INDIAN FILMS IN GLOBAL CONTEXT - MONEY OR CREATIVITY!

2018 ◽  
Vol 1 (1) ◽  
pp. 24-29
Author(s):  
Dr. Gurudutta Japee
Keyword(s):  
Film Industry ◽  
Main Stream ◽  
The South ◽  
Global Context ◽  
Indian Cinema ◽  
Tamil Cinema ◽  
Hindi Cinema ◽  
To Come ◽  
National Boundaries

‘Art does not go global because its creator is consciously working towards a worldwide impact.’ It ought to be straightforward to present a description of the ‘world’s biggest film industry’, but Indian film scholars find it difficult to come to terms with its diversity and seeming contradictions. The biggest single mistake that non-Indian commentators make is to assume that ‘Indian Film Industry ’ is the same thing as Indian Cinema. It is not. The Indian film industry is always changing and as traditional cinemas close in the South and more multiplexes open, there may be a shift towards main stream Hindi films. But the South is building multiplexes too and it is worth noting that Hollywood distributors have started to release films in India dubbed into several languages. India's various popular cinemas are not all alike, and the differences among them are not restricted to language. They address different identities; the language communities sometimes transcend national boundaries, as when Tamil cinema is followed avidly in Malaysia. "Bollywood" is a recent, global appellation, but mainstream Hindi cinema tried to address national concerns even under colonial rule. When the English-spoken media in India clamour for a better quality of cinema, what they desire is a cinema that is forged in the Western tradition of storytelling and narrative.

Co-creation and the state in a global context

2020 ◽  
pp. 23-40
Author(s):  
Sue Brownill ◽  
Oscar Natividad Puig
Keyword(s):  
Civil Society ◽  
Mexico City ◽  
The South ◽  
Global Context ◽  
The World ◽  
Local Stakeholders ◽  
Global North ◽  
Global Nature ◽  
To Come ◽  
North And South

This chapter draws on debates about the need for theory to ‘see from the South’ (Watson, 2009) to critically reflect on the increasingly global nature of co-creation both as a focus for research and for initiatives from governments around the world. It explores whether current understandings of co-creation narratives, which have tended to come from the Global North, can adequately characterise and understand the experience from the South, and the resulting need to decolonise knowledge and conduct research into the diverse ways in which co-creation can be constituted. It goes on to illustrate these debates by exploring the differing contexts for co-creation created by state-civil society relations in the project’s participating countries. These show that, while distinct contrasts emerge, it is important to move beyond dichotomies of north and south to explore the spaces of participation and resistance that are created within different contexts and how these are navigated by projects and communities engaged in co-creation. The chapter draws on material from interviews with local stakeholders and academics involved in the Co-Creation project and project conferences in Rio, Mexico City and Berlin.

Unruly Cinema

2020 ◽  
Author(s):  
Rini Battacharya Mehta
Keyword(s):  
Film Industry ◽  
First Century ◽  
Art Cinema ◽  
Popular Cinema ◽  
Indian Cinema ◽  
History Of ◽  
Hindi Cinema ◽  
The Aesthetic ◽  
Historical Periods ◽  
Systematic Exposition

Unruly Cinema is a meta-history of Indian cinema’s emergence and growth in correspondence with the colonial, postcolonial, and the neoliberal state. Indian popular cinema has grown steadily from the largest national film industry to a global cultural force. Between 1931 and 2000, Indian cinema overcame Hollywood’s domination of the Indian market, crafted a postcolonial national aesthetic, resisted the high modernist pull of art cinema, and eventually emerged as a seamless extension of India’s neoliberal ambitions. The major agent of these four shifts was a section of the Hindi cinema produced in Bombay, which came to be named and marketed as Bollywood in the twenty-first century. Through a systematic exposition of four historical periods, this book shows how Bollywood’s current dominance is an unlikely result of unruliness, that is, of a disorganized defiance of norms. Perpetually caught between an apathetic and adversarial government and an undefined public, Indian commercial cinema has thrived simply by defying control or normalization. The aesthetic turns of this cinema are guided by counter-effects, often unintended and always unruly.

K. Balachander: An Innovative Filmmaker

2009 ◽  
Vol 37 (4) ◽  
pp. 574-598 ◽  
Author(s):  
Sathiavathi Chinniah
Keyword(s):  
Film Industry ◽  
Audience Reception ◽  
Female Representation ◽  
Indian Cinema ◽  
Rural And Urban ◽  
Tamil Cinema ◽  
New Perspective

AbstractThis study aims to contribute to existing literature on Indian cinema by exploring the works of K. Balachander. An academic enquiry into K. Balachander's films is justified given his presence in the Tamil film industry for some 40 years and the numerous awards he had obtained over this period for his filmic contributions, including the prestigious Padmashree Award which he won in 1987. In the bigger study of which this is a small part, I also study female representation in his films, as well as how various groups of audience interpret the portrayal of women in three specific films directed by him. Keeping in mind the varied audience groups of Tamil cinema, three different groups have been selected for this purpose, namely the rural and urban audiences in India and the diaspora audience in Singapore. Emphasis on the audience allows this study to build on earlier research on the reception of films at the point of consumption. I hope in this to provide a new perspective on audience reception of female portrayals in Tamil films.

scholarly journals Dél-Dunántúl oktatási és kulturális helyzetének vizsgálata

2012 ◽  
Vol 7 (1-2) ◽  
pp. 106-113
Author(s):  
Krisztián Szűcs
Keyword(s):  
Economic System ◽  
Human Resource ◽  
Educational System ◽  
History Of Education ◽  
Developing Economy ◽  
Economic Potential ◽  
The South ◽  
History Of ◽  
To Come

Within the framework of the European Union's Social Renewal Operational Programme "TÁMOP" in which the South Transdanubian development opportunities are being researched, we placed special emphasis on the educational and cultural situation which essentially forms the basics of the quality of the human resource. The importance of it is clear as a developing economy can only emerge if professional human resource that can supply and operate the demand is available in the region. The development of an educational system that meets the needs of the economic system has been failed so far. Some examples can prove this statement: the lack of experts had been the reason for new industries not to come to the region. The examination of the educational and cultural situation is also important because the region centres have had long history of education which can be an economic potential as they attract students from other regions.

Representing Terrorism

2015 ◽  
pp. 183-200
Author(s):  
Omar Ahmed
Keyword(s):  
Film Industry ◽  
Urban Violence ◽  
Indian Cinema ◽  
The Third ◽  
Box Office ◽  
Tamil Cinema ◽  
The Uk ◽  
Film Making ◽  
The Impact ◽  
The Relationship

This chapter explores Mani Ratnam's 1998 film Dil Se (From the Heart) to engage critically with changing representations of terrorism in contemporary Indian cinema. Mani Ratnam is recognised by many critics and the Indian film industry as one of its finest and most commercially successful film-makers. Dil Se was Ratnam's first Hindi film and the third part in a loose trilogy of films dealing with the relationship between nationalism, terrorism, and urban violence. The chapter then looks at regional film-making in India, particularly Tamil cinema. It also considers Mani Ratnam's concerns as an auteur, the music of Dil Se and composer A.R. Rahman, and perhaps most importantly, the impact the film had at the UK box office with the Non-Resident Indian (NRI) audience.

Postmodernism and India

2015 ◽  
Author(s):  
Neelam Sidhar Wright
Keyword(s):  
Film Industry ◽  
Critical Writing ◽  
Global Context ◽  
Indian Cinema ◽  
Postmodern Art ◽  
The Relationship

This chapter examines how the Indian film industry has taken a postmodern turn after the millennium as a response to Bollywood's increased global exchanges and commercialisation. It first considers the postmodern presence in contemporary Indian cinema by observing the film industry's geographical site of production in two of India's most prominent celluloid cities: Delhi and Mumbai. It then explores postmodern shifts in contemporary Bollywood and the concept of postmodernism within a global context by reviewing selected critical writing which has previously attempted to relate the concept to both Western and Eastern cinemas. It also analyses the issue of legitimacy wih respect to the relationship between contemporary Bollywood cinema and postmodern art concerns.

scholarly journals RECREATING HAMLET: CREATIVITY OF VISHAL BHARDWAJ IN HAIDER

2021 ◽  
Vol 14 (1) ◽  
pp. 90-98
Author(s):  
K. S. Shahanaaz Kowsar ◽  
Sangeeta Mukherjee
Keyword(s):  
Film Industry ◽  
Human Life ◽  
Literary Text ◽  
Original Text ◽  
Conceptual Blending ◽  
Indian Cinema ◽  
Arthur Koestler ◽  
Research Article ◽  
Intrinsic Quality

William Shakespeare’s plays are universal in human character, which have raised him to be the exemplar in film industry. Shakespeare’s works stand to the test of time due to their intrinsic quality of life-likeness as Arthur Koestler comments that life-likeness is regarded as the supreme criterion of art. Shakespeare’s works and films project the reality of human life. The universality of his works has motivated the film producers to adapt Shakespeare extensively in their films in different regions, nations and contexts. The adaptation of the literary text into filmic interface involves major creative restructuring between the original text and the filmic medium. The restructuring of the adaptation involves shift in the medium, genre, context and culture to suit the differences in area and medium. The director of a film needs to be highly creative to adapt a literary text to make a film. Vishal Bhardwaj is one such contemporary prolific film makers who have successfully adapted Shakespearean plays like Othello, Macbeth and Hamlet into Indian cinema. The research article tries to portray the creativity of a director to recreate a new film out of an existing text (filmic adaptation). The article analyses the concept of conceptual blending creativity process and bricolage in highlighting the creativity of Bhardwaj in adapting Hamlet and localizing it in Indian cinema as Haider (2014).

The Changing Patterns of North Korea’s International Film Co-Productions Since the 1980s: A Global Value Chain Approach

2020 ◽  
pp. 83-108
Author(s):  
Moon Hwy-Chang ◽  
Wenyang Yin
Keyword(s):  
Value Chain ◽  
North Korea ◽  
Film Industry ◽  
International Standards ◽  
The Political ◽  
Global Value Chain ◽  
Comprehensive Understanding ◽  
Changing Patterns ◽  
Film Productions

Although North Korea is one of the most closed countries in the world, it has long been pursuing international cooperation with other countries in order to upgrade the quality of its film industry to international standards. Preceding studies on this topic have mainly focused on the political influences behind filmmaking in general and very few studies have exclusively dealt with North Korea’s international co-productions. In this respect, in order to develop a comprehensive understanding of the internalization strategy of North Korea’s film productions, this paper uses the global value chain as a framework for analysis. This approach helps understand the internationalization pattern of each value chain activity of film co-productions in terms of the film location and the methods for collaborating with foreign partners. By dividing the evolution of North Korea’s international co-productions into three periods since the 1980s, this paper finds that although North Korea has shown mixed results with different aspects of the film value chain, it has generally improved its internationalization over the three periods. This paper further provides strategic directions for North Korea by learning some of the successful Chinese experiences in the film sector regarding collaboration with foreign partners—to foster a win-win situation for all involved parties.

Somewhere between Human, Nonhuman, and Woman

2020 ◽  
Vol 6 (3) ◽  
pp. 21-51
Author(s):  
Debashree Mukherjee
Keyword(s):  
Object Relations ◽  
Human Body ◽  
Film Industry ◽  
The South ◽  
Hunger Strike ◽  
Cultural Events ◽  
Production Experience ◽  
Human Object ◽  
The Status ◽  
History Of

In 1939, at the height of her stardom, the actress Shanta Apte went on a spectacular hunger strike in protest against her employers at Prabhat Studios in Poona, India. The following year, Apte wrote a harsh polemic against the extractive nature of the film industry. In Jaau Mi Cinemaat? (Should I Join the Movies?, 1940), she highlighted the durational depletion of the human body that is specific to acting work. This article interrogates these two unprecedented cultural events—a strike and a book—opening them up toward a history of embodiment as production experience. It embeds Apte's emphasis on exhaustion within contemporaneous debates on female stardom, industrial fatigue, and the status of cinema as work. Reading Apte's remarkable activism as theory from the South helps us rethink the meanings of embodiment, labor, materiality, inequality, resistance, and human-object relations in cinema.

Productivity of corn hybrids of different fao groups depending on microfertilizers and growth stimulants under irrigation in the south of Ukraine

2016 ◽  
Vol 3 (1) ◽  
pp. 55-60
Author(s):  
Yu. Lavrynenko ◽  
R. Vozhegova ◽  
O. Hozh
Keyword(s):  
Grain Quality ◽  
Laboratory Method ◽  
The South ◽  
Corn Hybrids ◽  
Early Maturity ◽  
Effi Ciency ◽  
Grain Moisture ◽  
Grain Productivity ◽  
The Impact

The purpose of the research is to identify effi cient microfertilizers and growth stimulants considering biologi- cal features of new corn hybrids of different FAO groups under irrigation conditions in the South of Ukraine and trace their impact on grain productivity of the plants. The methods of the research are the fi eld method – to study the interaction of the research object with experimental factors of the natural environment, to register the yield and evaluate the biometrical indices; the laboratory method – to measure soil moisture, grain moisture content and grain quality indices; the statistical method – to evaluate the reliability of the obtained results; the calculation methods – for economic and energetic assessment of the growing techniques used. The results of the research. The paper defi nes the impact of microfertilizers and growth stimulants on the yield and grain quality of the corn hybrids of different maturity groups and on the economic effi ciency of growing them. The conclusions of the research. Under irrigation conditions of the Southern Steppe of Ukraine it is recommended that the following hybrids should be grown in dark-chestnut soils: early maturity DN Pyvykha, medium-early Skadovskyi, medium maturity Kakhovskyi and medium-late Arabat, using the growth stimulants – treating the seeds with Sezam-Nano and fertilizing with Grainactive at the stage of 7–8 leaves.

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