255n24 365–367, 369, 372, 373 Astitva, 69 Adalat, 115, 203 Atankvadi, 241–256 Akhir Kyon, 69 Azmi, Shabana, 54, 68 Akhtar, Farhan, 307, 317n13 Alvi, Abrar, 60 Ambedkar, B.R., 31, 279n2 B Ameeta, 135 Babri Masjid, 156, 160 Amrapali, 93–109, 125 Bachchan, Amitabh, 67, 203, 204, Amu, 243–249 210, 218 Anaarkali of Aarah, 365, 367, 370, 373 Bagbaan, 69 Anand, Dev, 7n25, 8n27, 64 Bahl, Mohnish, 300 Anarkali, 116, 368–369 Bandini, 18, 126, 187–199 Andarmahal, 49, 53 Bandit Queen, 223–237 Andaz, 277–293 Bar dancer, 151 Angry Young Man, 67, 203–205, 208, Barjatya, Sooraj, 297, 300, 373 218, 219 Basu Bhattacharya, 348, 355 Ankush, 69 Basu, Bipasha, 88 1 Note: Page numbers followed by ‘n’ refer to notes. © The Author(s) 2019 375 S. Sengupta et al. (eds.), ‘Bad’ Women of Bombay Films, https://doi.org/10.1007/978-3-030-26788-9 376 INDEX Bedi, Bobby, 232–235 237, 261, 266–268, 278, 279, Benaras, 333, 334 283, 283n8, 285, 291, 318, 332, Benegal, Shyam, 7n23, 11, 11n35, 13, 334, 335, 338, 343, 350, 351, 13n47, 68, 172n9, 348, 351, 366 355, 356, 359, 361, 372n3 Beshya/baiji, 48, 49, 55, 56 Central Board of Film Certification Bhaduri, Jaya, 209, 218 (CBFC), 224, 246, 335, Bhagwad Gita, 301 335n1, 336 Bhakti, 95, 98, 99, 101, 191n11, 195, Chak De! India, 70 195n18, 196 Chameli, 179–181 Bhakti movement, 320 Chastity, 82, 86, 97, 105, 216, 324, 358 Bhandarkar, Madhur, 11n35, 15, 348 Chhote Nawab, 132–135, 138, 139, Bhansali, Sanjay Leela, 94, 366, 372, 141, 143 372n2, 372n3 Chhoti Bahu, 45–47, 49–51, 53–58, Bhardwaj, Rekha, 80 57n25, 61 Bhardwaj, Vishal, 13, 74, 74n1, Chitralekha, 50n13, 93–109, 125 85n33, 241n1 Chopra, Prem, 139 Bhatiyali, 198, 198n29 Chowdhury, Aniruddha Roy, 340 Bhindranwale, Jarnail Singh, 244 Christie, Agatha (And Then There Were Bhonsle, Asha, 3n11, 104n36, 143 None), 141 Bhopal, 332, 333, 336–338, 343 Chupke Chupke, 68 Bhumika, 68, 348, 351, 352, 361 Classical past, 93–109 Bhushan, Bharat, 64 Club dancer, 135, 140 Bindu, 65, 70, 144, 304 Cocktail, 313–328 Bose, Modhu, 94, 98, 102 Colonization, 12, 84 Bose, Sadhona, 98, 99, 101, Company, 17, 151, 156–159 101n27, 102 Consumer/Consumerism, 6, 18, 284, Brahman, 84–86 292, 297–311, 316, 322, 324, Brahmanical-patriarchy (hypen), 46, 337, 342 59, 75, 78, 79, 86, 88, 94, 97, Courtesan, 18, 28, 42, 48, 50, 96, 97, 286, 350, 372n2 104, 105, 108, 109, 113–128, Brahmo Samaj, 59, 59n26 141, 167, 168n2, 169, 352 Buddy film, 332, 342 Burkha, 331–343 D Dalit, 11, 74, 84–86, 228–231, C 228n13, 234, 237, 359 Calcutta, 46–48, 48n8, 157, 190n9 Dancing girl, 18, 49, 131–145, 333, Camd, 30 339, 350 Caste, 6, 31, 33, 34, 36, 48, 49, 49n9, Decolonisation, 12, 279 52, 52n17, 53, 57, 59, 69, 74, De-criminalization of sex work, 181 75, 77, 84–86, 85n33, 94, 95, Deewar, 67, 155, 155n26, 203, 97, 98, 100, 105, 109n46, 124, 209–212, 216 170, 190n9, 208, 226–231, 234, Delhi High Court, 224, 225, 235 INDEX 377 Deol, Abhay, 307 Filmfare Award, 45n1, 54, 187, Devadasi, 98, 352 187n1, 241n1 Dev D, 69, 179, 180n39, 181 Fire, 28, 69 Devgn, Ajay, 75 Foucault, Michel, 189n7, 190, 194n16 Devi, Phoolan, 223–237, 233n21 Dil Chahta Hai, 317, 318 Dil Dhadakne Do, 10n33 G Dillagi, 37, 39 Gandhi, Mohandas Karamchand, 31 Dil Se, 16, 16n57, 243, 255, Gangajal, 69 255n25, 256 Gangster, 151, 156–159 Dixit, Madhuri, 300 Gangster film, 150, 151, 158, 160 Do Aankhen Barah Haath (DABH), Ganika, 96, 97, 102, 106 189–193, 189n6 Gender, 6, 11, 14, 16, 17, 28–30, 36, Don, 151, 152, 155, 155n26, 157, 159 37, 57, 59, 60, 74, 75, 80, Doppelganger, 134, 140–143 85–88, 95, 97, 98, 105, 156, Dr. Vidya, 50n13, 132–134, 136, 138, 179, 195n17, 208, 210, 213, 141, 143 226–231, 236, 237, 241–256, Dutt, Geeta, 4n15, 55, 56 265, 268, 273, 278, 281, 283n8, Dutt, Guru, 46, 47, 51, 53–55, 291, 292, 298–299, 307, 315, 59–61, 280, 348, 360 342, 343, 348, 350–352, 354, 365–373 Ghalib, Mirza, 27, 42 E Ghare-Baire, 53 Epistolary novels, 30 Ghar Ho To Aisa, 272 Erotic, 40, 41, 51, 55, 77, 82, Ghayavan, Neeraj, 331 98–100, 105, 107, 155, 197, Ghazal, 35, 36, 114 214, 298, 303, 309, 336, 339, Globalization, 6, 12, 297, 299, 339 340, 359 Godmother, 16, 69 Existential Feminism, 175 Golmaal, 68 Guddi, 8n28, 68 Gulzar, 7n23, 9n30, 11n35, 15, 16, F 68, 170n5, 241n1, 242, 242n3, Female avenger, 142, 208, 213, 215, 247, 247n15, 253 218, 219 Gumnaam, 132–134, 138, 140, 141, Femininity, 2, 10, 11, 17, 94, 102, 142n13, 143 104, 133, 134, 136–138, 140, Gun moll, 149–151, 156, 157, 162, 164 142, 189n5, 193, 208, 214, 218, 252, 253, 278, 280, 281, 288, 304, 309, 320n18, 348, 351, H 354, 357 Hattangadi, Rohini, 68 Film Certificate Appellate Tribunal Haveli, 46–49, 47n4, 51, 52 (FCAT), 224, 246 Hawayein, 243–249 Filmfare, 64, 359 Heer, 28, 37, 39 378 INDEX Heer-Raanjha, 37–39 Kapoor, Shammi, 67, 140, 144 Helen, 131n1, 132, 133n4, 134–136, Kapoor, Shashi, 353 138, 143–145, 145n16, 155, 213 Kapur, Shekhar, 223, 229, 232–235 Highway, 313–328 Khalistani, 242–245, 250–252 Hindu, 6, 14, 45, 46, 49, 51, 55, Khan, Mehboob, 8n27, 277 59–61, 59n28, 59n29, 77, 88, Khan, Salman, 300, 373 104, 113n1, 114–118, 114n3, Khap panchayat, 260n2, 262–267 118n5, 120, 121, 123, 124, Khote, Durga, 109n47, 350, 355 126–128, 137, 161, 172, 216, Koechlin, Kalki, 179, 180, 309 217, 226, 227, 237, 279, 280n3, Kotha, 114, 115, 118–121, 124, 135, 281, 285–288, 291, 306, 317, 355 334, 342, 358, 372n2, 372n4 Krishna, 42, 99, 100, 117, 125, 126, Hindu Code Bill, 279, 279n2, 280, 128, 191n11, 195–197, 231, 290 280n3, 287 Kumar, Ashok, 104, 106, 188, 211, Honour killing, 47, 87, 259–273, 319n15 372n2 Kumar, Dilip, 34n16, 36, 64, 277 Hum Aapke Hain Koun, 297–311 Kumar, Manoj, 136, 141, 319 Hum Dil de Chuke Sanam, 144 Kumar, Raj, 213 Kumari, Meena, 54, 68, 94, 102, 104–106, 167, 168, 320n18 I Kyunki Saas Bhi Kabhi Bahu Thi, 69 Industry, 54, 66, 69, 142, 144, 156, 160, 177, 181 Insaaf ka Tarazu, 69, 219 L Intaqam, 69, 131n1, 133, 134, 142, Lady Macbeth, 152, 162, 162n39, 163 143, 204, 211–213, 215 Lakshmanrekha, 66, 271, 325 Islamisation, 152, 159–162 Lal Patthar, 204, 213–215 Item songs, 157 Laxman, R.K., 285 Liberalization, 297, 299–300 Lipstick under my Burkha, 331–343 J London, 308, 310, 311, 316, 318 Jameela, N., 174, 174n18, 176, Luthria, Milan, 8n27, 348, 357 176n25, 181 Jarasandha, Tamashi, 188, 188n2 M Maachis, 16, 16n57, 241–256, 241n1 K Madhubala, 34, 34n16, 280, 369 Kanjar, 83, 84 Mahabharata, 13, 118, 137 Kapoor, Ekta, 69, 373 Mahadalit, 227 Kapoor, Kareena, 78, 157, 179, 348 Main Zinda Hoon, 11, 68 Kapoor, Raj, 7n26, 55n24, 64, 277, Malini, Hema, 213, 213n10, 214, 282, 290, 323, 356 216, 218, 353 INDEX 379 Mallah, 226–231 N Mandi, 115, 172, 172n9 Nadira, 291 Mangeshkar, Lata, 1n1, 3n10, 3n12, Naram Garam, 68 3n13, 4n14, 4n16, 4n17, 5n19, Nargis, 277, 290 34, 34n16, 103n33, 103n34, Nation/nationalism, 3, 6, 12, 16, 18, 104n37, 107n41, 131n1, 142, 29, 106–108, 134, 190, 209, 212n9 217, 244, 248, 256, 277–293, Manoj-Babli honour killing case, 262 299, 307, 315, 317, 323, Manoranjan, 167, 168, 168n1 325n24, 350, 352 Manusmriti, 14n51, 79, 104n38 National award, 187, 189n6, 190, 223 Maqbool, 151, 152, 156, 157, 159–163 National Crimes Record Bureau, 314 Masaan, 331–343 Natyashastra, 96–98, 351 Masculinity, 56, 75, 135, 136, 175, 179, Naushad, 38 249, 252, 253, 280, 307, 354 Nautanki, 351, 356 Mausam, 3, 170 Nautch, 48, 98, 132, 369 Meerabai, 196 Naval,Deepti, 68, 259n1, 260, 267–273 Mein Chup Rahoongi, 54 Nehruvian socialism, 12, 299 Melodrama, 12, 31, 40, 195n17, New Woman, 5, 18, 57, 194, 194n15, 197, 315 217, 277–293, 299, 300, 324 Mere Apne, 68, 106 NH10, 259–273 Middle class, 11, 57, 98, 235, 307, 321, Nightclub, 315–317, 320, 322, 339, 342 324, 327, 341, 352–354, 358 Nimmi, 152, 156, 159–164 Militancy, 17n58, 241–256 Nirbhaya, 235, 314 Mise-en-scene, 28, 30, 41, 48, 133n3, Nishant, 11, 68 135, 149, 192, 300, 338 Noir aesthetic, 157 Mitra, Bimal, 45, 45n1, 47, 47n4, 51, 52, 60 Modi, Sohrab, 42 O Mohabbatein, 144 Omkara, 73–88 Mother, 12, 57, 64, 65, 67–69, 81–84, Operation Blue Star, 244 87, 88, 106, 108, 117, 118, 120, Othello, 74, 78, 80, 82, 87, 88 121, 125, 141, 168–170, 172, 173, 188, 192, 193, 210, 211, 216, 228, 237, 242, 249, 250, P 259–273, 279, 282, 285, 303, Padmaavat, 366, 372n2, 372n3 309, 318, 320, 323, 351, 352, Pakeezah, 114, 114n3, 167–170, 357, 361, 365, 367 168n2 Mother-in-law, 7, 9, 10, 18, 63–70, Palekar, Amol, 352 117, 119, 123, 271, 282, 304 Parekh, Asha, 140, 143 Mr. and Mrs. 55, 277–293 Parsi theatre, 1, 28n2, 350, 351 Mughal-e-Azam, 4, 368–369 Pathak, Dina, 68 Mukherji, Hrishikesh, 68 Patil, Smita, 68, 352 380 INDEX Pawar, Lalita, 9, 65, 69, 70, 281, Romantic comedy, 68, 280, 281, 288 282, 304 Romantic melodrama, 197, 246 Performance, 34, 36, 95, 98, 100, Roshan, Hrithik, 307 102, 106, 107, 114, 117, 123, Roy, Arundhati, 233, 234 131–145, 159, 247, 268, 273, Roy, Bimal, 13, 187, 195n17 332, 338, 347–349, 351–353, 355, 357, 359, 361, 365 Permanent Settlement, 48 S Piku, 69, 70 Sadda Haq, 243–249 Pillai, K.
Recommended publications
  • Mumbai Macbeth: Gender and Identity in Bollywood Adaptations Rashmila Maiti University of Arkansas, Fayetteville
    University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 8-2018 Mumbai Macbeth: Gender and Identity in Bollywood Adaptations Rashmila Maiti University of Arkansas, Fayetteville Follow this and additional works at: http://scholarworks.uark.edu/etd Part of the Asian Studies Commons, Comparative Literature Commons, and the Literature in English, British Isles Commons Recommended Citation Maiti, Rashmila, "Mumbai Macbeth: Gender and Identity in Bollywood Adaptations" (2018). Theses and Dissertations. 2905. http://scholarworks.uark.edu/etd/2905 This Dissertation is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected], [email protected]. Mumbai Macbeth: Gender and Identity in Bollywood Adaptations A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Comparative Literature and Cultural Studies by Rashmila Maiti Jadavpur University Bachelor of Arts in English Literature, 2007 Jadavpur University Master of Arts in English Literature, 2009 August 2018 University of Arkansas This dissertation is approved for recommendation to the Graduate Council. M. Keith Booker, PhD Dissertation Director Yajaira M. Padilla, PhD Frank Scheide, PhD Committee Member Committee Member Abstract This project analyzes adaptation in the Hindi film industry and how the concepts of gender and identity have changed from the original text to the contemporary adaptation. The original texts include religious epics, Shakespeare’s plays, Bengali novels which were written pre- independence, and Hollywood films. This venture uses adaptation theory as well as postmodernist and postcolonial theories to examine how women and men are represented in the adaptations as well as how contemporary audience expectations help to create the identity of the characters in the films.
    [Show full text]
  • Page 01 July 06.Indd
    SUNDAY 6 JULY 2014 • [email protected] • www.thepeninsulaqatar.com • 4455 7741 inside Life Itself: CAMPUS Portrait of the • BFPIS students show excellence in Federal critic as a man Board SSC-I, 2014 exams P | 4 P | 8-9 MARKETPLACE • Sana launches Ramadan raffle promotion A local but highly efficient tradition, P | 5 the man-powered wooden scooters are HEALTH everywhere on the • Why it’s such a headache to schedule a paved highways and doctor’s appointment dusty sidestreets of Goma, Congo, holding P | 7 their own with the motorcycle taxis. WHEELS • Audi A6 TDI Quattro: A perfect blend of luxury and common sense P | 11 TECHNOLOGY • Britain hopes to catch up in global robotics race TSHUKUDU, P | 12 LEARN ARABIC • Learn commonly THE ALL-PURPOSE used Arabic words and their meanings TRANSPORT SCOOTER P | 13 2 PLUS | SUNDAY 6 JULY 2014 COVER STORY Man-powered wooden scooters A man stands next to a tshukudu, a wooden push- bike, in Goma. BY ALBERT KAMBALE A man makes a tshukudu in a workshop in Nyirangongo, HAT do you do when you in the Kibumba region. need to deliver several hun- dred pounds of potatoes, 150 stalks of sugar cane, 30 euca- lyptus saplings and eight sacks Wof coal, without motorised transport? For resi- dents of Goma, in the war-scarred east of the Democratic Republic of Congo, the answer to this, and many other problems, is the tshukudu. A local but highly efficient tradition, the man- powered wooden scooters are everywhere on the paved highways and dusty sidestreets of Goma, holding their own with the motorcycle taxis.
    [Show full text]
  • Volume 1 on Stage/ Off Stage
    lives of the women Volume 1 On Stage/ Off Stage Edited by Jerry Pinto Sophia Institute of Social Communications Media Supported by the Laura and Luigi Dallapiccola Foundation Published by the Sophia Institute of Social Communications Media, Sophia Shree B K Somani Memorial Polytechnic, Bhulabhai Desai Road, Mumbai 400 026 All rights reserved Designed by Rohan Gupta be.net/rohangupta Printed by Aniruddh Arts, Mumbai Contents Preface i Acknowledgments iii Shanta Gokhale 1 Nadira Babbar 39 Jhelum Paranjape 67 Dolly Thakore 91 Preface We’ve heard it said that a woman’s work is never done. What they do not say is that women’s lives are also largely unrecorded. Women, and the work they do, slip through memory’s net leaving large gaps in our collective consciousness about challenges faced and mastered, discoveries made and celebrated, collaborations forged and valued. Combating this pervasive amnesia is not an easy task. This book is a beginning in another direction, an attempt to try and construct the professional lives of four of Mumbai’s women (where the discussion has ventured into the personal lives of these women, it has only been in relation to the professional or to their public images). And who better to attempt this construction than young people on the verge of building their own professional lives? In learning about the lives of inspiring professionals, we hoped our students would learn about navigating a world they were about to enter and also perhaps have an opportunity to reflect a little and learn about themselves. So four groups of students of the post-graduate diploma in Social Communications Media, SCMSophia’s class of 2014 set out to choose the women whose lives they wanted to follow and then went out to create stereoscopic views of them.
    [Show full text]
  • The 'Item Number' in Indian Cinema: Deconstructing the Paradox
    Journal of Culture, Society and Development www.iiste.org ISSN 2422-8400 An International Peer-reviewed Journal Vol.39, 2018 The ‘Item Number’ in Indian Cinema: Deconstructing the Paradox Isha Jain (Corresponding author) National Law School of India University, Bangalore, India Abstract The “item number” is a hyper-sexualised song-and-dance performance that is characteristic to mainstream Bollywood cinema. When viewed in the context of a general tendency towards the censorship of public depictions of sexualized women in other spheres of the Indian polity, the ubiquity and popularity of item numbers reflects a confounding cultural paradox. The aim of this article is to deconstruct this paradox, by identifying the narrative structures and plot devices employed by film-makers to market these performances without suffering the disapproval of either the Indian State apparatus or the purportedly prudish Indian cinema- goer. Introduction The Indian State, through both its formal and informal centres of power, continues to burden the Indian woman with the charge of guarding national pride, culture, and morality.1 The defiling of the Indian woman, synonymous with her sexualisation, is the defiling of India. This parallel is evident in the title of “Mother India”, a 1957 film centred around a de-sexualised, self-sacrificial female protagonist intended to be emblematic of both the ideal Indian woman and of India herself.2 Yet, the Indian film industry has succeeded at carving out a niche for the commodification and sale of female sexuality within a broader milieu characterised by the disapprobation of that very sexuality. Nowhere is this more apparent than in the “item number”,3 a hyper-sexualised cinematic performance that is both paradoxically and quintessentially Bollywood.
    [Show full text]
  • Clare M. Wilkinson-Weber
    Clare M. Wilkinson-Weber TAILORING EXPECTATIONS How film costumes become the audience’s clothes ‘Bollywood’ film costume has inspired clothing trends for many years. Female consumers have managed their relation to film costume through negotiations with their tailor as to how film outfits can be modified. These efforts have coincided with, and reinforced, a semiotic of female film costume where eroticized Indian clothing, and most forms of western clothing set the vamp apart from the heroine. Since the late 1980s, consumer capitalism in India has flourished, as have films that combine the display of material excess with conservative moral values. New film costume designers, well connected to the fashion industry, dress heroines in lavish Indian outfits and western clothes; what had previously symbolized the excessive and immoral expression of modernity has become an acceptable marker of global cosmopolitanism. Material scarcity made earlier excessive costume display difficult to achieve. The altered meaning of women’s costume in film corresponds with the availability of ready-to-wear clothing, and the desire and ability of costume designers to intervene in fashion retailing. Most recently, as the volume and diversity of commoditised clothing increases, designers find that sartorial choices ‘‘on the street’’ can inspire them, as they in turn continue to shape consumer choice. Introduction Film’s ability to stimulate consumption (responding to, and further stimulating certain kinds of commodity production) has been amply explored in the case of Hollywood (Eckert, 1990; Stacey, 1994). That the pleasures associated with film going have influenced consumption in India is also true; the impact of film on various fashion trends is recognized by scholars (Dwyer and Patel, 2002, pp.
    [Show full text]
  • Ek Paheli 1971 Mp3 Songs Free Download Ek Nai Paheli
    ek paheli 1971 mp3 songs free download Ek Nai Paheli. Ek Nai Paheli is a Hindi album released on 10 Feb 2009. This album is composed by Laxmikant - Pyarelal. Ek Nai Paheli Album has 8 songs sung by Anuradha Paudwal, Lata Mangeshkar, K J Yesudas. Listen to all songs in high quality & download Ek Nai Paheli songs on Gaana.com. Related Tags - Ek Nai Paheli, Ek Nai Paheli Songs, Ek Nai Paheli Songs Download, Download Ek Nai Paheli Songs, Listen Ek Nai Paheli Songs, Ek Nai Paheli MP3 Songs, Anuradha Paudwal, Lata Mangeshkar, K J Yesudas Songs. Ek paheli 1971 mp3 songs free download. "Sunny Leones Ek Paheli Leela Makes Over Rs 15 Cr in Opening Weekend - NDTV Movies. The Indian box office is still reeling from Furious 7's blockbuster earnings of over Rs 80 . Jay Bhanushali: Really happy that people are enjoying 'Ek Paheli Leela' It's Sunny side up: Ek Paheli Leela touches Rs 10.5 crore in two days. More news for Ek Paheli Leela Full Movie Ek Paheli Leela - Wikipedia, the free encyclopedia. Ek Paheli Leela is a 2015 Bollywood musical-thriller film, written and directed by Bobby Khan and . The full audio album was released on 10 March 2015. Ek Paheli Leela Online 2015 Official Full Movie | NOORD . 1 day ago - Ek Paheli Leela Online 2015 Official Full Movie; Ek Paheli Leela; 2015 film; 4.8/10·IMDb; Ek Paheli Leela is a 2015 Bollywood musical-thriller . Ek Paheli Leela Full Movie Online Watch Bollywood Full . onlinemoviesgold.com/ek-paheli-leela-full-movie-online-watch- bollywo.
    [Show full text]
  • The Hindu, the Muslim, and the Border In
    THE HINDU, THE MUSLIM, AND THE BORDER IN NATIONALIST SOUTH ASIAN CINEMA Vinay Lal University of California, Los Angeles Abstract There is but no question that we can speak about the emergence of the (usually Pakistani or Muslim) ‘terrorist’ figure in many Bollywood films, and likewise there is the indisputable fact of the rise of Hindu nationalism in the political and public sphere. Indian cinema, however, may also be viewed in the backdrop of political developments in Pakistan, where the project of Islamicization can be dated to least the late 1970s and where the turn to a Wahhabi-inspired version of Islam is unmistakable. I argue that the recent history of Pa- kistan must be seen as instigated by a disavowal of the country’s Indic self, and similarly I suggest that scholarly and popular studies of the ‘representation’ of the Muslim in “Bol- lywood” rather too easily assume that such a figure is always the product of caricature and stereotyping. But the border between Pakistan and India, between the self and the other, and the Hindu and the Muslim is rather more porous than we have imagined, and I close with hints at what it means to both retain and subvert the border. Keywords: Border, Communalism, Indian cinema, Nationalism, Pakistan, Partition, Veer-Zaara Resumen 103 Así como el personaje del ‘terrorista’ (generalmente musulmán o paquistaní) está presente en muchos filmes de Bollywood, el nacionalismo hindú está tomando la iniciativa en la esfera política del país. Sin embargo el cine indio también puede hacerse eco de acontecimientos ocurridos en Paquistán, donde desde los años Setenta se ha manifestado un proceso de islamización de la sociedad, con una indudable impronta wahabí.
    [Show full text]
  • World Cinema Amsterd Am 2
    WORLD CINEMA AMSTERDAM 2011 3 FOREWORD RAYMOND WALRAVENS 6 WORLD CINEMA AMSTERDAM JURY AWARD 7 OPENING AND CLOSING CEREMONY / AWARDS 8 WORLD CINEMA AMSTERDAM COMPETITION 18 INDIAN CINEMA: COOLLY TAKING ON HOLLYWOOD 20 THE INDIA STORY: WHY WE ARE POISED FOR TAKE-OFF 24 SOUL OF INDIA FEATURES 36 SOUL OF INDIA SHORTS 40 SPECIAL SCREENINGS (OUT OF COMPETITION) 47 WORLD CINEMA AMSTERDAM OPEN AIR 54 PREVIEW, FILM ROUTES AND HET PAROOL FILM DAY 55 PARTIES AND DJS 56 WORLD CINEMA AMSTERDAM ON TOUR 58 THANK YOU 62 INDEX FILMMAKERS A – Z 63 INDEX FILMS A – Z 64 SPONSORS AND PARTNERS WELCOME World Cinema Amsterdam 2011, which takes place WORLD CINEMA AMSTERDAM COMPETITION from 10 to 21 August, will present the best world The 2011 World Cinema Amsterdam competition cinema currently has to offer, with independently program features nine truly exceptional films, taking produced films from Latin America, Asia and Africa. us on a grandiose journey around the world with stops World Cinema Amsterdam is an initiative of in Iran, Kyrgyzstan, India, Congo, Columbia, Argentina independent art cinema Rialto, which has been (twice), Brazil and Turkey and presenting work by promoting the presentation of films and filmmakers established filmmakers as well as directorial debuts by from Africa, Asia and Latin America for many years. new, young talents. In 2006, Rialto started working towards the realization Award winners from renowned international festivals of a long-cherished dream: a self-organized festival such as Cannes and Berlin, but also other films that featuring the many pearls of world cinema. Argentine have captured our attention, will have their Dutch or cinema took center stage at the successful Nuevo Cine European premieres during the festival.
    [Show full text]
  • “Low” Caste Women in India
    Open Cultural Studies 2018; 2: 735-745 Research Article Jyoti Atwal* Embodiment of Untouchability: Cinematic Representations of the “Low” Caste Women in India https://doi.org/10.1515/culture-2018-0066 Received May 3, 2018; accepted December 7, 2018 Abstract: Ironically, feudal relations and embedded caste based gender exploitation remained intact in a free and democratic India in the post-1947 period. I argue that subaltern is not a static category in India. This article takes up three different kinds of genre/representations of “low” caste women in Indian cinema to underline the significance of evolving new methodologies to understand Black (“low” caste) feminism in India. In terms of national significance, Acchyut Kanya represents the ambitious liberal reformist State that saw its culmination in the constitution of India where inclusion and equality were promised to all. The movie Ankur represents the failure of the state to live up to the postcolonial promise of equality and development for all. The third movie, Bandit Queen represents feminine anger of the violated body of a “low” caste woman in rural India. From a dacoit, Phoolan transforms into a constitutionalist to speak about social justice. This indicates faith in Dr. B.R. Ambedkar’s India and in the struggle for legal rights rather than armed insurrection. The main challenge of writing “low” caste women’s histories is that in the Indian feminist circles, the discourse slides into salvaging the pain rather than exploring and studying anger. Keywords: Indian cinema, “low” caste feminism, Bandit Queen, Black feminism By the late nineteenth century due to certain legal and socio-religious reforms,1 space of the Indian family had been opened to public scrutiny.
    [Show full text]
  • Koel Chatterjee Phd Thesis
    Bollywood Shakespeares from Gulzar to Bhardwaj: Adapting, Assimilating and Culturalizing the Bard Koel Chatterjee PhD Thesis 10 October, 2017 I, Koel Chatterjee, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 10th October, 2017 Acknowledgements This thesis would not have been possible without the patience and guidance of my supervisor Dr Deana Rankin. Without her ability to keep me focused despite my never-ending projects and her continuous support during my many illnesses throughout these last five years, this thesis would still be a work in progress. I would also like to thank Dr. Ewan Fernie who inspired me to work on Shakespeare and Bollywood during my MA at Royal Holloway and Dr. Christie Carson who encouraged me to pursue a PhD after six years of being away from academia, as well as Poonam Trivedi, whose work on Filmi Shakespeares inspired my research. I thank Dr. Varsha Panjwani for mentoring me through the last three years, for the words of encouragement and support every time I doubted myself, and for the stimulating discussions that helped shape this thesis. Last but not the least, I thank my family: my grandfather Dr Somesh Chandra Bhattacharya, who made it possible for me to follow my dreams; my mother Manasi Chatterjee, who taught me to work harder when the going got tough; my sister, Payel Chatterjee, for forcing me to watch countless terrible Bollywood films; and my father, Bidyut Behari Chatterjee, whose impromptu recitations of Shakespeare to underline a thought or an emotion have led me inevitably to becoming a Shakespeare scholar.
    [Show full text]
  • Reg. No Name in Full Residential Address Gender Contact No. Email Id Remarks 9421864344 022 25401313 / 9869262391 Bhaveshwarikar
    Reg. No Name in Full Residential Address Gender Contact No. Email id Remarks 10001 SALPHALE VITTHAL AT POST UMARI (MOTHI) TAL.DIST- Male DEFAULTER SHANKARRAO AKOLA NAME REMOVED 444302 AKOLA MAHARASHTRA 10002 JAGGI RAMANJIT KAUR J.S.JAGGI, GOVIND NAGAR, Male DEFAULTER JASWANT SINGH RAJAPETH, NAME REMOVED AMRAVATI MAHARASHTRA 10003 BAVISKAR DILIP VITHALRAO PLOT NO.2-B, SHIVNAGAR, Male DEFAULTER NR.SHARDA CHOWK, BVS STOP, NAME REMOVED SANGAM TALKIES, NAGPUR MAHARASHTRA 10004 SOMANI VINODKUMAR MAIN ROAD, MANWATH Male 9421864344 RENEWAL UP TO 2018 GOPIKISHAN 431505 PARBHANI Maharashtra 10005 KARMALKAR BHAVESHVARI 11, BHARAT SADAN, 2 ND FLOOR, Female 022 25401313 / bhaveshwarikarmalka@gma NOT RENEW RAVINDRA S.V.ROAD, NAUPADA, THANE 9869262391 il.com (WEST) 400602 THANE Maharashtra 10006 NIRMALKAR DEVENDRA AT- MAREGAON, PO / TA- Male 9423652964 RENEWAL UP TO 2018 VIRUPAKSH MAREGAON, 445303 YAVATMAL Maharashtra 10007 PATIL PREMCHANDRA PATIPURA, WARD NO.18, Male DEFAULTER BHALCHANDRA NAME REMOVED 445001 YAVATMAL MAHARASHTRA 10008 KHAN ALIMKHAN SUJATKHAN AT-PO- LADKHED TA- DARWHA Male 9763175228 NOT RENEW 445208 YAVATMAL Maharashtra 10009 DHANGAWHAL PLINTH HOUSE, 4/A, DHARTI Male 9422288171 RENEWAL UP TO 05/06/2018 SUBHASHKUMAR KHANDU COLONY, NR.G.T.P.STOP, DEOPUR AGRA RD. 424005 DHULE Maharashtra 10010 PATIL SURENDRANATH A/P - PALE KHO. TAL - KALWAN Male 02592 248013 / NOT RENEW DHARMARAJ 9423481207 NASIK Maharashtra 10011 DHANGE PARVEZ ABBAS GREEN ACE RESIDENCY, FLT NO Male 9890207717 RENEWAL UP TO 05/06/2018 402, PLOT NO 73/3, 74/3 SEC- 27, SEAWOODS,
    [Show full text]
  • Kishore Booklet Copy
    08. Tum Aa Gaye Ho Noor Aa Gaya with Lata Mangeshkar Film: Aandhi 01. The Evergreen Kishore Kumar 09. Asha Bhosle reminisces 02. Yeh Sham Mastani Kishore Kumar Film: Kati Patang 10. Piya Piya Piya Mora Jiya 03. Roop Tera Mastana with Asha Bhosle Film: Aradhana Film: Baap Re Baap 04. Yeh Jo Mohabbat Hai 11. Main Hoon Jhoom Jhoom Film: Kati Patang Film: Jhumroo 05. Aanewala Pal Janewala Hai 12. Dekha Ek Khwab Film: Golmaal with Lata Mangeshkar Film: Silsila 06. Oh Hansini Film: Zehreela Insaan 13. Meri Bheegi Bheegi Si Film: Anamika 07. Hamen Tumse Pyar Kitna Film: Kudrat 14. Kehna Hai Kehna Hai Film: Padosan 2 3 15. Raat Kali Ek Khwab Mein 23. Mere Sapnon Ki Rani Film: Buddha Mil Gaya Film: Aradhana 16. Aate Jate Khoobsurat Awara 24. Dil Hai Mera Dil Film: Anurodh Film: Paraya Dhan 17. Khwab Ho Tum Ya Koi 25. Mere Dil Mein Aaj Kya Hai Film: Teen Devian Film: Daag 18. Aasman Ke Neeche 26. Ghum Hai Kisi Ke Pyar Mein with Lata Mangeshkar with Lata Mangeshkar Film: Jewel Thief Film: Raampur Ka Lakshman 19. Mere Mehboob Qayamat Hogi 27. Aap Ki Ankhon Mein Kuch Film: Mr. X In Bombay with Lata Mangeshkar Film: Ghar 20. Teri Duniya Se Hoke Film: Pavitra Papi 28. Sama Hai Suhana Suhana Film: Ghar Ghar Ki Kahani 21. Kuchh To Log Kahenge Film: Amar Prem 29. O Mere Dil Ke Chain Film: Mere Jeevan Saathi 22. Rajesh Khanna talks about Kishore Kumar 4 5 30. Musafir Hoon Yaron 38. Gaata Rahe Mera Dil Film: Parichay with Lata Mangeshkar Film: Guide 31.
    [Show full text]