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This book offers an introduction to popular Hindi cinema, a genre
that has a massive fan base but is often misunderstood by critics,
and provides insight on topics of political and social
significance. Arguing that Bollywood films are not realist
representations of society or expressions of conservative ideology
but mediated texts that need to be read for their formulaic and
melodramatic qualities and for their pleasurable features like
bright costumes, catchy music, and sophisticated choreography, the
book interprets Bollywood films as complex considerations on the
state of the nation that push the boundaries of normative gender
and sexuality. The book provides a careful account of Bollywood's
constitutive components: its moral structure, its different forms
of love, its use of song and dance, its visual style, and its
embrace of cinephilia. Arguing that these five elements form the
core of Bollywood cinema, the book investigates a range of films
from 1947 to the present in order to show how films use and
innovate formulaic structures to tell a wide range of stories that
reflect changing times. The book ends with some considerations on
recent changes in Bollywood cinema, suggesting that despite
globalization the future of Bollywood remains promising. By
presenting Bollywood cinema through an interdisciplinary lens, the
book reaches beyond film studies departments and will be useful for
those teaching and studying Bollywood in English, sociology,
anthropology, Asian studies, and cultural studies classes.
This book offers an introduction to popular Hindi cinema, a genre
that has a massive fan base but is often misunderstood by critics,
and provides insight on topics of political and social
significance. Arguing that Bollywood films are not realist
representations of society or expressions of conservative ideology
but mediated texts that need to be read for their formulaic and
melodramatic qualities and for their pleasurable features like
bright costumes, catchy music, and sophisticated choreography, the
book interprets Bollywood films as complex considerations on the
state of the nation that push the boundaries of normative gender
and sexuality. The book provides a careful account of Bollywood's
constitutive components: its moral structure, its different forms
of love, its use of song and dance, its visual style, and its
embrace of cinephilia. Arguing that these five elements form the
core of Bollywood cinema, the book investigates a range of films
from 1947 to the present in order to show how films use and
innovate formulaic structures to tell a wide range of stories that
reflect changing times. The book ends with some considerations on
recent changes in Bollywood cinema, suggesting that despite
globalization the future of Bollywood remains promising. By
presenting Bollywood cinema through an interdisciplinary lens, the
book reaches beyond film studies departments and will be useful for
those teaching and studying Bollywood in English, sociology,
anthropology, Asian studies, and cultural studies classes.
In an age of social media and reality television, reading and
consumption habits in India now demand homegrown pulp fictions.
Ulka Anjaria categorizes post-2000 Indian literature and popular
culture as constituting "the contemporary," a movement defined by
new and experimental forms-where high- and low-brow meet, and
genres break down. Reading India Now studies the implications of
this developing trend as both the right-wing resurges and
marginalized voices find expression. Anjaria explores the fiction
of Chetan Bhagat and Anuja Chauhan as well as Aamir Khan's
television talk show, Satyamev Jayate, plus the work of
documentarian Paromita Vohra, to argue how different kinds of texts
are involved in imagining new political futures for an India in
transition. Contemporary literature and popular culture in India
might seem artless and capitalistic, but it is precisely its
openness to the world outside that allows these new works to offer
significant insight into the experiences and sensibilities of
contemporary India.
A History of the Indian Novel in English traces the development of
the Indian novel from its beginnings in the late nineteenth century
up until the present day. Beginning with an extensive introduction
that charts important theoretical contributions to the field, this
History includes extensive essays that shed light on the legacy of
English in Indian writing. Organized thematically, these essays
examine how English was 'made Indian' by writers who used the
language to address specifically Indian concerns. Such concerns
revolved around the question of what it means to be modern as well
as how the novel could be used for anti-colonial activism. By the
1980s, the Indian novel in English was a global phenomenon, and
India is now the third largest publisher of English-language books.
Written by a host of leading scholars, this History invites readers
to question conventional accounts of India's literary history.
Early twentieth-century Indian novels often depict the harsh
material conditions of life under British colonial rule. Even so,
these 'realist' novels are profoundly imaginative. In this study,
Ulka Anjaria challenges the distinction between early
twentieth-century social realism and modern-day magical realism,
arguing that realism in the colony functioned as a mode of
experimentation and aesthetic innovation - not merely as mimesis of
the 'real world'. By examining novels from the 1930s across several
Indian languages, Anjaria reveals how Indian authors used realist
techniques to imagine alternate worlds, to invent new
subjectivities and relationships with the Indian nation and to
question some of the most entrenched values of modernity.
Addressing issues of colonialism, Indian nationalism, the rise of
Gandhi, religion and politics, and the role of literature in
society, Anjaria's careful analysis will complement graduate study
and research in English literature, South Asian studies and
postcolonial studies.
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