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|Title Review |
From Bombay (Mumbai) and other production centres on the Indian subcontinent, Indian popular cinema has travelled globally for nearly a century, culminating in the Bollywood-inspired, Oscar-winning film Slumdog Millionaire.
This volume brings together perspectives on Indian popular cinema, universally known as Bollywood now, from different disciplinary and geographical locations to look afresh at national cinemas. It shows how Bollywood cinema has always crossed borders and boundaries: from the British Malaya, Fiji, Guyana, Trinidad, Mauritius, and East and South Africa to the former USSR, West Asia, the UK, the USA, Canada, and Australia. While looking at the meanings of nation, diaspora, home, and identity in cinematic texts and contexts, the essays also examine how localities are produced in the new global process by broadly addressing nationalism, regionalism, and transnationalism, politics and aesthetics, as well as spectatorship and viewing contexts.
With contributions from eminent anthropologists, historians, and scholars of cultural, media, communication, and film studies, this book will appeal to anybody keen on learning more about the historical and spatial journeys of Bollywood cinema.
Anjali Gera Roy is Professor, Department of Humanities and Social Sciences, IIT Kharagpur and was Senior Research Fellow, Asia Research Institute, National University of Singapore between 2008 and 2010.
Chua Beng Huat is concurrently Leader, Cultural Studies in Asia Research Cluster; Convenor, PhD Programme in Cultural Studies in Asia; and Professor, Department of Sociology, National University of Singapore.
|Chapter No.||Chapter Title||Chapter Author||Page No.|
|Bollywood, Postcolonical Transformation, and Modernity||Bill Ashcroft||1|
|Cultural Flows, Travelling Shows: Bombay Talkies, Global Times||Makarand Paranjape||19|
|Mustard Fields, Exotic Tropes, and Travels through Meandering Pathways: Refarming the Yash Raj Trajectory||Madhuja Mukherjee||35|
|The Lahore Film Industry: A Historical Skectch||Ishtiaq Ahmed||55|
|From Chandigarh to Vancouver: Reimagining Home and Identity in the Films of Harbhajan Mann||Nicola Mooney||78|
|Bollywood, Tollywood, Dollywood: Re-visting Cross-Border Flows and the Beat of the 1970s in the Context of Globalization||Anuradha Ghosh||98|
|Cinematic Border Crossings in Two Bengals: Cultural Translation as Communalization?||Zakir Hossain Raju||123|
|Region, Language, and Indian Cinema: Mysore and Kannada Language Cinema of the 1950s||M. K. Raghavendra||139|
|Moderninty and Male Anxieties in Early Malayalam Cinema||Meena T. Pillai||154|
|Cinema in Motion: Tracking Tamil Cinema's Assemblage||Vijay Devadas and Selvaraj Velayutham||164|
|Migrant, Diaspora, NRI: Bhojpuri Cinema and the 'Local in the Global'||D. Parthasarathy||183|
|Welcome to Sajjanpur: Theatre and Transnational Hindi Cinema||Nandi Bhatia||199|
|Diasporic Bollywood: In the Tracks of a Twice-diplaced Community||Manas Ray||219|
|Marketing, Hybridity, and Media Industries: Globalization and Expanding Audiences for Popular Hindi Cinema||Kavita Karan and David J. Schaefer||238|
|'It Was Filmed in My Home Town': Diasportic Audiences and Foreign Locations in Indian Popular Cinema||Andrew Hassam||260|
|Yaari with Angrez: Whiteness for a New Bollywood Hero ||Teresa Hubel||279|
|Bollywood Films and African Audiences||Gwenda Vander Steene||302|
|From Ghetto to Mainstream: Bollywood in/and South Africa||Haseenah Ebrahim||321|
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|Related Subjects |
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Travels of Bollywood cinema from Bombay to LA