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This book is the first of its kind to concentrate significantly on
trans-nation and transnationalism, and its dialogue with various
nationalisms in South Asia. Transnationalism as a conceptual
apparatus has rarely been explored in South Asian academia, despite
its prevalence as a research method in the Euro-US domain. Taking
this absence/dearth as a crucial juncture as well as a point of
intervention, this book intends to push the boundaries further by
organizing a dialogue between the nation-state and many
nationalisms and the emergent method of transnationalism, going
beyond the borders of the Indian state and engaging with Sri Lanka
and Bangladesh. It opens itself up for such cross-border movements,
formulating the trans-South Asian discursive exchange necessitated
by contemporary theoretical upheavals. It looks at such exchanges
through the prism(s) of literature and cinema. The book traces the
various modes of engagement that exist between some of the globally
dominant literary and cinematic forms, trying to locate these
engagements and negotiations across three geopolitical formations
and locations of culture, namely region, nation and trans-nation.
These three locations work as contact zones where cultural
interfaces manifest in various forms.
This book traces the journey of popular Hindi cinema from 1913 to
contemporary times when Bollywood has evolved as a part of India's
cultural diplomacy. Avoiding a linear, developmental narrative, the
book re-examines the developments through the ruptures in the
course of cinematic history. The essays in the volume critically
consider transformations of the Hindi film industry from its early
days to its present self-referential mode, issues of gender, dance
and choreography, Bombay cinema's negotiations with the changing
cityscape and urbanisms, and concentrate on its multifarious
regional, national and transnational implications in the 21st
century. One of the most comprehensive volumes on Bollywood, this
work presents an analytical overview of the multiple histories of
popular cinema in India and will be useful to scholars and
researchers interested in film and media studies, South Asian
popular culture and modern India, as well as to cinephiles and
general readers alike.
This original collection fills a gap in the literature on Lav Diaz,
and more broadly, on slow and durational cinema. The importance of
the director in contemporary world cinema is beyond doubt. This
collection considers Lav Diaz and his works holistically without
being confined to a specific approach or research method. On the
contrary, it involves almost all the major contemporary academic
approaches to cinema. It focuses on an auteur who has been
celebrated immensely in recent times and yet has remained largely
unexplored in cinema studies. The book will address this research
gap. As such, this book aims to situate Diaz at the crucial
juncture of 'new' auteurism, Filipino New Wave and transnational
cinema, but it does not neglect the industrial-exhibitional
coordinates of his cinema. The rationale behind this project is to
raise questions on the oeuvre of a significant auteur, to situate
him in and outside of his immediate national context(s), to present
a repository of critical approaches on him, to reconsider the
existing critical positions on him, to find newer avenues to enter
(and exit) his canon that will consciously avoid the time-worn
rhetoric of long take and slowness of the proverbial 'slow cinema'
camp and to find corridors in him that will lead to informed ways
of reaching other movements/auteurs in other times, other places.
It explores various other aspects of Diaz and his cinema whose
notoriety, the editors believe, should not rely solely on its
incredible running time. The collection looks at Diaz from the
perspectives of a national and a transnational critic - one of the
two editors is from the Philippines, the other from another Asian
location. It concentrates both on the spatial and the temporal, to
place him within the intricacies of the culture and creative
industries and the distribution practices and politics in his
native place, to allow space for his 'detractors' who (perhaps
rightly) focus on and object to his 'artlessness', and also to read
him in the context of his fascination for the epic novel and
novelistic cinema, his engagement with Dostoevsky and Jose Rizal,
among others. This is the first book-length study on the Filipino
auteur Lav Diaz. It looks critically at his career and corpus from
various perspectives, with contributions from cinema studies
researchers, film critics, festival programmers and artists. It
offers a nuanced overview of the filmmaker and the cinematic
traditions he belongs to for film enthusiasts, researchers and
general readers alike. Primary readership will be researchers,
scholars, educators and students in film studies. Also academics
and researchers interested and working in cultural studies and
Philippine studies.
This book traces the journey of popular Hindi cinema from 1913 to
contemporary times when Bollywood has evolved as a part of India's
cultural diplomacy. Avoiding a linear, developmental narrative, the
book re-examines the developments through the ruptures in the
course of cinematic history. The essays in the volume critically
consider transformatio
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