Zeitschriftenartikel zum Thema „Bengali cinema“
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Bhattacharya, Binayak. „Seeing Kolkata: Globalization and the Changing Context of the Narrative of Bengali-ness in Two Contemporary Films“. Asiatische Studien - Études Asiatiques 73, Nr. 3 (26.03.2020): 559–74. http://dx.doi.org/10.1515/asia-2019-0050.
Der volle Inhalt der QuelleNag, Anugyan, und Spandan Bhattacharya. „The Politics Around ‘B-Grade’ Cinema in Bengal: Re-viewing popular Bengali film culture in the 1980s‒1990s“. Acta Orientalia Vilnensia 12, Nr. 2 (01.01.2011): 13–30. http://dx.doi.org/10.15388/aov.2011.1.3935.
Der volle Inhalt der QuelleGokulsing, K. Moti, und Wimal Dissanayake. „Bengali cinema: ‘an other nation’“. South Asian Popular Culture 10, Nr. 2 (Juli 2012): 217–18. http://dx.doi.org/10.1080/14746689.2012.682859.
Der volle Inhalt der QuelleDevasundaram, Ashvin. „Cyber Buccaneers, Public and Pirate Spheres: The Phenomenon of Bittorrent Downloads in the Transforming Terrain of Indian Cinema“. Media International Australia 152, Nr. 1 (August 2014): 108–18. http://dx.doi.org/10.1177/1329878x1415200112.
Der volle Inhalt der QuelleGopal, Sangita. „Bengali cinema: an other nation, by Sharmistha Gooptu“. South Asian History and Culture 2, Nr. 3 (Juli 2011): 452–55. http://dx.doi.org/10.1080/19472498.2011.577583.
Der volle Inhalt der QuelleBasu, Anustup. „Filmfareand the question of Bengali cinema (1955–65)“. South Asian History and Culture 9, Nr. 2 (15.03.2018): 141–58. http://dx.doi.org/10.1080/19472498.2018.1446794.
Der volle Inhalt der QuelleMukherjee, Dhrubaa. „Singing-in-between spaces: Bhooter Bhabisyat and the music transcending class conflict“. Studies in South Asian Film & Media 12, Nr. 1 (01.02.2021): 3–17. http://dx.doi.org/10.1386/safm_00034_1.
Der volle Inhalt der QuelleChattopadhyay, Saayan. „Performative Bengali Masculinity: The Rhetoric of Becoming in Bengali Popular Cinema of the 1950s“. Studies in South Asian Film & Media 2, Nr. 1 (01.07.2010): 3–17. http://dx.doi.org/10.1386/safm.2.1.3_1.
Der volle Inhalt der QuelleGooptu, Sharmistha. „Celluloid Soccer: The Peculiarities of Soccer in Bengali Cinema“. International Journal of the History of Sport 22, Nr. 4 (Juli 2005): 689–98. http://dx.doi.org/10.1080/09523360500123093.
Der volle Inhalt der QuelleMitra, Bansari. „Women and Resistance in Contemporary Bengali Cinema: A Freedom Incomplete“. Canadian Journal of Film Studies 26, Nr. 2 (Oktober 2017): 145–47. http://dx.doi.org/10.3138/cjfs.26.2.br4.
Der volle Inhalt der QuelleGadihoke, Sabeena. „Capturing Stars: Bengali Actresses Through the Camera of Nemai Ghosh“. BioScope: South Asian Screen Studies 8, Nr. 1 (Juni 2017): 30–45. http://dx.doi.org/10.1177/0974927617701568.
Der volle Inhalt der QuelleMandal, Somdatta. „Of "Women" and "Relationships" in Contemporary Bengali Cinema: Rituporno Ghosh's Oeuvre“. Asian Cinema 13, Nr. 2 (01.09.2002): 85–104. http://dx.doi.org/10.1386/ac.13.2.85_1.
Der volle Inhalt der QuelleChakraborty, Apurba. „Reflection of labour issues in bengali cinema in post colonial era“. Journal of Management Research and Analysis 6, Nr. 3 (15.10.2019): 154–58. http://dx.doi.org/10.18231/j.jmra.2019.032.
Der volle Inhalt der QuelleMubarak, Makbul. „Genre versus Local Specificity: Configuring Rangda and Durga in Balinese and Bengali Films“. Plaridel 11, Nr. 2 (01.08.2014): 117–39. http://dx.doi.org/10.52518/2014.11.2-05mbrk.
Der volle Inhalt der QuelleDasgupta, Rohit K., und Kaustav Bakshi. „Opening closets and dividing audiences: Rituparno Ghosh, the queer star of Bengali cinema“. South Asian Popular Culture 16, Nr. 1 (02.01.2018): 101–13. http://dx.doi.org/10.1080/14746689.2018.1455877.
Der volle Inhalt der QuelleBanerjee, Smita. „Evolution of Dada Uttam Kumar: Performing Masculinity and the Disillusioned Bhadralok Mahanayak in the 1970s’ Popular Melodramas“. BioScope: South Asian Screen Studies 10, Nr. 1 (Juni 2019): 52–74. http://dx.doi.org/10.1177/0974927619855452.
Der volle Inhalt der QuelleBhattacharya, Spandan. „Reading Anandalok: obscenity, cinema and other ‘prohibitive’ pleasures in 1970s–1990s Bengali print culture“. Porn Studies 7, Nr. 1 (28.11.2019): 13–18. http://dx.doi.org/10.1080/23268743.2019.1669930.
Der volle Inhalt der QuelleChowdhury, Sayandeb. „The Indian Partition and the Making of a New Scopic Regime in Bengali Cinema“. European Journal of English Studies 19, Nr. 3 (02.09.2015): 255–70. http://dx.doi.org/10.1080/13825577.2015.1091220.
Der volle Inhalt der QuelleChowdhury, Sayandeb. „The Heroic Laughter of Modernity: The life, cinema and afterlife of a Bengali matinee idol“. Film International 10, Nr. 4 (31.10.2012): 82–91. http://dx.doi.org/10.1386/fint.10.4-5.82_1.
Der volle Inhalt der QuelleMandal, Somdatta. „”May You Be the Mother of A Hundred Sons!”: Barrenness vs. Motherhood in Bengali Cinema“. Asian Cinema 22, Nr. 1 (01.03.2011): 329–47. http://dx.doi.org/10.1386/ac.22.1.329_1.
Der volle Inhalt der QuelleBhattacharya, Spandan. „The action heroes of Bengali cinema: industrial, technological and aestheticdeterminants of popular film culture, 1980s–1990s“. South Asian History and Culture 8, Nr. 2 (30.03.2017): 205–30. http://dx.doi.org/10.1080/19472498.2017.1304093.
Der volle Inhalt der QuelleFerdous, Reffat, und Saiyeed Shahjada Al Kareem. „Death Denial in Bengali Cinema: A Terror Management Analysis of Srijit Mukherji’s Baishe Srabon and Hemlock Society“. Social Science Review 38, Nr. 2 (07.03.2023): 159–74. http://dx.doi.org/10.3329/ssr.v38i2.64468.
Der volle Inhalt der QuelleMukherjee, Silpa. „Fantasy to media-induced hallucination: The journey (or the lack thereof) of science fiction in Bengali cinema“. Studies in South Asian Film & Media 6, Nr. 2 (01.10.2015): 165–84. http://dx.doi.org/10.1386/safm.6.2.165_1.
Der volle Inhalt der QuelleHutnyk, John. „Tomar naam, amar naam, Vietnam Vietnam! Folk styles and solidarity in the Bengali new wave cinema“. Inter-Asia Cultural Studies 24, Nr. 3 (23.06.2023): 507–24. http://dx.doi.org/10.1080/14649373.2023.2209434.
Der volle Inhalt der QuelleR, Dr Rajesh. „A study on Development and Scope of Product or Brand Placement as an Integral Part of Tamil Cinema Industry“. Turkish Journal of Computer and Mathematics Education (TURCOMAT) 12, Nr. 11 (10.05.2021): 1560–66. http://dx.doi.org/10.17762/turcomat.v12i11.6084.
Der volle Inhalt der QuelleGarcía-Periago, Rosa. „Othello as a play-within-the-film in post-independence Indian cinema1“. Indian Theatre Journal 5, Nr. 1 (01.08.2021): 43–58. http://dx.doi.org/10.1386/itj_00015_1.
Der volle Inhalt der QuelleRehman, Sharaf N. „Om Puri: The man who presented the real faces of the subcontinent of India“. Asian Cinema 31, Nr. 2 (01.10.2020): 269–78. http://dx.doi.org/10.1386/ac_00028_7.
Der volle Inhalt der QuelleVerma, Harish. „CLASSICAL EXPERIMENT IN CINE MUSIC“. International Journal of Research -GRANTHAALAYAH 3, Nr. 1SE (31.01.2015): 1–4. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3404.
Der volle Inhalt der QuelleThomas, Aparna. „Plaintive Survival under Panoptical Surveillance: A Reading of Rituparno Ghosh’s The Last Lear.“ SMART MOVES JOURNAL IJELLH 7, Nr. 1 (09.01.2019): 9. http://dx.doi.org/10.24113/ijellh.v7i1.6285.
Der volle Inhalt der QuelleBrunazzo, Alessandro. „Suspended meanings: Pier Paolo Pasolini’s and Ritwik Ghatak’s ‘epic melodramas’“. Journal of Italian Cinema & Media Studies 12, Nr. 3 (01.07.2024): 343–59. http://dx.doi.org/10.1386/jicms_00264_1.
Der volle Inhalt der QuelleBakshi, Kaustav. „Women and resistance in contemporary Bengali cinema: a freedom incomplete, by Srimati Mukherjee, Abingdon, Routledge, 2016, 156 pp., £90 (hardback), ISBN 9781138120952“. South Asian History and Culture 8, Nr. 3 (03.07.2017): 380–82. http://dx.doi.org/10.1080/19472498.2017.1350398.
Der volle Inhalt der QuelleBanerjee, Sarbani. „Reading Bhadralok Cultural Memory, Kitsch And Culture Industry In Ritwik Ghatak’s Films“. CINEJ Cinema Journal 11, Nr. 2 (20.12.2023): 21–49. http://dx.doi.org/10.5195/cinej.2023.422.
Der volle Inhalt der QuelleVoeltz, Richard Andrew. „The Black Tent (1956) and Bengazi (1955): The Image of Arabs in Two post-Empire Journeys into the Deserts of Libya“. CINEJ Cinema Journal 7, Nr. 1 (21.12.2018): 169–88. http://dx.doi.org/10.5195/cinej.2018.200.
Der volle Inhalt der QuelleHoek, Lotte. „Blood splattered Bengal: The spectacular spurting blood of the Bangladeshi cinema“. Contemporary South Asia 21, Nr. 3 (September 2013): 214–29. http://dx.doi.org/10.1080/09584935.2013.826622.
Der volle Inhalt der QuelleMukherjee, Madhuja, und Kaustav Bakshi. „A brief introduction to popular cinema in Bengal: genre, stardom, public cultures“. South Asian History and Culture 8, Nr. 2 (23.03.2017): 113–21. http://dx.doi.org/10.1080/19472498.2017.1304082.
Der volle Inhalt der QuelleCHATTERJEE, PARTHA. „Theatre and the Publics of Democracy: Between Melodrama and Rational Realism“. Theatre Research International 41, Nr. 3 (Oktober 2016): 202–17. http://dx.doi.org/10.1017/s0307883316000419.
Der volle Inhalt der QuelleMukherjee, Madhuja. „Little cinema culture: Networks of digital files and festival on the fringes“. Studies in South Asian Film & Media 10, Nr. 1 (01.10.2019): 23–40. http://dx.doi.org/10.1386/safm_00003_1.
Der volle Inhalt der QuelleBiswas, Amrita. „Tracing Kolkata's cinephilic encounters: An analysis of alternative cinema in the city“. Studies in South Asian Film & Media 10, Nr. 2 (01.12.2019): 113–28. http://dx.doi.org/10.1386/safm_00009_1.
Der volle Inhalt der QuelleZinni, Maurizio. „L'impero sul grande schermo. Il cinema di finzione fascista e la conquista coloniale (1936-1942)“. MONDO CONTEMPORANEO, Nr. 3 (Mai 2012): 5–38. http://dx.doi.org/10.3280/mon2011-003001.
Der volle Inhalt der QuelleMukherjee, Madhuja. „Rethinking popular cinema in Bengal (1930s–1950s): of literariness, comic mode, mythological and other avatars“. South Asian History and Culture 8, Nr. 2 (23.03.2017): 122–42. http://dx.doi.org/10.1080/19472498.2017.1304088.
Der volle Inhalt der QuelleChatterjee, Subhajit. „A Rendezvous with the Ghosh Brothers: a sneak peek into Bengal’s homegrown exploitation cinema“. South Asian History and Culture 10, Nr. 4 (10.06.2019): 397–421. http://dx.doi.org/10.1080/19472498.2019.1614300.
Der volle Inhalt der QuelleBeier, Paul, und Agba Issahaku Tungbani. „Nesting with the Wasp Ropalidia Cincta Increases Nest Success of Red-Cheeked Cordonbleu (Uraeginthus bengalus) in Ghana (Augmentation du Succès de Nidification de Uraeginthus bengalus Nichant avec des Guêpes Ropalidia cincta au Ghana)“. Auk 123, Nr. 4 (Oktober 2006): 1022–37. http://dx.doi.org/10.2307/25150217.
Der volle Inhalt der QuelleBeier, Paul, und Agba Issahaku Tungbani. „Nesting With The Wasp Ropalidia Cincta Increases Nest Success of Red-Cheeked Cordonbleu (Uraeginthus Bengalus) in Ghana“. Auk 123, Nr. 4 (01.10.2006): 1022–37. http://dx.doi.org/10.1093/auk/123.4.1022.
Der volle Inhalt der QuelleBeier, Paul, und Agba Issahaku Tungbani. „NESTING WITH THE WASP ROPALIDIA CINCTA INCREASES NEST SUCCESS OF RED-CHEEKED CORDONBLEU (URAEGINTHUS BENGALUS) IN GHANA“. Auk 123, Nr. 4 (2006): 1022. http://dx.doi.org/10.1642/0004-8038(2006)123[1022:nwtwrc]2.0.co;2.
Der volle Inhalt der QuelleFreitag, Sandria B. „The Making of a New ‘Indian’ Art: Artists, Aesthetics and Nationalism in Bengal, c. 1850–1920. By Tapati Guha-Thakurta. Cambridge: Cambridge University Press, 1992. xxvii, 351 pp. $85.00 (cloth). - Cinema and the Urban Poor in South India. By Sara Dickey. Cambridge: Cambridge University Press, 1993. xiv, 213 pp. £30.00 (cloth).“ Journal of Asian Studies 55, Nr. 3 (August 1996): 750–52. http://dx.doi.org/10.2307/2646487.
Der volle Inhalt der QuelleBhattacharya, Spandan. „Transgressing Boundaries, Transforming Film Culture(s): Tales of Bedeni and the Constructs of Female Performer Figure in the 1990s Bengali Cinema“. BioScope: South Asian Screen Studies, 29.06.2022, 097492762211049. http://dx.doi.org/10.1177/09749276221104910.
Der volle Inhalt der QuelleTimoshchuk, A. S. „Nabadwip Bhava Taranga or time cinema of the Bengal Vaishnavism“. Vestnik of Minin University 10, Nr. 2 (30.06.2022). http://dx.doi.org/10.26795/2307-1281-2022-10-2-12.
Der volle Inhalt der QuelleBhattacharyya, Ranjan, Sumita Bhattacharyya Panda und Supriya K. Mondal. „Mad Tales of Tollywood : Psychiatry in Bengali Cinema“. Bengal Journal of Psychiatry, 08.04.2014, 32–37. http://dx.doi.org/10.51332/bjp.2014.v19.i1.64.
Der volle Inhalt der QuelleSiwach, Simran. „A STUDY OF BOLLYWOOD’S COMEDY OF ERRORS: AN INTERTEXTUAL APPROACH“. INTERNATIONAL JOURNAL OF SCIENTIFIC RESEARCH, 01.03.2021, 10–12. http://dx.doi.org/10.36106/6038201.
Der volle Inhalt der QuelleBhattacharya, Spandan. „Disco flamboyance, performative masculinities and dancer heroes of Bengali cinema“. South Asian History and Culture, 22.07.2022, 1–13. http://dx.doi.org/10.1080/19472498.2022.2101762.
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