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Curriculum Vitae Rachel Dwyer

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Curriculum Vitae Rachel Dwyer CURRICULUM VITAE RACHEL DWYER 1 Education School of Oriental and African Studies, University of London (Part-time, 1990–5) 1995 PhD 'The Gujarati lyrics of Kavi Dayarambhai' Magdalen College, University of Oxford (1984–6) 1986 MPhil General Linguistics and Comparative Philology Major language: Greek (Mycenean, Dialect Inscriptions, Homer) Minor language: Sanskrit Thesis (25,000 words): 'Vedic Studies: a linguistic commentary on hymn XII.I of the Atharvaveda' School of Oriental and African Studies, University of London (1980–4) 1984 BA (Hons) Sanskrit (Class I) Subsidiary language: Avestan Special subject: Indo-European Philology 2 Employment 2007– Professor of Indian Cultures and Cinema, SOAS 2004–07 Reader in Indian Studies and Cinema, SOAS 2000–04 Senior Lecturer in Indian Studies, SOAS 1996–2000 Lecturer in Gujarati and Indian Studies, SOAS 1991–96 Lecturer in Gujarati, SOAS 1989–91 Training Fellow in Gujarati, SOAS 1987–89 Curator of Language and Dialect, National Sound Archive, British Library 1987 Computer Programmer, British Airways plc. Finance Division 1986–87 Extra-academic Staff (Vedic and Sanskrit literature), SOAS 3 Research and Publications 1) Books a) Singly authored 2014a Bollywood’s India: Hindi cinema as a guide to contemporary India. London and Chicago: Reaktion Books; Picture abhi baaki hai: Bollywood as a guide to modern India New Delhi: Hachette 2013 Get started in Gujarati. London: Teach yourself (Revised edition) 2008 What do Hindus believe? London: Granta. Translated into Italian, Finnish and other languages 2006a, 2007a Filming the gods: religion and Indian cinema. London, New York and Delhi: Routledge (Sections reprinted in Brent Plate and Jolyon Mitchell (eds) Religion and film: a reader. London: Routledge: 135- 42 2005 One hundred Bollywood films. London: British Film Institute/Berkeley: University of California Press/New Delhi: Roli Books Rachel Dwyer 2002a Yash Chopra. In ‘World directors’ series’. London: British Film Institute/Berkeley: University of California Press/New Delhi: Roli Books 2001 The poetics of devotion: the Gujarati lyrics of Dayaram. London: Curzon 2000a All you want is money, all you need is love: sexuality and romance in modern India. London: Cassell/New York: Continuum 1995 Gujarati. (+ 90min. cassette), in the ‘Teach yourself’ series, London and New York: Hodder and Stoughton Educational b) Co-authored 2002 Cinema India: the visual culture of Hindi film. Co-authored with D. Patel, in the ‘Envisioning Asia’ series, ed. H. Bhabha, London: Reaktion Books and the Victoria and Albert Museum/New Brunswick: Rutgers University Press/Delhi: Oxford University Press c) Edited [2019a] Cinema, soft power and geo-political change. (Edinburgh: Edinburgh University Press) 2015a Bollywood. (Four Volumes). Routledge Major Works Collection: London: Routledge d) Co-edited [2019b] ‘Bombay before Mumbai: Essays in honour of Jim Masselos.’ Co- edited with Manjiri Kamat and Prashant Kidambi. Mumbai: Popular Prakashan; London: Hurst; New York: OUP 2015b Key concepts in modern Indian studies. Co-edited with Gita Dharampal-Frick, Monika Kirloskar-Steinbach and Jahnavi Phalkey New Delhi: Oxford University Press, India; New York: New York University Press 2011a Beyond the boundaries of Bollywood: the many forms of Hindi cinema. Co-edited with Jerry Pinto. Delhi: Oxford University Press 2000 Pleasure and the nation: the history, consumption and politics of public culture in India. Co-edited with Christopher Pinney. Delhi: Oxford University Press 2) Chapters in books [2020a] ‘A German eye on Hindi cinema.’ In Debashree Mukherjee (ed.) Josef Wirsching’s cinematography and the Bombay Talkies. Delhi: Mapin and the Alkazi Foundation. (Working titles; no further details) [2020b] ‘Mother India: Nargis and female stardom in Hindi cinema from 1947 to 1957.’ In Faisal Devji and Mallica Kubera Landrus (eds) The Art of Independence (No further details) [2019c} ‘New myths for an old nation: Bollywood, soft power and Hindu nationalism. In Rachel Dwyer (ed.) Cinema, soft power and geo- political change. (Edinburgh: Edinburgh University Press) [2019d] ‘Bollywood’s America.’ In Shanay Jhaveri (ed.) Outsider films on America. Mumbai: Shoestring Books (Accepted for publication. No further details) [2019e] ‘Get on the train baby!: Joining Kashmir and Kanyakumari through Hinglish and English accents and language in Chennai Express (2013)’ Co-authored with Helen Ashton. In Ranjani Mazumdar and Neepa Majumdar (eds) Blackwell companion to Hindi film. Oxford: Blackwell. (Accepted for publication. No further details) 2 Rachel Dwyer [2019f] ‘I do fatafat constipation with goras in tiptop gora English: Hinglish and English accents and language in Jab tak hai jaan (2012)’ With Helen Ashton. In Francesca Orsini (ed.) Hinglish. Hyderabad: Orient Blackswan (Peer reviewed and accepted. No further details) 2018a ‘Rimjhim ke taraane leke aayi barsaat’: Songs of love and longing in the Bombay rains.’ In Katherine R. Schofield, Imke Rajamani and Margrit Pernau (eds.) Monsoon feelings: a history of emotions in the rain. Delhi: Niyogi Books: 291-314 2017a ‘Afterword.’ In Jayson Beaster-Jones and Natalie Sarrazin (eds) Music in contemporary Indian film: memory, voice, identity. (Routledge Music and Screen Media). London: Routledge: 192-8 2016a ‘Mumbai middlebrow: ways of thinking about the middle ground in Hindi cinema.’ In Sally Faulkner (ed.) Middlebrow cinema. London: Routledge: 51-67 2016b ‘I am crazy about the Lord: the Muslim devotional genre in Hindi film.’ In Ali Nobil Ahmad (ed.) Cinema in Muslim Societies. London: Routledge: 118-129 (Reprint of 2010 article in Third Text) 2015c ‘Innocent abroad: Shah Rukh Khan, Karan Johar and the diasporic star.’ In Elke Mader, Rajinder Dudrah and Bernhard Fuchs (eds) Shah Rukh Khan and global Bollywood’ New Delhi: Oxford University Press: 49-69 2015d ‘A star is born?: Rishi Kapoor and dynastic charisma in Hindi cinema.’ In Shelley Cobb, and Neil Ewen (eds) First comes love: Power couples, celebrity kinship, and cultural politics. New York: Bloomsbury Academic: 96-115 2015e ‘I love you when you’re angry: Amitabh Bachchan, the star and emotion in the Hindi film.’ In Andrea Bandhauer and Michelle Royer (eds) Stars in world cinema: screen icons and star systems across cultures. London: IB Tauris: 13-23 2014b ‘The biopic of the new middle classes in Hindi cinema.’ In Belen Vidal and Tom Brown (eds) The Biopic in Contemporary Film Culture. In the series, American Film Institute Readers, ed. Edward Brannigan and Charles Wolfe. London and New York: Routledge: 68-83 2013a ‘Bollywood’s empire: Indian cinema and the diaspora.’ In Joya Chatterjee and David Washbook (eds) Routledge handbook of South Asian diaspora. London: Routledge: 407-416 2013b ‘Happy ever after: Hindi films and the happy ending’. In Nikolai Ssorin-Chaikov (ed.) The topography of happiness from the American dream to postsocialism/ Топография счастья от Американской мечты к пост-социализму. Moscow: 357-402 2013c ‘Le cinéma indien.’ In Christophe Jaffrelot et al. (eds). L'Inde et ses avatars: Pluralité d'une puissance. Montreal: Les Presses de l’Université de Montréal: 275-306 2013d ‘The Hindi film biopic.’ In Robert Rosenstone and Constantin Parvulescu (eds) The Blackwell Companion to Historical Film. Oxford: Blackwell: 219-232 2011b ‘Zara hatke!: The new middle classes and the segmentation of Hindi cinema.’In Henrike Donner (ed.) Being middle-class in contemporary India: A way of life. London: Routledge: 184-208 3 Rachel Dwyer 2011c ‘Bombay Gothic: 60 years of Mahal/The mansion, dir. Kamal Amrohi, 1949’. In Dwyer and Pinto 2011c: 130-155 2010 ‘Hindi films and their audiences’. In Being here, now: some insights into Indian cinema. Guest ed. Shanay Jhaveri. Special volume, of Marg, 61(3), March: 30-39 2009a ‘Bimal Roy: a different kind of Hindi cinema.’ In Rinki Bhattacharya (ed.) Bimal Roy: the man who spoke in pictures. New Delhi: Penguin: 162-171 2009b ‘Ich mag es, wenn du zornig wirst: Amitabh Bachchan, Emotionen und Stars im Hindi-film. (I love you when you’re angry: Amitabh Bachchan, the star and emotion in the Hindi film.)’ In Claus Tieber (ed.). Fokus Bollywood: das indische Kino in wissenschaftlichen Diskursen. Münster: Lit. Verlag: 99-115 2009c ‘Depictions of and by religious practitioners in films: Hinduism.’ in John Lyden (ed.) Routledge companion to religion and film. New York: Routledge: 141-61 2006b ‘Kiss and tell: expressing love in Hindi movies.’ In Francesca Orsini (ed.) Love in South Asia: a cultural history. University of Cambridge Oriental Publications. Cambridge: Cambridge University Press: 289- 302 2006c ‘Planet Bollywood: Hindi film in the UK.’ In N. Ali, V. Kalra and S. Sayyid (eds) Postcolonial people: South Asians in Britain. C. Hurst & Co: London: 366-75 2006d ‘The saffron screen?: Hindi movies and Hindu nationalism.’ In Birgit Meyer and Annalies Moors (eds) Religion, media and the public sphere. Bloomington: Indiana University Press: 273-89. 2004a ‘Yeh shaadi nahin ho sakti! (This wedding cannot happen!)’ In G.W. Jones and Kamalini Ramdas (eds) (Un)tying the knot: ideal and reality in Asian marriage. (Asian Trends, 2) Singapore: Asia Research Institute, National University of Singapore: 59-90 2004b ‘International Hinduism: the Swaminarayan sect.’ In K.A. Jacobsen and P. Kumar (eds) South Asians in the diaspora: histories and religion traditions. Leiden and Boston: Brill: 180-99 2004c ‘Representing the Muslim: the ‘courtesan film’ in Indian popular cinema.’ In T. Parfitt and Y. Egorova (eds) Mediating the
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