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.
In his memoir, Alvin Ziontz reflects on his more than thirty years representing Indian tribes, from a time when Indian law was little known through landmark battles that upheld tribal sovereignty. He discusses the growth and maturation of tribal government and the underlying tensions between Indian society and the non-Indian world. A Lawyer in Indian Country presents vignettes of reservation life and recounts some of the memorable legal cases that illustrate the challenges faced by individual Indians and tribes.
As the senior attorney arguing U.S. v. Washington, Ziontz was a party to the historic 1974 Boldt decision that affirmed the Pacific Northwest tribes' treaty fishing rights, with ramifications for tribal rights nationwide. His work took him to reservations in Montana, Wyoming, and Minnesota, as well as Washington and Alaska, and he describes not only the work of a tribal attorney but also his personal entry into the life of Indian country.
Ziontz continued to fight for tribal rights into the late 1990s, as the Makah tribe of Washington sought to resume its traditional whale hunts. Throughout his book, Ziontz traces his own path through this public history - one man's pursuit of a life built around the principles of integrity and justice.
The opening up of Poland economically and politically to global influences after the fall of the Berlin Wall in 1989, coupled with the rise of transnational approaches to the study of film, present ideal conditions for an examination of Polish cinema from a transnational vantage point. Yet not only have studies of Polish cinema remained largely within a national framework but Polish, and many other Eastern European cinemas, have also been virtually excluded from accounts of transnational cinema. Polish Cinema in a Transnational Context addresses this lacuna in film studies by examining the international reception of Polish films in Europe and North America, Polish international coproductions and the presence of Polish performers in foreign films, and the works of subversive emigre auteurs like Andrzej Zulawski and Walerian Borowczyk. Authors in this collection present familiar films and filmmakers in a new and revealing light, while also shifting the focus to lesser known filmmakers and aspects of Polish cinema. The resulting volume moves discussion beyond the border of Polish national belonging. Contributors: Peter Hames, Darragh O'Donoghue, Helena Goscilo, Dorota Ostrowska, Charlotte Govaert, Eva Naripea, Izabela Kalinowska, Ewa Mazierska, Alison Smith, Lars Kristensen, Jonathan Owen, Michael Goddard, Robert Murphy, Kamila Kuc, Elzbieta OstrowskaBR> Ewa Mazierska is professor of film studies at the University of Central Lancashire. Michael Goddard is senior lecturer in media at the University of Salford.
Hello Bollywood Articles
Hello Bollywood Books