The Indian diaspora is the largest diasporic movement from Asia, with the Indian community numbering over twenty-five million around the world. Its large scale encompasses a kaleidoscopic community from disparate regions, languages, cultural heritages, religions, and traditions within the subcontinent. The many peoples of the Indian diaspora have growing social and economic impacts on their new homes, but maintain their cultural bonds with India. This volume offers a thorough analysis of the diasporic practices of the Indian communities in essays covering a number of fields, such as literature, cultural studies, and film studies. The contributors deal with the Indian diaspora's historical and contemporary connotations, its theoretical framework, the cultural hybridizations that emerge from diaspora, and other topics touching on the cultural and social effects of the spread of Indian peoples around the globe.

Few directors have played such a prominent role as Francis Veber in shaping the cinematic identity of France over the past forty years, yet in many ways his chosen genre of comedy has relegated his work to the margins of Film Studies. Using an auterist lens to challenge the notions of taste, genre and aesthetics that are commonly used to form the cinematic canon, this book explores the twelve films Veber directed between 1976 and 2008. These include Le Jouet (1976), Les fugitifs (1986) and L'emmerdeur (2008). Considering also Veber's extensive work as a playwright, theatre director and screenwriter - as well as the numerous remakes and adaptations of his films in Hollywood - author Keith Corson focuses on issues of class, labour and politics to examine the ways in which Veber embeds serious social critiques in his mainstream films.

Few directors have played such a prominent role as Francis Veber in shaping the cinematic identity of France over the past forty years, yet in many ways his chosen genre of comedy has relegated his work to the margins of Film Studies. Using an auterist lens to challenge the notions of taste, genre and aesthetics that are commonly used to form the cinematic canon, this book explores the twelve films Veber directed between 1976 and 2008. These include Le Jouet (1976), Les fugitifs (1986) and L'emmerdeur (2008). Considering also Veber's extensive work as a playwright, theatre director and screenwriter - as well as the numerous remakes and adaptations of his films in Hollywood - author Keith Corson focuses on issues of class, labour and politics to examine the ways in which Veber embeds serious social critiques in his mainstream films.

From 1972 to 1976, Hollywood made an unprecedented number of films targeted at black audiences. But following this era known as “blaxploitation,” the momentum suddenly reversed for black filmmakers, and a large void separates the end of blaxploitation from the black film explosion that followed the arrival of Spike Lee’s She's Gotta Have It in 1986. Illuminating an overlooked era in African American film history, Trying to Get Over is the first in-depth study of black directors working during the decade between 1977 and 1986. Keith Corson provides a fresh definition of blaxploitation, lays out a concrete reason for its end, and explains the major gap in African American representation during the years that followed. He focuses primarily on the work of eight directors—Michael Schultz, Sidney Poitier, Jamaa Fanaka, Fred Williamson, Gilbert Moses, Stan Lathan, Richard Pryor, and Prince—who were the only black directors making commercially distributed films in the decade following the blaxploitation cycle. Using the careers of each director and the twenty-four films they produced during this time to tell a larger story about Hollywood and the shifting dialogue about race, power, and access, Corson shows how these directors are a key part of the continuum of African American cinema and how they have shaped popular culture over the past quarter century.