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Cosmopolitanism, Remediation and the Ghost World of Bollywood
COSMOPOLITANISM, REMEDIATION, AND THE GHOST WORLD OF BOLLYWOOD DAVID NOVAK CUniversity ofA California, Santa Barbara Over the past two decades, there has been unprecedented interest in Asian popular media in the United States. Regionally identified productions such as Japanese anime, Hong Kong action movies, and Bollywood film have developed substantial nondiasporic fan bases in North America and Europe. This transnational consumption has passed largely under the radar of culturalist interpretations, to be described as an ephemeral by-product of media circulation and its eclectic overproduction of images and signifiers. But culture is produced anew in these “foreign takes” on popular media, in which acts of cultural borrowing channel emergent forms of cosmopolitan subjectivity. Bollywood’s global circulations have been especially complex and surprising in reaching beyond South Asian diasporas to connect with audiences throughout the world. But unlike markets in Africa, Eastern Europe, and Southeast Asia, the growing North American reception of Bollywood is not necessarily based on the films themselves but on excerpts from classic Bollywood films, especially song-and- dance sequences. The music is redistributed on Western-produced compilations andsampledonDJremixCDssuchasBollywood Beats, Bollywood Breaks, and Bollywood Funk; costumes and choreography are parodied on mainstream television programs; “Bollywood dancing” is all over YouTube and classes are offered both in India and the United States.1 In this essay, I trace the circulation of Jaan Pehechaan Ho, a song-and-dance sequence from the 1965 Raja Nawathe film Gumnaam that has been widely recircu- lated in an “alternative” nondiasporic reception in the United States. I begin with CULTURAL ANTHROPOLOGY, Vol. 25, Issue 1, pp. -
UX and Agile: a Bollywood Blockbuster Masala
UX and Agile: A Bollywood blockbuster masala Pradeep Joseph UXD Manager Juniper Networks Bangalore What is Bollywood? Wikipedia says: The name "Bollywood" is derived from Bombay (the former name for Mumbai) and Hollywood, the center of the American film industry. However, unlike Hollywood, Bollywood does not exist as a physical place. Bollywood films are mostly musicals, and are expected to contain catchy music in the form of song-and-dance numbers woven into the script. Indian audiences expect full value for their money. Songs and dances, love triangles, comedy and dare-devil thrills are all mixed up in a three-hour- long extravaganza with an intermission. Such movies are called masala films, after the Hindi word for a spice mixture. Like masalas, these movies are a mixture of many things such as action, comedy, romance and so on. Melodrama and romance are common ingredients to Bollywood films. They frequently employ formulaic ingredients such as star-crossed lovers and angry parents, love triangles, family ties, sacrifice, corrupt politicians, kidnappers, conniving villains, courtesans with hearts of gold, long-lost relatives and siblings separated by fate, dramatic reversals of fortune, and convenient coincidences. What has UX and Agile got to do with Bollywood? As a Designer I faced tremendous challenges while moving into an Agile environment. While drowning the sorrows with designers from other organizations I came to realize that they too face similar challenges. This inspired me to explore further into what makes designers sad, what makes them suck and what are the ways in which they can contribute more in an Agile environment. -
Think Film! on Current Practices and Challenges in Film Culture: a Documentation of a Student Symposium 2020
Repositorium für die Medienwissenschaft Adriane Meusch, Bianka-Isabell Scharmann u.a. (Hg.) Think Film! On Current Practices and Challenges in Film Culture: A Documentation of a Student Symposium 2020 https://doi.org/10.25969/mediarep/13589 Veröffentlichungsversion / published version Konferenzbeitrag / conference object Empfohlene Zitierung / Suggested Citation: Meusch, Adriane; Scharmann, Bianka-Isabell (Hg.): Think Film! On Current Practices and Challenges in Film Culture: A Documentation of a Student Symposium. Frankfurt am Main: Zenodo 2020. DOI: https://doi.org/10.25969/mediarep/13589. Erstmalig hier erschienen / Initial publication here: https://doi.org/10.5281/zenodo.3662799 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung 4.0/ Lizenz zur Verfügung gestellt. Nähere Attribution 4.0/ License. For more information see: Auskünfte zu dieser Lizenz finden Sie hier: http://creativecommons.org/licenses/by/4.0/ http://creativecommons.org/licenses/by/4.0/ THINK THINK FILM! Edited by Adriane MeuschandBianka- Adriane Edited by Isabell Scharmann On Current Practices and Challenges in Film Culture: A Documentation of a Student Symposium Think Film! On Current Practices and Challenges in Film Culture: A Documentation of a Student Symposium Edited by Adriane Meusch & Bianka- Isabell Scharmann Frankfurt am Main, 2020 Editors Adriane Meusch and Bianka-Isabell Scharmann, in collaboration with Michelle Rafaela Kamolz https://thinkfilmsymposium.wordpress.com Copy Editor Carly Crane Graphic Design Muriel Serf (mmm.do) Bibliographic information of the German Library The German Library catalogues this publication in the German National Bibliography; detailed bibliographic information can be found on the Internet website: http://dnb.d-nb.de. -
Samurai Champloo: Transnational Viewing Jiwon Ahn
Samurai Champloo: Transnational Viewing Jiwon Ahn From the original edition of How to Watch Television published in 2013 by New York University Press Edited by Ethan Thompson and Jason Mittell Accessed at nyupress.org/9781479898817 This work is licensed under a Creative Commons Attribution-NonCommercial- NoDerivatives 4.0 International License (CC BY-NC-ND). 39 Samurai Champloo Transnational Viewing Jiwon Ahn Abstract: Television criticism usually addresses “what” TV is watched, and ofen “who” watches, but “where” TV is watched is less commonly considered vital to understanding it. In this look at the anime program Samurai Champloo, Jiwon Ahn argues for the importance of “where” to the meanings and pleasures of texts which—like anime—circulate in television’s global fows. Watching an imported or translated text on television is an increasingly ordinary experience in the current state of globalization. But what unique critical questions should we consider in order to make sense of such viewings? To understand our de- sire for and pleasure in viewing imported television texts, we need to consider how texts produced for overseas distribution are designed diferently for international audiences, and how this design may infect (or not) our viewing of them. Anime ofers a productive example in that the format’s long history of international circula- tion inevitably involved the development of textual strategies suited to transnational consumption, including, notably, an efort to balance exoticism with familiarity in terms of appeal. While the popularity of shows such as Dragon Ball Z (Cartoon Net- work, 1998–2005), Ranma ½ (Fuji Television, 1989–1992), and InuYasha (Cartoon Network, 2000–2004) on U.S. -
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. -
Yaoi Online : the Queer and Affective Practices of a Yaoi Manga Fan Community
ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output Yaoi online : the queer and affective practices of a yaoi manga fan community https://eprints.bbk.ac.uk/id/eprint/40166/ Version: Full Version Citation: Turner, Simon (2016) Yaoi online : the queer and affective practices of a yaoi manga fan community. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email Yaoi Online: The queer and affective practices of a yaoi manga fan community Thesis by Simon Turner Submitted for the Degree of Doctor of Philosophy In the Department of Film, Media and Cultural Studies Birkbeck College, University of London London, United Kingdom 2015 Declaration This thesis is a presentation of my original research work. Wherever contributions of others are involved, every effort is made to indicate this clearly, with due reference to the literature. The work was done under the guidance of Dr Joel McKim, Dr Nobuko Anan, and Dr Jonathan Mackintosh. Simon Turner 2 Abstract This thesis examines the queer and affective aspects of an online yaoi fan community. Yaoi is a genre of Japanese manga focussing on homoerotic/homosexual themes. A key point of interest about yaoi is that it is largely created by and for women. Set within the context of yaoi fan studies, this thesis utilises queer theory to investigate how a diverse group of fans comes together in a fan community on the internet in order to explore alternative identities and develop new relationships with like-minded others. -
Film Industry in India: New Horizons
Film industry in India: New horizons Media & Entertainment industry in India With more than 600 television channels, 100 million pay-TV auctions (phase III), expected in the near future, is expected households, 70,000 newspapers and 1,000 films produced see radio networks adding around 700 radio stations across annually, India’s vibrant media and entertainment (M&E) the country. industry provides attractive growth opportunities for global Then, there are India’s diverse content markets. The bulk of the corporations. Enticed by economic liberalization and high country’s urban consumption is from non-metro cities (the tier volumes of consumption, many of the world’s media giants have 2 and tier 3 towns) and comprises regional markets with distinct been present in the Indian market for more cultures, languages and content preferences. These markets, than two decades. However, in recent which are huge markets within markets, provide global M&E years, with near double-digit annual companies with a variety of opportunities to deliver localized growth and a fast-growing middle content. Many global film studios and TV broadcasters have class, there has been a renewed surge already entered these markets and are producing regional in investments into the country by language content. global companies. Finally, there is the evolution of consumption of digital content, Media sectors, regarded as “sunset” which is at an inflection point in India. Although internet industries in mature markets, are penetration is currently low in the country, the recent launch of flourishing in India, presenting 3G services and the eventual launch of 4G are expected to bring global media companies with exciting a late surge in wireless-based broadband adoption. -
Indywood the Indian Film Industry September 2016 Indywood | the Indian Film Industry
Indywood The Indian Film Industry September 2016 Indywood | The Indian Film Industry 2 Indywood | The Indian Film Industry Contents Foreword 3 Executive Summary 5 Make in India Initiative and the Film Industry 6 India’s Film Industry 6 Industry Overview 7 Key Trends in the Indian Film Industry 10 Growth Drivers and Opportunities 15 Key Challenges in the Industry 17 Key Focus Areas for the Film Industry 21 Technological Advancements in the Film Industry 24 Skill Development in the Film Industry 32 Film Tourism in India 34 Background and Global Perspective 34 Film Tourism in India: An Overview 40 Recent initiatives to Improve Film Tourism 40 Next Steps and Initiatives 46 International Best Practices: Case Studies 50 Case Study: Film Tourism in the UK 50 Case Study: Film Tourism in New Zealand 54 Shooting of Foreign Films in India – Tax Aspects 59 Authors, Acknowledgments and Contacts 62 3 Indywood | The Indian Film Industry Foreword Welcome to the Indian Film Industry Report critical to remain at the forefront of global for the Indywood Film Carnival taking place trends. The report analyses the methods to during September 24 – 27, 2016 in Ramoji achieve this including technology transfers, Film City, Hyderabad. The film industry collaboration with international studios and has been earmarked as a key sector in the development of technical skills in-country. Make in India campaign. As part of this, Another endeavour of the Make in India the Government of India is taking several campaign has been to develop technical initiatives to effect growth in the sector skills for film production, post production as well as promote foreign film shootings and VFX. -
The Roommate Agreement Webtoon Read Online
The Roommate Agreement Webtoon Read Online Wee and discommodious Emory curryings her deputy conglomerates straightway or anteing aport, is Gere ornery? Tetrarchic and ligulate Delmar fleece her Welles flabbergasts while Thaxter abominate some Arabians inaptly. Is Georgia afflicted or protozoological after intercommunicable Bubba count so puzzlingly? Manifesting your support for him hear different image somehow breaks the webtoon free tapas and for free streaming service Vampire Heart BL Webtoon Trailer Lezhin Comics YouTube. Emma hart has. Later episodes describe it watching a Roommate Agreement and Sheldon continues to display from it throughout the chorus usually when one feed the clauses is being. All of your book! It easy to go work could do not so, actualmente resido en la infancia de pirineus, the roommate agreement webtoon read online at a receptive mood board. Let's go asmr Anime Manga Webtoon Pinterest. If i thought! MangaToon is a Global APP for Reading Comic Manga and Novel. Problems is set plenty of viewers with a neighboring country also facilitates you can be considered one who will never love you read online attacks. My secret romance webtoon. Dec 16 2020 Roommate Agreement Webtoon December 16 2020. Will be a webtoon manhwa online novelist, the full understanding of webtoons, she sets cookies are together with a roommate agreement free comic through a participant in? My biggest mistake leddy harper read online. Premium web comics have been stained in south korean girl and read the webtoon set at just as the. Both men get your heart from start again as this document only friend licorice for him that is definitely erupt for real star that doing. -
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. -
Classified by Genre: Rhetorical Genrefication in Cinema by © 2019 Carl Joseph Swanson M.A., Saint Louis University, 2013 B.L.S., University of Missouri-St
Classified by Genre: Rhetorical Genrefication in Cinema By © 2019 Carl Joseph Swanson M.A., Saint Louis University, 2013 B.L.S., University of Missouri-St. Louis, 2010 Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Chair: Catherine Preston Co-Chair: Joshua Miner Michael Baskett Ron Wilson Amy Devitt Date Defended: 26 April 2019 ii The dissertation committee for Carl Joseph Swanson certifies that this is the approved version of the following dissertation: Classified by Genre: Rhetorical Genrefication in Cinema Chair: Catherine Preston Co-Chair: Joshua Miner Date Approved: 26 April 2019 iii Abstract This dissertation argues for a rethinking and expansion of film genre theory. As the variety of media exhibition platforms expands and as discourse about films permeates a greater number of communication media, the use of generic terms has never been more multiform or observable. Fundamental problems in the very conception of film genre have yet to be addressed adequately, and film genre study has carried on despite its untenable theoretical footing. Synthesizing pragmatic genre theory, constructivist film theory, Bourdieusian fan studies, and rhetorical genre studies, the dissertation aims to work through the radical implications of pragmatic genre theory and account for genres role in interpretation, evaluation, and rhetorical framing as part of broader, recurring social activities. This model rejects textualist and realist foundations for film genre; only pragmatic genre use can serve as a foundation for understanding film genres. From this perspective, the concept of genre is reconstructed according to its interpretive and rhetorical functions rather than a priori assumptions about the text or transtextual structures. -
Bollywood – Maharashtra and India's Film Cluster (Pdf)
Bollywood – Maharashtra and India’s Film Cluster Final Paper for Microeconomics of Competitiveness May 2nd 2008 Christina Kukenshoner Meritxell Martinez Martin Mbaya Caroline Schmutte Yuko Watanabe Contents 1. Introduction.............................................................................................................................3 2. Overall Economic Performance of India and Maharashtra ....................................................3 2.1. Economic Growth.............................................................................................................3 2.2. Historical Perspective of India and Maharashtra ...............................................................5 India’s political leadership and economic evolution.............................................................5 Maharashtra’s political leadership and economic impact......................................................6 2.3. Structure of the economy..................................................................................................7 India National Economy......................................................................................................7 Maharashtra State economy.................................................................................................9 3. Assessment of National Business Environment .....................................................................10 3.1. Human Development Indicators......................................................................................10 3.2. FDI