Description
Book SynopsisArgues that any exploration of the social uses to which cinema is put in a place like India can only make sense if it transforms our understanding of cinema itself. This work examines three moments of crisis for the Indian State in which cinema played a central role.
Trade ReviewBy analyzing theories of spectatorship, Rajadhyaksha defines the aesthetic that is Bollywood. . . . Recommended.May 2010
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Table of Contents1. Introduction
PART I: THE 'CINEMA-EFFECT' OUTSIDE THE CINEMA: 'BOLLYWOOD' AND THE PERFORMING CITIZEN
2. 'Bollywood' 2004: The Globalized Freak Show of what was Cinema
3. When Was Bollywood?
4. The 'Cinema-Effect': Cultural Rights Vs. The Production Of Authenticity
5. Social Lineages of the Cinema-Effect: Demonstrating Spectatorial Ability
Afterword: Bollywood And The Cinema-Effect: A Concluding Note
PART II: ADMINISTERING THE SYMBOLS OF AUTHENTICITY-PRODUCTION: THE CINEMA-EFFECT AND THE STATE - AND REVISITING A 1990s CONTROVERSY
6. Administering The Symbols Of Authenticity-Production
7. 'You Can See Without Looking': The Cinematic 'Author' and Freedom Of Expression in the Cinema
8. 'People-Nation' And Spectatorial Rights: The Political 'Authenticity-Effect', the Shiv Sena and a Very Bombay History
PART III: 1970S QUESTIONS: THE CINEMA-EFFECT, THE NATIONAL SYMBOLIC AND THE AVANT-GARDE
9. The Nation Detours
10. The Indian Emergency
11. The Problem, and a 'Coproduction Of Modernities'
12. 'Taking' The Shot': Alternative Beginnings To The Mechanism
13. The Practice: Two Films And A Painting (1): Bhupen Khakhar's List
14. The Practice: Two Films And A Painting (2): Mani Kaul And The 'Cinematic Object' - Uski Roti
15. The Practice: Two Films And A Painting (3): Gautam Ghose's Maabhoomi, Territorial Realism And The 'Narrator'
