Indian cinema in the time of celluloid: from Bollywood to the Emergency /
From Bollywood to the Emergency
Ashish Rajadhyaksha
- Bloomington, Ind.: Chesham: Indiana University Press; Combined Academic [distributor], 2009.
- x, 441 p.: ill.; 24 cm.
Includes bibliographical references (p. [401]-427) and index.
THE ARGUMENT 0 A Theory of Cinema that Can Account for Indian Cinema THE EVIDENCE ’Bollywood’ and the Performing Citizen 1 ’Bollywood’ 2004: The Globalized Freak Show of What Used to Be Cinema 2 When Was Bollywood?: Textual and Historical Discrepancies 3 The Cinema-Effect 1: Cultural Rights versus the Production of Authenticity 4 The Cinema-Effect 2: Social Lineages, Spectatorial Ability The Cinema-Effect and the State 5 Administering the Symbols of Authenticity Production, and Revisiting a 1990s Controversy 6 ’You Can See without Looking’: The Cinematic ’Author’ and Freedom of Expression in Cinema 7 ’People-Nation’ and Spectatorial Rights: The Political ’Authenticity-Effect’, the Shiv Sena and a Very Bombay History 1970s Questions: The ’Cinema-Effect’, the National-Symbolic and the Avant Garde 8 The Detour of the Nation: Realist Complicities, Nationalist Excesses 9 The Indian Emergency: Aesthetics of State Control 10 The Problem: A ’Co-production of Modernities’ 11 The Mechanism: ’Taking’ the Shot The Practice: Two Films and a Painting 12 Bhupen Khakhar’s List: Revisiting View from the Teashop 13 Mani Kaul and the ’Cinematic Object’: Uski Roti and the Rulebook of Cinema 14 Gautam Chose’s Maabhoomi: Territorial Realism and the ’Narrator’ 15 The Cinema-Effect: A Concluding Note