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It is now over two decades since the Hindi-film heroine drove the vamp into extinction, and even longer since the silver screen was ignited by the true Bollywood version of a cabaret. Yet, Helen – nicknamed ‘H-Bomb’ at the height of her career – continues to rule the popular imagination. Improbably, for a dancer and a vamp she has become an icon. Jerry Pinto’s gloriously readable book is a study of the phenomenon that was Helen: Why did a refugee of French-Burmese parentage succeed as wildly as she did in mainstream Indian cinema? How could otherwise conservative families sit through, and even enjoy, her ‘cabarets’? What made Helen ‘the desire that you need not be embarrassed about feeling’? How did she manage the unimaginable: vamp three generations of men on screen? Equally, the book is a brilliantly witty and provocative examination of middle-class Indian morality; the politics of religion, gender and sexuality in popular culture; and the importance of the song, the item number and the wayward woman in Hindi cinema.
This volume focuses on the life and times of the ‘star of the millennium’, Amitabh Bachchan, and goes on to describe his contemporaries such as Shashi Kapoor, Dharmendra and Vinod Khanna, and also the next generation of heroes, including the Khans, Govinda, Hrithik Roshan and others who have followed. Ashok Raj is a research coordinator based in New Delhi. An alumnus of the Indian Institute of Technology, New Delhi, he has served as a consultant to several national and international organizations and NGOs in various spheres such as science, culture and the media. His significant work is a sixteen-part series on cinema, which was published in Screen (in 1988).
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This is a comprehensive study on Satyajit Ray, a filmmaker of intrnational repute and his his films, this book besides providing a critical commentry on each of his films also discusses the many influences on Ray, eastern and western, the literary sources as well as Ray s departures from them.
In this new work, John W. Hood makes a thoroughly informed critique of all twenty-nine feature films of Satyajit Ray. Structured along themes which the author has identified in Ray's movies, this reassessment analyses each film on the basis of its individual merits and lapses. Having taken us through the two ends of the spectrum of excellence and mediocrity that comprise Ray's work, Hood concludes his incisive study by affirming that what makes Ray ascend into the realms of the great is his profound sense of humanity. A highly accessible work on arguably the finest filmmaker India has ever produced, this book will engage not only serious readers of cinematic texts but also be a valuable leaning resource for students of film studies, all over the world.
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An overview of Indian art cinema, the book critically examines the work of 8 film-makers Ritwik Ghatak, Mrinal Sen, Satyajit Ray, Adoor Gopalakrishnan, Shyam Benegal, Aravindan, Buddhadeb Dasgupta, Govind Nihalani and others like Mani Kaul, Goutam Ghose and Ketan Mehta.