In Indian Cinema in the Time of Celluloid, Ashish Rajadhyaksha arguesthat any exploration of the social uses to which cinema is put in a place like Indiacan only make sense if it transforms our understanding of cinema itself. Taking ashis timeframe the era of celluloid, which is also marked by public experiences ofspectatorship and uses of cinema by the state, Rajadhyaksha examines three momentsof crisis for the Indian State in which cinema played a central role.
In Indian Cinema in the Time of Celluloid, Ashish Rajadhyaksha arguesthat any exploration of the social uses to which cinema is put in a place like Indiacan only make sense if it transforms our understanding of cinema itself. Taking ashis timeframe the era of celluloid, which is also marked by public experiences ofspectatorship and uses of cinema by the state, Rajadhyaksha examines three momentsof crisis for the Indian State in which cinema played a central role.
Ashish Rajadhyaksha is Senior Fellow at the Centre for the Study of Culture and Society (CSCS), Bangalore, and a critic and writer on cinema, art, and culture. He is author and editor (with Paul Willemen) of the Encyclopaedia of Indian Cinema and author of Ritwik Ghatak: A Return to the Epic.
Inhaltsangabe
1. 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'
1. 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'
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