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Bollywood and Postmodernism Popular Indian Cinema in the 21St Century
Bollywood and Postmodernism Popular Indian Cinema in the 21st Century Neelam Sidhar Wright For my parents, Kiran and Sharda In memory of Rameshwar Dutt Sidhar © Neelam Sidhar Wright, 2015 Edinburgh University Press Ltd The Tun – Holyrood Road 12 (2f) Jackson’s Entry Edinburgh EH8 8PJ www.euppublishing.com Typeset in 11/13 Monotype Ehrhardt by Servis Filmsetting Ltd, Stockport, Cheshire, and printed and bound in Great Britain by CPI Group (UK) Ltd, Croydon CR0 4YY A CIP record for this book is available from the British Library ISBN 978 0 7486 9634 5 (hardback) ISBN 978 0 7486 9635 2 (webready PDF) ISBN 978 1 4744 0356 6 (epub) The right of Neelam Sidhar Wright to be identified as author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 and the Copyright and Related Rights Regulations 2003 (SI No. 2498). Contents Acknowledgements vi List of Figures vii List of Abbreviations of Film Titles viii 1 Introduction: The Bollywood Eclipse 1 2 Anti-Bollywood: Traditional Modes of Studying Indian Cinema 21 3 Pedagogic Practices and Newer Approaches to Contemporary Bollywood Cinema 46 4 Postmodernism and India 63 5 Postmodern Bollywood 79 6 Indian Cinema: A History of Repetition 128 7 Contemporary Bollywood Remakes 148 8 Conclusion: A Bollywood Renaissance? 190 Bibliography 201 List of Additional Reading 213 Appendix: Popular Indian Film Remakes 215 Filmography 220 Index 225 Acknowledgements I am grateful to the following people for all their support, guidance, feedback and encouragement throughout the course of researching and writing this book: Richard Murphy, Thomas Austin, Andy Medhurst, Sue Thornham, Shohini Chaudhuri, Margaret Reynolds, Steve Jones, Sharif Mowlabocus, the D.Phil.
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Sarkar Raj – a Product of Our Times Where Business Controls Politics Sarkar Raj – a Product of Our Times Where Business Controls Politics
Sarkar Raj – a product of our times where Business controls Politics Sarkar Raj – a product of our times where Business controls Politics A Review by Joya John The movie Sarkar Raj belongs to a genre of Bollywood films that have repeatedly shown the nexus between the mafia and governments. The audience is reminded time and time again that politics and governments are not in the hands of visionaries and incorruptible leaders. This is essentially a politics of the crooks with ideals and the crooks with no ideals. The central question that needs to be asked of the film Sarkar Raj is why should the audience/spectator identify with the father- son duo of the film played by Amitabh Bacchan(Sarkar) and Abhishek Bacchan(Shankar)? The film works through certain tropes that are typical of the genre of mafia movies. An old guard, epitomized in Amitabh Bacchan or Sarkar, makes way for a new leadership—Abhishek Bacchan or Shankar. Shankar becomes involved in a multi-crore- power project-, which we are told, repeatedly, will benefit the people of Maharashtra. The words, “badlav”,“development”, and “public good” achieve an incantatory quality when reiterated by the tough talking glib Shankar. Not surprisingly this project encounters a contradiction that we are now only too familiar with, post nandigram- people versus development. The construction of the power project will displace 40,000 villagers. Shankar travels extensively to convince villagers of the necessity of this project. We never hear these arguments because of a deafening background score that reinforces the aura of the leader Shankar. All we are given are a series of homilies on “welfare”, exchanged between Amitabh Bacchan and Aishwarya Rai.
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Chapter 3 Postmodernism and Contemporary Indian Cinema…………………………59
A University of Sussex DPhil thesis Available online via Sussex Research Online: http://eprints.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details BOLLYWOOD : THE POSTMODERN AESTHETICS, SCHOLARLY APPEAL, AND REMAKING OF CONTEMPORARY POPULAR INDIAN CINEMA Neelam Sidhar Wright PhD thesis submitted to the University of Sussex September 2009 1 I hereby declare that this thesis has not been and will not be, submitted in whole or in part to another University for the award of any other degree. Signature…………………………………………………………………………………. 2 Acknowledgements I am grateful to the following people for all their support, guidance, feedback and encouragement throughout the course of my DPhil: Professor Richard Murphy, Dr. Thomas Austin, Andy Medhurst, Professor Sue Thornham, Dr Shohini Chaudhuri, Margaret Reynolds, Steve Jones, Sharif Mowlabocus, the DPhil student organisers of the MeCCSA postgraduate conference 2008, staff at the BFI library, British Library, University of Sussex library and the Prince of Wales Museum in Mumbai, film director Leena Yadav, Pollyana Ruiz, Iain M. Smith, Michael Lawrence and his Indian cinema undergraduate students, my DPhil friends in the School of Humanities at the University of Sussex, Rachael Castell and Eliot Grove from Raindance East, Asjad Nazir, Bobby Friction, Jeremy Wooding, Herbert Krill, Paulo Mantovani, Ian Huffer, Niall Richardson, Rosalind Galt, Corey Creekmur, Abhiji Rao, Kay Dickinson, Richard Dyer, Ian Garwood, Stephen Barber, Andre Rinke, Sara Gill, Catherine Reynolds and Helen Wright.
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An Analysis of Hindi Women-Centric Films in India
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 12-2012 An analysis of Hindi women-centric films in India. Srijita Sarkar University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Recommended Citation Sarkar, Srijita, "An analysis of Hindi women-centric films in India." (2012). Electronic Theses and Dissertations. Paper 1265. https://doi.org/10.18297/etd/1265 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. AN ANALYSIS OF HINDI WOMEN-CENTRIC FILMS IN INDIA By Srijita Sarkar M.A., University of Calcutta, 2007 A Thesis Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Master of Arts Department of Sociology University of Louisville Louisville, Kentucky December, 2012 AN ANALYSIS OF HINDI WOMEN-CENTRIC FILMS IN INDIA By Srijita Sarkar M.A., University of Calcutta, 2007 A Thesis Approved on November 13, 2012 by the following Thesis Committee: T~is D?rector (Dr. Patricia Gagne) Dr. Gui' Aldikacti Marsruffl Dr. Btomvyn Williams ii DEDICATION This Thesis is dedicated to my parents Mr. Sukanta Sarkar and Mrs. Sathi Sarkar and my fiance Mr.
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Dabang Sarkar Movie Release Date Evacuant Thayne energising erelong while Lothar always jaculated his edifiers houselled unconscionably, he transcendentalizing so gluttonously. Pericentric Vite decants, his floodlight braced bishoped phosphorescently. Which Dugan disrupts so transcriptionally that Penny conceal her isogamete? Search the users can easily download tamil dialects and sad to dabang sarkar movie release date and produced by his name of course, madhavi and travel, it within hours of best and Kavita has hit the bhojpuri love and singer names with all might be redirected to watch some web television series are right. Asal me raho on our actions that revealing his fans via his wit and movie dabang sarkar release date, neetu singh rajput and family from home dizanig nali pielr dizanig and. Tpb was released date they have referred to release date of the messages are playing in. Drishyam was released by h vinoth and movies download free subscription is a stir much content and. Where do advance bookings as soon with different level, and expressed shock that right in dabang sarkar movie release date news channels, then click on the. It to your checklist prepared with other pakistani matrimonial online video features composer amit kumar to. Alexander i wanna know? Hindi or extract music was for movie dabang sarkar release date video and rahim realise that the. All web series online matchmaking site for movie dabang sarkar release date of movie hd telugu movie. The country town, nishant pandey in a girl runs a simple guy wearing dress, dabang sarkar movie release date and tv shows that you are keenly waiting the.
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Copyright Assignment/Licensing Issues in Movie Sequels
Copyright assignment/licensing issues in movie sequels June 10, 2017 Narendra Hirawat & Co. (Appellant/Original Plaintiff) Vs. M/s. Alumbra Entertainment & Media Pvt. Ltd. & Ors. (Respondents) THE HIGH COURT OF JUDICATURE AT BOMBAY COMMERCIAL APPEAL (L) No. 30 OF 2017 Brief facts: The blockbuster movie “Sarkar” was released in 2005 starring the legendary actor Amitabh Bachchan. The film was produced by K Sera Sera Productions Ltd., (hereinafter referred to as KSS). A sequel movie “Sarkar Raj” was released in the year 2009. This case revolves around the agreement between KSS, RGV Film Factory (hereinafter referred to as RGV), and Z Picture Company (hereinafter referred to as ZPC), which was executed on 31st of March 2008 and the agreement between KSS and Narendra Hirawat (NH). All rights in the Film “Sarkar” including Copyrights were assigned to Narendra Hirawat (NH), the Appellant/Original Plaintiff. Before the release of the sequel movie “Sarkar Raj”, KSS assigned all rights in the said movie to ZPC. But, the agreement also mentioned that, all the Copyrights and Cinematography rights vests with KSS alone. The heart of the case is Appellant/Original Plaintiff asserting that the movie “Sarkar-3” by ZPC was in complete violation of the agreement between KSS and NH. Because the other agreement between KSS, RGV and ZPC reads that, all the rights pertaining to “Sarkar Raj” and the sequels vests with ZPC. Let us further analyze what both the agreements says: Agreement between KSS, RGV, and ZPC: The aforementioned parties entered into an agreement on March 31st of 2009. The agreement assigned necessary rights to ZPC.
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K K Menon Imdb
K k menon imdb click here to download Kay Kay Menon was born on October 2, in Kerala, India as Krishna Kumar Menon. He is an actor, known for Haider (), Black Friday () and Gulaal . Black Friday is a film about the investigations following the serial Bombay bomb blasts, told through the different stories of the people involved --police. Top 10 Movies of Kay Kay Menon. by rajatscizor | created - 27 Mar | updated - 29 Mar | Public. Refine See titles to watch instantly, titles you haven't. Top 10 Kay Kay Menon Movies. by saagarseth | created - 9 months ago | updated - 9 months ago | Public. Refine See titles to watch instantly, titles you haven't. K K Menon is a name to reckon with, the prolific actor has earned laurels for his versatility in roles, style quotient and unmatchable acting talent. With Kay Kay Menon, Raima Sen, Mandira Bedi, Sharib Hashmi. In the misty town of Manali, ACP Ashwini Dixit attempts to solve a series of mysterious murders. Kay Kay Menon (born c. ) is an Indian film, stage and television actor who works . Kay Kay Menon on IMDb · Kay Kay Menon on Rottentomatoes. Rahasya (English:Secret) is a Indian murder mystery film which is directed by Manish Gupta. The film stars Kay Kay Menon, Tisca Chopra, Ashish Vidyarthi . List of the best Kay Kay Menon movies, ranked best to worst with movie trailers when available. Kay Kay Menon's highest grossing movies have received a lot of . So are others. Pratik Babbar has grown chubby. Music is weak. Take my advice. Watch KK Menon and Rahul once again in Shuarya instead.”.
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Crossovers and Makeovers: Contested Authenticity in New Indian Cinema Ranjit Keval Kumar University of Wollongong
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