Indian Cinema In The Time Of Celluloid :From Bollywood To The Emergency

1. IntroductionPART I: THE 'CINEMA-EFFECT' OUTSIDE THE CINEMA: 'BOLLYWOOD' AND THE PERFORMING CITIZEN2. 'Bollywood' 2004: The Globalized Freak Show of what was Cinema3. When Was Bollywood?4. The 'Cinema-Effect': Cultural Rights Vs. The Production Of Authenticity5. Social Lineages of the Cinema-Effect: Demonstrating Spectatorial AbilityAfterword: Bollywood And The Cinema-Effect: A Concluding NotePART II: ADMINISTERING THE SYMBOLS OF AUTHENTICITY-PRODUCTION: THE CINEMA-EFFECT AND THE STATE - AND REVISITING A 1990s CONTROVERSY6. Administering The Symbols Of Authenticity-Production7. 'You Can See Without Looking': The Cinematic 'Author' and Freedom Of Expression in the Cinema8. 'People-Nation' And Spectatorial Rights: The Political 'Authenticity-Effect', the Shiv Sena and a Very Bombay HistoryPART III: 1970S QUESTIONS: THE CINEMA-EFFECT, THE NATIONAL SYMBOLIC AND THE AVANT-GARDE9. The Nation Detours10. The Indian Emergency11. The Problem, and a 'Coproduction Of Modernities'12. 'Taking' The Shot': Alternative Beginnings To The Mechanism13. The Practice: Two Films And A Painting (1): Bhupen Khakhar's List14. The Practice: Two Films And A Painting (2): Mani Kaul And The 'Cinematic Object' - Uski Roti15. The Practice: Two Films And A Painting (3): Gautam Ghose's Maabhoomi, Territorial Realism And The 'Narrator'