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Kino indyjskie w czasach celuloidu: od Bollywood do nagłych wypadków, Har...–
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Nr przedmiotu eBay: 386833643981
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Parametry przedmiotu
- Stan
- Book Title
- Indian Cinema in the Time of Celluloid : From Bollywood to the Em
- ISBN
- 9780253352682
- Subject Area
- History, Social Science, Performing Arts
- Publication Name
- Indian Cinema in the Time of Celluloid : from Bollywood to the Emergency
- Item Length
- 9.3 in
- Publisher
- Indiana University Press
- Subject
- Film / General, Media Studies, Popular Culture, Asia / India & South Asia, Anthropology / Cultural & Social
- Publication Year
- 2009
- Type
- Textbook
- Format
- Hardcover
- Language
- English
- Item Height
- 1.5 in
- Item Width
- 7.2 in
- Item Weight
- 40.1 Oz
- Number of Pages
- 432 Pages
O tym produkcie
Product Information
In Indian Cinema in the Time of Celluloid, Ashish Rajadhyaksha argues that any exploration of the social uses to which cinema is put in a place like India can only make sense if it transforms our understanding of cinema itself. Taking as his timeframe the era of celluloid, which is also marked by public experiences of spectatorship and uses of cinema by the state, Rajadhyaksha examines three moments of crisis for the Indian State in which cinema played a central role.
Product Identifiers
Publisher
Indiana University Press
ISBN-10
0253352681
ISBN-13
9780253352682
eBay Product ID (ePID)
65966550
Product Key Features
Publication Name
Indian Cinema in the Time of Celluloid : from Bollywood to the Emergency
Format
Hardcover
Language
English
Subject
Film / General, Media Studies, Popular Culture, Asia / India & South Asia, Anthropology / Cultural & Social
Publication Year
2009
Type
Textbook
Subject Area
History, Social Science, Performing Arts
Number of Pages
432 Pages
Dimensions
Item Length
9.3 in
Item Height
1.5 in
Item Width
7.2 in
Item Weight
40.1 Oz
Additional Product Features
LCCN
2009-517084
Intended Audience
Scholarly & Professional
Lc Classification Number
Pn1993.5.I8
Grade from
College Graduate Student
Reviews
By analyzing theories of spectatorship, Rajadhyaksha defines the aesthetic that is Bollywood.... Recommended., By analyzing theories of spectatorship, Rajadhyaksha defines the aesthetic that is Bollywood. . . . Recommended.May 2010, "By analyzing theories of spectatorship, Rajadhyaksha defines the aesthetic that is Bollywood.... Recommended." -- Choice, May 2010, "One of the finest writers on Indian cinema... shows once again his imagination in posing new questions and his use of largely neglected primary sources." -Rachel Dwyer, author of Filming the Gods: Religion and Indian Cinema, "By analyzing theories of spectatorship, Rajadhyaksha defines the aesthetic that is Bollywood.... Recommended." -Choice, May 2010, The 'celluloid' in the title defines the period of this study: it starts with the beginning of film but does not include new technologies. Rajadhyaksha (senior fellow, Centre for the Study of Culture and Society, Bangalore) delineates a theory of Indian film that has led to Bollywood's globalization. Though he explicates two avant-garde films toward the end of the book, for the most part he concentrates (with references to particular films sprinkled throughout) on the economic phenomena of the film industry, its markets and sub-markets, and its nationalistic hold on the public, a hold far greater than that of other arts. Certain films, he writes, were what the country 'needed.' These resemble works from Hollywood's 'classical era.' Melodrama brought Bollywood 'excess' to a level of respectability. Whereas Amit Rai, in Untimely Bollywood (CH, Nov'09, 47-1330), sees Bollywood in the future, Rajadhyaksha uses Bollywood's past. Focusing on product, he omits from his top-ten Indian films list world master Satyajit Ray. By analyzing theories of spectatorship, Rajadhyaksha defines the aesthetic that is Bollywood. Black-and-white photos (from films and of audiences and posters) underscore the author's intention. Lengthy footnotes appear in the page margins and a complete international bibliography completes the volume. Summing Up: Recommended. Upper-division undergraduates through faculty. -- Choice, "One of the finest writers on Indian cinema . . . shows once again his imagination in posing new questions and his use of largely neglected primary sources." Rachel Dwyer, author ofFilming the Gods: Religion and Indian Cinema, The 'celluloid' in the title defines the period of this study: it starts with the beginning of film but does not include new technologies. Rajadhyaksha (senior fellow, Centre for the Study of Culture and Society, Bangalore) delineates a theory of Indian film that has led to Bollywood's globalization. Though he explicates two avant-garde films toward the end of the book, for the most part he concentrates (with references to particular films sprinkled throughout) on the economic phenomena of the film industry, its markets and sub-markets, and its nationalistic hold on the public, a hold far greater than that of other arts. Certain films, he writes, were what the country 'needed.' These resemble works from Hollywood's 'classical era.' Melodrama brought Bollywood 'excess' to a level of respectability. Whereas Amit Rai, in Untimely Bollywood (CH, Nov'09, 47-1330), sees Bollywood in the future, Rajadhyaksha uses Bollywood's past. Focusing on product, he omits from his top-ten Indian films list world master Satyajit Ray. By analyzing theories of spectatorship, Rajadhyaksha defines the aesthetic that is Bollywood. Black-and-white photos (from films and of audiences and posters) underscore the author's intention. Lengthy footnotes appear in the page margins and a complete international bibliography completes the volume. Summing Up: Recommended. Upper-division undergraduates through faculty. -- ChoiceA. Hirsh, emeritus, Central Connecticut State University, May 2010--A. Hirsh, emeritus, Central Connecticut State University (01/01/2010), "The 'celluloid' in the title defines the period of this study: it starts with the beginning of film but does not include new technologies. Rajadhyaksha (senior fellow, Centre for the Study of Culture and Society, Bangalore) delineates a theory of Indian film that has led to Bollywood's globalization. Though he explicates two avant-garde films toward the end of the book, for the most part he concentrates (with references to particular films sprinkled throughout) on the economic phenomena of the film industry, its markets and sub-markets, and its nationalistic hold on the public, a hold far greater than that of other arts. Certain films, he writes, were what the country 'needed.' These resemble works from Hollywood's 'classical era.' Melodrama brought Bollywood 'excess' to a level of respectability. Whereas Amit Rai, in Untimely Bollywood (CH, Nov'09, 47-1330), sees Bollywood in the future, Rajadhyaksha uses Bollywood's past. Focusing on product, he omits from his top-ten Indian films list world master Satyajit Ray. By analyzing theories of spectatorship, Rajadhyaksha defines the aesthetic that is Bollywood. Black-and-white photos (from films and of audiences and posters) underscore the author's intention. Lengthy footnotes appear in the page margins and a complete international bibliography completes the volume. Summing Up: Recommended. Upper-division undergraduates through faculty. -- Choice"--A. Hirsh, emeritus, Central Connecticut State University, May 2010 "By analyzing theories of spectatorship, Rajadhyaksha defines the aesthetic that is Bollywood. . . . Recommended.May 2010"-- Choice "One of the finest writers on Indian cinema . . . shows once again his imagination in posing new questions and his use of largely neglected primary sources."--Rachel Dwyer, author of Filming the Gods: Religion and Indian Cinema, One of the finest writers on Indian cinema... shows once again his imagination in posing new questions and his use of largely neglected primary sources., "One of the finest writers on Indian cinema... shows once again his imagination in posing new questions and his use of largely neglected primary sources." -- Rachel Dwyer, author of Filming the Gods: Religion and Indian Cinema
Table of Content
1. Introduction PART I: THE 'CINEMA-EFFECT' OUTSIDE THE CINEMA: 'BOLLYWOOD' AND THE PERFORMING CITIZEN 2. 'Bollywood' 2004: The Globalized Freak Show of what was Cinema 3. When Was Bollywood? 4. The 'Cinema-Effect': Cultural Rights Vs. The Production Of Authenticity 5. Social Lineages of the Cinema-Effect: Demonstrating Spectatorial Ability Afterword: Bollywood And The Cinema-Effect: A Concluding Note PART II: ADMINISTERING THE SYMBOLS OF AUTHENTICITY-PRODUCTION: THE CINEMA-EFFECT AND THE STATE - AND REVISITING A 1990s CONTROVERSY 6. Administering The Symbols Of Authenticity-Production 7. 'You Can See Without Looking': The Cinematic 'Author' and Freedom Of Expression in the Cinema 8. 'People-Nation' And Spectatorial Rights: The Political 'Authenticity-Effect', the Shiv Sena and a Very Bombay History PART III: 1970S QUESTIONS: THE CINEMA-EFFECT, THE NATIONAL SYMBOLIC AND THE AVANT-GARDE 9. The Nation Detours 10. The Indian Emergency 11. The Problem, and a 'Coproduction Of Modernities' 12. 'Taking' The Shot': Alternative Beginnings To The Mechanism 13. The Practice: Two Films And A Painting (1): Bhupen Khakhar's List 14. The Practice: Two Films And A Painting (2): Mani Kaul And The 'Cinematic Object' - Uski Roti 15. The Practice: Two Films And A Painting (3): Gautam Ghose's Maabhoomi, Territorial Realism And The 'Narrator'
Copyright Date
2009
Dewey Decimal
302.23430954
Dewey Edition
22
Illustrated
Yes
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Ostatnia aktualizacja: 12-05-2024 21:16:44 CEST Wyświetl wszystkie poprawkiWyświetl wszystkie poprawki
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