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Hero Vol.1
This volume traces the growth of the indigenous Hindi film hero from the silent era up to Dilip Kumar. The film hero is depicted as a credible representative of the social, cultural and political milieu of his era. The author contends that the development of Hindi cinema has been largely centered round the frontal figure of the hero. In the course of the narrative, the subject matter presents a compact history of mainstream Hindi cinema by placing personalities, events and trends in specific time frames.
Gender, Culture, and Performance
This book presents a lucid, comprehensive, and entertaining narrative of culture and society in late 19th- and early 20th-century Maharashtra through a perceptive study of its theatre and cinema. An intellectual tour de force, it will be invaluable to scholars and researchers of modern Indian history, theatre and film studies, cultural studies, sociology, gender studies as well as the interested general reader.
Did You Know Indian Film Industry Interesring Facts Circa 1913 And After
Did you know is a collection of interesting trivia. It is those lesser known facts about well known artists/stars of Indian film industry.
Maharashtra
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The Moving Image
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National Union Catalog
Includes entries for maps and atlases.
Hindi Film Song
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The Message Bearers
Popular theatre and the rise of nationalism -- Popular songs and the civil disobedience movement -- Birth of a new medium: silent cinema in South India -- Patriotic cinema: an aspect of the freedom struggle -- Film censorship and political control in British India.
Humanist and Emotional Beginnings of a Nationalist Indian Cinema in Bombay
"Film made in Bombay" have a much longer and more complex history than "Bollywood"; and what is widely projected as "authentically Indian" is a politicised and ideologically contested space since the first decades of the 20th century. How did the historical audiences in Bombay actually respond to the first "Indian films", to an Indian filmaker's mediation of ideas and feelings of "being Indian"? In what way did for instance in 1913-18 the first long narrative films by the pioneer Dhundiraj Govind Phalke convey patriotic sentiments? These are some of the questions tackled by Brigitte Schulze, a sociologist and activist of Indian cinema cultures since the late 1980s. Exploring the beginnings of Bombay's cinema means to enter spaces largely occupied by orientalist or nationalist myths; however, once these are critiqued her discursive and contextualising approach brings into light long forgotten visions and landscapes of a "cinematographic humanism" beyond caste, class, gender or nation-state.
