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.
Charles Alexander Eastman (born Hakadah and later named Ohiye S'a; February 19, 1858 - January 8, 1939) was a Santee Dakota physician educated at Boston University, writer, national lecturer, and reformer. In the early 20th century, he was "one of the most prolific authors and speakers on Sioux ethnohistory and American Indian affairs." Eastman was of Santee Dakota, English and French ancestry. After working as a physician on reservations in South Dakota, he became increasingly active in politics and issues on Native American rights, he worked to improve the lives of youths, and founded thirty-two Native American chapters of the Young Men's Christian Association (YMCA). He also helped found the Boy Scouts of America. He is considered the first Native American author to write American history from the Native American point of view"
Film emerged in pre-Revolutionary Russia to become the “most important of all arts” for the new Bolshevik regime and its propaganda machine. The 1920s saw a flowering of film experimentation, notably with the work of Eisenstein, and a huge growth in the audience for film, which continued into the 1930s with the rise of musicals. The films of the World War II and Cold War periods reflected a return to political concerns in their representation of the “enemy.” The 1960s and 1970s saw the rise of art-house films. With glasnost came the collapse of the state-run film industry and an explosion in the cinematic treatment of previously taboo topics. In the new Russia, cinema has become genuinely independent, as a commercial as well as an artistic medium.
A History of Russian Cinema is the first complete history from the beginning of film to the present day and presents an engaging narrative of both the industry and its key films in the context of Russia's social and political history.
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