Bibliografie tematiche / Cinéma hindi

Letteratura scientifica selezionata sul tema "Cinéma hindi"

Autore: Grafiati

Pubblicato: 26 luglio 2024

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Articoli di riviste sul tema "Cinéma hindi"

Wankhede, Harish S. "Examining the Presence of Dalit identity in Hindi Cinema". Current Research Journal of Social Sciences and Humanities 5, n. 2 (10 gennaio 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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Mistry, Pratima. "The Changing Role of Women in Hindi Cinema". Indian Journal of Applied Research 4, n. 7 (1 ottobre 2011): 537–39. http://dx.doi.org/10.15373/2249555x/july2014/199.

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Japee, Dr Gurudutta. "INDIAN FILMS IN GLOBAL CONTEXT - MONEY OR CREATIVITY!" GAP GYAN - A GLOBAL JOURNAL OF SOCIAL SCIENCES 1, n. 1 (5 settembre 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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Parda, Małgorzata. "Determinants of the spatial diffusion of Bollywood cinema". Miscellanea Geographica 23, n. 1 (31 gennaio 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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Bhugra, Dinesh. "Psychoanalysis in Hindi cinema". Acta Neuropsychiatrica 20, n. 2 (aprile 2008): 96–97. http://dx.doi.org/10.1111/j.1601-5215.2008.00275.x.

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Saini, Rahul Kumar. "The interpretation of Hindi cinema (with special reference to fiction)". RESEARCH REVIEW International Journal of Multidisciplinary 8, n. 7 (15 luglio 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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Jain, Chhaya. "OVERALL VIEW ON HINDI CINEMA". International Journal of Research -GRANTHAALAYAH 7, n. 4 (30 aprile 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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Bhugra, Dinesh, e Susham Gupta. "Psychoanalysis and the Hindi cinema". International Review of Psychiatry 21, n. 3 (gennaio 2009): 234–40. http://dx.doi.org/10.1080/09540260902747672.

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Riaz, Sanaa. "Un/Familiar Other: The Indian Muslim and Bollywood Filmscapes". European Journal of Behavioral Sciences 5, n. 4 (4 gennaio 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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Oza, Preeti. "GAGGED NARRATIVES FROM THE MARGIN: INDIAN FILMS AND THE SHADY REPRESENTATION OF CASTE". GAP GYAN - A GLOBAL JOURNAL OF SOCIAL SCIENCES 2, n. 3 (16 agosto 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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Più fonti

Tesi sul tema "Cinéma hindi"

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.

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Le cinéma populaire indien est à la fois un lieu de création de mythes filmiques puissants et un univers qui interagit avec un autre corpus, celui des mythes et des épopées classiques, plus particulièrement le Ramayana et le Mahabharata. Si ces derniers ont souvent été l’objet d’adaptations, surtout dans les premières décennies du cinéma indien, le cinéma contemporain compose des rapports complexes et singuliers vis-à-vis des héros et de leurs hauts faits. Les mythes traditionnels surgissent au détour d’un plan, à la manière d’une résurgence morale, narrative et/ou formelle, tout comme – dans un mouvement inverse – le cinéma cherche ces mêmes mythes pour consolider son imaginaire. Ce travail sur les relations entre mythe et cinéma croise le champ de la politique et de l’Histoire. Les mouvements pour l’Indépendance, la Partition, les tensions intercommunautaires s’insinuent dans le cinéma populaire. La présence des mythes dans les films peut devenir une fixation esthétique des traumatismes historico-politiques. La difficulté de représenter certains actes de violence fait qu’ils viennent parfois se positionner de manière déguisée dans les images, modifiant irrémédiablement la présence et le sens des références mythologiques. Les mythes ne disent ainsi pas tout le temps la même chose. Ces résurgences mythologiques, qui produisent des mutations et des formes hybrides entre les champs politique, historique, mythique et filmique, invitent par ailleurs à un décloisonnement dans l’analyse de la nature et des supports des images. Ainsi, des remarques sur la peinture s’invitent dans le cours de la recherche aussi naturellement que des œuvres d’art contemporain, des photographies ou l’art populaire du bazar. Un champ visuel indien, large et métissé, remet en scène constamment des combinaisons entre l’arrière-plan et l’avant-plan, entre la planéité et la profondeur de champ, entre l’ornementation d’un décor et son abandon. Le cinéma populaire, traversé par la mémoire des mythes et des formes, devient le creuset d’un renouveau esthétique
Indian 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

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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.

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Parmi les réalisateurs, producteurs et acteurs de Bombay, Raj Kapoor (1924-1988) est certainement l’un des plus célèbres et des plus originaux, qu’il s’agisse de son œuvre ou de sa personnalité. Sa vaste filmographie qui rassemble quelques-uns des plus beaux mélodrames du cinéma populaire hindi reste méconnue en France. Proches du peuple, ces mélodrames révèlent un phénomène présent dans différentes situations et sous différents aspects : le sentiment d’incompréhension.Ce travail de recherche, inspiré par la lecture de Peter Brooks et Stanley Cavell sur le mélodrame, se donne pour but de montrer que les mélodrames de Kapoor sont porteurs d’un concept particulier qui les unit et les définit comme un genre cinématographique propre que nous appellerons « mélodrame de l’incompréhension ». Le sentiment de ne pas comprendre ou d’être « mal compris » qui hante ces mélodrames se cristallise non seulement à partir des enjeux esthétiques, historiques, politiques et culturels mais aussi des événements personnels.S’appuyant sur l’esthétique du mélodrame, Kapoor multiplie la présence métaphorique du héros aveugle qui pointe la difficulté ou l’impossibilité de communiquer et fait grief à la société de ne pas le comprendre. Inscrivant sa souffrance dans un contexte plus large, le mélodrame kapoorien dépasse les frontières du drame intimiste pour s’élever au niveau du peuple, voire de la nation, selon certains auteurs. Pour amplifier le phénomène d’incompréhension, le mélodrame utilise le malentendu, la méprise, l’ignorance, la confusion, l’illusion, etc. au point que ces difficultés de communication paraissent très clairement représenter des éléments structurels marqués par la réflexion de Kapoor sur l’incompréhension, teintée de mélancolie et de tristesse
Among 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

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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.

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This thesis explores the relationship of Hindi film songs with Hindi cinema from the 1950s, especially emphasizing the present day. It is based on fieldwork completed in Bombay from 1998-2000 and the analysis of film songs and their picturizations. The main question addressed is: 'How far can film songs be seen as an independent tradition of popular music and how far are they a part of their parent films and Indian cinema?' Chapter 1 surveys previous scholarship on film songs and introduces their cinematic study. Chapter 2 deals with the production process of film songs, identifying the role of various personnel in their creation including the music director (composer), lyricist and singer(s). Chapter 3 addresses the musical style of film songs and its development in the light of both their cinematic and popular music roles. Chapter 4 turns to the use of Western music in film song from the perspective of meaning. Is Western music used in the same way in Hindi films as in Hollywood films, and if so, how, if music is not a universal language? Is the presence of Western music in film songs just due to hegemony? Song and background score material is analysed in its dramatic context, and Indian and Western music theory and interview material drawn on to answer these questions. Chapter 5 looks at the commercial life of film songs, addressing the question of whether songs sell films or films sell songs through an examination of the marketing and profitability of film songs in various eras. Chapter 6 discusses the reception of film songs, their popularity, how audiences come into contact with them, and their appropriation by audiences. Adorno's profile of mass music as alienating is revisited with reference to film song.

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Orfall, 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.

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Gaur, 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.

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The Kashmir dispute has led to two wars (1947-1948, 1965), serious military encounters (1999,2001) between India and Pakistan, as well as a militant and nonmilitant separatist movement seeking independence for Kashmir (1989- ). While this conflict has been subjected to sustained analysis by academics and journalists, Kashmir's centrality to the public culture ofIndia, explored here through a study of Hindi cinema, has received little to no attention in the considerable literature on the area. The articulations of Kashmir in Hindi cinema - as a paradise on earth, sacred site of Hinduism, home ofIndia's spiritual and syncretistic traditions, pivotal to the idea of an eternal Indian civilization - help to reveal the attachments that guide 'Indian' claims on Kashmir. This study addresses the question of how, why and in what ways Kashmir is presented as a 'special' region in Hindi cinema. In doing so it initiates a discussion on region and religion in Hindi cinema, scholarship on which has long prioritized the 'nation'. As India's only Muslim-majority regional state, divided between India and Pakistan, Kashmir became a symbol of Indian secularism, a fact that is often reiterated in political discourse, as well as in academic research on the Kashmir dispute. Paradoxically, this symbol of Indian secularism, it is argued, is a site for religious contestations in Hindi cinema. The synonymy between Indian and Hindu in Kashmir films rests on the disavowal of a 'Muslim' Kashmir, so as to allay a Hindu majoritarian anxiety about a Muslim majority region in post-partition India. Therefore, the abstract equality of secularism, and the neutrality of 'national culture' remain merely 'ideals' in India's dominant form of public culture, namely Hindi cinema. The representations of Kashmir in Hindi cinema make explicit the regional and religious contestations over the national and the secular, providing a far more diverse account of history, culture and politics in India than is commonly acknowledged by 'official' discourses, mainstream historiography, and nation-centred (film) scholarship.

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Vitali, 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.

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Datta, 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.

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Mecklai, 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.

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This thesis asks the question: How do the representations of Muslims in Hindi Popular Cinema deny the community identification with the nation. It establishes Hindi cinema as the 'de facto' national cinema and explores the nature of identity and communal relations between the two major Indian religious communities, Hindus and Muslims through an analysis of popular films. It identifies an imbalance in representations of Muslim life where few films show Hindus and Muslims as sharing social and cultural life or where Muslims are represented as modern subjects: an absence of films on 'partition', the division of the country which occurred at the moment of independence, in August 1947; and reproduces stereotypical representations of Muslims as 'the outsider', the villain, or the terrorist at different times in history. The thesis considers the impact of the animosity between Hindus and Muslims concurrent with the rise of Hindu nationalism on Hindi cinema's representations of Muslims. These cumulative representations and absences result in the abrogation of identity for them as citizens through public culture. But it also sees that the complete disavowal of this cinema is problematic for the Muslim participation in the industry, the possibility of the Muslim spectator pleasurable reading of Hindi films; and the observation that representations change over the period in question. The representations broadly move from the secular to the bigoted over the course of the period under consideration.

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Budha, 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.

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Srour, 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.

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Abstract (sommario):

En 1965, la présence de films indiens dans la région arabe fait débat. La popularité des films indiens est perçue comme une « invasion » par certains, tandis que les raisons de ce succès sont formulées en termes essentialistes, comme « une sorte de spontanéité innée » par l’historien du cinéma Georges Sadoul (Centre interarabe du cinéma et de la télévision 1965). Pour restituer ces ambivalences, l’objet de ce travail n’a pas été d’offrir les arguments d’une connivence culturelle entre les films indiens et les pays arabes, mais de documenter les circulations des films, participant d’une histoire globale des circuits cinématographiques Sud-Sud. Cette recherche articule les modalités de circulations des films indiens sur le temps long, de 1954 à 2014, afin de restituer à ces échanges cinématographiques toute leur historicité. Interroger le Moyen-Orient depuis l’industrie cinématographique indienne formule une vision alternative de cette région. Elle contribue à donner leur place à des acteurs méconnus, à faire une histoire des distributeurs et des salles de cinéma au regard des circuits des films indiens. Simultanément, entreprendre cette histoire nécessite de comprendre comment l’industrie de Bombay perçoit et investit les territoires étrangers pour la diffusion de ses films. Revenir aux processus de circulations en eux-mêmes sur une période de 60 ans ouvrait la porte aux aspérités, aux trébuchements des récits. Une ethnographie transnationale des réseaux de circulations des films hindis à Beyrouth, au Caire et à Dubaï, montre des territoires différemment perméables. Dans une démarche qui documente les circuits de cinéma et en distingue les agents, ce travail s’attache à faire une anthropologie historique de la filière de la distribution. La typologie des réseaux signale leur plasticité et montre toute l’ingéniosité des acteurs de la diffusion, s’adaptant, se modulant et anticipant même les mutations historiques de la région
In 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

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Agravāla, Prahalāda. Hindī sinemā: Ādi se ananta = Hindi cinema : aadi se anant. Ilāhābāda: Sāhitya Bhaṇḍāra, 2014.

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Encyclopaedia Britannica (India) Pvt. Ltd., a cura di. Encyclopaedia of Hindi cinema. New Delhi: Encyclopaedia Britannica (India) Pvt. Ltd., 2003.

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Vitali, Valentina. Hindi action cinema: Industries, narratives, bodies. New Delhi: Oxford University Press, 2008.

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