Table of Contents

1. Introduction Part 1: Historical Analysis 2. From Cultural Backwardness to the Age of Imitation: An Essay in Film History 3. The Indian New Wave 4. Regional Cinemas: 4.1 ‘Bengali’ Cinema: Its Making and Unmaking 4.2 Assamese Cinema: Dreams, Reality and Dichotomies 4.3 Odia (the new name for Oriya) Cinema at 75 4.4 Marathi Cinema: The Exile, the Factory and Fame 4.5 Gujarati Cinema: Stories of Sant, Sati, Shethani and Sparks Afew 4.6 Matriliny to Masculinity: Performing Modernity and Gender in Malayalam Cinema 4.7 Kannada Cinema and Princely Mysore4.8 The Star-politicians of Tamil Nadu: The origin and emergence 4.9 Beyond the Star: Telegu Comedy Films and Realpolitik in Andhra Pradesh 4.10 Mapping the invisible world of Bhojpuri cinema and its changing audience 4.11 From Lahore to Bombay…and Vancouver: The Chequered Journey of Punjabi Cinema Part 2: Themes and Perspectives 5. The evolution of representing Female sexuality in Hindi Cinema 1991 - 2010 6. Queer Times in Bollywood 7. The Scale of Diasporic Cinema: Negotiating National and Transnational Cultural Citizenship 8. The Shifting Terrains of Nationalism and Patriotism in Indian Cinemas 9. Digitizing the National Imaginary: Technology and Hybridization in Hindi Film Songs of the Post-Liberalization Period 10. Trends in Hindi Film music with special reference to Socio-Economic and Political Changes11. Music in Mainstream Indian Cinema 12. Scriptwriting- In and Out of the Box 13. The Fictions of Science and Cinema in India 14. Film Censorship in India: Deconstructing an Incongruity 15. Advertising and marketing of the Indian Cinema Part 3: The Business of Indian Cinemas 16. Film Distribution: The Changing Landscape 17. Corporatization and the Hindi Film Industry 18. Indian Cinemas: Acknowledging Property Rights 19. Foundations, Movements and Dissonant Images: documentary film and its ambivalent relations to the nation state Part 4: Cinema Halls and Audiences 20. Active Audiences and the Experience of Cinema 21. Hindi film audiences outside South Asia 22. Cinema as Social Space: The Case of the Multiplex 23. Virtual Darshan: social networking and virtual communities in the Hindi film context 24. Conclusion

About the Author

K. Moti Gokulsing is Senior Visiting Research Fellow at the University of East London, UK. He is the co-founder and co-editor of the journal South Asian Popular Culture published by Routledge. His publications include Soft-Soaping India: the world of Indian televised soap operas (2004).

Wimal Dissanayake teaches in the Academy for Creative Media at the University of Hawaii, USA. He has published widely on Indian cinema, and is co-editor of Popular Culture in a Globalised India (Routledge 2009) with K. Moti Gokulsing.

Reviews

"The fresh approaches of this landmark text will no doubt serve to open up new ways of understanding this most prolific of film-producing countries." - Shamira A. Meghani, Asian Affairs