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LHIS-223: History of Indian Cinema and Culture - More Articles

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More Articles

Mankekar, Purnima

“Brides Who Travel: Gender, Transnationalism, and Nationalism in Hindi Film.” Positions: East Asia Cultures Critique 7:3 (Winter 1999): 731-61. Academic Search Premier. EBSCO. Web. 30 June 2011.

Abstract: "Examines the gender, transnationalism and nationalism in the Hindi film Dilwale Dulhaniya Le Jayenge. Representations of the West; Information on the culture and sexual purity of Indian women; Details of the tradition and location of the film."
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Nayak, Sheila J.

"Invisible Representation: The Oral Contours of a National Popular Cinema." Film Quarterly 57.3 (Spring 2004): 13-23. JSTOR. Web. 28 June 2011.

Abstract: "This paper posits that the formula for India's popular cinema (a.k.a. 'Bollywood'—the Hollywood of Bombay) has been fundamentally contoured by the psychodynamics of orality, i.e., by the thought processes and personality structures that distinguish a non-writerly mindset and its narrative creations. Analyses of several Bollywood hits from the past half-century illustrate how."
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Rockwell, Daisy

"Visionary Choreographies: Guru Dutt's Experiments in Film Song Picturisation." South Asian Popular Culture 1.2 (Oct. 2003): 109-24 Academic Search Premier. EBSCO. Web. 30 June 2011.

Abstract: "In Guru Dutt's experimental song sequences in films such as Pyaasa and Kaagaz Ke Phool, we see an expressive linkage between the story of the frustrated and talented artist and the form of picturisation of the song. These songs, which, in the poetics of Bombay's cinema tradition, are meant to represent the transforming emotional states of a film's protagonists, become visual, lyrical and musical representations of those very states in the psyche of their artist-heroes through Guru Dutt's re-choreographing of visual expectations."
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Sen, Amartya

"Our Culture, Their Culture." New Republic 214.14 (1 April 1996): 27-34. Academic Search Premier. EBSCO. Web. 30 June 2011.

Abstract: "Praises filmmaker Satyajit Ray's insightful understanding of the relations between cultures. Depiction of general themes on cultures and their interrelations in his films and writings; Problems associated with the distinctiveness of cultures; Examples of political circumstances by which Asian values are invoked; Reflection of the difficulties of understanding each other across the boundaries of culture in other art forms."
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Sharpe, Jenny

"Gender, Nation, and Globalization in Monsoon Wedding and Dilwale Dulhania Le Jayenge." Meridians: Feminism, Race, Transnationalism 6.1 (Oct. 2005): 58-81. Academic OneFile. GaleGroup. Web. 30 June 2011.

Abstract:The article presents information on gender, nation, and globalization depicted in films Monsoon Wedding and Dilwale Dulhania Le Jayenge. Monsoon Wedding depicted the contradictions of daily life that an opening of India to globalization has introduced. The film destroys the image of India as a nation mired in some premodern space as a traditional land with ancient customs and beliefs. Rather, it depicts a postmodern world in which cell phones and e-mail coexist with age-old rituals and occupations."
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Stubblefield, Thomas

“Ritwik Ghatak and the Role of Sound in Representing Post-Partition Bengal.” Post Script 25: 3 (Summer 2006): 17-29. Academic OneFile. Web. 19 Sep. 2011.

Preview: "In his work Remembering Partition: Violence, Nationalism and History in India, Gyanendra Pandey suggests that we conceive of the Partition of India as threefold. The first being the Muslim League's insistence upon the establishment of Pakistan beginning in 1940 and continuing to the Partition, the second being the actual splitting up of the Muslim majority provinces and the third and most important is the hundreds of thousands who were slaughtered, raped and forcibly converted as a result."
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Yuen-Carrucan, Jasmine

"Deepa Mehta's Water Caught in the Cultural Crossfire." Bright Lights Film Journal 28 (Apr. 2000) Web. 20 Sept. 2011.

Preview: "In February of this year (2000), Deepa Mehta was to direct the film Water in India. It was the third of a trilogy of films for this Indian-born woman who now resides in Canada. The first was Fire, a story of two middle-class women drawn together in search of the warmth that their loveless marriages lacked. The onscreen lesbian relationship between the women angered many in India. Extreme protesters went as far as burning the cinema that first screened Fire to the ground, and Deepa Mehta was shunned by her country of birth for showing the world what was considered bad images of India."
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