The book examines the historical and spatial flows of Indian popular cinema from Bombay (Mumbai) and other production centres on the Indian subcontinent to different spaces of consumption for nearly a century culminating in the Bollywood-inspired-Oscar-winning film Slumdog Millionaire. Bringing together essays by eminent scholars of anthropology, history, and cultural, media, communication, and film studies, this volume shows that Bollywood cinema has always crossed borders and boundaries. The book argues that Bollywood has had a century-long history of travelling to the British Malaya, Fiji, Guyana, Trinidad, Mauritius, East and South Africa with the old diasporas, and with and without the new diasporas to the former USSR, West Asia, the UK, the USA, Canada, and Australia. It brings together perspectives on Indian cinema from different disciplinary and geographical locations to re-conceptualize the understanding of national cinemas. The book looks at the meaning of nation, diaspora, home, and identity in cinematic texts and contexts, and examines the ways in which localities are produced in the new global process by broadly addressing nationalism, regionalism, and transnationalism, politics and aesthetics, and spectatorship and viewing contexts.
|Publisher:||Oxford University Press|
|Product dimensions:||5.50(w) x 8.40(h) x 1.20(d)|
About the Author
Anjali Gera Roy, Professor, Department of Humanities and Social Sciences, IIT, Kharagpur,Chua Beng Huat, Chua Beng Huat: Professor, Department of Sociology, National University of Singapore
Anjali Gera Roy is Professor, Department of Humanities and Social Sciences, IIT Kharagpur, and Senior Research Fellow, Asia Research Institute, National University of Singapore.
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.
Table of Contents
The Bollywood Turn in South Asian Cinema: National, Transnational, or Global?
Anjali Gera Roy and Chua Beng Huat
PART 1. MODERNITY, GLOBALIZATION, GLOBALITY
1.Bollywood, Postcolonial Transformation, and Modernity
2.Cultural Flows, Travelling Shows: Bombay Talkies,
3.Mustard Fields, Exotic Tropes, and Travels through
Meandering Pathways: Reframing the Yash Raj Trajectory
PART 2. LOVE ACROSS THE BORDER
4.The Lahore Film Industry: A Historical Sketch
5.From Chandigarh to Vancouver: Reimagining Home and
Identity in the Films of Harbhajan Mann
6.Bollywood, Tollywood, Dollywood: Re-visiting Cross-border
Flows and the Beat of the 1970s in the Context of Globalization
7.Cinematic Border Crossings in Two Bengals: Cultural Translation as Communalization?
Zakir Hossain Raju
PART 3. THE OTHER FILM INDUSTRY
8.Region, Language, and Indian Cinema: Mysore and Kannada
Language Cinema of the 1950s
9.Modernity and Male Anxieties in Early Malayalam Cinema
Meena T. Pillai
10.Cinema in Motion: Tracking Tamil Cinema's Assemblage
Vijay Devadas and Selvaraj Velayutham
PART 4. VILLAGE IN THE CITY
11.Migrant, Diaspora, NRI: Bhojpuri Cinema and the 'Local in the Global'
12.Welcome to Sajjanpur: Theatre and Transnational Hindi Cinema
PART 5. THE TRAVELS OF BOLLYWOOD CINEMA:
FROM BOMBAY TO LA
13.Diasporic Bollywood: In the Tracks of a Twice-displaced Community
14.Marketing, Hybridity, and Media Industries: Globalization and Expanding Audiences for Popular Hindi Cinema
Kavita Karan and David J. Schaefer
15.'It Was Filmed in My Home Town': Diasporic Audiences and Foreign Locations in Indian Popular Cinema
16.Yaari with Angrez: Whiteness for a New Bollywood Hero
17.Bollywood Films and African Audiences
Gwenda Vander Steene
18.From Ghetto to Mainstream: Bollywood in/and South Africa
List of Contributors