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.
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.
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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