South Asian Screen Studies – serie
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7 produkter
7 produkter
Inbunden, Engelska, 2026
1 172 kr
Skickas inom 5-8 vardagar
Repositioning Indian art cinema as a genre that articulated an elite, middle-class social imaginary, Indian Art Cinema and its Cultural Elites examines the form's contentious position within Indian society, at once exclusionary in its outlook and yet instrumental in bringing Indian film into global prominence in the latter half of the twentieth century.Drawing on Bourdieu's theory of cultural production, Jyotika Virdi looks at how a closed producer-critic-consumer circuit reinforced class distinction through a presumption of superior taste. She traces the trajectory of art cinema in India from the 1950s, when new institutions under Nehru's socialist ideals catalysed its emergence, through the New Wave movement of the 1970s and 1980s, and finally to its gradual decline in the 1990s as economic liberalization once again transformed the social landscape. By examining films like The Apu Trilogy (1955-1959) and Ardh Satya (Half Truth, 1983), she showcases the complex contradictions of the middle class, who were both the creative producers and consumers of alternative cinema, especially during the political turbulence of the late 1960s and 1970s.Combining a meticulous examination of key auteurs such as Satyajit Ray, Mrinal Sen, and Shyam Benegal, among others, with a broader study of cultural shifts and institutional frameworks, this book reevaluates the intricate relationship between art films, the state that sustains them, and the ruling cultural elite whose influence far exceeds its size.
E-bok
Engelska, 20261 286 kr
Läs direkt efter köp
Repositioning Indian art cinema as a genre that articulated an elite, middle-class social imaginary, Indian Art Cinema and its Cultural Elites examines the form's contentious position within Indian society, at once exclusionary in its outlook and yet instrumental in bringing Indian film into global prominence in the latter half of the twentieth century.Drawing on Bourdieu's theory of cultural production, Jyotika Virdi looks at how a closed producer-critic-consumer circuit reinforced class distinction through a presumption of superior taste. She traces the trajectory of art cinema in India from the 1950s, when new institutions under Nehru's socialist ideals catalysed its emergence, through the New Wave movement of the 1970s and 1980s, and finally to its gradual decline in the 1990s as economic liberalization once again transformed the social landscape. By examining films like The Apu Trilogy (1955-1959) and Ardh Satya (Half Truth, 1983), she showcases the complex contradictions of the middle class, who were both the creative producers and consumers of alternative cinema, especially during the political turbulence of the late 1960s and 1970s.Combining a meticulous examination of key auteurs such as Satyajit Ray, Mrinal Sen, and Shyam Benegal, among others, with a broader study of cultural shifts and institutional frameworks, this book reevaluates the intricate relationship between art films, the state that sustains them, and the ruling cultural elite whose influence far exceeds its size.
E-bok
PDF, Engelska, 20261 286 kr
Läs direkt efter köp
Repositioning Indian art cinema as a genre that articulated an elite, middle-class social imaginary, Indian Art Cinema and its Cultural Elites examines the form's contentious position within Indian society, at once exclusionary in its outlook and yet instrumental in bringing Indian film into global prominence in the latter half of the twentieth century.Drawing on Bourdieu's theory of cultural production, Jyotika Virdi looks at how a closed producer-critic-consumer circuit reinforced class distinction through a presumption of superior taste. She traces the trajectory of art cinema in India from the 1950s, when new institutions under Nehru's socialist ideals catalysed its emergence, through the New Wave movement of the 1970s and 1980s, and finally to its gradual decline in the 1990s as economic liberalization once again transformed the social landscape. By examining films like The Apu Trilogy (1955-1959) and Ardh Satya (Half Truth, 1983), she showcases the complex contradictions of the middle class, who were both the creative producers and consumers of alternative cinema, especially during the political turbulence of the late 1960s and 1970s.Combining a meticulous examination of key auteurs such as Satyajit Ray, Mrinal Sen, and Shyam Benegal, among others, with a broader study of cultural shifts and institutional frameworks, this book reevaluates the intricate relationship between art films, the state that sustains them, and the ruling cultural elite whose influence far exceeds its size.
Inbunden, Engelska, 2026
1 244 kr
Skickas inom 5-8 vardagar
From physical duplicates to role reversals and sexual masquerades, Storytelling in Hindi Cinema provides a comprehensive overview of Hindi films centered around the figure of the double.Richard Allen dissects the cultural significance of these double-themed plots, considering how they reflect questions of social mobility, the expression of desire, social justice, and national identity in the post-colonial period. He considers the wide array of influences that shape the genre, from Sanskrit Kathasaritsagara story-telling traditions, folk Nautanki theatres, and Tales of the Arabian Nights to colonial and post-colonial roots from Shakespeare to Hollywood melodrama. He asserts the influence of Bengali cinema, particularly of filmmaker Hrishikesh Mukherjee, and South Indian films like Hello Brother (1994) in providing diverse perspectives that enrich these narratives.Examining a broad range of films, from 1947 to present, including Mahal (1949), Madhumati (1958), Chupke Chupke (1975), Angoor (1982), Banjaran (1991), Kal Ho Na Ho (2003) and Dostana (2008), Allen traces the evolution of the trope, even incorporating transgressive narratives like cross-dressing and gender disguise. In doing so, he highlights how these cinematic motifs navigate the complexities of traditional worldviews and modern experiences.
E-bok
Engelska, 20261 366 kr
Läs direkt efter köp
From physical duplicates to role reversals and sexual masquerades, Storytelling in Hindi Cinema provides a comprehensive overview of Hindi films centered around the figure of the double.Richard Allen dissects the cultural significance of these double-themed plots, considering how they reflect questions of social mobility, the expression of desire, social justice, and national identity in the post-colonial period. He considers the wide array of influences that shape the genre, from Sanskrit Kathasaritsagara story-telling traditions, folk Nautanki theatres, and Tales of the Arabian Nights to colonial and post-colonial roots from Shakespeare to Hollywood melodrama. He asserts the influence of Bengali cinema, particularly of filmmaker Hrishikesh Mukherjee, and South Indian films like Hello Brother (1994) in providing diverse perspectives that enrich these narratives.Examining a broad range of films, from 1947 to present, including Mahal (1949), Madhumati (1958), Chupke Chupke (1975), Angoor (1982), Banjaran (1991), Kal Ho Na Ho (2003) and Dostana (2008), Allen traces the evolution of the trope, even incorporating transgressive narratives like cross-dressing and gender disguise. In doing so, he highlights how these cinematic motifs navigate the complexities of traditional worldviews and modern experiences.
E-bok
PDF, Engelska, 20261 318 kr
Läs direkt efter köp
From physical duplicates to role reversals and sexual masquerades, Storytelling in Hindi Cinema provides a comprehensive overview of Hindi films centered around the figure of the double.Richard Allen dissects the cultural significance of these double-themed plots, considering how they reflect questions of social mobility, the expression of desire, social justice, and national identity in the post-colonial period. He considers the wide array of influences that shape the genre, from Sanskrit Kathasaritsagara story-telling traditions, folk Nautanki theatres, and Tales of the Arabian Nights to colonial and post-colonial roots from Shakespeare to Hollywood melodrama. He asserts the influence of Bengali cinema, particularly of filmmaker Hrishikesh Mukherjee, and South Indian films like Hello Brother (1994) in providing diverse perspectives that enrich these narratives.Examining a broad range of films, from 1947 to present, including Mahal (1949), Madhumati (1958), Chupke Chupke (1975), Angoor (1982), Banjaran (1991), Kal Ho Na Ho (2003) and Dostana (2008), Allen traces the evolution of the trope, even incorporating transgressive narratives like cross-dressing and gender disguise. In doing so, he highlights how these cinematic motifs navigate the complexities of traditional worldviews and modern experiences.
Inbunden, Engelska, 2027
1 524 kr
Kommande
Documentary Cinema and Video Installation in India explores the forms of artistic resistance that emerged against the backdrop of India’s rapid transformation from a young postcolonial democracy into a rapidly globalizing and radicalizing right-wing nation-state.Set against the politically turbulent period of the early 1990s to the mid-2000s, Anuja Jain considers how filmmakers and video artists used their work as a site of political intervention. She analyses a broad range of documentaries and video works, including Ram Ke Naam (In the Name of God, 1992), The Boy in the Branch (1993), I Live in Behrampada (1993), The Men in the Tree (2002), Final Solution (2004), Unity in Diversity (2003), I Love My India (2003) and The Lightning Testimonies (2007). She also examines previously unexplored materials, including state news transcripts, right-wing propaganda videos, litigation records, censored media broadcasts, rare video news magazines, exhibition histories, and in-depth original interviews with documentary filmmakers and visual artists. In doing so, Jain reconceptualizes these texts as what she terms ‘archives of dissonance’, suggesting that, by navigating the critical conjuncture of radicalized politics, rapid globalization, and emergent techno-capitalism, they challenge official narratives and, in the process, reconfigure the locus, logic, and materiality of the archive itself.In a present moment marked by a global rise in authoritarianism, brutal censorship, and fascist constructions of citizenship, Jain highlights the value of revisiting these ‘living archives’, arguing that they enunciate imaginaries of resistance rooted in the Global South.