Thèses sur le sujet « Cinéma hindi »
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Azevedo, Amandine d'. « Cinéma indien, mythes anciens, mythes modernes : résurgences, motifs esthétiques et mutations des mythes dans le film populaire hindi contemporain ». Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030126.
Texte intégralIndian popular cinema is both a place of filmic mythical creation and a universe interacting with previous bodies of work; the classical myths and epics, and especially the Ramayana and the Mahabharata. Although the latter have often been adapted, especially in the early decades of Indian cinema, contemporary cinema builds complex and attitudes towards heroes and their achievements. Traditional myths appear in a shot, in the manner of a moral, narrative and/or formal resurgence. In an opposite movement, this cinema seeks those same myths to strengthen its imagination. Working on the relations between myth and cinema, one has to cross the political and historical field, for Independence movements, Partition and inter-community tensions pervade popular cinema. Myths in movies can become an aesthetic fixation of historical-political traumas. The challenge of some representation of violent acts explain that they sometimes hide themselves in images, irreversibly altering the presence and meaning of mythological references. Therefore, myths don't always tell the same story. Those mythological resurgences, producing mutations and hybrid forms between the political, historical, mythical and film-making fields, also invite a de-compartmentalisation when we analyse the nature of the images and the mediums that welcome them. Our study naturally convenes notes on painting, as well as contemporary art, photography or bazaar popular art. A broad and mixed Indian visual field constantly recombines background and foreground, flatness and depth of field and ornemented and neglected sets. Popular cinema, moved by the memory of myths and forms, becomes the breeding ground of an aesthetic revival
Séguineau, de Préval Jitka. « Le mélodrame de l'incompréhension dans le cinéma de Raj Kapoor (1924-1988), Inde ». Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA084/document.
Texte intégralAmong Bombay’s directors, producers and actors, Raj Kapoor (1924-1988) is certainly one of the best known and most original both for his work and for his personality. His vast filmography which constitutes a collection of some of the most beautiful melodramas of Hindi popular cinema remains virtually unknown in France. Close to the people, these melodramas reveal a theme which is universally present, illustrated in a variety of situations and different lights. It is the phenomenon of incomprehension.The present work, inspired by a reading of Peter Brooks and Stanley Cavell on the subject of melodrama, aims to show that Kapoor’s melodramas treat this specific theme which unites them and allows them to be defined as a distinct cinematic genre here termed "melodrama of incomprehension." The feeling of inability to understand or of being misunderstood which haunts these melodramas is gleaned not only from aesthetic, historical, political and cultural subjects but also from personal experience.Drawing on the aesthetics of melodrama, Kapoor multiplies the metaphorical presence of the blind hero illustrating the overwhelming difficulty of communication, and blames society for a lack of understanding. Extending the resulting suffering to a wider context, Kapoor’s melodrama transcends the bounds of individual drama, reaching out to the level of the people as a whole, indeed to the entire nation according to some authors. To amplify the phenomenon of incomprehension, his melodrama uses misunderstanding, scorn, ignorance, confusion, illusion, and more. Kapoor does this to a point at which these difficulties of communication clearly represent identifiable structural elements in his portrayal of incomprehension imbued with melancholy and sadness
Morcom, Anne Frances. « Hindi film songs and the cinema ». Thesis, SOAS, University of London, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268674.
Texte intégralOrfall, Blair. « Bollywood retakes : literary adaptation and appropriation in contemporary Hindi cinema / ». Connect to title online (ProQuest), 2009. http://proquest.umi.com/pqdweb?did=1883677651&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.
Texte intégralGaur, Meenu. « Kashmir on screen : region, religion and secularism in Hindi cinema ». Thesis, SOAS, University of London, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.561285.
Texte intégralVitali, Valentina. « The aesthetics of cultural modernisation : Hindi cinema in the 1950s ». Thesis, University of Ulster, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268856.
Texte intégralDatta, Pulkit. « Bollywoodizing Diasporas : Reconnecting to the NRI through Popular Hindi Cinema ». Miami University Honors Theses / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1209924713.
Texte intégralMecklai, Noorel-nissa S. « Abrogated identity : Muslim representation in Hindi popular cinema 1947-2000 ». Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2006. https://ro.ecu.edu.au/theses/352.
Texte intégralBudha, Kishore N. « Market reforms, media deregulation and the Hindi film : a study of the ideology of Hindi cinema and the media ». Thesis, University of Leeds, 2008. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.496120.
Texte intégralSrour, Nemesis. « Bollywood Film Traffic. Circulations des films hindis au Moyen-Orient (1954-2014) ». Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH185.
Texte intégralIn 1965, the presence of Indian films in the Arab region is sparking debate. While some perceive the popularity of Indian films as an “invasion”, the reasons for this success are formulated in essentialist terms by the film historian Georges Sadoul, as “a kind of innate spontaneity” (Inter-Arab Center for Cinema and of television 1965). To render these ambivalences, the purpose of this work was not to offer the arguments of a cultural connivance between Indian films and Arab countries, but to document the circulation of films, contributing to a global history of South-South cinematographic circuits.This research articulates the circulation modes of Indian films over a long period, from 1954 to 2014, in order to give to these cinematographic exchanges all their historicity. Questioning the Middle East from the perspective of the Indian film industry formulates an alternative vision of this region. It contributes to give their place to unsung actors, to make a history of distributors and cinemas in light of the circuits of Indian films. At the same time, undertaking this story requires understanding how the Bombay film industry perceives and invests foreign territories in broadcasting its films. Returning to the process of circulation in themselves over a period of 60 years opened the door to asperities, to the stumbling of stories. A transnational ethnography of circulation networks of Hindi films in Beirut, Cairo and Dubai, shows differently permeable territories. In an approach that documents film circuits and distinguishes its agents, this work focuses on a historical anthropology of the distribution field. The typology of the networks indicates their plasticity and shows all the ingenuity of the actors of the diffusion, adapting, modulating and anticipating even the historical mutations of the region
Vasudevan, Ravi. « Errant males and the divided woman melodrama and sexual difference in the Hindi social film of the 1950s / ». Thesis, Boston Spa, U.K. : British Library Document Supply Centre, 1991. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.303507.
Texte intégralSathe, Namrata. « You Only Live Once : Bollywood, Neoliberal Subjectivity and the Hindutva State ». OpenSIUC, 2020. https://opensiuc.lib.siu.edu/dissertations/1812.
Texte intégralSlatewala, Zahabia Z. « Objectification of Women in Bollywood Item Numbers ». Scholar Commons, 2019. https://scholarcommons.usf.edu/etd/7948.
Texte intégralAhmad, Tania. « Dancing heroines : sexual respectability in the Hindi cinema of the 1990s ». Thèse, 2003. http://hdl.handle.net/1866/14236.
Texte intégralAyob, Asma. « The changing construction of women characters in popular Hindi-language cinema from 1970 to 2007 ». Thesis, 2009. http://hdl.handle.net/10539/7064.
Texte intégralAbstract This study examines the changing construction of women characters in popular Hindi-language cinema from 1970 to 2007 using six films, typical of the genres at their times of release, as case studies: Pakeezah (1971, Kamal Amrohi), Umrao Jaan (1981, Muzaffar Ali), Prem Rog (1982, Raj Kapoor), Salaam Namaste (2005, Siddharth Anand), Baabul (2006, Ravi Chopra) and Ta Ra Rum Pum (2007, Siddharth Anand). The study examines general elements of Indian culture, religion, politics and economics in order to contextualise an understanding of Bollywood films as cultural products. The analysis reveals that in the films of the 1970’s and 1980’s, women characters were portrayed as docile and submissive, unable to articulate their needs even in the face of oppression, or as independent but cruel or hard-hearted; more specifically, women characters were portrayed as preservers of tradition. The 1980’s began to witness a shift in the psyche of women characters, who displayed a need to break free of their environments, thereby rising above what is traditionally expected of Indian women, namely to show tolerance toward society and men, even when unjustly treated. The findings suggest that more contemporary films show women characters as being more independent and making choices about family and work that are not based on traditional expectations of Indian womanhood. Links to some key findings from the literature are made.
Durr, Jonathan Douglas. « 'Seeing' song in Bollywood landscape, the postnational, and the song-and-dance sequence in Hindi popular cinema / ». 2001. http://catalog.hathitrust.org/api/volumes/oclc/48043656.html.
Texte intégralTypescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 74-79).
Ramlutchman, Nisha. « Gendered representations in contemporary popular Hindi cinema : femininity and female sexuality in films by Pooja Bhatt and Karan Johar ». Thesis, 2006. http://hdl.handle.net/10413/10485.
Texte intégralThesis (M.A.)-University of KwaZulu-Natal, 2006.