Vikrant Kishore is an academic, film-maker, journalist, photographer and currently Lecturer in Media at RMIT University, Melbourne, Australia.Amit Sarwal is Honorary Associate Professor at RMIT University, Melbourne, Australia and Founding Convenor of the Australia India Interdisciplinary Research Network. Parichay Patra is a doctoral candidate in the Department of Film and Screen Studies, School of Media, Film and Journalism, Monash University, Melbourne, Australia.

• Foreword. Introduction  Part I. Histories: Mainstream and Alternative 1. Myths, Markets and Panics: Speculating about the Proto-Cinematic Historical Significance of the Popularity of Two Parsi Theatre Plays at the Turn of the Twentieth Century  2. The Left Encounter: Progressive Voices of Nationalism and Indian Cinema to the 1950s  3. Genre Mixing as Creative Fabrication 4. What Do the Villains Have? Indian Cinema‘s Villains in the 1970s Hariprasad Athanickal 5. Inward Bound: Self-referentiality in Bombay Cinema Part II. Bollywood Dance: Re-reading History 6. Dancing to the Songs: History of Dance in Popular Hindi Films 7. Designing the Song and Dance Sequences: Exploring Bollywoods Cinematic Creativity  8. The Item Girl: Tradition and Transgression in Bollywood Dancing  Part III. Changes in the City Scape, Changes in Cinema 9. Regionalist Disjuncture in Bollywood: Dabangg and the Consumerist Cinema 10. Mourning and Blood-Ties: Macbeth in Mumbai 11. Black Friday: A Screen History of the 1993 Bombay Bomb Blasts  12. The Re-Mapped Dialectics of Contemporary Indian Cinema: Kahaani and That Girl in Yellow Boots  Part IV. Other Regions, Other Nations 13. Marking out the "South" in/of Hindi Cinema: An Approach via Remakes  14. Between Solidarity and the Stereotype: Chandni Chowk to China   15. The Khan Mania: Universal Appeal of Superstar Shahrukh Khan in a Post-globalized Bollywood Era   16. Old Wine in a New Bottle: Bollywood Films Shot in Australia after 9/11  17. The Way Cinema was Banished: The Intervention of Cinema Studies in India