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Zeitschriftenartikel zum Thema „Cinéma hindi“

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Autor: Grafiati

Veröffentlicht am 26. Juli 2024

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1

Wankhede, Harish S. „Examining the Presence of Dalit identity in Hindi Cinema“. Current Research Journal of Social Sciences and Humanities 5, Nr. 2 (10.01.2023): 76–82. http://dx.doi.org/10.12944/crjssh.5.2.03.

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A century of Bombay’s popular cinema has overtly celebrated the upper caste hero on screen. Major genres of Hindi cinema are stuffed with the Hindu-Brahmanical cultural values, social themes and political interests. The caste and question of Untouchability not even figured as the peripheral aspects of the cinema. The narratives revolve around certain abstract upper caste Hindu identities, divorced from the idea that in the actual Hindu social order caste distinctions play a crucial role. Bombay’s popular Hindi cinema though showcased artistic and intellectual agency by representing the problems of urban poor during its ‘Golden Age’ period, however the caste question is visibly ignored. Importantly, the problems of the Untouchables were discussed in the national political spectrum and the new Constitution offered them a new identity and special provisions to facilitate their entry into mainstream civil life, the Hindi cinema of 1950s neglected their concerns and voices under the influence of nationalistsocialist rhetoric. It is only in the neo-liberal era that the cinema industry witnessed the arrival of nuanced Dalit representation on screen.

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2

Mistry, Pratima. „The Changing Role of Women in Hindi Cinema“. Indian Journal of Applied Research 4, Nr. 7 (01.10.2011): 537–39. http://dx.doi.org/10.15373/2249555x/july2014/199.

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3

Japee, Dr Gurudutta. „INDIAN FILMS IN GLOBAL CONTEXT - MONEY OR CREATIVITY!“ GAP GYAN - A GLOBAL JOURNAL OF SOCIAL SCIENCES 1, Nr. 1 (05.09.2018): 24–29. http://dx.doi.org/10.47968/gapgyan.11003.

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‘Art does not go global because its creator is consciously working towards a worldwide impact.’ It ought to be straightforward to present a description of the ‘world’s biggest film industry’, but Indian film scholars find it difficult to come to terms with its diversity and seeming contradictions. The biggest single mistake that non-Indian commentators make is to assume that ‘Indian Film Industry ’ is the same thing as Indian Cinema. It is not. The Indian film industry is always changing and as traditional cinemas close in the South and more multiplexes open, there may be a shift towards main stream Hindi films. But the South is building multiplexes too and it is worth noting that Hollywood distributors have started to release films in India dubbed into several languages. India's various popular cinemas are not all alike, and the differences among them are not restricted to language. They address different identities; the language communities sometimes transcend national boundaries, as when Tamil cinema is followed avidly in Malaysia. "Bollywood" is a recent, global appellation, but mainstream Hindi cinema tried to address national concerns even under colonial rule. When the English-spoken media in India clamour for a better quality of cinema, what they desire is a cinema that is forged in the Western tradition of storytelling and narrative.

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4

Parda, Małgorzata. „Determinants of the spatial diffusion of Bollywood cinema“. Miscellanea Geographica 23, Nr. 1 (31.01.2019): 33–38. http://dx.doi.org/10.2478/mgrsd-2018-0030.

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Abstract The aim of the paper is to indicate which determinants had the major impact on the spatial diffusion of the Bollywood cinema in two aspects: the first appearance of this cinema in different countries and the number of films distributed there. The distance between the country and Mumbai and the size of the diaspora were taken as key determinants. The concept of Hägerstrand was adopted as the spatial diffusion model. The procedure involved gathering data for 5,832 Hindi movies produced in Mumbai distributed in cinemas in 76 countries from 1970 to 2010. The hypotheses were verified and it was proved that the spatial diffusion of the popular hindi cinema was influenced by a number of social, cultural and political determinants, of which the size of the Indian diaspora was the most important. The paper can be a reference to the discussion about diaspora identity and the intersection of cultures.

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5

Bhugra, Dinesh. „Psychoanalysis in Hindi cinema“. Acta Neuropsychiatrica 20, Nr. 2 (April 2008): 96–97. http://dx.doi.org/10.1111/j.1601-5215.2008.00275.x.

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6

Saini, Rahul Kumar. „The interpretation of Hindi cinema (with special reference to fiction)“. RESEARCH REVIEW International Journal of Multidisciplinary 8, Nr. 7 (15.07.2023): 167–70. http://dx.doi.org/10.31305/rrijm.2023.v08.n07.023.

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Hindi cinema has been concerned with literature and society since its heyday. Literature and cinema have an interdependent relationship. In cinema we can see the society. That is why more or less cinema compiles material from literature. Hindi fiction includes both novels and short stories. Thus, in the research article presented, Hindi novels and films based on Hindi stories have been studied. Abstract in Hindi Language: हिंदी सिनेमा अपने उत्कर्ष काल से ही साहित्य और समाज से सरोकार रखता आया है। साहित्य और सिनेमा का अन्योन्याश्रित संबंध है। सिनेमा में हम समाज को देख सकते हैं। यही कारण है कि कमोवेश सिनेमा साहित्य से सामग्री संकलित करता है। हिंदी कथा साहित्य में उपन्यास और कहानियाँ दोनों समाहित हैं। इस प्रकार प्रस्तुत शोध आलेख में हिंदी उपन्यास और हिंदी कहानियों पर आधारित फिल्मों का अनुशीलन किया गया है। Keywords: ऑस्कर, साहित्य, सिनेमा, शिल्प अथवा शैली, अमलदारी, हुकूमत।

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7

Jain, Chhaya. „OVERALL VIEW ON HINDI CINEMA“. International Journal of Research -GRANTHAALAYAH 7, Nr. 4 (30.04.2019): 141–46. http://dx.doi.org/10.29121/granthaalayah.v7.i4.2019.883.

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In today's era, cinema is such a genre, towards which a child of two years and an old man of eighty years is also attracted. Even a person from a small town to a small town is not untouched by its hypnosis. Cinema is a complete genre in itself, as it includes all arts like painting, theatrical art, poetry, fiction. The cinema that we see today has a developed and sophisticated form in front of us, a century of hard work behind it. In the present times, cinema has taken the form of industry but it has not only given us entertainment, but also education, so it has become a powerful medium to express the feelings of the public. Therefore, it would not be wrong to say that "Movies are not only the best medium of entertainment, but they are also the best medium for knowledge enhancement". आज के युग में सिनेमा एक ऐसी विधा है, जिसकी ओर दो साल का एक बच्चा और अस्सी साल का एक बूढ़ा भी आकर्षित है। एक महानगर से लेकर छोटे से कस्बे का व्यक्ति भी इसके सम्मोहन से अछूता नहीं हैं। सिनेमा अपने आप में एक सम्पूर्ण विधा है, क्योंकि इसमें चित्रकला, नाट्य कला, काव्य कला, कथा साहित्य आदि सभी कलाओं का समावेश रहता हैं। आज हम जो सिनेमा देखते है वह हमारे सामने एक विकसित और परिष्कृत रूप है, इसके पीछे एक सदी का परिश्रम है। वर्तमान समय में सिनेमा ने उद्योग रूप ले लिया है परंतु इसने हमें न केवल मनोरंजन ही दिया है, बल्कि शिक्षा भी दी है, इसलिए यह जनमानस की भावनाओं को व्यक्त करने का सशक्त माध्यम बन गया है। इसलिये यह कहना गलत न होगा कि “फिल्में मनोरंजन का उत्तम माध्यम तो हैं ही, साथ ही वह ज्ञानवर्धन के लिए भी अत्यंत बेहतरीन माध्यम हैं।”

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8

Bhugra, Dinesh, und Susham Gupta. „Psychoanalysis and the Hindi cinema“. International Review of Psychiatry 21, Nr. 3 (Januar 2009): 234–40. http://dx.doi.org/10.1080/09540260902747672.

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9

Riaz, Sanaa. „Un/Familiar Other: The Indian Muslim and Bollywood Filmscapes“. European Journal of Behavioral Sciences 5, Nr. 4 (04.01.2023): 31–49. http://dx.doi.org/10.33422/ejbs.v5i4.928.

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The construction of the Muslim as Other in commercial Hindi cinema (often referred to by its portmanteau Bollywood) reflects varying dominant discourses on Indianness, gender and family. In this paper, I analyze visual representation, personality traits, dialogues, lyrics and the aura and ambience weaved around Muslim caricatures in Bollywood films using 5 representative films from the 1950s-70s, 6 from the 1980s-1990s and 14 from 2000s-2020s. I examine how Muslim Other caricatures in commercial Hindi movies from the positive, essentialized, hardworking minority of a united India portrayed through the 80s to the one displaying subaltern sexualities and needing redemption and patronization of the Hindu protagonists portrayed through the 1990s to the sinister and promiscuous one portrayed in the 21st century serve as antidotes to and thus assist in communicating dominant ideologies on gender supremacy, patriarchy, gender roles and Hinduness as Indianness to a rapidly urban audience at home and in diaspora.

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10

Oza, Preeti. „GAGGED NARRATIVES FROM THE MARGIN: INDIAN FILMS AND THE SHADY REPRESENTATION OF CASTE“. GAP GYAN - A GLOBAL JOURNAL OF SOCIAL SCIENCES 2, Nr. 3 (16.08.2019): 131–34. http://dx.doi.org/10.47968/gapgyan.230021.

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Popular Hindi cinema provides a fascinating account of Indian life history and cultural politics. Hindi cinema is always a mirror of the Indian society but films also have fascinated entertained the Indian public for more than a hundred years and sometimes when we analyze the history of Indian cinema we can get an amazingly interesting but actual history of the contemporary society with all its virtues and vices in different colors. This paper deliberates on the various issues pertaining to the portrayal of specific caste, especially the Dalits in Indian films- both Hindi and regional.

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11

Nair, Kartik. „Book Review: Meraj Ahmed Mubarki, Filming Horror: Hindi Cinema, Ghosts and Ideologies and Meheli Sen, Haunting Bollywood: Gender, Genre, and the Supernatural in Hindi Commercial Cinema“. BioScope: South Asian Screen Studies 8, Nr. 2 (Dezember 2017): 280–85. http://dx.doi.org/10.1177/0974927617728143.

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Meraj Ahmed Mubarki, Filming Horror: Hindi Cinema, Ghosts and Ideologies. Delhi: SAGE Publications, 2016, 216 pp., US$45 (Hardback). ISBN: 978-9-3515-0872-4. Meheli Sen, Haunting Bollywood: Gender, Genre, and the Supernatural in Hindi Commercial Cinema. Austin: University of Texas Press, 2017, pp. 264, US$27.95. ISBN 978–1-4773–1158–5.

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12

Chauhan, Kiran, und Anjali Capila. „The winning woman of hindi cinema“. ADVANCE RESEARCH JOURNAL OF SOCIAL SCIENCE 5, Nr. 2 (15.12.2014): 211–18. http://dx.doi.org/10.15740/has/arjss/5.2/211-218.

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13

Bhatia, Nandi. „Nautanki and Hindi Cinema: Changing Representations“. Studies in South Asian Film & Media 1, Nr. 1 (01.05.2009): 9–21. http://dx.doi.org/10.1386/safm.1.1.9_1.

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14

Shope, Bradley. „Hindi Film Songs and the Cinema“. Ethnomusicology Forum 20, Nr. 2 (August 2011): 271–73. http://dx.doi.org/10.1080/17411912.2011.589505.

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15

Manohar, Uttara, und Susan L. Kline. „Sexual Assault Portrayals in Hindi Cinema“. Sex Roles 71, Nr. 5-8 (26.08.2014): 233–45. http://dx.doi.org/10.1007/s11199-014-0404-6.

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16

Chattopadhyay, Saayan. „Boyhood, Ideology, and Popular Hindi Cinema“. Thymos: Journal of Boyhood Studies 5, Nr. 2 (01.10.2011): 138–51. http://dx.doi.org/10.3149/thy.0502.138.

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17

Mukherjee, Madhuja. „Hindi film songs and the cinema“. South Asian Popular Culture 9, Nr. 2 (Juli 2011): 223–25. http://dx.doi.org/10.1080/14746689.2011.569077.

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18

Osuri, Goldie. „‘Ma’ and a Political Theology of Hindi Cinema“. Theory, Culture & Society 31, Nr. 7-8 (17.09.2014): 343–46. http://dx.doi.org/10.1177/0263276414547778.

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Hindi commercial cinema appears distinctive in its assemblage of earthly law and divine justice or political theology. Historically, Hindi cinema’s mothers have embodied a postcolonial melancholia of the (in)adequacy of law to justice. This blog piece seeks to explain a shift in the relationship between law and justice in recent Hindi films through a rumination on the disappearing melancholic mother.

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19

Singhal, Kritika. „Portrayal of Sex Workers in Hindi Cinema“. International Journal for Research in Applied Science and Engineering Technology 12, Nr. 3 (31.03.2024): 2505–8. http://dx.doi.org/10.22214/ijraset.2024.59141.

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Abstract: This paper will study the different aspects in which prostitution has been portrayed in the Indian cinema. Bollywood has mostly been infamous in its portrayal of women characters in general. There is primarily a stereotypical, misogynistic outlook in the way female prostitutes are perceived in art, whether it be literature or cinema. Along with this, there has been an overt romanticisation of female prostitutes over the decades. This paper is an attempt to portray the different aspects of prostitution as reflected in the journey of Hindi cinema from as early as the 1950s. The criteria of analysis for this paper will majorly be two dimensional. Firstly, to contrast movies from different eras;from black and white movies such as Pyaasa[1957] to movies as modern as Gangubai Kathiawadi[2022]. The motive to inculcate this criteria is to highlight the slight evolution in the representation of female prostitutes; from the continuous trope of ‘damsel in distress’ who has a heart of gold to the girlboss of modern Indian cinema.

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20

Bose, Nandana. „The Hindu Right and the Politics of Censorship: Three Case Studies of Policing Hindi Cinema, 1992–2002“. Velvet Light Trap 63, Nr. 1 (2009): 22–33. http://dx.doi.org/10.1353/vlt.0.0029.

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21

Basu, Anustup. „The eternal return and overcoming ‘Cape Fear’: science, sensation, Superman and Hindu nationalism in recent Hindi cinema“. South Asian History and Culture 2, Nr. 4 (Oktober 2011): 557–71. http://dx.doi.org/10.1080/19472498.2011.605299.

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22

Mahajan, Sandesh, Vijayalaxmi Iyengar und Niharika Bhowmik. „FOLLOWING THE HERD: A STUDY ON SALIENT TRENDS IN THE CONTEMPORARY HINDI FILM INDUSTRY IN INDIA“. ShodhKosh: Journal of Visual and Performing Arts 3, Nr. 1 (30.03.2022): 149–57. http://dx.doi.org/10.29121/shodhkosh.v3.i1.2022.94.

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From the first feature film ever produced in Hindi cinema to this date, the industry has witnessed a massive evolution. With changes ushering in almost every few years, it has seen its share of highs and lows in its quality and filmmaking standards. Speaking of the 21st century, while changes surely and gradually appeared in several aspects of the Hindi film industry, after 2010, many unprecedented conversions took place that shifted tectonic plates in Hindi cinema. However, there was one notion that the industry held on to, i.e. Its tendency to follow trends blindly. As soon as a method or a paradigm gains popularity, a noticeable majority quickly pick the "success formula" and start reproducing products in the exact similar fashion on and on until one day the trend loses its position amongst people, which is then taken over by yet another trend. This paper pursues a mixed methodology of exploratory study method with the assistance of library and secondary data, qualitative interviews with stake holders, cinegoers who extensively analyses the crucial trends followed by the Hindi film industry in the last decade, i.e., 2010-2020. The findings in the research paper provide deep insights into various trending formulas in Hindi cinema

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23

Sahu, Gopal Krushna, und Sameera Khan Rehmani. „Representation of Minorities in Popular Hindi Cinema“. Media Watch 1, Nr. 1 (Januar 2010): 27–32. http://dx.doi.org/10.1177/0976091120100105.

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24

Mishra, Vijay. „Bollywood: A Guidebook to Popular Hindi Cinema“. Asian Studies Review 38, Nr. 2 (03.04.2014): 314–15. http://dx.doi.org/10.1080/10357823.2014.902741.

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25

Dwyer, Rachel. „The Hindi romantic cinema: Yash Chopra'sKabhi KabhieandSilsila“. South Asia: Journal of South Asian Studies 21, Nr. 1 (Juni 1998): 181–212. http://dx.doi.org/10.1080/00856409808723332.

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26

Rai, Dhananjay. „Popular Hindi Cinema as Gandhi’s Alter Ego“. Social Change 41, Nr. 1 (März 2011): 63–78. http://dx.doi.org/10.1177/004908571104100103.

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27

Duggal, Vebhuti. „Filming Horror: Hindi Cinema, Ghosts and Ideologies“. Historical Journal of Film, Radio and Television 37, Nr. 1 (02.01.2017): 128–30. http://dx.doi.org/10.1080/01439685.2016.1273326.

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28

Nagar, Ila. „Bollywood: a guidebook to popular Hindi cinema“. Contemporary South Asia 22, Nr. 2 (03.04.2014): 210–11. http://dx.doi.org/10.1080/09584935.2014.902662.

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29

Devasundaram, Ashvin Immanuel. „Interrogating Patriarchy: Transgressive Discourses of ‘F-Rated’ Independent Hindi Films“. BioScope: South Asian Screen Studies 11, Nr. 1 (Juni 2020): 27–43. http://dx.doi.org/10.1177/0974927620935236.

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Since its inception at the Bath Film Festival 2014, the ‘F-Rating’ has been adopted as a yardstick to foster equitable representation of women in film. The rise of a new sub-genre of Hindi ‘Indie’ cinema (Devasundaram, 2016, 2018) has been augmented by an array of bona fide Female-rated independent films. These films fulfil the triune criteria for F-Rating, featuring women both behind and in front of the camera – as directors, actors and scriptwriters. I argue that these distinct female voices in new independent Hindi cinema have engendered discursive filmic spaces of resistance – alternative articulations that transgress India’s patriarchal national master narrative. Indian cinema thus far has been presided over by Bollywood’s hegemonic bastion of male-dominated discourses. The mainstream industry continues to propagate gender-based wage disparity and hypersexualised representations of the female body via the serialised song and dance spectacle of the ‘item number’. The increasing presence of F-Rated Hindi films on the international film festival circuit and through wider releases, gestures towards these films’ melding of the global and local. Drawing on my curation work with the UK Asian Film Festival (UKAFF) and discursive analyses of seminal F-Rated films, this essay highlights the pivotal role played by F-Rated Hindi Indie films in opening up transdiscursive dimensions and creating national and global conversations around issues of gender inequities in India.

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30

Atwal, Jyoti. „Widowhood and Motherhood in Cinematic Imagination in the Historical Context“. Past and Present: Representation, Heritage and Spirituality in Modern India 4, Special Issue (25.12.2021): 01–11. http://dx.doi.org/10.12944/crjssh.4.special-issue.01.

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This article engages with the question of how Hindi cinema sought to synergize and imagine the nation, community and land in independent India as the embodiment of widowhood. I suggest that this process of embodiment was the culmination of a long historical-political process. The focus of this chapter is a 1957 Hindi film by Mehboob Khan named Mother India. The film stands out as a powerful emotional drama. On the one hand, this film marked continuity with the Indian literature, painting, theatre and cinema of the colonial period,1 on the other, Mother India influenced the culture of a new Indian nation after 1947. Within a decade after India attained independence from Britain, the Indian cinema became an undisputed site where the cultural engineering of a new nation could be enacted.2

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Dr. Rakesh Prakash, Umang Gupta,. „Women in Bollywood“. Psychology and Education Journal 58, Nr. 1 (15.01.2021): 4856–63. http://dx.doi.org/10.17762/pae.v58i1.1646.

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Cinema Industry is a popular form of mass media believed to entertain. This experience helps the audience to skip to the world that is ascetically different from the real world, the land which helps them to escape from the daily drudge of life. Cinema is a popular form of art medium which plays a vital role in reinforcing dominant cultural values, constructing images and molding opinion. This research article deals with the portrayal of women in mainstream cinema “Bollywood”. It is important to examine this issue as women are the large part of country’s population and therefore their representation on screen is essential for determining the existing stereotypes in society. This paper will investigate about how mainstream Hindi cinema is restricted with limited defined sketches of womanhood. It will also examine about whether the mainstream Hindi Cinema has been successful in representing women’s different shades through celluloid screen in a society with patriarchal values. The data collected for the research work is secondary. This study is exploratory and the method used for research is qualitative.

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32

Khan, Shahnaz. „The Complicated Pleasures of Hindi Cinema in Canada“. TOPIA: Canadian Journal of Cultural Studies 26 (November 2011): 47–68. http://dx.doi.org/10.3138/topia.26.47.

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33

Sen, Shaunak. „“It’s Ringing Again”: Cellular Ambiguities in Hindi Cinema“. BioScope: South Asian Screen Studies 4, Nr. 2 (Juli 2013): 159–81. http://dx.doi.org/10.1177/0974927613503237.

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34

Andrade, Chittaranjan, Nilesh Shah und Basappa K. Venkatesh. „The Depiction of Electroconvulsive Therapy in Hindi Cinema“. Journal of ECT 26, Nr. 1 (März 2010): 16–22. http://dx.doi.org/10.1097/yct.0b013e3181d017ba.

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35

Sinha, Alia. „Book Review: Meraj Ahmed Mubarki, Filming Horror: Hindi Cinema, Ghosts and Ideologies“. Social Change 47, Nr. 2 (Juni 2017): 302–5. http://dx.doi.org/10.1177/0049085717696379.

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36

Ciolfi, Sabrina. „Demure Heroines Expressing Sexual Desire. Hints of traditional motifs in popular Hindi cinema“. Acta Orientalia Vilnensia 12, Nr. 2 (01.01.2011): 91–100. http://dx.doi.org/10.15388/aov.2011.1.3930.

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Università degli Studi di MilanoIn some of the most successful and representative popular Hindi films released between the 1990s and the early 2000s, the depiction of amorous feelings often takes traditional forms. The reference here is essentially to those films that come more or less within the broad category of classical family dramas: love stories that come up against all sorts of opposition, characterised by the celebration of the traditional Hindu values and the sacrality of the Indian joint-family institution. A particularly interesting aspect emerging here lies in the way in which the sexual desire of the heroine—typically a chaste and virtuous maiden—finds representation. On the strength of studied re-elaboration of traditional themes and motifs, these films achieve high levels of stylistic inventiveness and poetic refinement, albeit often limited to certain individual sequences. The apparent purpose of this aesthetic sophistication is to endow amorous feelings—always leading inexorably in the direction of marriage—with an aura of purity and authenticity. Indeed, it is a matter of sentiments so noble and intenseas to win over the consent and blessing of the families by the end of the film. The paper proposes to identify and analyse the conscious use of these traditional motifs in some of the most representative films in this area.

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Gehlawat, Ajay. „Bollywood studies at 2020“. Studies in South Asian Film & Media 12, Nr. 1 (01.02.2021): 83–91. http://dx.doi.org/10.1386/safm_00039_5.

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Review of: Dark Fear, Eerie Cities: New Hindi Cinema In Neoliberal India, Sarunas Paunksnis (2019) New Delhi: Oxford University Press, 172 pp., ISBN 978-0-19949-318-0, h/bk, $30 Unruly Cinema: History, Politics, and Bollywood, Rini Bhattacharya Mehta (2020) Urbana, IL: University of Illinois Press, 233 pp., ISBN 978-0-25208-499-7, p/bk, $25

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Chowdhary, Ruchita Sujai. „THE TRANSITION SAGA OF MASCULINITY IN HINDI FILMS : THEN & NOW“. International Journal of Research -GRANTHAALAYAH 9, Nr. 4 (30.04.2021): 178–84. http://dx.doi.org/10.29121/granthaalayah.v9.i4.2021.3857.

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The cinema in India has its different mark upon the masses and has a huge fan following. Being the most popular art form in the nation it has been influencing the viewers with its magical effects. With its tremendous reach among the youths it not only depict the virtual image of the society but on the same hand it is creating a world which is juxtapose of realm. Since the beginning Hindi films are revolving around the set plots of the scripted feature films showcasing a hero, a heroine, a villain and a climax after which everybody has a happy ending. Accordingly, the Hindi films have defined the heroes in its own way with some set parameters i.e. muscular body, taller than heroine, a fighter, good looks and a never ending list of traits. However, some heroes have broken this myth that a filmy hero is always a MACHO MAN. They are again redefining the personality of the heroes on the silverscreen. Thus, the aim of this research paper is to examine the change in definition of the heroes in Hindi films over a period of time. The researcher will conduct the content analysis of ten purposively selected films from the Hindi 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.

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AbstractThe article engages with the question of an exclusivity, an ‘otherness’ of the Bengali culture, in the available representative modes of Indian cinema. It studies the socio-cultural dynamics through which this ‘otherness’ can be found reorienting itself in recent years in a globalized perspective. It takes two contemporary films, Kahaani (Hindi, 2012) and Bhooter Bhobishyot (Bengali, 2012) to dwell upon. The analysis aims to historicise the construction of a cultural stereotype called ‘Bengali-ness’ in Indian cinema by marking some significant aspects in the course of its historical development. Using the films as cases in point, the article attempts to develop a framework in which the changing landscape of the city of Kolkata, shifting codes of the cultural habits of the middle class and reconfigured ideas about a ‘Bengali nation’ can be seen operating to develop a refashioned relationship between the state of Bengal and the rest of the country. It suggests that the global cultural inflow, along with the localized notions of the new, globalized Bengali-ness, are engaged in developing a new politics of representation for the city and the Bengali society in the cinemas of India.

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Kumar, Sudhir. „Qualitative Analysis of Religious Drama in Hindi Cinema: A Study of Movie “Dharam Sankat Mein”“. MediaSpace: DME Media Journal of Communication 4, Nr. 01 (19.08.2023): 11–16. http://dx.doi.org/10.53361/dmejc.v4i01.02.

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Films offer a platform where social issues can be projected and discuss. Now religion in India is emerged as a new concept or trend to discuss and nothing has been untouched by its effect not even politics. As we earlier said cinema works as a mirror for our society so for that concern this topic has also become a part of Hindi cinema where we can see the aspects of religion almost in all Hindi films as a social issue, different culture, symbols, rituals or ceremonies. The cinema also made a lot of effort to keep all the religions together. In two films of 21st century Veer Zaara & Bajrangi Bhaijan dealt with two different religions Islam and Hinduism at the same time. These films illustrate the positive power of religion which on one side shows the sacrifice of being separated but together and on the other hand all human beings as one unit. With reference tothe above said the thing which the researcher is going to find out is the new term which emerges from religion is termed as a religious drama that we all have seen in contemporary cinema

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C, Sohini. „Are you judgmental? Women and alcohol in Hindi cinema“. Lancet Psychiatry 8, Nr. 7 (Juli 2021): 572–73. http://dx.doi.org/10.1016/s2215-0366(21)00163-2.

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Sundar, Pavitra. „Meri Awaaz Suno:Women, Vocality, and Nation in Hindi Cinema“. Meridians: feminism, race, transnationalism 8, Nr. 1 (Oktober 2007): 144–79. http://dx.doi.org/10.2979/mer.2007.8.1.144.

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Mubarki, Meraj Ahmed. „Body, masculinity and the male hero in Hindi cinema“. Social Semiotics 30, Nr. 2 (20.11.2018): 225–53. http://dx.doi.org/10.1080/10350330.2018.1547497.

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Saxena, Keerti, und Shabistan Zafar. „Liberalization and Changing Representation of Women in Hindi Cinema“. Indian Journal of Science and Technology 10, Nr. 46 (01.12.2017): 1–8. http://dx.doi.org/10.17485/ijst/2017/v10i46/115859.

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Athique, Adrian M. „Review: Cinema India: The Visual Culture of Hindi Film“. Media International Australia 108, Nr. 1 (August 2003): 179–80. http://dx.doi.org/10.1177/1329878x0310800124.

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Athique, Adrian M. „Book Review: Reframing Bollywood: Theories of Popular Hindi Cinema“. Media International Australia 139, Nr. 1 (Mai 2011): 165. http://dx.doi.org/10.1177/1329878x1113900126.

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Kumar, Chandra Bhushan. „The popularity of the supporting cast in Hindi cinema“. South Asian Popular Culture 12, Nr. 3 (02.09.2014): 189–98. http://dx.doi.org/10.1080/14746689.2014.984925.

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Paunksnis, Šarūnas. „Towards neurotic realism: Otherness, subjectivity and new Hindi cinema“. South Asian Popular Culture 15, Nr. 1 (02.01.2017): 73–85. http://dx.doi.org/10.1080/14746689.2017.1344480.

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Gehlawat, Ajay, und Rajinder Dudrah. „The evolution of song and dance in Hindi cinema“. South Asian Popular Culture 15, Nr. 2-3 (02.09.2017): 103–8. http://dx.doi.org/10.1080/14746689.2017.1407547.

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Arya, Sakshi Grover, und O. P. Dewal. „Freedom of Expression: Issues and Trends in Hindi Cinema“. Mass Communicator: International Journal of Communication Studies 17, Nr. 2 (2023): 28–33. http://dx.doi.org/10.5958/0973-967x.2023.00011.x.

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