.... A Body-Centered­ Taxonomy  of Song-and-­ Dance­ Sequences Scholarship on Indian cinema that focuses on song-­and-­dance sequences emphasizes music, mise-­en-­scène, and the relationship of the song-­and-­dance sequence to the narrative.9 Lalitha Gopa- lan offers an elaborate taxonomy of song...

... of Hindi popular cinema — ­the tawaif or courtesan film. For this enduring subgenre also mobilized the figure of the courtesan to reflect on the historical transformations unleashed by modernity. While the emergence of bourgeois capitalism was no doubt a factor in the Indian context as well...

... of Interruptions: Action Genres in Contemporary Indian Cinema. London: British Film Institute, 2002. Gottlieb, Nanette, and Mark McLelland, eds. Japanese Cybercultures. Asia.com Series, vol. 1. London: Routledge, 2003. 212 Books Received • 213...

.... Minneapolis: University of Minnesota Press, 1999. Rajadhyaksha, Ashish, and Paul Willeman, eds. Encyclopedia of Indian Cinema. Rev. ed. London: British Film Institute, 1999. Sandoval-Sanchez, Alberto, and Nancy Saporta Sternbach...

... in the West as the standard-bearer of "Indian cinema" relates precisely to the manner in which difficulties with his directorial signature (for instance, with the temporal movement of his films) have been adjudicated by deferring to an aesthetic evaluation of his style...

... not be possible if she were working within the bounds of Indian cinema” — specifically, “choices for women (Fire ) or Partition (Earth32 In each of these examples, the force of feminism or femi- nist concerns is legible, from Schyfter’s vocational annunciation to Coolidge’s strategic move...

...) IN PRACTICE Interview with Paromita Vohra: Remaking the “Political” in Social Documentary Shweta Kishore Paromita Vohra began making films in 1995, during a decade in which Indian social documentary cinema was aesthetically and politically reorganized to attend to the wider economic...

..., are sworn enemies.”4 She describes her style of filmmaking as “hybrid,” “not ‘Bombay’ and not ‘Western and sees this self-positioning as granting her a freedom with her subject matter that would not be possible if she were working within the bounds of Indian cinema: “I can be uninhibited about...

..., and Doris Day; the chanteuses réalistes of French cinema in the 1930s and 1940s; enka singers of Japanese cinema, such as Misora Hibari; and the playback singers of Indian cinema, like Lata Mangeshkar. But postwar Chinese cinema lacks the male musical counterparts that are found in these other...

... in the Bible and Film. Religion/Culture/Critique Series. New York: Palgrave Macmillan, 2003. Smith, Andrew Brodie. Shooting Cowboys and Indians: Silent Western Films, American Culture, and the Birth of Hollywood. Boulder: University Press of Colorado, 2003. Sterritt, David. Screening...

...-­mad Jess is 18, smart, beautiful and 136  •  Camera Obscura can bend a ball better than any boy she knows. She’s set her heart on playing for a top women’s footie team, but there’s one prob­ lem: her strict parents want her to settle down with a nice Indian boy and learn to cook!”12 Much...

... and Nation: Nationalisms, Transnational Feminisms, and the State. Durham, NC: Duke University Press, 1999. Kilpatrick, Jacquelyn. Celluloid Indians: Native Americans and Film. Lincoln: University of Nebraska Press, 1999. Knopf, Robert...

... Make Movies release) — and opening-night film Water (Canada/India, 2005) — Deepa Mehta’s highly anticipated depiction of the historical treatment of Indian widows, whose early production had been shut down by Hindu fundamentalists. All three feminist works...

... a series of concentric rings and waves. Fictional Representation, the Woman’s Symbolic Position, Enunciation JB: Already in the collective book Le Western (1966), while other contributors chose elements like “Indian attack,” ‘Sheriffs office,” ‘‘fistfight,” “gambler,” or “ranch” to discuss...

... vehicles. Inside the gates, the immense park featured broad roads on which people could tour, reach a remote grove for picnicking or drive past an Indian Village. Riverview’s grand scale and divided layout offered the possibility of segregation and privacy through spec...

... because it demonstrates Hitler's power to entrance Harlan like a magician, but also because Harlan chooses to cast Hitler in the role of an Indian magician. This fact becomes particularly interesting in the context of Verwehte Spuren, where, as we shall see later, India comes...

... plot point, was the ultimate act of cinematic postcolonial revenge. Her death enforces a rejection of Western values and the affirmation of an authentic Indian identity vis- à- vis the body of the woman. It was this role that Helen played in her films the negation, the scapegoat, the balm to soothe...

... or negative images which are then either taken up or rejected by feminist critics. Another paper on this panel on “Native American Women in the Western,” by Maryann Oshana, reiterates this position. Oshana’s thesis, that the Western presents a degraded image of Indian women, leads her logically...

... Distractions in Prix de beauté • 59 is an Indian maharaja, a largely silent, inactive character, who nevertheless poses a threat to Lucienne. He first appears in the audience, nose held high, gloved hand slowly stroking his mus- tache as he evaluates the contestants. But his gaze differs from...

... away from Pascal and Vallois’s cock ring lesson with Pascal’s voice carry- ing the viewer from one scene to the next through a cut to a tight medium shot of two men caressing and kissing in a bathroom. After a sudden and unmotivated cut to a shot of an Indian oil paint- ing of a male-­female...