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Bollywood

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Journal Article
Camera Obscura (2011) 25 (3 (75)): 29–67.
Published: 01 December 2011
...Sangita Gopal; Sujata Moorti In the years since its release, Moulin Rouge! (dir. Baz Luhrmann, 2001) has emerged as the harbinger of Bollywood cinema's growing visibility in the West. We argue here that while the film's visual excesses are immediately recognizable as citing “Bollywood style...
Journal Article
Camera Obscura (2020) 35 (3 (105)): 154–165.
Published: 01 December 2020
... Institute of Chicago, where they collaborated on Chingari chumma ( Stinging Kiss , 2000)—a short video that turns a cliched Bollywood ending into a queer fairy-tale phantasy— as an experiment in post-pornography. In this conversation, the artists reflect on the beginnings of their collaboration, giving...
Journal Article
Camera Obscura (2006) 21 (1 (61)): 59–63.
Published: 01 May 2006
...Amit Rai Camera Obscura 2006 Amit Rai received his PhD in the Program in Modern Thought and Literature at Stanford University and currently teaches global literature and film at Florida State University. His forthcoming book is titled “Untimely Bollywood: Globalization and India's New...
Journal Article
Camera Obscura (2015) 30 (3 (90)): 129–159.
Published: 01 December 2015
... Cinema 1950 – 2010 (New Delhi: Harper Collins India, 2012); Shahid Khan, “Khalnayak Movie Review,” Planet Bollywood, www .planetbollywood.com/displayReview.php?id=041206024436 (accessed 15 May 2013). 2. Karan Bali, “Madhuri Dixit: A Profile,”Upperstall , li261-173­...
Journal Article
Camera Obscura (2004) 19 (2 (56)): 170–171.
Published: 01 September 2004
... 2004 Books Received Acevedo-Muñoz, Ernesto. Buñuel and Mexico: The Crisis of National Cinema. Berkeley and Los Angeles: University of California Press, 2003. Desai, Jigna. Beyond Bollywood: The Cultural Politics of South Asian Diasporic Film. New York: Routledge, 2004...
Journal Article
Camera Obscura (2005) 20 (1 (58)): 107–147.
Published: 01 May 2005
... was edited, and Madras, where prominent Bollywood composer A. R. Rahman, who composed Earth’s musical score, was based.3 Even earlier, in the film’s preproduction process, the script was a similarly col- laborative and cross-national project. Mehta, writing in English, adapted her script from...
Journal Article
Camera Obscura (2016) 31 (3 (93)): 177–183.
Published: 01 December 2016
... in Milan in the fall of 2016. Other 180  •  Camera Obscura volumes explore aspects of censorship on the Internet as well as in Bollywood cinema, apartheid South Africa, and communist East- ern Europe; all these issues are explored through a gendered lens. The first site of research for  When...
Journal Article
Camera Obscura (2017) 32 (1 (94)): 167–177.
Published: 01 May 2017
... documentary as seen in, for instance, your experimentation with elements of popular culture. In fact, I do not treat popular culture as an agglomeration, but I select elements that I value as generative and, as such, progressive. For instance, in Bollywood films, narratives are often regressive...
Journal Article
Camera Obscura (2012) 27 (2 (80)): 25–59.
Published: 01 September 2012
... largest lm Occult Melodramas • industry after Bollywood.2 Ghana’s Ghallywood (also referred to as Ghanawood) operates on a smaller scale but often shares actors and producers with Nollywood. Both industries produce incredibly popular, inexpensively...
Journal Article
Camera Obscura (2011) 26 (1 (76)): 131–157.
Published: 01 May 2011
... and Colonial Discourses,” Feminist Review, no. 30 (1988): 61 – 88. 20. Katarzyna Marciniak, “Palatable Foreignness,” in Marciniak, Imre, and O’Healy, Transnational Feminism in Film and Media, 194. 156  •  Camera Obscura 21. Jigna Desai, Beyond Bollywood: The Cultural Politics of South Asian...
Journal Article
Camera Obscura (2015) 30 (3 (90)): 61–91.
Published: 01 December 2015
... crisis, see Bishnupriya Ghosh, “The Security Aesthetic in Bollywood’s High-Rise­ Horror,” Representations 126, no. 1 (2014): 58 – 84; Joseph Jonghyun Jeon, “Neoliberal Forms, CGI, Algorithm, and Hegemony in Korea’s IMF Cinema,” Representations 126, no. 1 (2014): 85 – 111...