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2021 ◽  
Vol 4 (Special Issue) ◽  
pp. 01-11
Author(s):  
Jyoti Atwal

This article engages with the question of how Hindi cinema sought to synergize and imagine the nation, community and land in independent India as the embodiment of widowhood. I suggest that this process of embodiment was the culmination of a long historical-political process. The focus of this chapter is a 1957 Hindi film by Mehboob Khan named Mother India. The film stands out as a powerful emotional drama. On the one hand, this film marked continuity with the Indian literature, painting, theatre and cinema of the colonial period,1 on the other, Mother India influenced the culture of a new Indian nation after 1947. Within a decade after India attained independence from Britain, the Indian cinema became an undisputed site where the cultural engineering of a new nation could be enacted.2


2021 ◽  
Vol 9 (4) ◽  
pp. 178-184
Author(s):  
Ruchita Sujai Chowdhary

The cinema in India has its different mark upon the masses and has a huge fan following. Being the most popular art form in the nation it has been influencing the viewers with its magical effects. With its tremendous reach among the youths it not only depict the virtual image of the society but on the same hand it is creating a world which is juxtapose of realm. Since the beginning Hindi films are revolving around the set plots of the scripted feature films showcasing a hero, a heroine, a villain and a climax after which everybody has a happy ending. Accordingly, the Hindi films have defined the heroes in its own way with some set parameters i.e. muscular body, taller than heroine, a fighter, good looks and a never ending list of traits. However, some heroes have broken this myth that a filmy hero is always a MACHO MAN. They are again redefining the personality of the heroes on the silverscreen. Thus, the aim of this research paper is to examine the change in definition of the heroes in Hindi films over a period of time. The researcher will conduct the content analysis of ten purposively selected films from the Hindi Cinema.


Author(s):  
Poonam Pichanot Et.al

Nowadays, without films, we can't really imagine contemporary India society. Although this is Unable to conceptualize a film without a 'story.' A film must 'tell' and 'show' Story, unravelling layer by layer, introducing the magic of the silver narrative on the screen. The stories rooted in culture are praised by the viewer. More so, if they are widely acknowledged in oral or written form, right from the beginning, there has been an indelible connection between literature and films. The policy begins with depictions of women protagonists in mainstream Bollywood films. This topic is considered appropriate because women are a large part of the population of the country and their on-screen representation is thus critical in deciding the promotion of current stereotypes in the country in the society . The paper begins with a discussion on the field of feminist film criticism and how mainstream Hindi Cinema has restricted itself to defined sketches of womanhood. Cinema has limited itself to established sketches of femininity


2021 ◽  
pp. 097492762199259
Author(s):  
Megha Anwer ◽  
Anupama Arora

Released in 2018, Shashanka Ghosh’s Veere Di Wedding ( VDW; My Friend’s Wedding), dubbed as India’s answer to Sex and the City, evoked mixed responses. While many reviews of the film denounced it for its vulgarity and tawdriness, frivolity, flippant vision of women’s liberation and as a threat to Indian values, others, however, celebrated it for its frank depiction of female desires. This article undertakes a close study of the film to argue that while the focus on female desire and sexuality is rare in Hindi cinema, and thus VDW marks an important landmark, the film is not a feminist film, and it does not offer a radical politics of female solidarity. On the contrary, by locating it within its neoliberal and postfeminist politics and aesthetics, we will argue that it haphazardly borrows and superimposes tropes from the ‘bromance’ and ‘the buddy road movie’ genres onto its vision of what feminine choices entail and enable. Its casual evocation of elite lifestyles, denigration of working-class women’s life struggles, and sexual humour jeopardise a radical reworking of patriarchal and heteronormative frameworks, and it encourages us to settle for a future in which ‘women playing the same games as men do’ is the only mode of radicalism or emancipation on offer. While it is undeniably refreshing to watch the film’s push back against the repressive taboos surrounding women’s sexuality and desire, these are articulated only within neoliberal renditions of heterosexuality, matrimony, motherhood and consumerism.


Film Matters ◽  
2021 ◽  
Vol 12 (1) ◽  
pp. 29-65
Author(s):  
Anushree Joshi ◽  
Saman Waheed

Using the premise of the 2018 Bollywood film, October, this article aims to contrast the poetry of Keats and Shelley with the film’s plot. It focuses upon the theme of the transience of human existence, inevitability of change, and ephemerality of life. In doing so, the article argues that the expression of urban ennui in October and Hindi cinema has tendencies of the Romanticist rendering, resembling the aesthetic of the given poets. The lack of human connectivity and self-centeredness in the contemporary times is similar to the ideas of the Enlightenment, which the Romantics contested.


2021 ◽  
pp. 10-12
Author(s):  
Simran Siwach

The cinematic adaptation of Shakespeare's play never been antediluvian around the world. There are a plethora of lms in Hindi cinema which have been adopted from literary works by lm makers. When it shows up to adaptation of William Shakespeare's epic tales in Hindi cinema, Vishal Bharadwaj acclaimed trilogy of Maqbool, Omkara and Haider comes rst in mind but not comes rst in the history of Indian cinema. This paper will begin with analysing one of the rst adaptation of Brad's epic-the 'comedy of errors' into Gulzar's enduring popular 'Angoor'(grapes) considered one of the Bollywood's best comedies. This research article is an attempt to understand and answer these questions with intertextually approach. Why a comedy of error is an appropriate choice for an adaptation? How the Gulzar's Angoor has an accurate title for an adaptation of Brad's saga of two sets of identical twins? And how Gulzar has done justice to his Bollywood adaptation of an epic play with obvious similarities and difference in plot and characterization? The paper will end with the discussion over the very rst adaptation of comedy of errors into Bengali theater well as Bengali cinema with the same name by Ishwar Chandra Vidyasagar's -' Bhranti Bhilas' which can also be considered as inspiration for Gulzar's tribute to Shakespeare.


2021 ◽  
Vol 12 (1) ◽  
pp. 83-91
Author(s):  
Ajay Gehlawat

Review of: Dark Fear, Eerie Cities: New Hindi Cinema In Neoliberal India, Sarunas Paunksnis (2019) New Delhi: Oxford University Press, 172 pp., ISBN 978-0-19949-318-0, h/bk, $30   Unruly Cinema: History, Politics, and Bollywood, Rini Bhattacharya Mehta (2020) Urbana, IL: University of Illinois Press, 233 pp., ISBN 978-0-25208-499-7, p/bk, $25


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