Indian Cinema in the Time of Celluloid: From Bollywood to the Emergency
By: Ashish Rajadhyaksha (author)Paperback
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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.
Ashish Rajadhyaksha is Senior Fellow at the Centre for the Study of Culture and Society (CSCS), Bangalore, and a critic and writer on cinema, art, and culture. He is author and editor (with Paul Willemen) of the Encyclopaedia of Indian Cinema and author of Ritwik Ghatak: A Return to the Epic.
1. IntroductionPART I: THE 'CINEMA-EFFECT' OUTSIDE THE CINEMA: 'BOLLYWOOD' AND THE PERFORMING CITIZEN2. 'Bollywood' 2004: The Globalized Freak Show of what was Cinema3. When Was Bollywood?4. The 'Cinema-Effect': Cultural Rights Vs. The Production Of Authenticity5. Social Lineages of the Cinema-Effect: Demonstrating Spectatorial AbilityAfterword: Bollywood And The Cinema-Effect: A Concluding NotePART II: ADMINISTERING THE SYMBOLS OF AUTHENTICITY-PRODUCTION: THE CINEMA-EFFECT AND THE STATE - AND REVISITING A 1990s CONTROVERSY6. Administering The Symbols Of Authenticity-Production7. 'You Can See Without Looking': The Cinematic 'Author' and Freedom Of Expression in the Cinema8. 'People-Nation' And Spectatorial Rights: The Political 'Authenticity-Effect', the Shiv Sena and a Very Bombay HistoryPART III: 1970S QUESTIONS: THE CINEMA-EFFECT, THE NATIONAL SYMBOLIC AND THE AVANT-GARDE9. The Nation Detours10. The Indian Emergency11. The Problem, and a 'Coproduction Of Modernities'12. 'Taking' The Shot': Alternative Beginnings To The Mechanism13. The Practice: Two Films And A Painting (1): Bhupen Khakhar's List14. The Practice: Two Films And A Painting (2): Mani Kaul And The 'Cinematic Object' - Uski Roti15. The Practice: Two Films And A Painting (3): Gautam Ghose's Maabhoomi, Territorial Realism And The 'Narrator'
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