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.