Historically, Indian cinema has positioned women at the intersection of tradition and a more evolving culture, portraying contradictory attitudes which affect women's roles in public and private spheres.
Examining the work of three directors from West Bengal, this book addresses the juxtaposition of tradition and culture regarding women in Bengali cinema. It argues the antithesis of women's roles, particularly in terms of ideas of resistance, revolution, change, and autonomy, by suggesting they convey resistance to hegemonic structures, encouraging a re-envisioning of women's positions within the familial-social matrix. Along with presenting a perception of culture as dynamic and evolving, the book discusses how some directors show that with this rupturing of the traditionally prohibitive, and a notion of unmaking and making in women, a traditional inclination is exposed to align women with ideas of absence, substitution, and disposability. The author goes on to show how selected auteurs in contemporary Bengali cinema break with certain traditional representations of women, gesturing towards a culture that is more liberating for women.
Presenting the first full-length study of women's changing roles over the last twenty years of Bengali cinema, this book will be a useful contribution for students and scholars of South Asian Culture, Film Studies and Gender Studies.
One film out of every five made anywhere on earth comes from India. From its beginnings under colonial rule through to the heights of Bollywood , Indian Cinema has challenged social injustices such as caste, the oppression of Indian women, religious intolerance, rural poverty, and the pressures of life in the burgeoning cities. And yet, the Indian movie industry makes only about five percent of Hollywood's annual revenue.
India has often been at the centre of debates on and definitions of the postcolonial condition. Offering a challenging new direction for the field, this Critical Reader confronts how theory in the Indian context is responding in vital terms to our understanding of that condition today.
The Indian Postcolonial: A Critical Reader is made up of four sections looking in turn at:
Each section is prefaced with a short introduction by the editors that locate these interdisciplinary articles within the contemporary national and international context. Showcasing the diversity and vitality of current debate, this volume collects the work of both established figures and a new generation of cultural critics.
Challenging and unsettling many basic premises of postcolonial studies, this volume is the ideal Reader for students and scholars of the Indian Postcolonial.
In this comprehensive portrait of horror's definitive director, Tony Williams ties George A. Romero's films to the development of literary naturalism and American culture, expanding the artist's creative footprint beyond his mastery of the "splatter movie" genre. Williams locates Romero's influences in the work of Emile Zola, the Entertainment Comics of the 1950s, and the novels of Stephen King, revealing the interdisciplinary depth of his seminal filmsNight of the Living Dead (1968), Creepshow (1982), Monkey Shines (1988), andThe Dark Half (1992). For this second edition, Williams reads Romero's Bruiser (2000) against his more recent Land of the Dead (2005) and takes a fresh look atDiary of the Dead (2007) and Survival of the Dead (2009), two overlooked films that feature Romero's greatest achievements yet.
Hello Bollywood Articles
Hello Bollywood Books