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Research Abstracts on India's Movie Industry
Page Last Updated: September 07,2008
Here's a collection abstracts of research papers on India's Movie Industry, sometimes referred to as Bollywood.
| Title: | Urban Mobility and the History of Cinema-Going in Chennai |
| Author: | Hughes, Stephen |
| Publication: | Marg / Marg Publications |
| Enumeration: | Vol.57 No. 4, June 2006, pp. 39–48 |
| Abstract: | This essay considers the historical relationship between public transportation and film going in Chennai. It briefly plots the development of public transportation and then discusses its relation to the early history of film going in the city. In particular it compares how the introduction of the tram system coincided with the growth and success of cinema exhibition. Both opened up and institutionalized new kinds of public space allowing for greater mixing at close proximity among different castes, classes, and religious communities that would otherwise not normally interact. The essay argues that the success of the cinema in Chennai must, among other things, be understood in relation to the increasing and new possibilities of urban mobility. Source of Abstract: Provided by Publisher |
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| Title: | Cultural Connections: Lagaan And Its Audience Responses. |
| Author: | Florian Stadtler |
| Publication: | Third World Quarterly / Indian Council on World Affairs |
| Enumeration: | vol. 26, no. 3, pp. 517-524, September 2005 |
| Abstract: | Over the past few years, South Asian culture has crossed over into the mainstream as never before with fusion projects across various genres as well as Bollywood films enjoying considerable success at the UK box office. Focusing on the Bollywood cinema hit Lagaan, this article will examine how directors play with the tested Bollywood formula in order to generate a broader appeal not only within India but increasingly across the globe. The film raises serious issues and questions about the nature of a globalised world since, for many years, globalisation has been regarded as a euphemism for Western cultural domination. Indeed, must we not re-examine this in the light of increasing South Asian influences penetrating mainstream culture and argue that globalisation allows these influences to travel backwards and forwards, threatening the perceived pre-eminence of Western popular culture? Source of Abstract: Provided by Author(s) |
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| Title: | Indian "Psycho" |
| Author: | Bhugra, Dinesh |
| Publication: | British Medical Journal / Indian Council on World Affairs |
| Enumeration: | Vol. 329 Issue 7475, p1191, 2004 |
| Abstract: | Presents an essay on the Hindi cinema and film industry in Mumbai, formerly Bombay, India, which is known as "Bollywood". Periods in film history such as the Nehruvian "romantic" age from 1947 to 1966; The hypothesis that political and economic influences impact
the portrayal of mental illness in Hindi films; The success of the "angry young man"
character in films; The change in how female characters were portrayed. Source of Abstract: Provided by Publisher |
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| Title: | Dreaming The Nation: Domestic Dramas In Hindi Films Post-1990 |
| Authors: | Sheena Malhotra and Tavishi Alagh |
| Publication: | South Asian Popular Culture / Routledge, part of the Taylor & Francis Group |
| Enumeration: | Vol. 2, No. 1 pp. 19 - 37 , April 2004 |
| Abstract: | Hindi cinema has functioned as a site for the production and exploration of national identities and ideologies in the popular imagination. An examination of some of the most successful films of the 1990s (Hum Aapke Hain Kaun, Dilwale Dulhaniya Le Jayenge, Pardes, Kuch Kuch Hota Hai, etc.) reveals the emergence of the domestic drama as a highly popular genre wherein a troubling new construction of Indian identity emerges. This new construction is one that considerably narrows the diversity, multiplicity and secular constructions of Indian identities in previous decades. We argue that this trend in Hindi cinema post-1990 reflects the significant socio-political (rise of the Hindutva movement) and economic changes (liberalising of the economy) that have taken place in India during this time.
Domestic Hindi film dramas post-1990 display a remarkably consistent pattern in producing a monolithic Indian identity that is Hindu, wealthy and patriarchal in nature. We find that the terrain of who gets included in the signifier 'Indian' has shifted significantly. The wealthy among the diasporic Indian community now find a prominent place within that signifier provided they conform to a particular articulation of Indian identity and traditions. Consequently, certain minorities like Muslims and Christians find themselves excluded and increasingly erased from this terrain. We argue that this cultural conflation (of Indian with Hindu and wealthy), the product of particular socio-political and economic trends (Hindutva, global capital flows and regressive gender politics), further marginalises and often erases the experiences of religious minorities and the poor who do not fit this constructed norm, a trend that is indicative of the restricting of the national imaginary.
Source of Abstract: Provided by Publisher |
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| Title: | Brown: The New Black! Bollywood In Britain. |
| Author: | Aftab, K. |
| Publication: | Critical Quarterly / Indian Council on World Affairs |
| Enumeration: | Vol. 44 Issue 3, p88, 11p, October 2002 |
| Abstract: | Focuses on the emergence of the Hindi popular cinema called Bollywood into the
media of Great Britain. Proliferation of Bollywood worldwide; Benefit of the British film
industry from Bollywood; Change in the attitude of British film viewers and critics toward
Bollywood. Source of Abstract: Provided by Publisher |
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| Title: | Pliant and Compliant: Colonial Indian Art and Postcolonial Cinema |
| Author: | Rajan G. |
| Publication: | Women: a Cultural Review / Routledge |
| Enumeration: | vol. 13, no. 1, pp. 48-69, March 2002 |
| Abstract: | Walter Benjamin's signature hypothesis of "dialectics at a standstill" rehearsed in his "Theoretics of Knowledge, Theories of Progress" permits visual images to be elasticized from a then condition in history and culture to a now site of contemporary reality in order to be critiqued in their entirety. Putting this hypothesis to the test, Rajan juxtaposes two late eighteenth-century works of art by East India Company Painters with two late twentieth-century films by Mira Nair and Deepa Mehta to trace trajectories of orientalized desire and unspeakable pleasure as relayed along a woman's body. In all four instances, the central image of woman continues to be an insistent signifier that embodies social values, cultural prejudices and artistic ideals, which, in turn, provide critical, valuable insights into constructions of gendered, aestheticized and sexualized femininity. The image of woman, thus dialectically read, reveals that it is not simply the male colonizer who is always already the oppressor, as is the common assumption, but rather that woman as an abject signifier can be merchandised even by enlightened, postcolonial women. Such a ravaged image of woman remains, therefore, a fixed trope in the hands of male and female artists, traversing coloniality and postcoloniality, and crossing over from art to cinema, with little chance of emancipation. One strategy to grant woman full agency requires the contemporary, feminist viewer to take responsibility and couple aesthetics with an ethical tenor. According to Benjamin, ethics thus defined is a matter of personalized aesthetics. This means that each one of us is entrusted with the responsibility of demanding accountability in the creation of visual culture such that images that demean femininity, disembody female subjectivity, objectify female pleasure and delegitimize desire be judged inappropriate, as incorrect or unappealing visual images and as unavailable for appropriation. Source of Abstract: Provided by Publisher |
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| Title: | 'My Heart's Indian For All That': Bollywood Film Between Home And Diaspora. |
| Author: | Alessandrini, Anthony C. |
| Publication: | Diaspora: A Journal of Transnational Studies / Indian Council on World Affairs |
| Enumeration: | Vol. 10 Issue 3, p315, 26p , Winter 2001 |
| Abstract: | Addresses the efforts made by the film industry to adapt to India's economic liberalization policy of the 1980s and 1990s. Discussion on how the liberalization policy has
repositioned the industry in the global market; Forces that shaped the development of Indian popular cinema; Significance of the film 'Hum Aapake Hain Koun!,' by Sooraj Barjatya, to the Hindi film industry. Source of Abstract: Provided by Publisher |
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| Title: | Performing Arts: Cinema (from Homage to Karnataka, edited by Dr. Saryu Doshi) |
| Author: | Sadashiva, G.S. |
| Publication: | Marg |
| Enumeration: | Vol. 35-1, p. 139-146 |
| Abstract: | Briefly describes the making of some of the important Kannada films produced in the pre-independence years, and discusses in detail the new wave film movement, which began in the 1970's as a reaction against the Hindi commercial cinema, but is now virtually defunct. Source of Abstract: Provided by Publisher |
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| Title: | The Big B. |
| Author: | Chute, David |
| Publication: | Film Comment / Indian Council on World Affairs |
| Enumeration: | |
| Abstract: | The article focuses on Amitabh Bachchan, superstar of Indian cinema. According to the author, he loves watching Bachchan dance, which is not to suggest that the most durable star in the history of Hindi cinema is celebrated for his fancy footwork. In fact apart from
his undoubted acting chops and the sheer force of his brooding masculine charisma, he is most
fervently admired for his verbal gifts: the sonorous baritone that makes all his set-piece
speeches sound like mosaic proclamations, and the flair for mimicry he exploits as one of the first Bollywood actors to adopt authentic Bombay street slang in his gangster roles. Bachchan
is also one of the few Bollywood stars who has occasionally recorded his own playback tracks.
Source of Abstract: Provided by Publisher |
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| Title: | From Raga to Fusion: Hindustani Music |
| Author: | Bagchee, Sandeep |
| Publication: | Marg |
| Enumeration: | Vol. 52 Issue no. 2; December 2000, p. 10-23 |
| Abstract: | In the early 20th century the performance and appreciation of classical or art music was confined to temples and private patrons such as princes and zamindars. With the economic, social, and political change brought about by British rule this patronage declined, and growing nationalist sentiment brought people's patronage, and after Independence State patronage, to art music. In the 20th century new technology gramophone, radio, cinema, television increased popular access to music performances and today corporate sponsorship supports many concerts. The system of musical training too has been transformed in the 20th century, with institutions and schools of music being set up and a gradual decline in the traditional one-to-one transmission of musical knowledge from guru to shishya. The writer also discusses how popular taste has led to the dominance of certain instruments or styles, and particular ragas. As far as future trends can be predicted, in the writer's opinion lighter music will continue to enjoy greater popularity and fusion forms not strictly tied to raga grammar will arise. What can be stated with certainty is that Indian art music, which has evolved over a long period of time, will continue to exist. Source of Abstract: Provided by Publisher |
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See Also:
- Performing Arts: Cinema (from Homage to Karnataka, edited by Dr. Saryu Doshi)
- Pliant and Compliant: Colonial Indian Art and Postcolonial Cinema
- A 'Basement' Cinephilia. Indian Diaspora Women Watch Bollywood
- Topics on Indian Cinema
- Research Abstracts on India's Movie Industry
- M.G. Ramachandran
- Alphabetical List of Research Abstracts
See Also:
