The persona of Sohrab Modi the producer, director and actor comprises many facts of Indian film history that need to be taken note of. His career spanned an eventful half a century (1934-1983) that narrates great stories about the man who had definite views about cinema, as well as life. He is a model to many a filmmaker and artiste engaged in art, craft or commerce today. This volume evokes the period of early filmmaking, including the Parsee Theatre and the early Indian penchant for Shakespearean plays that continues to this day. Sohrab Modi occupies a special place in the history of Indian cinema for his grand cinematographic creations and interpretations of the medieval and later history of India. "For me a good director is one who can translate the script well on to the screen. The script is the written word and if that is well translated audio-visually on to the screen, so as to hold the public pulse, he is a very good director."

In Unveiling Desire, Devaleena Das and Colette Morrow show that the duality of the fallen/saved woman is as prevalent in Eastern culture as it is in the West, specifically in literature and films. Using examples from the Middle to Far East, including Iran, India, Pakistan, Bangladesh, Thailand, Japan, and China, this anthology challenges the fascination with Eastern women as passive, abject, or sexually exotic, but also resists the temptation to then focus on the veil, geisha, sati, or Muslim women's oppression without exploring Eastern women's sexuality beyond these contexts. The chapters cover instead mind/body sexual politics, patriarchal cultural constructs, the anatomy of sex and power in relation to myth and culture, denigration of female anatomy, and gender performativity. From Persepolis to Bollywood, and from fairy tales to crime fiction, the contributors to Unveiling Desire show how the struggle for women's liberation is truly global.

In Unveiling Desire, Devaleena Das and Colette Morrow show that the duality of the fallen/saved woman is as prevalent in Eastern culture as it is in the West, specifically in literature and films. Using examples from the Middle to Far East, including Iran, India, Pakistan, Bangladesh, Thailand, Japan, and China, this anthology challenges the fascination with Eastern women as passive, abject, or sexually exotic, but also resists the temptation to then focus on the veil, geisha, sati, or Muslim women's oppression without exploring Eastern women's sexuality beyond these contexts. The chapters cover instead mind/body sexual politics, patriarchal cultural constructs, the anatomy of sex and power in relation to myth and culture, denigration of female anatomy, and gender performativity. From Persepolis to Bollywood, and from fairy tales to crime fiction, the contributors to Unveiling Desire show how the struggle for women's liberation is truly global.