The 1970s was a pivotal decade in the Indian social, cultural, political and economic landscape: the global oil crisis, wars with China and Pakistan in the previous decade, the Bangladesh war of 1971, labour and food shortages, widespread political corruption, and the declaration of the state of Emergency. Amidst this backdrop Indian cinema in both its popular and art/parallel film forms flourished. This exciting new collection brings together original research from across the arts and humanities disciplines that examine the legacies of the 1970s in India's cinemas, offering an invaluable insight into this important period. The authors argue that the historical processes underway in the 1970s are important even today, and can be deciphered in the aural and visual medium of Indian cinema. The book explores two central themes: first, the popular cinema's role in helping to construct the decade's public culture; and second, the powerful and under-studied archive of the decade as present in India's popular cinemas. This book is based on a special issue of South Asian Popular Culture.

The 1970s was a pivotal decade in the Indian social, cultural, political and economic landscape: the global oil crisis, wars with China and Pakistan in the previous decade, the Bangladesh war of 1971, labour and food shortages, widespread political corruption, and the declaration of the state of Emergency. Amidst this backdrop Indian cinema in both its popular and art/parallel film forms flourished. This exciting new collection brings together original research from across the arts and humanities disciplines that examine the legacies of the 1970s in India's cinemas, offering an invaluable insight into this important period. The authors argue that the historical processes underway in the 1970s are important even today, and can be deciphered in the aural and visual medium of Indian cinema. The book explores two central themes: first, the popular cinema's role in helping to construct the decade's public culture; and second, the powerful and under-studied archive of the decade as present in India's popular cinemas. This book is based on a special issue of South Asian Popular Culture.

Bollywood is India's most popular entertainment and one of its most powerful social forces. Its blockbusters contest ideas about state formation, capture the nation's dispersed anxieties, and fabricate public fantasies of what constitutes "India." Written by an award-winning scholar of popular culture and postcolonial modernity, Bollywood's India analyzes the role of the cinema's most popular blockbusters in making, unmaking, and remaking modern India. With dazzling interpretive virtuosity, Priya Joshi provides an interdisciplinary account of popular cinema as a space that filters politics and modernity for its viewers. Themes such as crime and punishment, family and individuality, vigilante and community capture the diffuse aspirations of an evolving nation. Summoning India's tumultuous 1970s as an interpretive lens, Joshi reveals the cinema's social work across decades that saw the decline of studios, the rise of the multi-starrer genre, and the arrival of corporate capital and new media platforms. In elegantly crafted studies of iconic and less familiar films, including Awara (1951), Ab Dilli Dur Nahin (1957), Deewaar (1975), Sholay (1975), Dil Se (1998), A Wednesday (2008), and 3 Idiots (2009), Joshi powerfully conveys the pleasures and politics of Bollywood blockbusters.

Bollywood is India's most popular entertainment and one of its most powerful social forces. Its blockbusters contest ideas about state formation, capture the nation's dispersed anxieties, and fabricate public fantasies of what constitutes "India." Written by an award-winning scholar of popular culture and postcolonial modernity, Bollywood's India analyzes the role of the cinema's most popular blockbusters in making, unmaking, and remaking modern India. With dazzling interpretive virtuosity, Priya Joshi provides an interdisciplinary account of popular cinema as a space that filters politics and modernity for its viewers. Themes such as crime and punishment, family and individuality, vigilante and community capture the diffuse aspirations of an evolving nation. Summoning India's tumultuous 1970s as an interpretive lens, Joshi reveals the cinema's social work across decades that saw the decline of studios, the rise of the multi-starrer genre, and the arrival of corporate capital and new media platforms. In elegantly crafted studies of iconic and less familiar films, including Awara (1951), Ab Dilli Dur Nahin (1957), Deewaar (1975), Sholay (1975), Dil Se (1998), A Wednesday (2008), and 3 Idiots (2009), Joshi powerfully conveys the pleasures and politics of Bollywood blockbusters.

In a work of stunning archival recovery and interpretive virtuosity, Priya Joshi illuminates the cultural work performed by two kinds of English novels in India during the colonial and postcolonial periods. Spanning the nineteenth and twentieth centuries, readers and writers, empire and nation, consumption and production, "In Another Country" vividly explores a process by which first readers and then writers of the English novel indigenized the once imperial form and put it to their own uses. Asking what nineteenth-century Indian readers chose to read and why, Joshi shows how these readers transformed the literary and cultural influences of empire. By subsequently analyzing the eventual rise of the English novel in India, she further demonstrates how Indian novelists, from Krupa Satthianadhan to Salman Rushdie, took an alien form in an alien language and used it to address local needs. Taken together in this manner, reading and writing reveal the complex ways in which culture is continually translated and transformed in a colonial and postcolonial context.

In a work of stunning archival recovery and interpretive virtuosity, Priya Joshi illuminates the cultural work performed by two kinds of English novels in India during the colonial and postcolonial periods. Spanning the nineteenth and twentieth centuries, readers and writers, empire and nation, consumption and production, "In Another Country" vividly explores a process by which first readers and then writers of the English novel indigenized the once imperial form and put it to their own uses. Asking what nineteenth-century Indian readers chose to read and why, Joshi shows how these readers transformed the literary and cultural influences of empire. By subsequently analyzing the eventual rise of the English novel in India, she further demonstrates how Indian novelists, from Krupa Satthianadhan to Salman Rushdie, took an alien form in an alien language and used it to address local needs. Taken together in this manner, reading and writing reveal the complex ways in which culture is continually translated and transformed in a colonial and postcolonial context.