Bibliography

INDIAN CINEMA: GOVERNMENT REPORTS Report of the Film Enquiry Committee, New Delhi, Government of India Press, 1951 Report of the Film Enquiry Committee on Film Censorship, New Delhi, Gov- ernment of India, 1969 Report of the Indian Cinematograph Committee 1927–28, Calcutta, Govern- ment of India, Central Publications Branch, 1928 Report of the Working Group on National Film Policy, New Delhi, Govern- ment of India, Ministry of Information and Broadcasting, 1980

NEWSPAPERS AND PERIODICALS (SELECT ISSUES) Business Standard Economic Times Hindustan Times Frontline Indian Express Pioneer Sunday Times of India Vanity Fair

FILM PERIODICALS, INCLUDING TRADE MAGAZINES (SELECT ISSUES) Filmindia Filmfare Indian Film Quarterly Indian Film Review Indian Film Quarterly Screen, Indian Express Publications Screen International Screen Digest 416 Bibliography

WEBSITES Government Institutions www.lalitkala.gov.in (Lalit Kala Akademi) www.sahitya-akademi.org (Sahitya Akademi) http://www.gopio.org (People of Indian Origins)

Educational Institutions http://www.leedsmet.ac.uk (Leeds Metropolitan University)

Online Film Content http://www.darkmatter101.org/site/2007/03/12/coventry-ritz-cinema Nirmal Puwar’s film Coventry Ritz Cinema, produced by AV Frontline http://www.youtube.com

Online Periodicals and Entertainment-Related Journalism http://www.variety.com (Variety Entertainment Weekly) http://123india.santabanta.com/cinema (Indian-Punjabi website for enter- tainment services) http://www.rediff.com/movies/(portal for online service) www.screenindia.com (Screen magazine, Indian Express Publications)

Business Sites and Journalism http://www.indica.co.za/tata_motors (Tata Motors) www.thehindubusinessline.com (Hindu Business Line Internet Edition) www.yorkshire-forward.com (to promote regional economic strategy for Yorkshire)

Entertainment and Film Associations and Companies http://www.erosplc.com (Eros International, video distribution) http://www.ficci-frames.com (Federation of Indian Chambers of Commerce and Industry, entertainment sector) http://www.iefilmi.com (promoting Indian film business ties with Europe and European Union) http://www.pritishnandycom.com/pnc-moviezone.html (Pritish Nandy, film producer) http://www.sahara-one.com (Sahara Manoranjan, film producer) Bibliography 417 Websites Promoting Academic, Critical, and Oppositional Cultures http://media.opencultures.net/queer/(queer cultures) http://jupiter/ucsd.edu/-manovich (Lev Manovich’s site devoted to digital theory) www.secularindia.com (critique of sectarian and majoritarian politics) Court Cases Hathway Cable & Datacom Pvt. Ltd. and ANR vs Mirabai Films Pvt. Ltd. Supreme Court SLP © No. 14566 of 2003

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Conference Papers Bhaskar, Ira, ‘Melodrama and the Urban Action Film’, paper presented at the workshop, ‘The Exhilaration of Dread: Genre, Narrative Form and Film Style in the Urban Action Film’, Delhi, Sarai, Centre for the Study of Developing Societies, November 2001 Biswas, Moinak, ‘The Urban Adventure’, paper presented at Delhi, Sarai, Centre for the Study of Developing Societies, October 2003 Creekmur, Corey, ‘Guru Dutt and Melodrama’, paper presented at the Con- ference on ‘The Social and Material Life of Indian Cinema’, New York, New York University, April 2006 Desser, David, ‘Globalization Across Asia’, paper presented at ‘Globalism and Film History: A Conference’, Institute of Humanities, Chicago, University of Illinois at Chicago, April 2006 Mazumdar, Ranjani, ‘The Panoramic Interior’, paper presented at ‘City One’ conference, Delhi, Sarai, Centre for the Study of Developing Societies, January 2001 Prasad, Madhava, ‘The Madras Presidency Cinema’, paper presented at work- shop on Tamil Film Culture, Chennai, Madras Institute for Develop- ment Studies, 1997 Singh, Bhrigupati, ‘Aadhamkor Hasina (Man Eating Beauty) and the Anthro- pology of a Moment’, paper presented to the panel ‘Cinema and the City’, City One Conference, Delhi, Sarai-CSDS, January 2001, www. sarai.net/events Index

Aadmi (1939) 203 Alvi, Abrar 45n Aaghat (1985) 313 Amanat 35 Aar Par (1954) 87, 88, 89, 150 Amar, Akbar, Anthony (1977) 156, Ab Tak Chhappan (2004) 302 327 Abbas, K.A. 4, 5n, 104n, 342n American cinema 26, 29, 56–8, 68, Abbas-Mustaan 320, 371n 74, 79, 100, 105, 125, 134, 204, Abelman, Nancy 30n23, 353n 298, 353, 360, 402, 411; early Abrahani, Yusuf 243n 126; appropriation from 87; and Achut (1939) 203 bourgeois address 125; and Achut Kanya (1935) 203 cinematic spectatorship 87; as action films 19, 24, 27, 93; serials classical cinema 9, 32; codes of 33, 297 83, 86; dominating the world actor-politicians, of South India 106 market 360; family melodrama Advani, L.K. 236, 319 in 9, 19; features of 353, 402; Advani, Nikhil 338, 375, 376, 379 and film-viewing audience 87, 88, advertising, and popular print culture 391; and film industry 5; and 41; and visual practices 12 genre 29; and melodrama 9, 31; aesthetics, articulation of 20; hierar- and film noir 87, 88; spectacle chies 9; theorization of realism 23; and drama in 19; textual trans- western canons and 164 formation in 25; see also African viewership 68, 99, 336, 358, Hollywood 404 American identity 60–1; see also Ahmad, Rashmee Z. 244n white American identity Aiyar, S.S.A. 238, 239 American theatrical studies 16, 17, Akhtar, Farhan 328, 377 21 Akhtar, Javed 137, 246n, 364 Amin, Shimit 302n Alapalayuthey (Tamil, 2002) 211 Amrohi, Kamal 209 Albert Pinto ko Gussa Kyon Aata Hai? Anand, Chetan 52, 87 (1980) 318 Anand, Dev 44, 342, 363, 404–5, allegory 62, 63 408 Allen, Woody 284 Anand, Tinu 243, 245 Altman, Rick 27n, 94n Anandmath (1950) 140 Altman, Robert 63 Andaz (1949) 45n, 83–5, 86, 87, Alvarodo, Manuel 100n 122, 124 438 Index Andaz Apna Apna 327 environment of auspiciousness Anderson, Benedict 41, 219n for 38; as a familiar community Andhra Pradesh, film production in 123; favouring melodrama 79; 102 female 20; as imaginary element Angaar (1992) 157, 240 402; lower-class 103; melodrama’s Ankush (1986) 157, 159, 313–16; address to 43; plebeian 297, 298; male bravado in 315 redefining character of 79; types Anveshi 204n 32, 78–9; ‘yuppie’ 328 Aparajita (Bengali, 1956) 173–6, 181 auditory address 121, 131 Apu triology 14 audio-visual technology 13, 321, Apur Sansar (Bengali, 1959) 176–80, 349; privatization of 135 181; eroticism in 178; narrative of author cinema 1, 306, 348, 350 176; use of iconographic instru- Awara (1951) 4n, 53, 54–5, 88, ment in 178 90–2, 104n, 124, 150–2, 154, Arabic/Arabian culture 207; ‘Arabian 155, 403 night’ stories, market for 352; Azmi, Kaifi 320 Arabic/Persian/Urdu narration 36, 207 B films 33 Aranyer Din Ratri (Bengali, 1969) Baazi (1951) 88, 150 191, 192–7; issues of repression Baazigar (1993) 320 and desire in 192; representation Babb, Lawrence A. 91n, 114n of tribals in 194 Babri Masjid, demolition of 159, Ardh Satya (1983) 313 235–7, 242, 244, 268; and Arendt, Hannah 407n violence over 229–30, 319; status Arif, Khadeeja 407n of 244 army, representation of 214; in Roja Bachchan, Amitabh 156, 245, 308, 224, 225–6 309, 310, 326, 327, 363, 366n; Arora, Poonam 399n and national imaginary 311; art cinema 1, 11, 67, 34, 75, 97, 173, screen persona of 300, 313 313, 343; critic/criticism 6, 163, Bachchan, Jaya 376 400; NFDC funding for 345; in Balayogini (Tamil, 1938) 203 1950s 99; and public discourse 8; Bandini (1963) 45n realism in 163; art tradition, in bandiri music 355, 356, 411 India 4, 164 Bandyopadhyaya, Samik 132n Arvindswamy 229 Bangsawan theatre 207 Arya, Sulabha 381 Barker, Adam 125n, 133n, 398n Asian video shops, in the UK 359 Barnouw, Eric 3n, 7n, 102n, 202n audience, for action serials 297; Barthes, Roland 82, 111, 121; and appeal 12, 104, 126; for art ‘hermeneutic code’ 86 cinema 75, 328; Bengali 169; Barua, Pramathesh 45, 51 cross-class nature of 74, 347–8; Baskaran, Theodore 209n diasporic 340, 380; disposi- Bassnet, Susan 220n tion 80, 82, 104, 374, 413; Basu, Tapan 144n, 319n Index 439 Baul folk performance/philosophy Balzac 19 322–3 The Blue Angel (German, 1931) 144 bazaar, culture 297; economy 296, ‘Bollywood’, category 301–2, 304, 300 328, 334, 339, 340, 346, 383, Bazin, Andre 168 392–7; Ashish Rajadhyaksha on Bazmi, Anees 393n 340, 341, 342, 343; diaspora Bend it Like Beckham (2002) 329 academic use of 348–50, 352, Bendre, Sonali 251 354; family film and 361, 387; Benegal, Shyam 1, 224, 345, 393n film industry’s use of 347–8; Bengal, art cinema in 74, 95; cinema and Hollywood 352, 360; in the in 8, 51, 52, 169; emergence of image-business spectrum 353–4, bourgeois melodrama in 52 multi-sited reception of 355–60; Benjamin, Walter 407, 408 and transnational film history Besant, Annie 40 351–2 Betaab, Narayan Prasad 36, 38 Bombay 35, 159, 203, 294, 300, bhakti 128 303, 315, 331, 349, 386; cityscape Bhandarkar, Madhur 393n of 309; cognitive map of 317; Bhargava, Rajeev 130n disturbances in 212, 230, 241, Bharucha, Rustam 216, 220n 319–20; ethnic narratives of 316, Bhasin, Kamala 152n 317, 318; squatters and pavement Bhaskar, Ira 317 dwellers in 295–6; theatre 35; Bhatia, Nandi 46n urban space of 159, 303, 309, Bhatt, Mahesh 320, 321, 345, 327, 312, 313–14, 315 378 Bombay (1995) 11, 212, 229–58, Bhatt, Vijay 153n, 154 264; communal violence in Bhatt, Vikram 328, 384 241–2; community and sexuality Bhattacharya, Aditya 327 in 245–51; debate on Muslim Bhattacharya, Sougata 299n aggression in 235, 241, 242; Bhatti group, in Lahore 209 decommunalization in 251–3; Bhaumik, Kaushik 205, 206, 296, Hindu aggression in 234–6, 243; 297, 359n, 398n, 405 inter-communal conflict/relation Bhoot (2003) 302, 387–9, 391; in 233–5, 237, 238; male self- depiction of female spirit in 388 sacrifice in 253–4; melodramatic Billimoria, M.B. 99n identification in 253–8; modern Birth of a Nation (1915) 58 identity in 231–3; Muslim identity Biswas, Chhabi 181 of heroine in 247–8; villainous Biswas, Moinak 8, 30n, 51, 52, Muslim characters in 240; 104n, 133n, 150, 156n, 197n, 363 narrative discontinuity in 230, Biswas, Seema 388 244, 245, 253, 258; nationalistic Black British Cultural studies 358, rhetoric in 255; plot synopsis of 359 229–30; public events in 234–45; Black Sunday (2007), censorship of public response to 244; romantic 345 Muslim social in 249 440 Index Bombay cinema 52, 56, 82, 99, Butalia, Pankaj 264 101, 106, 157, 205, 223, 240, Butler, Judith 370 304, 313, 317, 347, 387; English language use in 396; export- Calcutta Film Society 8n, 75, 76, oriented 337–9, 355; and film 105 industry 102, 206, 209, 355, Calhoun, Craig 412n 359; focus on family in 106; and camera movement 26, 51, 52, 115, Hollywood codes 56; Muslim 119, 329 villains in 157–8, 240; as national Capra, Frank 58, 59, 69, 133n cinema 101–2; social film genre in Carney, Raymond 60n 82; social and cultural history of caste 64, 135, 138, 203, 263, 265; 205, 384; success of 336; and anti-caste movement, in Tamilnadu ‘transitional societies’ 99; as trans- 262, 277; hierarchy 140; histories regional format and production 140; identity 14; imagination of centre 209; and transformation of 135; lower 140, 263; mobilization film economy 339–46; urban 319; system 214 thriller in 52; see also ‘Bollywood’ censor board/censorship 5, 230, 341, and Popular Cinema, Indian 344, 352; on Bombay 241, 243; on Bombay Hamara Shahr (1985) 312, The Final Solution 345; on Fire 313 346; by Hindu Right 245; Bombay Talkies Studio 51, 104; regulations 345 social films from 342 Ceylon/Sri Lanka, trade with Bordwell, David 26, 27n, 32, 88n 208 Bose, Kaberi 192 Chabria, Suresh 132n Bose, Subhas 285 Chadha, Gurinder 329, 337, 338 Brahman(ical) 139, 262; caste Chakravarthy, Venkatesh 221n control, films challenging 39; Chan, Jackie 408n category 139; identity 265; and Chandra, N. 157, 240, 313, 314, non-Brahmins 40, 49 315, 317 Brajbhasha 35 Chandragupta (1945) 145 Brando, Marlon 316 Chandralekha (1948) 203 Breman, Jan 325 Chandrashekhar, Indira 316n Bride and Prejudice (2004) 338 character, articulation 43, 403; British culture 328, 329, 359 attitudes 122; construction 43, British films 204, 296, 300, 329 45, 67; subjectivity and narration Brooks, Peter 18, 19, 41, 42, 51, 122, 402–3; iconization of 43; 82n, 88n, 94, 95n, 108, 111, 253n individuated characterization 56, Brosius, Christiane 355 109, 115, 135, 212; in popular/ Browne, Nick 62n melodramatic format 44; Buckland, Warren 23n subjectivity 83, 122 Buddha, legend of 5 Charulata (Bengali, 1964) 73, Burch, Noel 85n, 167 177, 183–91, 192, 195, 198; Burke, Peter 96n colonial modernity in 184; folk Index 441 performance in 189; reformist comedy/comic functions in cinema tradition in 184 33, 39, 43, 52, 55, 16, 192, 273, Chatterjee, Gayatri 366n 306, 329, 343, 371, 387, 404 Chatterjee, Partha 8n, 71, 128n, 183, communal violence/conflict 230, 263n, 305n, 341n 233–5, 237, 238, 245; see also Chatterjee, Sarat Chandra 115 Hindu community; Muslims Chatterjee, Soumitra 194 community: authority 123, 127; Chattopadhyaya, Bankimchandra identities and forms 70; and 160 solidarity 137; representation Chaudhury, Shoma 35n 141, 152, 233–4; and sexuality Chaudhuri, Sukanta 294n in Bombay 245–51; typology Chhalia (1960) 152–4 and popular cinema 131–6, chiaroscuro effects 52, 53, 88 141–5 Chiranjeevi 299 compact discs (CDs) 12; see also Chisty, K.R.S. 206 Video-CDs Cho, Eunsun 29, 30n Company (2002) 383 Chopra, Aditya 367 Confederation of Indian Industry Chopra, Vidhu Vinod 157, 316, 317 (CII) 3 Chopra, Yash 156n, 273n, 308, 309, Congress Party 277, 305; and secular- 310, 320, 365, 371n ism 263 Christian(s), attack on 378; Coolie (1982) 156, 307 characters in films 156, 327; Coomaraswamy, A.K. 164 repression of Hinduism 271 Cooper, Frederick 352 Chupke Chupke (1975) 327 Coppola, Francis Ford 60, 61, 63, CID (1956) 87, 88, 89, 150 316, 332 Cinematograph Act, 1952 7 copy culture 406–14 Cinemaya Media and K Sara Sara Corleone, Sonny 61 394 Corleone, Don Vito 60, 316 city: as material context for film costume films 12, 103 culture 12, 15, 15n; in 1950s crime films 52, 88, 150, 313 Hindi cinema 46, 52, 55, 56, 136, Creekmur, Corey 46n 150–1, 152, 158; in Satyajit Ray’s films 182, 191, 192, 195; in urban Dalit: critiques 138; politics 295; planning and under globalization subordination of 263 295, 296, 299; and body in Damle, V. 39, 49, 50, 129 post-1970 popular cinema 300–3, Dark Water (Japan, 2001) 389 364, 366, 374, 375, 379, 380, Darr (1994) 320 381, 387–91 darshan/darshanic 68, 91n, 114–15, colonial/colonialism, cinemas under 117–19, 124, 128, 129, 370, 298; modernity 184; national 370n, 376 and 201, 202 and post-colonial Das, Vasundhara 259 history 11; social reform under Das, Veena 128n 203 Das Gupta, Chidananda 8n, 67, 80, 442 Index 81, 94, 105, 106, 107, 108, 132n, Dil Chahta Hai (2001) 328, 377 179n, 244, 343 Dil Hai ke Manta Nahin 327 daastan tradition 35, 37 Dilip Kumar 45, 83, 246n Date, Keshavrao 143, 144 Dilwale Dulhania Le Jayange (1995) de Palma, Brian 63 337, 338, 340, 367–76, 378, 396; Deewar (1974) 308, 313, 316, 364, diaspora-themed cinema 369, 366, 400 373–4; stunt sequence in 371 Deleuze, Gilles 25n, 92n Dimendberg, Edward 353n democracy/democratic 75; and affect Disha 157 222n, and community 137n; and discontinuity 40n, 171, 230, 244, post-colonial theory 127, 128n; 245, 253, 258, 401 and viewership 197n, 340n, 341, Dissanayake, Wimal 105n, 207n 341n Do Bigha Zameen (1953) 6, 7 Desai, Jayant 145 documentary film 1, 312–13, 321–4, Desai, Manmohan 152, 156, 307 399 Desai, Manoj 374, 375 Don (1978) 327 Desser, David 387 Doraiswamy, Rashmi 240n Destry Rides Again (1939) 57 Dr Babasaheb Ambedkar (2000) 289 detective films 33 Dravida Kazhagam, in Tamilnadu Devdas (1935) 45n, 51 214, 262 Devdas (1955) 6, 115–17, 118, 204 Dravida Munnetra Kazhgam, in Devgan, Ajay 387 Tamilnadu 214; anti-Brahmanism Devi (1960) 177, 180, 181–3 stand of 209; anti-caste national- Devika Rani 297, 342 ism of 277; influence on Tamil devotional/bhakti tradition 118 cinema 123, 264 devotional/saint films 39–40, 103, dubbed films 203, 207, 213, 221, 128–9, 204 224, 408; Hollywood films and Dharamputra (1961) 320 33 Dharwadkar, Aparna 399n Dudrah, Rajunder 349, 350, 356, dialogue 12, 19, 165, 227, 231, 242, 357, 358, 359, 360 243, 270, 303, 374, 384, 400; Dupont, Veronique 294n delivery 157; and music 12, 36, Dutt, Guru 44n, 45, 47, 52, 70, 87, 44; writers 36 88, 97, 118, 121, 150, 232n, 363 diaspora/diasporic, community 348, Dutt, Sanjay 405 353, 355, 358, 378; film Dutta, Madhushree 319 culture 357, 376 Dutta, Pradip 144n Dickens, Charles 19 DVDs (Digital Video Disks) 15, 396 Die Hard 23, 24n Dwyer, Rachel 35n, 311n digital technology 2, 15, 212, 259, Dyer, Richard 101n, 326n 261, 277, 296, 398, 408, 409, 410, 411, 413; in Hey Ram 285 East is East (1999) 329 Dika, Vira 63n Eck, Diana L. 91n Dil (1990) 327 Eco, Umberto 244 Index 443 economic liberalization 299, 305, Federation of Indian Chambers 334 of Commerce and Industry Egyptian cinema, on Laila-Majnu plot (FICCI) 3 207 feminist scholarship 184 Ek Hasina Thi (2004) 302, 383–4, ‘feudal family romance’ 48, 108, 109, 389–91; melodrama in 391 182, 343, 366 Elaan (1948) 203 Film Enquiry Committee 1951 5, Elefthioritis, Dimitris 355n 7n, 344 Eleven Miles (1991) 322 Film Finance Corporation 7n Elsaesser, Thomas 18, 19, 23n, 57, film industry, Indian: analysis of 63n, 100n, 125, 133n, 398n audiences 103; communist ‘Emergency’ of 1975–7 300, 305, presence in 104n; contemporary 312; impact of 295 transformation of 334–7, 392–7; Engineer, Asghar Ali 258n in Bombay 205n, 297n, ethno- Eros International 397 graphy of 12; export market for 3, Euro-American cinema/theatre 13, 30, 68, 98, 206, 301, 304, 336, 100, 103, 109; melodrama in 339, 346, 396; finances for 2, 4, 17–21 12, 206, 224, 310, 395, 397; and exhibition, circuits of 32; film 5, intellectual property rights 300; 103, 126, 205, 296, 297, 358, Lahore in 209; reforms in 5, 7, 357–9, 374, 406, 409, 411, 414 344 film journals 67; Filmfare 6, 75; factory, film company 393 Filmindia 75; Indian Film family/familial, affiliation in melo- Quarterly 76; Indian Film Review drama 42, 393; and domestic 76; Screen 396, 404 sphere 9; dramas 95, 96; film Films Division 7, 312 genre 301; home as space of The Final Solution (2003) 345 victimhood 57; as narrative Fincher, David 278n locus 89; paternal authority and Firdausi 35 its displacement 46, 48, 51; ‘social’ Fire (1996) 346 films 343; social network and its First Blood 24n subordination 52; space, new Fleming, Victor 27n configuration of 51; ‘values’ 383 folk: culture 52; aristocratic paradigm Farocki, Harun 310n for 164; forms in India 35, 306; Farooqui, Mehmood 37 paintings of Krishna legend 80; fashion, forms of 2, 12, 100; photo- performance 189 graphy 12 Ford, John 57 father, multicultural 375–82; and Forrest Gump (1994) 284, 285 social order 366–7; symbolic Fouquet, Gerard 100n function of 367–75 FRAMES 4 Fattelal, S. 39, 49, 50, 129 Frankenburg, Ruth 62n ‘Fearless Nadia’ 296n., 297, 405n, The French Connection (1971) 331 408n Friedberg, Anne 353n 444 Index frontality 38, 45, 110–12, 118, 133, 328, 334, 339, 346, 352, 355, 402 362n Godard, J-L 73 Gaines, Jane 27n The Godfather (1972) 60, 61, 63, Ganashatru (1989) 97 316 Gandhi, Indira, declaration of The Godfather Part Two (1974) 61–2, ‘Emergency’ by 305 332 Gandhi, Mahatma 141, 259–61, Gomery, Douglas 299n 263, 265, 266, 269, 275, 276, Gone With the Wind 27n, 58 278; assassination of 262, 284, Goodfellas (1990) 331 286; ideology of 164; life story Goodness Gracious Me (TV comedy, of 5 1997–2000) 329, 337 Gandhi, Rajiv 214; assassination of Gopalakrishnan, Adoor 1 215, 222, 265n Gopalan, Lalitha 316n Gandhiok, Kawal 311 Gopinath, Gayatri 382n Gandreault, Andre 413n Govinda 44, 327, 405 Ganesan, Sivaji 316 gramophone 12 gangster movies 383 Gray, Hugh 168n Ganguli, Sunil 195 Grieveson, Lee 398n Ganti, Tejaswini 348n Griffith, D.W. 58 Gardish (1993) 240, 320 Grimsted, David 22n Garewal, Simi 194 Grossman, Andrew 382n Gazdar, Mushtaq 208, 209 Guha-Thakurta, Tapati 188n G.D. Khosla Report of 1969 344 Gujarat 137 Gelder, Sicco Van 372n Gulzar 318, 319 Gemini International 78, 203 Gunning, Tom 87, 100n, 126, 196n genre 3, 19, 23, 38, 57, 166, Gupt, Somnath 35n 383–97 Gupta, Dhruba 132n Gere, Richard 380 Gupta, Hemant 146 Ghai, Subhash 347, 348, 383n Gurata, Ahmet 355n Ghatak, Ritwik 1, 30, 156n, 283n, 306 Habermas, J. 412n Ghosh, Parto 157 Halstead, Narmala 355 Ghosh, Robi 309 Hansen, Kathryn 32–3, 35n, 36n, Ghulam (1998) 328 37, 38 Ghulam e Mustafa (1998) 157, Hansen, Miriam 31, 32, 33n, 125, 158–9, 160 126n, 353, 354n, 413, 414 Gillespie, Marie 355 Hansen, Thomas Blom 294n, 314n, Ginzburg, Carlo 96 358 Girni Kamgar Union, Bombay 359 Harper, Sue 101n Gledhill, Christine 17n, 19, 20, 22, Harvey, Sylvia 87 23, 24, 26, 32n, 96, 168n, 222n Hay, James 101n globalization 1, 11, 15, 299, 304, Hayward, Susan 101n Index 445 Heath, Stephen 83n 254–5, 257, 258, 272, 320; Hey Ram (1999) 161, 212, 259–89, society/hierarchy/family 127, 137, 403; characterization in 276, 277, 138, 140, 141, 146, 156, 157, 284–5; controversy over 260; 158, 159, 161, 203, 214, 247, digital modes in 262; and 250; tolerance and multi- Hindutva masculinity 269–71; culturalism 214, 253, 378, 379; and iconic history 266; melodrama visual culture 91n in 272–89, 275; modes of Hindustani 161n, 272, 274, 277, representation in 273; morphed 284–6 character in 284–5; narrative form historical film genre 72, 103, 135, of 260, 261, 268–9; plot synopsis 145–9 of 259–62; ritual identity in 275; Hoffman, Kay 398n storytelling in 269; sutradhar in Hollywood 5, 10, 302, 352, 387, 276; 3-D art and video-game 403; action serials 103; cinematic rendering in 284, 285; as form 31; ‘classical’ 25, 27, 133; unofficial history 266–8, 284, 286 and vernacular modernity 32, 56; Hill, Mike 62n continuity editing 100; and Hindu/Hinduism: authority/power genre 55, 56, 392, 404; hegemony of 138, 144, 145, 148, 149, 160, of 99, 354; melodrama in 17, 22, 249, 272; community 38, 40, 56–64; as model 6, 74; narrative 144, 145; Hindutva/Hindu construction in 56, 122; success of majoritarianism, Right, Political dubbed 33 Hinduism 137, 144, 149, 157, Hopper, Dennis 63 159, 160, 161, 229, 230, 234n., horror films 332, 389; of South East 236, 245, 246, 259–70, 275–6, and East Asia 387 278, 280, 287, 314–15, 319–21, Howarth, Alexander 63n 328, 332, 345; identity 102, 158, Hughes, Stephen P. 33, 40, 103, 161, 235, 252, 263, 266, 271; 129n, 296, 297, 351n, 356n, identity, gendered 112, 137n, 398n 160n, 161, 250, 267, 269; and Hum Aapke Hain Kaun (1994) 337, middle-class modernity 156, 157, 342, 396 160, 203, 216, 220, 229, 245, Humayun (1945) 146 247, 253, 257, 258; Muslim Hyun-Mok, Yu 29 relations and 137, 141, 149, 154, 156, 158, 209, 229, 231, 232, I Live in Behrampada (1993) 319 234, 235, 236, 238, 240, 242, icon/iconic/iconicity, aesthetics 243, 245, 246, 247, 251, 259, of 110–12; articulation 93, 136; 321; nationhood/nationalism/ of family space 232; figure 20, 67, nation-state 38, 138, 140, 144, 68, 69; history 266; mode 82; 154, 160n, 203, 213, 246, 253, reconstruction of 112–13, 115; 276; religion/religious culture 40, and tableau 96; transactions 114, 142, 149, 217; self-alienation 89–93 and critique of 236–7, 241, 245, iconography, of community 233–4 446 Index identity, conflicts 3; politics of Jhansi ki Rani (1953) 146 219–21; see also Hindu/Hinduism Jhoola (1941) 366 Ilayaraja 210 Jinnah, Direct Action call of 259 imaginary direct address 14, 43, 56, Jo Jeeta Wohi Sikandar 327 72, 402 Johar, Karan 358, 376, 378, 383 Imperial Studios 206 John, Mary E. 124n Indar Sabha (Parsi theatre play) 35, Joshi, Manohar Shyam 266 36 Joshi, Namrata 237n Indian Cinematic Committee, 1928 Joshi, Ruchir 322 132n Jukti Takko aar Gappo (Bengali) 306 Indian Peace Keeping Force (IPKF) Jurgensmeyer, Mark 140n 215 Indian People’s Theatre Association K Sara Sara, film company 393, 394 (IPTA) 52, 104n, 342 Kaarsholm, Preben 15n, 304n, 340n, intellectual property rights 2, 300 367n interior design 12, 347, 354 Kabhi Alvida Na Kehna 396 International Film Festival of 1952 Kabhi Kabhi (1976) 310 77 Kabhi Khushi Kabhi Gham 378, Irani, Ardeshir 206 396 Islamicate culture 205, 206 Kabir, Alamgir 208n Kajol 368 Jaffrelot, Christophe 319n Kal Ho Na Ho (2004) 337–8, Jaglom, Hank 63 375–82; diaspora family in Jagte Raho (1956) 150, 323 378–80; Hindu–Christian relation- Jaikumar, Priya 399n ship in 378–9; melodramatic Jain, Jyotindra 399n mode in 382; storytelling in Jain, Kajri 41 375 Jalal, Farida 369 Kali image 182 Jameson, Fredric 61n, 62 Kalia, Ravi 294n Jana Aranya (Bengali, 1975) 191, Kalidasa 4 192, 195, 309 Kamalahasan 14, 161, 259, 260, Jaane Bhi Do Yaaron (1983) 310 261–2, 271–2, 276, 279, 285, Jancso, Miklos 194n 286, 287, 316 janeu (sacred thread) 264 Kangan (1939) 366 Japan, film audience, and demand for Kanwar, Amar 321, 322 Tamil films 350 Kapoor, Boney 393n Jari Mari—of Cloth and Other Stories Kapoor, Prithviraj 53, 206 (2001) 324, 326 Kapoor, Raj 42n, 44, 45, 53, 54, 71, jatra 189 88, 90, 104n, 136, 150, 151–7, Jayamanne, Laleen 100n 342, 363 Jehangir (Mughal emperor) 146, 148 Kapoor, Rishi 156, 311 Jha, Bhagishwar 206n Kapur, Anuradha 37, 38, 161n, 234, Jha, Subhash K. 394n 268n Index 447 Kapur, Geeta 81n, 82n, 110, 111n, Krishen, Pradip 109n 133n, 141n, 164, 170, 177, 183n, Krishna Studios 206 188n, 198n, 307n, 368n Krishnan, L. 207 Kapurush (Bengali, 1965) 191 Krishnaswamy, S. 3n, 7n, 102n, Kashmir, as favoured location for 202n Bombay films 223; and Tamilnadu Kshatriya category 139 in Roja 213–19, 223; separatism Kuch Kuch Hota Hai (1998) 358 257 Kukunoor, Nagesh 393n Kashyap, Anurag 345 Kumar, Ashok 342 Kathavachak, Radheshyam 36 Kumar, Indra 327 Kaul, Mani 1 Kumar, Kishore 44, 404 Kaur, Raminder 325n, 349n, 350n, Kumar, Mehul 157 351n, 352, 353n, 355n, 356n, Kumar, Uttam 52 357, 360, 382n, 405n Kumari, Meena 45, 246n Kaviraj, Sudipta 128n, 137, 180 Kumar, Rakesh 2n, 335n Khan, Aamir 325–9, 384 Kung-fu film 351 Khan, Mansoor 327 Kunku (1937) 144–5, 203, 204 Khan, Mehboob 45n, 83, 112, 113, Kurosawa, Akira 73 122, 145n, 146, 156n, 203, 274, 307, 363 Lagaan (2001) 328 Khan, Saif Ali 377, 381, 389 Lagoo, Rima 377 Khan, Salim 364 Lahore, films from 206, 208; and Khan, Shah Rukh 259, 301, 346–9, Bombay industry 209 36, 368, 369, 371, 366n, 375–82, Laila Majnu (Parsi theatre play) 392, 409 36 Khanna, Ankur 395n Laila-Majnu romantic narratives 205, Khanna, Vinod 156 206, 207, 352 Kher, Anupam 369 Lalit Kala Akademi 4n Khosla, Raj 87, 150 Lall, Bhuvan 336n, 338n, 345n King, John 100n Larkin, Brian 351n, 355, 356 King, Noel 63n lavani (dance) 35 Kirby, Lynn 354n Laawaris (1981) 327 kirtan 68 Leftwich, Adrian 128n kissing, prohibition on 109, 344 Lenseye (film critic) 249n Klineberg, Eric 62n Lent, John A. 99n Kluge, Alexander 414 Leslie, Julia 112n Kocela, Christopher 62n Letter from an Unknown Woman Kohli, Kuku 221 24 Koirala, Manisha 251 Liang, Lawrence 335n, 408n Kotcheff, Ted 24n Light of Asia 349 Kramer, Peter 398n location shooting 12, 52, 78, 314, Krantiveer (1991) 157, 159 339, 360 Krings, Mathias 356n Lopez, Ana M. 100n 448 Index Loy, Shankar, Ehsaan 380n McTiernan, John 23 LTTE 265n Meet John Doe (1941) 58 Mehra, Prakash 307, 308 Maachis (1994) 318, 320, 321 Mehrabi, Massoud 206n Madan, J.F. 36 Mehta, Deepa 1, 346 Madhoo 220, 227 Meiyappan, A.V. 209 Madhubala 246n melodrama/melodramatic: of action ‘Madras Presidency’, cinema 203, 207 22; alterity 62, 311; and American see also Tamil films film trade 9, 21, 21n; and anti- Mahabharata 38 rationalist ethos 105; and Asian Mahanagar (Bengali, 1963) 191 Cinema 9; bourgeois forms of 8; Mahapurush (Bengali, 1965) 185 and Brechtian strategy 17; and Maheshwari, Uma 204n classical cinema 9, 26, 27; Majumdar, Neepa 70, 71 character in 225, 261; coincidence Malayalam films 203 in 95n, 99; and the contemporary Malaysia, film industry in 207; trade 293, 362; conventional meanings with 208 of 16; in Euro-American cultural Malcolm, Derek 346 history 9, 17; and digital culture Malkmus, Lisbeth 99n 212, 277–87; family and 9, 19, mall-multiplex 14, 300, 345, 406 25, 30, 201, 210, 301; and female The Man Who Shot Liberty Valance audiences 17; and feminist film (1962) 57 theory 20; and genre 302; and Mandal Commission 255, 315, 319 genres of affect 9, 17, 25, 95; and Mani, Lata 203n Hollywood 17, 31, 32; identi- Manichaean thrillers 9, 99, 261 fication 253; and Indian theatre Mann, Anthony 57 studies 35; and interiority 45–6; Manto, Saadat Hasan 154 modality 24, 57, 58; modified Manovich, Lev 278n 21, 22; and modernity 72, 105, Marshall, Garry 380 274; monumental 56; multi-sited Marshall, George 57 approach to 17, 404; of passion masnavi literature 35, 205 22; performative features of 20, Masselos, Jim 294n 311, 382, 403; politics of 109, Mastan, Haji 316 210–12, 261, 275, 404; popular Masud, Iqbal 249 forms of 8, 52; and popular Indian Mathen, John Mathew 328 cinema 14, 39, 43, 44, 402, 405; Matondkar, Urmila 384, 385, 387, and post-colonial theory 28–30; 389 publicness 8, 10, 16, 43, 56, 59, Mazumdar, Ranjani 3n, 15n, 316n, 64, 72, 155, 211, 212, 276, 277, 317, 354, 366n, 371n 277, 399, 402, 403; and the public McCabe, Colin 167n, 268n and private 10, 17, 25, 26, 42, 58, McHugh, Kathleen 30n, 353n 392, 402; and psychoanalytical McMahan, Alison 284n semiotics 17, and realism 14, 18, McNeill, Jean 92n 20, 28, 67, 75, 94, 95, 309, 382; Index 449 sensational 24, 25; and time 18, Mudaliar, Varadarajan 316 24, 25, 57, 150, 275, 366; and Mukherjee, Debashree 396n style 19; and thriller and serial Mukherjee, Hrishikesh 381 action films 9, 21, 405; and Mukherjee, Madhabi 191 victimhood 23, 29, 254–5, 274, Mukherjee, Rani 259, 267, 302 312; and woman’s film 20, 25 Mukerji, Gyan 366 Menon, Nivedita 127n Mukti (1937) 45n, 51 Menon, Ritu 152n multi-sited histories 346–61 Menon, Sadanand 249n, 257 Mulvey, Laura 132, 133n, 222n Metz, Christian 132, 134, 136 Muqaddar ka Sikandar (1978) 308 Meyer, Birgit 40n, 129n, 351n, 356n music(al) 12, 356, 396; dialogue MGR 255; see also Ramachandran, mixed with 36; hybrid and ‘ethnic’ M.G. forms of 2; performative cinema ‘middle’/middle-class cinema 93, 210, 206, 342, 404; sequence and 298, 305, 378 melodrama 43 Mirza, Aziz 157 Muslim: character in Bombay films Mirza, Saeed Akhtar 318, 319 158, 234, 320, 400; community, Mishra, Sudhir 345 cultural stereotypes of 240, 253; Mishra, Vijay 348n –Hindu relations 137, 158–60, Mitra, Shambhu 150, 323 229–30, 267, 320–1; identity Mitter, Partha 188n 247–8; ‘lobby’ on Bombay 241, modernity 28, 29, 31, 42, 141, 232, 243; ‘Muslim socials’ 203; see also 274; anti-modernist stance 40; Bombay aesthetics of 51; discourse of 67; Muthu (Tamil film) 409 ideology of 107; imaginary 228; My Son the Fanatic (1997) 329 middle-class 225; in Satyajit Ray’s mythological films 38, 80–1, 132, work 163–4 204, 205, 297; domination of Modi, Sohrab 36, 72, 146, 147 103; of 1910s 40 Mohammed, Khalid 249 Mohan, Dinesh 255n Nagraj, D.R. 138n Mohan Joshi Haazir Ho (1983) 318 Naicker, E.V. Ramaswamy (‘Periyar’) Monihara (Bengali, 1961) 185 262, 263 Monroe, Marliyn 82 Naik, Ashit 376 Monsoon Wedding 338 Nair, Janaki 124n, 294n moral occult 18 Nair, Mira 1, 157, 337, 338 mother as centre of narrative 90, 92, Najma (1946) 203 363–6; and community authority Nakata, Hideo 389 363; iconic presence of 51, 90, 91 Namak Haram (1973) 381 Mother India (1957) 112, 113, 115, Nandy, Ashis 67, 86n, 93n, 107, 274, 307 109, 130 Motilal 323 Nargis 45, 71, 83, 84; in Mother Motilal Chemical Company, Bombay India 363–4 206 ‘narrational songs’ 43 450 Index narrative: causality 7, 22, 26, 27, 37, Nihalani, Govind 224, 313, 318 196, 226, 243; community 69, Niranjana, Tejaswini 138n, 216, 119, 121, 123, 277; form in 222n, 224, 265n, 368n contemporary epoch 362–97; Nur Jehan, Mughal empress 146, 148 heterogeneous dimensions of 39; Nutan 45, 97, 153 ideological function of 400; and performance 10, 352; reform 343; O’Donnell, Damien 329 space 48, 53; structure 401 O’Hanlon, Rosalind 140n Naseem (1995) 319 O’Hara, Scarlett 27n nation-state 1, 14, 28, 62, 106, Ophuls, Max 24 155–6, 198, 201, 202; in Orbison, Roy 380n Roja 217, 219, 222, 223, 227; Orsini, Francesca 36n formation of 208, 209, 210, 211, Osten, Franz 203, 349, 366 212–22; see also Hindutva/Political Hinduism Pacino, Al 316 national culture/identity 20, 64, 101, Padmanabhan, Chitra 235n, 237n 102, 163, 340, 342, 348 Painted Face, The 105 National Film Development Corpo- Pakistan cinema 209 ration 224; funding for art Palekar, Amol 157, 311 cinema 345 pan-Indian market 202–5 nationalism: Indian 31, 201, 202, Panchatantra tales 5 225, 318, 320, 347; Tamil 264, Pancholi, Dalsukh M. 206, 209 277; ethnic 300; Pandey, Anil 412n cultural 304n 347; see also Hindu Pandey, Gyanendra 160n, 240n, nationalism, Hindutva 268n natyamantwantar group, in theatre Pandian, M.S.S. 123n, 209n, 221n, 144 264n nautanki 35 parallel cinema 225, 318, 329 Navketan, film company 342 Paranjpaye, Sai 157 Nayak (Bengali, 1967) 195 Parash Pathar (Bengali, 1958) Nayakan (1987) 316, 317 185 Nayar, Shashilal 157, 240 Parashar, Archana 127n Naxalite movement 307 Pardes (1997) 337, 368, 374, 380 Neale, Steve 21, 22, 23, 24n, 25 Parinda (1989) 157, 316, 317 Nehru, Jawaharlal 104n, 307 Parineeta (1955) 6 Nek Parveen (1948) 203 Parsi theatre 35, 36, 37, 38, 207 New Deal, USA 59 Parthasarathy, M.A. 6n, 78, 79 New Theatres, Bengal 104, 206 Partition, of India 71, 208, 259, 260, Nexica, Irene J. 62n 306; and rehabilitation of women newsreel, Indian 399 152–4; in Ritwik Ghatak’s Nichols, Bill 326n films 30 Nigam, Aditya 305n Patekar, Nana 71, 136, 157–62, Nigeria, film culture in 411 249n, 317, 327; dialogue delivery Index 451 by 157; screen persona of 157, Pines, Jim 98n, 307n 161–2; and Shiv Sena 157, 158 Pinney, Christopher 35n, 131n Patel, Jabbar 288 political theory, film and 11 Patel, Sujata 294n popular culture 96n, 46n, 399n; and Pather Panchali (Bengali, 1955) 6, 8, globalization 352, 408 76, 78, 168–73, 181, 188, 307 popular cinema/film, Indian: critical pathos and action 7, 19, 23, 27, 174, discourses on 75–81; and dastaan 254, 274, 287, 369, 389 tradition 37; disaggregated form Patwardhan, Anand 312, 313, 319, of 39, 44; genres 103–4; and 345 globalization 3; heterogeneous Pavarala, Vinod 312n form of 34–5, 38–40, 43–4, 375, Payer, Cheryl 2n, 334n 402, 405; Hindu–Muslim relations Paying Guest 405 in 236, 240, 246; imaginary direct Pearson, Roberta 45n address in 137–41, 142–5, 146–8; Peet, Richard 2n mixed codes in 82–8, 90–3, Pendakur, M. 99n 110–22; new genre cinema of performance/performative: bodies 383–97; politics of 95–6, 125–9; 303, 304, 311; cinephiliac 329; and popular print culture 41; codes and conventions 10, 45, post-1970s transformation of 303, 419; culture/traditions 10, 306–17, 320–1; public forms of 18, 27, 35, 37, 38, 205, 251, address of 43; Satyajit Ray on 34; 315n, 352, 355, 402; elements/ the street in 88–9; and tradition- resources/repertoire 37, 69, 151, modernity debates 67, 106–9; and 251, 273, 303, 401; female 249; urban theatre 35–6; territorial group 326; folk 322, 323; networks of (Hindi-Urdu) 205–9 identity 300; live 337, 359; male (Tamil) 209–10; see also Bombay 325; melodramatic 261; minor cinema, Bollywood, film industry, characters and 250; modes of 109, exhibition, icon, tableau 111, 126, 144, 157, 159, 160, Prabhat Talkies 104 161, 189, 194, 196, 274, 341; Prahaar (1994) 157, 159 musical cinema 261, 276; Prakash, Gyan 294, 295 naturalist 276; personality 382; Pran 153 phallic 327; style 369, 376, 392; Prasad, Bhagwati 407n sequence 10, 31; urban 200 Prasad, Madhava 7n, 44, 48, 49n, 54, performativity 135, 136, 151, 152, 67, 107, 108, 109, 114n, 123, 162, 189, 225, 250, 251, 261, 167n, 207, 209, 210n, 249n, 272, 276, 277, 327, 337, 362, 261n, 305, 306, 343, 344, 370n, 367, 369, 371, 381, 382, 384 400, 404n Phalke, D.G. 40, 297, 342; and early Prasad, Udayan 329 Indian cinema 137–41; and Tilak Pratidwandi (Bengali, 1970) 192 138 pre-cinema histories 34–8 Phool aur Kante (1992) 221 Prem Sanyas (1925) 349 photojournalism 12, 353 Premchand 4 452 Index Prisoners of Conscience (1978) 312 Pukar (1939) 72, 146–8 Pritish Nandy Communications 345, Puwar, Nirmal 358, 359 393n, 396 Pyaasa (1957) 44n, 45, 47, 70, 97, Priya Village Roadshow 394 118–21 Priyadarshan 240, 320, 393n public: arts 74; Bengali 165; Qayamat se Qayamat Tak (1988) 327 brahmanic 51; diegetic 41, 44, 45, 46, 70, 129, 146, 155, 159; Raakh (1988) 327 164; elite 64, 134, 315; imperfect Raat (1991) 332 168n; illegal 364n, 371n; and race melodramas 58 interior 46; modernist 14, 163; Rafelson, Bob 63 monitoring/regulation/gaze and Raghavan, Sriram 302, 389 sexuality 109, 126, 249, 250; Rahman, A.R. 210 nationalist 141; popular 164; and Rai, Alok 160n private 10, 14, 15, 17, 18, 25, 26, Rai, Amit 356 43, 58, 122, 127, 211, 248, 250, Rai, Himanshu 349 266, 277, 392, 392, 402, 403; railway strike, 1974 304 space 31, 117, 249, 303 Raja Hindustani 327 public-cinematic form/public-fictional Rajadhyaksha, Ashish 30n, 36n, 81n, form/public form of address/ 110, 121, 132n, 133n, 164n, publicness of cinematic mode of 197n, 204n, 206n, 304n, 307n, address 10, 13, 14, 56, 57, 59, 64, 315n, 340–1, 342, 343, 346, 360, 70, 72, 73, 131, 211, 261, 293, 367n, 368n, 383, 393 301, 397, 398 Rajagopalachari, C. 265 public, cinema/film 11, 12: and Rajhans, B.S. 206 Bollywood 72; after copy culture Rajnikant 350, 409 406–12; contemporary 145; and Raju Ban Gaya Gentleman (1998) genre 288, 298, 299, and 157 stars 70–1 Rakhee 310 public domain 48, 61 Ram ke Naam (1992) 319 public-family form 42, 48, 51, 52, Ramachandran, M.G. (MGR) 106; 210 see also MGR public-symbolic authority 48, 49, Rambo films 24n 210 Ramayana 155 public sphere 24, 69, 204, 298, 402, Rangeela (1995) 328, 383–7, 389 412–14; imaginary 244; industrial Rao, D. Bhaskara 204n commercial 413 Rao, N.T. Rama 106 publicness: mass 7, 134–5, 399; Rashtriya Swayamsevak Sangh (RSS) melodramatic 8, 14, 16, 25, 28n, 260 43, 44, 45, 46, 49, 52, 55, 56, 64, Rathnam, Mani 11, 14, 137n, 201, 70, 72, 211, 228, 392, 398; of 210, 211, 218, 220, 222, 229, character 44, 212; imaginary 135; 264, 315n, 316, 400n, 403; see also public-cinematic form melodramas of 404; politicized Index 453 melodrama in 212; symbolic and culture/Tamilness in 221–3; Tamil territorial itinerary of 213–28 locales in 223–4; use of English Ratnavibhushana, Ashley 207n in 219–20 Ray, R.M. 5n, 79n Ross, Kristin 354n Ray, Satyajit 1, 5, 6, 7, 67, 73, 82, Roud, Richard 59n 97, 105, 156n, 307, 309, 342, Roy, Bimal 6, 7, 45n, 97, 104n, 115, 351n; Apu trilogy of 14, 169, 181; 116, 153n, 342 camera deployment 185; category Roy, Nirupa 364, 365 of genre in 165; character-focused Roy, Rahul 325, 326 narration in 172; on contemporary subjects 191–7; lighting strategy Saaransh 321 of 196; modernism in 163, Sahara India Ltd 395n 168–81; narratives in films of Sahara Manoranjan 345, 393 195–6; naturalism in 168–70; Sahib Bibi aur Ghulam (1963) 45n political perspective of 181; Sahitya Akademi 4n popular genres in 185, 189, 190; Sahni, Jaideep 395n on popular Indian cinema 34; Saigal, K.L. 206 realism in 166; unfinished agenda Salaam Bombay (1988) 157 of history in 181–3; village life in Salim Langde Pe Mat Ro (1989) 318 work of 190; women characters in Samarth, Shobhana 153n, 154 films of 190–1 Sangari, Kumkum 119n, 184n, 217 Ray, Sukumar 188n Sangeet Natak Akademi 4n realism, classical 166, 167, 300; Sangh Parivar 266 discourse of 67; melodrama and Sant Dnyaneshwar (1940) 49, 50 18, 28–31, 69, 94–5, 163; realistic Sant Tukaram (1937) 39–40, 41, 49, cinema 74, 79, 225, 226, 268; 50, 129, 405 anti-realism 67 Santoshi, Raj Kumar 327 regional film history 69 Sarfarosh (1999) 328 regional markets 101–2 Sarkar, Bhaskar 30n Rehman 154 Sarkar, Kobita 67, 76, 77, 78, 79, 81, Rehman, Waheeda 45 83, 86, 94 Renoir 100n Sarkar, Tanika 144n, 160n, 184n, Ritz Cinema, UK 358–9 204n R.K. banner 82 Sarkar, Sumit 144n Road (2002) 302, 394 satellite premieres, of films 396 Roja (Tamil, Hindi, 1992) 203, 212, Satya (1998) 329–33, 383 213–28, 255–7, 264, 403; Savarkar, Veer 160 Kashmir and Tamil Nadu in Sawant, Vishram 383 213–19; narrative form of 227; Schwarz, Hans Peter 278n politics of identity in 219–21; script-writers 104 recalibration of popular form in Season Outside, A (1998) 321, 322 224–8; structural features of secularism 130, 135, 146, 152, 225, 227; success of 220; Tamil 263 454 Index Seemabadha (Bengali, 1971) 192, Shukla, Jhanak 376 195 Sikh militant movements 318, 321 Selbourne, David 295n, 305n silent cinema 205 Self-Respect movement 214 Silverman, Kaja 92n Sen, Mrinal 1, 224 Simpson, O.J., trial of 58 Sen, Suchitra 52 Singer, Ben 21, 55, 354n, 405n Seponta, Abdul Hossein 206, 207 Singh, Bhrigupati 296, 299n Seth, Sushma 376 Singh, Dara 377 Sethi, Sunil 238n Singh, Tavleen 238n sexuality, in cinema 40, 122, 344–5; Singh, V.P. 315 community and, in Bombay Singha, Radhika 208n 245–51 Sinha, Ajay 349n, 350n, 351n, 352, Shafik, Viola 207 353n, 355n, 356n, 360, 382n, Shah, Chandulal 203 405n Shah, Kundan 309, 310 Sinha, Mala 232n Shah, Naseeruddin 278 Sinhala films 207; see also Ceylon/Sri Shah, Satish 370 Lanka Shahanama 35 Sirk, Douglas 9, 23 Shahani, Kumar 1, 311, 312 Sircar, B.N. 206 Shakespeare, adaptation of 36 Sivathamby, Karthigesu 341n Shantaram, V. 141, 143, 144, 203 Smoodin, Eric 59 Sharabi (1984) 327 Mr Smith Goes to Washington (1939) Sharan, Awadhendra 305n, 335n 58, 59 Sharma, Biren Das 132n social film genre 51, 82, 103–4, Sharma, Rakesh 345 141–5; cultural politics of 95–7; Sharma, Surabhi 324 forms of 13–14; of 1950s 96; Shaw, Jeffrey 278n post-Independence 51; realism Shejari (1940) 141–4 and 52; reform-oriented 106, Sheldon, Sydney 391 202–5, 297; relationship with Shireen Farhad (Parsi theatre play) 36, individual 72; typage in 13; 207 victimhood and injustice in 51 Shireen-Farhad romantic narratives song/dance sequences, in films 43, 205, 352 45, 67, 111, 123, 124, 126, 210, Shiv Sena 157, 159, 314, 295, 315, 403 316, 332; on Bombay 236, 245 Sopranos, The 62 Shiva (1989) 383 soundtrack 10, 46, 119, 142 Shivaji 146 South Korea, ‘golden age’ melodrama Shorey, Roop K. 206, 209 of 9 Shree 420 (1956) 44, 150, 152, 155 spectator(ship) 13, 118, 174; in Shree Krishna Janma (1918) 40, American cinema 87; cognitive 138–40 theory model of 32; and commu- Shroff, Jackie 384 nity 14; dominant 107; framing Shudra category 139 of 13; imaginary identity of 75; Index 455 and narrative process 131; 69, 82; time and subjectivity pre-rationalist 106; –screen 118–25 relationship 70, 133, 136; Tagore, Rabindranath 4, 164, 184 subjectivity 85, 86, 125–9; Tagore, Sharmila 181, 191, 192, 195 see also audience tamasha 35 speech 10, 16, 123, 134, 136, 325, Tamil film 14, 207, 265, 392; 402, 403, 413; forms of 109; in demand for, in Japan 350; melodrama 43, 44 dubbed 203; of 1930s and 1940s Sri Lanka, Tamil separatism in 103; industry 201, 208, 209, 264; 214–15, 255 intervention in Hindi market 201; Srinivas, S.V. 296, 298, 299n, 408 success of 336; traditions 210 Sriram, P.C. 316 Tamil: identity 201, 210, 214, Staiger, Janet 26 221–3, 264–5; anti-Hindi star/stardom, discourse and systems of movement 214, 264; and Kashmir typage 151; Hollywood model of in Roja 213–19; nationalism 14, 70; icon 301; information about 277; politics 316 71; image 135, 408–9; perform- Taneja, Anand Vivek 296, 297n, ativity 136, 261, 272, 308–9, 335n, 345n, 408n 310–11, 316, 326–8, 369–71, Tangella, Madhavi 410n 375–6, 379–82; screen personality Tarang (1984) 311 70; -politicians in South India 1; Tarlo, Emma 294n stellar bodies 150–62; as sutradhar tawaif, performance culture of 205 301; system 33 Taxi Driver (1954) 87 Stein, Elliot 59n Telugu films 203 Stewart, James 57 Tezaab (1988) 240, 313, 315 storytelling, in popular cinema 18, territorial imagination, and cinema 80, 131, 197, 260, 403 15, 199, 210, 211, 293 Stowe, Harriet Beecher 27n Thackeray, Bal 241, 245, 246 street: ballads 18; scenes, of 1940s Tharani, Thotta 316 and 1950s Indian cinema 94 ‘third cinema’ 81, 98 Stray Bullet, The (Korean) 29–30 third look, codes of 133 studios, Indian 78, 163; crisis of 51 third world, domestic commercial stunt films 93, 103, 204, 205, 405 cinema in 98 Subrahmanyam, K. 203 Thodasa Rumani Ho Jaye (1990) Sujata (1959) 97 157 Sundaram, Ravi 2n, 335n Thomas, Rosie 86n, 296, 297, 351n, ‘Swadeshi’ cinema 342 366n, 405, 408n Syal, Meera 329, 337 Thompson, Kristin 26, 83n Thorner, Alice 294n tableau: form 68, 69, 82, 84, 85, 93, Tilak, Bal Gangadhar 40; Kesari of 96, 100, 111, 138, 226, 286; 138 frame 93, 111–12; frontality tradition(al) 7, 32, 42, 68, 80, 81, and 110; mode of representation 205, 304, 338, 363, 374, 399, 456 Index 413; ideology of 110; identity Varma, Ram Gopal 302, 328, 329, 201, 337; modernity and 67, 72, 332, 363, 383, 386, 389, 393, 93, 232, 275, 301; neo- 265; 394, 395; and Factory 395; patriarchal 371; social norms 355; Productions 394 society 233, 274 varnashrama dharma 138–9 transcendence, notion of 132; Varadarajan, Siddhartha 138n through figure of Vishnu 140; Vasan, S.S. 79, 209 tolerance and 130–1 Vasudevan, Ravi 40n, 45n, 52n, 75n, ‘transitional’ cinema 68, 98; societies 86n, 88n, 89n, 91n, 93n, 95n, 100 96n, 102n, 109n, 121n, 122n, transnational, film circulation 351; 123n, 124n, 129n, 136n, 168n, vernaculars 33 169n, 209n, 225n, 308n, 309n, tribals, representation in Satyajit Ray’s 340n, 364n, 366n, 371n films 194 Vaudeville 125 Trishul (1978) 309, 310 Vidal, Denis 294n Trivedi, Harish 220n video CDs 14, 396, 406, 411; game narrative formats 212, 262 Uberoi, Patricia 3n, 45n, 122n Vidushak 124 United Kingdom 3; Indian films in Vietnam war 63 337, 348 Vijaykar, Rajiv 380n United States (USA) 3; diasporic Vinayak, Master 404 locations of 348; production Vincendeau, Ginette 100n, 101n code in 5 violence, in films 300, 303, 312, 321; untouchable category 203; in diagnosis of source of 318–21; Shree Krishna Janma see also Bombay 139 Virillio, Paul 60n, 354n universal and national, deconstructing visual: authority 121; forms 12, 68, the 31–4 100, 115, 226, 356; culture 93, urban, imagination 293–6; landscape, 183, 297; discourse of 121, 131; changes in 313, 334–5; planning, and lyric practices 67–8; repre- and reconstruction 12; spatial sentation 75 practice 12; theatre 36; see also Vohra, Neeraj 393n city Von Sternberg 144 Urdu genres, modern 205; Hindi 208–9; playwriting 35, Wadia 36, 297 36n; protest song 46 War and Peace, censorship of 345 UTV, film and television production Watve, Bapu 342n company 396 West Bengal, Left Front government in 322 Vaishnavite tradition 140, 204 When Four Friends Meet (2000) Vaishya category 139 325–6 van der Heide, William 207 white: American identity 60; Anglo- Varadpande, M.L. 124n Saxon norm 126; race ideology 63 Index 457 Why We Fight 60 Written on the Wind 23 Willemen, Paul 98n, 201, 206n, 307n, 315n Yoshimoto, Matsushiro 28, 29, 105n Williams, Linda 9, 20n, 21n, 25, Yumnam, Ranjan 412n 26, 27n 28n, 32n, 58, 168n, Yusuf, S.M. 203 391n women: as film subject 9, 96, 181, Zakhm (1999) 320, 321; censorship 203–4, 383; woman’s film as genre of 345 17n, 20–2, 22n, 57; point of Zanjeer (1973) 307 view and 112–19, 122; and Zelig (1990) 284, 285 family melodrama 25 Zemeckis, Robert 284 Wood, Michael 22 Zinta, Preity 376 World Bank 2 Zohn, H. 407n Wray, Matt 62 Zutshi, Somnath 138n