...Manishita Dass The city of Bombay emerged as an emblematic space of India's postcolonial modernity in Hindi cinema during the 1950s, India's first decade of independence. This article focuses on the mise-en-scène of musical sequences—from popular Hindi films such as C.I.D. (dir. Raj Khosla, 1956...

... the treatment of space in Indian cinema in relation to the location of film production itself. Copyright 2017 by Duke University Press 2017 space location city Indian cinema denominational space References Aamir . 2008 . Dir. Gupta Rajkumar . Bombay : UTV Spotboy Motion Pictures...

... Filmmakers.” In Cinema, Culture, Capital, Context: India , 52 – 63 . Kolkata : Monfakira . Ghosh Agnitra . 2010 . “Cinephilia and Bombay Cinema: Film Culture in the Digital Era.” MPhil diss. , Jawaharlal Nehru University . Ghosh Saileswar , ed. 2011 . Khudarta samkalan...

... , no. 1 : 22 – 27 . Kaarsholm Preben , ed. 2004 . City Flicks: Indian Cinema and the Urban Experience . Calcutta : Seagull Books . Mazumdar Ranjani . 2007 . Bombay Cinema: An Archive of the City . Ranikhet, India : Permanent Black . Pandian M. S. S. 1992 . The Image...

...-an important aspect of the for- mation of multicultural identity in America. Since national icons of female beauty have been transnational for decades because of the reach and circu- lation of Bombay cinema, the incorporation of diasporic female...

... . Cambridge, MA : Harvard University Press . Bhaskar Ira Allen Richard . 2009 . Islamicate Cultures of Bombay Cinema . New Delhi : Tulika . Boym Svetlana . 2001 . The Future of Nostalgia . New York : Basic . Brydon Inga . 2004 . “There Is No Outer without Inner Space...

... : Oxford University Press . Massey Doreen . 1992 . “Politics and Space/Time.” New Left Review 196 : 65 – 84 . Mazumdar Rajani . 2007 . Bombay Cinema: An Archive of the City . Ranikhet, India : Permanent Black . Menon Dilip M. 2005 . “Things Fall Apart: The Cinematic...

... star Manjula, the character played by Jaffrey, functions as a debased example of an Indian modernity, characterized as it is by the repetitive, puerile, and loutish pleasures of mass culture (including Bombay cinema and cricket...

..., and Contemporary Chinese Cinema . New York : Columbia University Press . Dhrupad . 1983 . Dir. Kaul Mani . Bombay : National Film Development Corporation , 35mm film . Dog Star Man: Prelude . 1961 . Dir. Brakhage Stan . USA : independently produced, 16mm film . Duvidha . 1973...

.... Among his publications is Apu and After, Revisiting Ray’s Cinema (2005). He edits the Journal of the Moving Image and has recently written and codirected the award-­ winning Bengali feature film Sthaniya Sambaad (Spring in the Colony, 2010...

... on the one hand, and from the anticipations of romantic love in urban spaces, on the other; and, that the experience of popular cinema becomes inextricable from both. In other words, as Hindustani film songs incorporated the premodern, pastoral literary trope of prem nagar , this trope—the city of love...

... of Violence: Naming and Identity in Postcolonial Bombay (Princeton, NJ: Princeton University Press, 2001), 214. 26 Vijay Mishra, Bollywood Cinema: Temples of Desire (New York: Routledge, 2002), 231. 27 Ashish Rajadhyaksha and Paul Willemen...

... non-­Bombay-­based film industries in India since the late 1950s, producing especially a very influential parallel cinema stream in India.  4. Henri Lefebvre considers the urban space as “social construction,” and the process...

.... While the Bombay cinema has to some extent cornered the market on representations of risk in contemporary South Asian publics and private imaginaries — in the form of terrorist, noir, and underworld dramas, for instance — a subtler...

..., these films are at a startling remove from the star antics and high-­gloss productions characteristic of both mainstream Tamil cin- ema and the more pervasive Bombay cinema. Entire new mise-­en-­scènes Vasudevan ∣∣ Tamil Cinema of the Twenty-First Century...

... is reconsidered. Finally, the article ends with two takes on the framing of piratical activities as “parasitical.” First, it argues that the “third” of Third Cinema now lives on in these “Southern” piratical practices. Second, in a more speculative vein, it argues for a development of the parasitical...

... come to power in 1977, from whence it won six elections to continue in power to date. Globe Cinema Hall across from the New Market showed Enter the Dragon (dir. Robert Clouse, 1973). There was something extraordinary about Bruce Lee. He...

... Sim Lau ( 2021 : 9) argues that “Chinese stars inhabit an indeterminate, erratic space where the linguistic boundaries are increasingly porous to negotiate the power dynamics and ethnic politics.” Examining the polyphonic construction of Chinese stardom in Asian and Hollywood cinemas as well...

... of the world and the ways in which the world had been imagined. On the one hand, new literatures, artistic productions, cinemas, and the- oretical writings deeply transformed the ways in which the world had Vergès Writing on Water...

... remembers the intense pleasure derived from the ritual of becoming “like the goddesses of the Sinhalese and Tamil cinema, larger than life” (5)and of watching his mother dress. Thus the narrator’s evocation of these remembered instances...