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Indian cinema teems with a multitude of different voices. The
"Directory of World Cinema: India" provides a broad overview of
this rich variety, highlighting distinctions among India's major
cinematic genres and movements while illuminating the field as a
whole. This volume's contributors--many of them leading experts in
their fields--approach film in India from a variety of angles,
furnishing in-depth essays on significant directors and major
regions; detailed historical accounts; considerations of the many
faces of India represented in Indian cinema; and explorations of
films made in and about India by European directors including Jean
Renoir, Peter Brook, and Emeric Pressburger. Taken together, these
multifaceted contributions show how India's varied local film
industries throw into question the very concept of a national
cinema. The resulting volume will provide a comprehensive
introduction for newcomers to Indian cinema while offering a fresh
perspective sure to interest seasoned students and scholars.
Part of the Directory of World Cinema series, this title includes
contributions from some of the leading academics in the field. It
features film recommendations from a range of genres for those
interested in watching more cinema from these regions. It also
features comprehensive filmography as an index. Given the
prevalence of important new wave cinemas across Eastern Central
Europe in the post-war, post-Stalinist era (Poland, Hungary,
Czechoslovakia and Yugoslavia), this new volume of the Directory of
World Cinema series charts the trends of these national cinemas. In
the decades since the 1970s, the continuing popularity of
filmmakers from these countries (including Krzysztof Kieslowski,
Bela Tarr, Istvan Szabo and Jiri Menzel), coupled with a recent
international surge in the visibility of the cinemas of Serbia,
Slovakia and Romania, means that these countries in East Central
Europe are a central focus in the directory. Introductory essays of
this title establish key players and explore important genres such
as war, comedy, surrealism and art cinema while reviews and case
studies analyse individual titles in considerable depth. For the
film studies scholar, or for all those who love cinema and want to
learn more, Directory of World Cinema: East Europe will be an
essential companion.
Updates the story of Japanese cinema for the 21st century. This
book looks at some of the key genres in Japanese cinema since 1997.
In several cases it considers in detail the ways in which
individual films have both drawn and departed from those films that
have comprised the key works and trends in these generic
categories, and in others it looks at some significant recent
developments that have little real precedence in filmmaking in
Japan. Through close textual analysis of representative films, the
study seeks to elucidate the prevalence of repetition and variation
in contemporary Japanese genre cinema, to understand some of the
reasons behind this paradigm, and analyse where relevant how and to
what extent new modes or generic groups fit into the schema. In so
doing it seeks for the first time in English language discourse to
offer an academic appreciation and overview of popular Japanese of
the last two decades. It considers and analyses numerous films and
filmmakers that have yet to feature predominantly in western
discourse on Japanese cinema; the first study of the significant
developments in Japanese genre filmmaking since the turn of the new
millennium; analyses in detail the dialogue that can be seen
between new Japanese cinema and the significant trends and
practices of past generations; includes for the first time in
western discourse a discussion of the modern state of the Japanese
documentary feature, based on interviews with some of its leading
practitioners and also includes a review of Japanese language
criticism and a consideration of how the country's cinema has been
perceived within Japan.
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