...Purnima Mankekar Copyright © 1999 by Duke University Press 1999 Brides Who Travel: Gender, Transnationalism, and Nationalism in Hindi Film Purnima Mankekar In this essay I examine Dilwale Dulhaniya Le Jayenge [The lover wins the bride...

... among multiple owners. Studied by anthropologists and architectural historians as signs and ruins of another era, havelis and the lifestyle associated with them have nevertheless been kept alive for popular audiences by novels, television, and, most prominently, commercially successful Hindi films...

...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...

... who remain in perpetual transit) emerge as a collective of cinephiles, who are willfully entranced by the repetitious, rapturous songs—the seductive pleasures and utopian dreams—of Hindi popular cinema. Copyright 2017 by Duke University Press 2017 cinema literature Hindi Urdu city romance...

... Trap: M. G. Ramachandran in Film and Politics . New Delhi : Sage . Prasad Madhava . 1998 . Ideology of the Hindi Film: A Historical Construction . Delhi : Oxford University Press . Sen Meheli Basu Anustrup . 2013 . Figurations in Indian Film . Houndmills, Basingstoke, UK...

...- alities. With detailed attention to the talent show and question and answer segments of the pageant, I demonstrate how the contestants’ varied uses of Hindi film are central to this project, as Hindi films function as a primary discourse...

...) audio-­visual media and literature, and sound studies. Current and planned publications include a book project (Sirens of Modernity: Post-­war Cartographies of World Cinema via Hindi Film/Songs) and essays that build on research conducted at the National...

... from where we first encounter the city presents us with another narrative location of author- ity. A third locus of authority lies in the invocation of the city of Bombay (Mumbai) in two different ways. The Hindi gangster film is referenced...

..., she chooses to have a meal with the farmhands and the guests from Manila and remembers the time she fought with her father over sharing a meal with their old tenants. She claims, however, that back then she did not recognize the value of these kasama (tenants): Hindi ko batid noon kung sino ang mga...

...Li Xiaojiang —English translation by Tani Barlow —Japanese translation by Paul Atkins and Sachi Schmidt —French translation by Claudia Pozzana —Russian translation by Anna Krylova —Korean translation by Chong Eun Ahn —Hindi translation by Indranil Dutta —Italian translation by Claudia...

... film Fire and a scene from the popular 1993 Hindi film Hum aapke hain koun-to inter- rogate our understandings of nostalgia, “home,” and desire in a trans- national frame. Nonheteronormative Sexuality and the Nation...

... and ownership; it is born of this and exists only because of it. We now look at an older set of films to make the distinction between these three terms clearer. When it comes to Hindi cinema, the binary of city and village has until...

... is a mountainous area that is within Azerbaijan. Nagorno means mountainous in Armenian probably, which is an Indo- European language, but Karabakh I can understand through my Urdu and Hindi. In Urdu and Hindi, it would be Kalabagh, that is to say...

... . Ideology of the Hindi Film: A Historical Construction . New Delhi : Oxford University Press . Radhakrishnan Ratheesh . 2012 . “Aesthetic Dislocations: A Re-take on Malayalam Cinema of the 1970s.” South Asian Popular Culture 10 , no. 1 : 91 – 102 . Rajadhyaksha Ashish Willemen...

... . 2009 . The Film Society Movement in India . Edited by Narahari . Mumbai : Asian Film Foundation . Rekh Ben . 2010 . “The Hindi New Wave.” https://www.questia.com/magazine/1P3-2037883551/the-hindi-new-wave . Roberts Thomas T. 1990 . An Aesthetics of Junk Fiction...

... and a vector of liminal identities titled Hindi Cinema: Repeating the Subject (2012). She teaches courses on gender theory, film, South Asian studies, and postcolonial studies. She is the founder of the South Asia Working Group at Texas A&M University. She...

... of the elderly would even say, “Go back to China! What are you doing here?” Some would speak in Hindi or Bengali. They thought we didn't understand what we were saying. Figure 11 Still from From Border to Border: Chinese in India . Internees being taken to Deoli. Figure 11 Still from From Border...

... and social struggle in Kailangan kita: they provide recognition for, and thus evoke emotional responses to, the suffering of “real” OFWs as the background material for filmic affect. In one of the early interviews, an OFW relates, “Hindi lang pala pera...

... characteristic of such a trans- formation. It is a world poised between something loosely yet incontestably marked as “traditional” and maternal, with its life in the old city, female con- finement, use of Hindi, deference to males, and elaborate female...

... a focus on the psychological (Narayan and Mee 2009). These paralleled the nai kahani or new Hindi story of the early 1950s, which depicted the sub- jectivity of newly married women (Castaing 2013). In popular culture, the novels of Shobha De in the 1990s charted elite urban women s quest for self...