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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. -
Sync Sound and Indian Cinema | Upperstall.Com 29/02/12 2:30 PM
Sync Sound and Indian Cinema | Upperstall.Com 29/02/12 2:30 PM Open Feedback Dialog About : Wallpapers Newsletter Sign Up 8226 films, 13750 profiles, and counting FOLLOW US ON RECENT Sync Sound and Indian Cinema Tere Naal Love Ho Gaya The lead pair of the film, in their real life, went in the The recent success of the film Lagaan has brought the question of Sync Sound to the fore. Sync Sound or Synchronous opposite direction as Sound, as the name suggests, is a highly precise and skilled recording technique in which the artist's original dialogues compared to the pair of the are used and eliminates the tedious process of 'dubbing' over these dialogues at the Post-Production Stage. The very first film this f... Indian talkie Alam Ara (1931) saw the very first use of Sync Feature Jodi Breakers Sound film in India. Since then Indian films were regularly shot I'd be willing to bet Sajid Khan's modest personality and in Sync Sound till the 60's with the silent Mitchell Camera, until cinematic sense on the fact the arrival of the Arri 2C, a noisy but more practical camera that the makers of this 'new particularly for outdoor shoots. The 1960s were the age of age B... Colour, Kashmir, Bouffants, Shammi Kapoor and Sadhana Ekk Deewana Tha and most films were shot outdoors against the scenic beauty As I write this, I learn that there are TWO versions of this of Kashmir and other Hill Stations. It made sense to shoot with film releasing on Friday. -
Historical Disjunctures and Bollywood Audiences in Trinidad: Negotiations of Gender and Ethnic Relations in Cinema Going1
. Volume 16, Issue 2 November 2019 Historical disjunctures and Bollywood audiences in Trinidad: Negotiations of gender 1 and ethnic relations in cinema going Hanna Klien-Thomas Oxford Brookes University, UK Abstract: Hindi cinema has formed an integral part of the media landscape in Trinidad. Audiences have primarily consisted of the descendants of indentured workers from India. Recent changes in production, distribution and consumption related to the emergence of the Bollywood culture industry have led to disruptions in the local reception context, resulting in a decline in cinema-going as well as the diminishing role of Hindi film as ethnic identity marker. This paper presents results of ethnographic research conducted at the release of the blockbuster ‘Jab Tak Hai Jaan’. It focuses on young women’s experiences as members of a ‘new’ Bollywood audience, characterised by a regionally defined middle class belonging and related consumption practices. In order to understand how the disjuncture is negotiated by contemporary audiences, cinema-going as a cultural practice is historically contextualised with a focus on the dynamic interdependencies of gender and ethnicity. Keywords: Hindi cinema, Caribbean, Bollywood, Indo-Trinidadian identity, Indian diaspora, female audiences, ethnicity Introduction Since the early days of cinema, Indian film productions have circulated globally, establishing transnational and transcultural audiences. In the Caribbean, first screenings are reported from the 1930s. Due to colonial labour regimes, large Indian diasporic communities existed in the region, who embraced the films as a connection to their country of origin or ancestral homeland. Consequently, Hindi speaking films and more recently the products of the global culture industry Bollywood, have become integral parts of regional media landscapes. -
Woman Becomes Goddess in Bollywood: Justice, Violence, and the Feminine in Popular Hindi Film Kathleen M
Journal of Religion & Film Volume 17 Article 1 Issue 2 October 2013 10-2-2013 Woman Becomes Goddess in Bollywood: Justice, Violence, and the Feminine in Popular Hindi Film Kathleen M. Erndl Florida State University, [email protected] Recommended Citation Erndl, Kathleen M. (2013) "Woman Becomes Goddess in Bollywood: Justice, Violence, and the Feminine in Popular Hindi Film," Journal of Religion & Film: Vol. 17 : Iss. 2 , Article 1. Available at: https://digitalcommons.unomaha.edu/jrf/vol17/iss2/1 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Woman Becomes Goddess in Bollywood: Justice, Violence, and the Feminine in Popular Hindi Film Abstract What happens “when a woman becomes Chandika?” This essay contributes to an on-going discussion of the theme of “avenging women” in popular Indian cinema, with particular focus on the transformation of a woman into a fierce Goddess who avenges oppression and re-establishes justice. Analysis of the story line and selected song sequences from the Hindi language film Anjaam (“Outcome,” 1994) in light of themes from the Hindu Sanskrit text, the Devi-Mahatmya (“Greatness of the Goddess,” 5thc. C.E.) shows how traditional religious images and values are adapted and transformed in a modern context. Keywords Goddess, Bollywood, Indian cinema, Devi-Mahatmya, Hinduism, Madhuri Dixit, Shahrukh Khan Author Notes Kathleen M. Erndl is Associate Professor of Religion at the Florida State University, where she teaches in the field of South Asian religions. -
The Changing Role of Women in Hindi Cinema
RESEARCH PAPER Social Science Volume : 4 | Issue : 7 | July 2014 | ISSN - 2249-555X The Changing Role of Women in Hindi Cinema KEYWORDS Pratima Mistry Indian society is very much obsessed with cinema. It is the and Mrs. Iyer) are no less than the revered classics of Ray or most appealing and far reaching medium. It can cut across Benegal. the class and caste boundaries and is accessible to all sec- tions of society. As an art form it embraces both elite and Women have played a number of roles in Hindi movies: the mass. It has a much wider catchment area than literature. mythical, the Sati-Savitri, the rebel, the victim and victimizer, There is no exaggeration in saying that the Indian Cinema the avant-garde and the contemporary. The new woman was has a deep impact on the changing scenario of our society in always portrayed as a rebel. There are some positive portray- such a way as no other medium could ever achieve. als of rebels in the Hindi movies like Mirch Masala, Damini, Pratighat, Zakhm, Zubeida, Mritudand and several others. Literature and cinema, the two art forms, one verbal in form The definition of an ideal Indian woman is changing in Hindi and the other visual, are not merely parallel but interactive, Cinema, and it has to change in order to suit into a changing resiprocative and interdependent. A number of literary clas- society. It has been a long hundred years since Dadasaheb sics have been made popular by the medium of cinema. Phalke had to settle for a man to play the heroine in India’s first feature film Raja Harishchandra (1913) and women in During its awesome journey of 100 years, the Indian Cinema Hindi cinema have come a long way since then. -
Realism and Fantasy in Hindi Cinema
Excerpt • Temple University Press Introduction M ir r o r a n d L a m p n 2013 India celebrated a hundred years of cinema. During its century this cinema, and in particular Hindi-language popular cinema, arguably the Imost important of several cinema industries in the Subcontinent, has been both mirror and lamp—reflecting “Indianness” back to Indians at home and abroad, but also shaping Indianness. Movie-going in India is a special sort of pleasure—for many affording rare access to privacy, a sometimes three-hour- long respite from noise and heat in an air-conditioned, carpeted interior, where one can be alone with oneself among others, in the dark. This pleasure neces- sarily induces a different relation to interior, psychic space, without having to submit to sleep, even absenting the enjoying ego from the enjoyment: this is as close to accessing (unconscious) desire as most ever come, and could even be considered a kind of wild psychoanalysis. For many Indians without the means, it affords opportunities to travel (“transport”?), if only on the wings of fan- tasy: to alternative realities, foreign locales, alien cultures, unfamiliar aesthet- ics of self and unaccustomed social arrangements, pleasurable disorientations of everyday life. The “dream machine” is also a space-time travel machine— “motion” pictures move us to different zones, to unaccustomed emotions. Sitting in darkened cinema theaters in India, the spectator might also be struck by how often Indianness itself is what is being screened—in both senses. Hindi cinema has been, to change metaphors, a “dream machine,” producing images of collective or national identity that, with every iteration, prove more transitional, contradictory, and elusive or enable us to screen truths about our- selves from ourselves. -
100 Essential Indian Films, by Rohit K. Dasgupta and Sangeeta Datta
Alphaville: Journal of Film and Screen Media no. 21, 2021, pp. 239–243 DOI: https://doi.org/10.33178/alpha.21.21 100 Essential Indian Films, by Rohit K. Dasgupta and Sangeeta Datta. Rowman & Littlefield, 2019, 283 pp. Darshana Chakrabarty Among the many film industries of South Asia, the Indian film industry is the most prolific, specifically Hindi language film, more commonly known as Bollywood, which produces almost four hundred films annually. Bollywood films dominate the national market. These films have also been exported successfully to parts of the Middle East, Africa, and the Asiatic regions of the former Soviet Union, as well as to Canada, Australia, the UK, and the US. The success of these films abroad is largely down to the presence of Indian communities living in these regions; as the conventional melodramatic plot structures, dance numbers and musicals tend to deter Western audiences. Within India and abroad “the traditional division between India’s popular cinema and its ‘art’ or ‘parallel’ cinema, modelled after India's most prestigious film-director Satyajit Ray, often produced the uncritical assumption that Indian films are either ‘Ray or rubbish’” (Chaudhuri 137). Recently, Indian film criticism has begun focusing on popular Indian cinema, assessing the multi-discursive elements of the cinematic creations. Bollywood “gained prominence within academia due to its growing popularity and unique manner of glorifying Indian familial values” (Sinha 3). From a history and origin of Indian motion pictures to selecting films that best represent the diversity, integrity and heritage of the nation, 100 Essential Indian Films by Rohit K. Dasgupta and Sangeeta Dutta is a concise book on Indian cinema for connoisseurs and for film enthusiasts taking an interest in India’s classic and contemporary cinema. -
The Making of the Man's Man: Stardom and the Cultural Politics of Neoliberalism in Hindutva India
Southern Illinois University Carbondale OpenSIUC Dissertations Theses and Dissertations 6-1-2021 THE MAKING OF THE MAN’S MAN: STARDOM AND THE CULTURAL POLITICS OF NEOLIBERALISM IN HINDUTVA INDIA Soumik Pal Southern Illinois University Carbondale, [email protected] Follow this and additional works at: https://opensiuc.lib.siu.edu/dissertations Recommended Citation Pal, Soumik, "THE MAKING OF THE MAN’S MAN: STARDOM AND THE CULTURAL POLITICS OF NEOLIBERALISM IN HINDUTVA INDIA" (2021). Dissertations. 1916. https://opensiuc.lib.siu.edu/dissertations/1916 This Open Access Dissertation is brought to you for free and open access by the Theses and Dissertations at OpenSIUC. It has been accepted for inclusion in Dissertations by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. THE MAKING OF THE MAN’S MAN: STARDOM AND THE CULTURAL POLITICS OF NEOLIBERALISM IN HINDUTVA INDIA by Soumik Pal B.A., Ramakrishna Mission Residential College, Narendrapur, 2005 M.A., Jadavpur University, 2007 PGDM (Communications), Mudra Institute of Communications, Ahmedabad, 2009 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Doctor of Philosophy Degree College of Mass Communication and Media Arts in the Graduate School Southern Illinois University Carbondale May 2021 DISSERTATION APPROVAL THE MAKING OF THE MAN’S MAN: STARDOM AND THE CULTURAL POLITICS OF NEOLIBERALISM IN HINDUTVA INDIA by Soumik Pal A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the field of Mass Communication and Media Arts Approved by: Dr. Jyotsna Kapur, Chair Dr. Walter Metz Dr. Deborah Tudor Dr. Novotny Lawrence Dr. -
RÉTROSPECTIVE DU CINÉMA INDIEN POPULAIRE Et
Direction de la communication DOSSIER DE PRESSE VOUS AVEZ DIT BOLLYWOOD ! RÉTROSPECTIVE DU CINÉMA INDIEN POPULAIRE et www.centrepompidou.fr VOUS AVEZ DIT BOLLYWOOD ! RÉTROSPECTIVE DU CINÉMA INDIEN POPULAIRE 4 FEVRIER – 1er MARS 2004 ET 17 MARS – 19 AVRIL 2004 CINEMA 1 (NIVEAU 1), CINEMA 2 (NIVEAU –1) DDirection sommaire de la communication 75 191 Paris cedex 04 responsable du pôle presse I. COMMUNIQUE DE PRESSE page 2 Carole Rio-Latarjet chargée des relations presse Albane Jouis-Maucherat II. VOUS AVEZ DIT « BOLLYWOOD » ! page 4 téléphone par Nadine Tarbouriech 00 33 (0)1 44 78 13 81 télécopie III PROGRAMMATION ET SYNOPSIS DES FILMS page 6 00 33 (0)1 44 78 13 02 mél IV. CALENDRIER DES PROJECTIONS page 29 albane.jouis-maucherat @cnac-gp.fr V. RENCONTRE ORGANISEE PAR LES FORUMS DE SOCIETE La « résistance » de Bollywood ? page 38 VI. EVENEMENTS AUTOUR DE LA MANIFESTATION page 40 VII. LISTE DES PHOTOS DISPONIBLES POUR LA PRESSE page 48 VIII. REMERCIEMENTS page 52 IX. INFORMATIONS PRATIQUES page 53 VOUS AVEZ DIT BOLLYWOOD ! RÉTROSPECTIVE DU CINÉMA INDIEN POPULAIRE 4 FEVRIER – 1er MARS 2004 ET 17 MARS – 19 AVRIL 2004 CINEMA 1 (NIVEAU 1), CINEMA 2 (NIVEAU –1) Direction Pour la première fois en France, une grande rétrospective consacrée à la cinématographie de la communication indienne populaire est proposée par les Cinémas du Centre Pompidou. 75 191 Paris cedex 04 responsable du pôle presse er Carole Rio-Latarjet Pensée en deux temps, la manifestation rend d’abord hommage, du 4 février au 1 mars 2004, chargée des relations presse aux auteurs des grands classiques en noir et blanc des années 50 considérées comme l’âge Albane Jouis-Maucherat d’or des studios indiens : Guru Dutt, Raj Kapoor, Bimal Roy, Mehboob Khan, V. -
Visual Parallels Between Two Auteur Directors in Hindi Cinema: Vishal Bhardwaj & Sanjay Leela Bhansali
International Journal of Future Generation Communication and Networking Vol. 14, No. 1, (2021), pp. 2701–2707 Visual Parallels Between Two Auteur Directors In Hindi Cinema: Vishal Bhardwaj & Sanjay Leela Bhansali Sanika Kulkarni Assistant Professor Tilak Maharashtra Vidyapeeth Abstract: The term Auteur is commonly referred to directors who apply highly consolidated and subjective control to many aspects of a collaborative creative work; they are considered equivalent to authors of a novel or a play. In simple terms, the director of the film is the author; it is his vision of how the film should be presented and everyone in the production process is just assisting it. Though there have been several examples proving the term Auteur and legitimizing the director as the author, this theory has faced a lot of backlashes especially from the radical critics posing that the process of cinema is that of collaboration and teamwork. Some of the critics still state that this gives the director a sense of ownership and film can be seen only as a work of a collective and not as a work of a single person. What these critics fail to take in consideration is that even before the existence of Auteur theory, directors were still considered to be the most important among the people working on film. After various studies, critics coined the term and they identified that each director had individual stylistic techniques as well as specific things which were prevalent in their respective films. An examination of film authorship should cover the evolution of authorship theory from the 1960s to the present. -
The Anti-Colonial Revolutionary in Contemporary Bollywood Cinema
CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 12 (2010) Issue 2 Article 5 The Anti-Colonial Revolutionary in Contemporary Bollywood Cinema Vidhu Aggarwal Rollins College Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the Comparative Literature Commons, and the Critical and Cultural Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Aggarwal, Vidhu. "The Anti-Colonial Revolutionary in Contemporary Bollywood Cinema." CLCWeb: Comparative Literature and Culture 12.2 (2010): <https://doi.org/10.7771/1481-4374.1595> This text has been double-blind peer reviewed by 2+1 experts in the field. The above text, published by Purdue University Press ©Purdue University, has been downloaded 3839 times as of 11/ 07/19. -
Study of Portrayal of Male Lead Characters in Anurag Kashyap Films
International Journal of Multidisciplinary Research and Development International Journal of Multidisciplinary Research and Development Online ISSN: 2349-4182, Print ISSN: 2349-5979; Impact Factor: RJIF 5.72 Received: 07-12-2019; Accepted: 09-01-2020 www.allsubjectjournal.com Volume 7; Issue 2; February 2020; Page No. 33-36 Study of portrayal of male lead characters in Anurag kashyap films Dr. Geetali Tilak Professor, Department of Journalism and Mass Communication Tilak Maharashtra Vidyapeeth, Pune, Maharashtra, India Abstract The study is focused on understanding the portrayal of male lead characters in films directed by Anurag Kashyap. It explores the characters, relations between the male lead characters and other characters. It also compares males of the Indian society with these characters in context of five films Gulaal, Ugly, Gangs of Wasseypur - 1, Gangs of Wasseypur - 2 and Raman Raghav 2.0. This is a qualitative research based on observations, case studies and interviews. Portrayals of male lead characters of these five films are multi-dimensional interms of writing and presentation, shades and traits. It brings out different shades of human nature. The characters in the films are the replica of common man in the society.It brings out different facets of human nature. It helps the audience to relate, understand and infer their own judgements. The research brings out the motifs of male lead characters and complexity of human nature, which is surrounded by love, hatred, revenge and mostly importantly the churning within which leads to the human transformation. Keywords: Cinema, human nature, Anurag Kashyap, Male lead characters Introduction: Indian Cinema Anurag Kashyap’s cinemas.