...Moinak Biswas This article considers a possible logic of evolution in Indian cinema, which rests on the movement from space as stage of action, imbued with value, to a multiplication of secularized intermediary spaces. The encounter with the city—a defined geography and grid—made its own...

... symptoms of a crucial predicament in Indian cinema's bid for alternative expressions in the realm of popular culture and spectatorial customs. Analyses of select films such as Oye Lucky! Lucky Oye! (2008), Pankh and Gandu (both 2010) draw attention to a certain tendency in contemporary narrative drama...

... nature and, in fact, relies, for its legibility and evocative power, on this “unreality effect.” The author's aim is to show how this unreal city emerges, in part, out of popular cinema's encounter with the Indian left cultural movement and leftist street theater of the 1940s, and how it functions...

... Amrit . 2006 . “In Conversation with Mani Kaul.” In Cinema of Prayoga: Indian Experimental Film and Video 1913–2006 , edited by Butler Brad Mirza Karen , 79 – 84 . London : no.w.here . Havens Thomas R. H. 2007 . Radicals and Realists in the Japanese Nonverbal Arts...

...Ratheesh Radhakrishnan Copyright 2017 by Duke University Press 2017 This content is made freely available by the publisher. It may not be redistributed or altered. All rights reserved. References Chakravarty Sumita S. 1993 . National Identity in Indian Popular Cinema 1947...

... contemplative spectator middle class Indian cinema Kerala caste the Left References Cynic . 1953 . “Indian Cinema in 1952.” Mathrubhoomy Weekly , January 25 , 93 . Desai Manali . 2005 . “Indirect British Rule, State Formation, and Welfarism in Kerala, India, 1860–1957...

... Cultures, Nationalisms, and Publics of the Indian Ocean.” Africa 81 , no. 1 : 1 – 22 . Kaali Sundar . 2000 . “Narrating Seduction: Vicissitudes of the Sexed Subject in Tamil Nativity Film.” In Making Meaning in Indian Cinema , edited by Vasudevan Ravi , 168 – 90 . New Delhi...

....” www.indereunion.net/actu/Ameer/interAmeer.htm . (accessed June 14, 2013) . Kaali Sundar . 2000 . “Narrating Seduction: Vicissitudes of the Sexed Subject in Tamil Nativity Film.” In Making Meaning in Indian Cinema , edited by Vasudevan Ravi S. , 174 – 75 . New Delhi : Oxford University Press...

... Became “A Model.” New York : Oxford University Press . Jeffrey Robin ( 2000 ). India's Newspaper Revolution . New Delhi : Oxford University Press . Kapur Geeta ( 1987 ). Mythic Material in Indian Cinema . Journal of Arts and Ideas no. 14–15 : 79 – 108 . Manjapra...

...: Indian Cinema in the Wake of Partition . Durham, NC : Duke University Press . Sen Meheli . 2013 . “Haunted Havelis and Hapless Heroes: Gender, Genre, and the Hindi Gothic Film.” In Figurations in Indian Film , edited by Sen Meheli Basu Anustup , 116 – 36 . London : Palgrave...

... Archive of India , Pune, Maharashtra . Mir Ali . 2007 . “Lyrically Speaking: Hindi Film Songs and the Progressive Aesthetic.” In Indian Literature and Popular Cinema: Recasting Classics , edited by Pauwels Heidi Rika Maria . London : Routledge : 205 – 19 . Mir Ali Husain...

... Copyright 2017 by Duke University Press 2017 Contributors Nandini Bhattacharya is professor of English at Texas A&M University. Her most recent publication is a book on Indian cinema’s stance toward history as a vehicle of repetition...

.... Bhaskar Sarkar, associate professor of film and media studies at University of California, Santa Barbara, is author of Mourning the Nation: Indian Cinema in the Wake of Partition (2009) and coeditor of Documentary Testimonies: Global Archives of Suffering...

...: Media, Memory, History . London : Verso . Pinney Christopher . 2012 . “ Seven Theses on Photography .” Thesis Eleven 113 , no. 1 : 141 – 56 . Sarkar Bhaskar . 2009 . Mourning the Nation: Indian Cinema in the Wake of Partition . Durham, NC : Duke University Press . ...

... 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 book chapters on colonial cinema, Indian cin- ema, transnational feminism, film policy, and film aesthetics. She is currently working on a critical historiography of India as a location in British, European, and Indian theatrical...

..., Encyclopedia of Indian Cinema, rev. ed. (Lon- don: British Film Institute; Delhi: Oxford University Press, 1999), 520. Bal Thackeray is the leader of the regional party Shiv Sena that is affiliated with the right-wing nationalist...

... and the male Indian manual laborer are respectively the subject of imaginative narration in No Day Off (2006) and My Magic (2008), both directed by Chinese Singaporean auteur Eric Khoo. In these films, Khoo allegorizes these three relations to construct the inter-Asian hinterland as a counter-discursive space...

... of the need to build an “international alliance” against emergent cyberthreats, the implied inclusions and exclusions rend all unitary conceptions of “Asia” and push regional geopolitical fissures to the fore. The Indian press uses this occasion...

... in the Indian liberalization program and as consumers of Indian products. For many decades the dominance of Bombay cinema, for one, has been in a complex relation with national and transnational culture, since its audience has not been solely...