Bibliografie tematiche / Indian film festivals

Letteratura scientifica selezionata sul tema "Indian film festivals"

Autore: Grafiati
Pubblicato: 26 luglio 2024

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Articoli di riviste sul tema "Indian film festivals"

1

Kaur, Harmanpreet. "At Home in the World: Co-productions and Indian Alternative Cinema". BioScope: South Asian Screen Studies 11, n. 2 (dicembre 2020): 123–45. http://dx.doi.org/10.1177/0974927620983941.

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Several Indian filmmakers and production houses making ‘alternative’ and ‘independent films’ have sought to develop co-production deals with European film funds, international film festivals, film markets and sales agents. Their bid is to build a profile with art house and ‘specialty cinema’ audiences in Europe, Asia and the USA, while also seeking to impact the Indian domestic market. This article analyses the assembling of such productions, and their aesthetic form, including a reflection on charges that their adaptation to international distribution requires a conformity to what is acceptable and intelligible to ‘international audiences’. It also explores how alternative films oriented to international art cinema affect the understanding of what constitutes ‘national cinemas’. The article explores these themes through two films, Qissa (2013) and The Lunchbox (2012).
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2

Nefedova, Darya N. "Destiny of Indian Cinema in Russia". Journal of Flm Arts and Film Studies 8, n. 4 (15 dicembre 2016): 66–74. http://dx.doi.org/10.17816/vgik8466-74.

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The relationship of domestic moviegoers to the works of Indian cinema has a complex and heterogeneous development history. The Soviet audience watched the first Indian movie back in the 1950s, which gave a powerful impetus to the formation of multifaceted contacts between Indian and Soviet film industry. As a result such films were shot as Journey Beyond Three Seas, Black Prince Adjouba, The Adventures of Ali Baba and the Forty Thieves, the famous My name is clown by Raj Kapoor, and others. However, a sympathy to the Indian cinema of the 1970-80s led to the formation of the stereotypes (frivolous story, improbable fights, numerous songs and dances, etc.), which have been preserved by this day, in spite of the changes that occurred in the Indian film industry. In the 1990s, there was a revision of values on the part of the domestic audience and interest for Indian cinema began to wane. Development of various types of video media has allowed fans to buy movies for personal viewing. At the turn of the century a number of television companies obtained broadcasting rights for the classic Indian films. Broadcasting of the channels India TV and Zee-TV, completely dedicated to the Indian culture, marked a new stage in distribution of Indian cinema in this country. In addition, the Internet technology gave way for development of various kinds of specialized resources. These facts, as well as resumed festivals of Indian cinema in the last decade in this country, speak in favor of the revival of the audience interest to it. Despite the virtual absence of the joint Russian-Indian films in the last decades and a small amount of Indian films, audience sympathy gives rise to the assumption of the prospects for this kind of cooperation, as well as accentuation of resuming heavy study of Indian cinema by Russian researchers.
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Abdullah, Nur Afifah Vanitha, Siti Nur Izra Safra’ Abd Halim e Fatimah Muhd Shukri. "Menyelusuri Filem Melayu dengan Subjek Sastera Melayu (Tracing Malay Films with Malay Literary Subject)". Malaysian Journal of History, Politics & Strategic Studies 51, n. 2 (28 giugno 2024): 1–15. http://dx.doi.org/10.17576/jebat.2024.5102.01.

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Malay literary materials had been transformed into narratives of Malay films since 1956. Nevertheless, there is an obvious knowledge gap that needs to be addressed immediately in the context of the emergence and development of Malay literary works as narratives of Malay films. Thus, this article aims to provide answers to the question of “what are the Malay literary genres and when was it made into Malay film narrative? This article is based on data gained from a fundamental research type with a qualitative research design, employing a historical approach as its framework. Content analysis was carried out on printed and digital research materials. The main research materials are Malay films to extract data on Malay literary narrative subjects, besides website of FINAS, newspapers and previous academic documentations. This article documents that various Malay literary genres such as oral literature, prolific and popular novels have been made subject of Malay films since 1956. The first Malay film to have Malay literature as its narrative is Hikayat Hang Tuah2 . Malay films with Malay literature as its narrative have been made my Indian and Malay film directors during the early development of Malay films in Singapore. The Malay directors made five other movies that was based on Malay hikayat, while Malay novels were only made film since the 1980a. The findings also proofs that many Malay films with Malay literature narratives had won numerous acknowledgements through film festivals local and internationally, as well as made box office sales.
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Yunis, Alia, e Dale Hudson. "Introduction". Middle East Journal of Culture and Communication 14, n. 1-2 (28 settembre 2021): 5–22. http://dx.doi.org/10.1163/18739865-01401006.

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Abstract This special issue engages the historical and contemporary heterogeneity of the Gulf, which was a transcultural space long before the discovery of oil. Over the past two decades, Bahrain, Kuwait, Oman, Qatar, Saudi Arabia, and the United Arab Emirates have actively begun to harness the media’s power, while at the same time grassroots productions—online, through social media and in regional festivals—reframe assumptions about film and visual media. With resident expatriate population comprising up to 90 percent of the population in Gulf states, film and visual media complicate conventional frameworks derived from area studies, such as ‘Arab media’, ‘Middle Eastern and North African cinema’, or ‘South Asian film’. These articles also unsettle the modernist divisions of media into distinct categories, such as broadcast television and theatrical exhibition, and consider forms that move between professional and nonprofessional media, and between private and semi-public spaces, including the transmedia spaces of theme parks and shooting locations. Articles examine the subjects of early photography in Kuwait, the role of Oman TV as a broadcaster of Indian films into Pakistan, representations of disability and gender in Kuwaiti musalsalat, tribal uses of social media, and videos produced by South Asian and Southeast Asian expatriates, including second-generation expatriates.
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Bayly, C. A. "The Pre-history of ‘;Communalism’? Religious Conflict in India, 1700–1860". Modern Asian Studies 19, n. 2 (aprile 1985): 177–203. http://dx.doi.org/10.1017/s0026749x00012300.

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Current events are always likely to turn academic and public interest back to the well-worn topic of conflict between members of India's major religions. The manner in which antagonism between Bengali immigrants and local people in Assam has taken on the form of a strife between communities, the revival of Sikh militancy, even the film ‘Gandhi’-all these will keep the issue on the boil. There are more scholarly reasons for awakened interest also. The rapid expansion of work on Indian Islam pioneered by scholars such as S. A. A. Rizvi, Imtiaz Ahmed and Barbara Metcalf has given us a new awareness of the structure and attitudes of Indian Muslim learned classes and sufis which inevitably reopens questions about the ideological component in communal consciousness. Nearer the theme of this paper, the work of Dr Sandria Freitag has provided valuable new insight into the popular mentalities which informed Hindu and Muslim behaviour in cases where violence occurred as a result of clashing religious festivals in Indian cities.
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Щербак, М. "Феномен “dalit cinema” и репрезентация низкокастовых сообществ в кинематографе Индии ( “Dalit Cinema” Phenomenon and Representation of the Low Caste Communities in Indian Cinematografy)". Вестник антропологии (Herald of Anthropology), n. 2023 №3 (10 settembre 2023): 215–28. http://dx.doi.org/10.33876/2311-0546/2023-3/215-228.

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Кинематограф Индии является не только многомиллионной развлекательной индустрией, но и отражением актуальных социокультурных процессов. Кастовая система – уникальный феномен южно-азиатской культуры – не могла не найти отражения в киноискусстве. Особый интерес в репрезентации кастовой идентичности представляет феномен низкокастовости. Фильмы, посвященные теме низкокастовых сообществ, начинают появляться в массовом кинематографе, начиная с 30-х гг. ХХ в., однако более детальную проработку эта тема получает в так называемом параллельном (авторском кино), расцвет которого приходится на 70–80-е гг. ХХ в. В отличие от массового кинематографа, авторское кино рисует образы представителей низких каст без прикрас, в фильмах этой категории нередко поднимаются проблемы насилия, эксплуатации, эмансипации женщин и т.д. В статье проведен анализ способов репрезентации образов членов низкокастовых сообществ в индийском кинематографе ХХ–ХХI вв. в контексте смены парадигмы от эскапизма до реализма. Также в работе рассмотрены последние тенденции, такие как возникновение феномена “dalit cinema” – кино снятого режиссерами, выходцами из низких каст для зрителей из низких каст. Cinematography in India is not only a multimillion-dollar entertainment industry, but also a reflection of current socio-cultural processes. The caste system, a unique phenomenon of South Asian culture, could not but be reflected in cinematography. Of particular interest in the representation of caste identity is the phenomenon of low caste identity. Films devoted to the topic of low caste communities began to appear in mass cinema starting from the 1930s. However, this topic is elaborated in more detail in the so-called parallel (auteur) cinema, which flourished in the 70s - 80s. Unlike mainstream cinema, auteur cinema depicts the loe castes unvarnished; films in this category often raise issues of violence, exploitation, women emancipation, and so on. The article analyzes the ways of representing the low caste communities in Indian cinema of the 20th – 21st centuries and the paradigm shift from escapism to realism. The paper also considers recent trends, such as the emergence of the “dalit cinema”, the participation of copyright films on acute social issues in international film festivals, the struggle of low layers for the opportunity to take their rightful place in the Indian film industry, etc.
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Maitra, Ani. "Touching Hearts: The Uncertain but Strategic Politics of KASHISH 2015". Film Quarterly 69, n. 2 (2015): 60–65. http://dx.doi.org/10.1525/fq.2015.69.2.60.

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Ani Maitra reviews the fifth edition of the Mumbai International Queer Film Festival, focusing on the crucial role that the festival plays in bringing together Indian activists and filmmakers, while also combining collective action and aesthetic self-expression. Maitra examines the festival's rather difficult self-stated goal of “touching hearts” locally and globally, as shaped by the often-conflicting ideologies espoused by local politics, global and corporatized LGBT rights discourses, and Euro-American queer theory.
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Devasundaram, Ashvin Immanuel. "Interrogating Patriarchy: Transgressive Discourses of ‘F-Rated’ Independent Hindi Films". BioScope: South Asian Screen Studies 11, n. 1 (giugno 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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Qureshi, Bilal. "Elsewhere". Film Quarterly 70, n. 4 (2017): 77–82. http://dx.doi.org/10.1525/fq.2017.70.4.77.

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FQ Columnist Bilal Qureshi reflects on Deepa Mehta's film Earth at an important moment in Indian and global history. Writing from New Delhi, he had the opportunity to speak to Mehta in person about her life and work, and that discussion is woven into this column. Since making Earth almost twenty years ago, Deepa Mehta has seen her stature grow to include film festival premieres, an Oscar nomination, and a platform as one of the rare women auteurs on the international stage. She has lived in Canada since the 1970s, but her most celebrated films are not about immigrant displacement or hyphenated identity. Rather, she has always told Indian stories. From the groundbreaking story of a lesbian relationship between two housewives in suffocating arranged marriages (Fire, 1996) to the forced exile of widows in orthodox Hindu scripture (Water, 2005), she has confronted uncomfortable social realities in Indian society. Although she has been labeled an anti-national and had sets burned and cinemas attacked by the religious right for insulting traditional values, she has taken the challenges in stride and continued making films.
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Ryzhinskiy, Aleksander S., e Grigoriy R. Konson. "Alliance of Cinema and Music: the First KINOREX Film Music Festival in the Context of Interaction between Music and Cinema in the Early 21st Century". Art and Science of Television 17, n. 4 (2021): 174–217. http://dx.doi.org/10.30628/1994-9529-2021-17.4-174-217.

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Professor of the Moscow Institute of Physics and Technology Grigoriy R. Konson interviews the rector of the Gnesins Russian Academy of Music, professor Aleksander S. Ryzhinskiy. The interview focuses on how film directors and composers see the role of music in films, with music considered as a twofold phenomenon: film score as such and film scores presented at the First KINOREX Film Music Festival. In the preamble, the interlocutors review current trends in film music. In this vein, they touch upon the psychological concept of the French cinematography, interpretation of the Indian song tradition in endowing films with musicality, Baroque music and modern performance practices applied in the 20th century cinema dramaturgy, the Hollywood way of soundtrack composition as a dominating model in the world cinema, and studies devoted to the works of Alfred Schnittke and Thomas Newman. Based on these examples, the interlocutors come to the conclusion that at the heart of different approaches to the film music composition there must be an organic commonality of views of the film director and the composer. Beyond that, a binding force in the process is the reliance on classical traditions of their artistic interaction: expressing the very essence of a film’s drama through music. The discussion of the First KINOREX Film Music Festival, which was held by the Gnesins Russian Academy of Music in April 2021, naturally fits into this humanistic concept. Analyzing the winning project created by director Nadezhda Shibalova and composer Nikita Yamov, the authors of the interview come to the conclusion that the musical fabric of the screen work reveals the fundamental role of music as an analogue of the film’s ethical idea, which increases the cognitive capacity of the content.
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Tesi sul tema "Indian film festivals"

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Mesana, Virginie. "De l’espace-diaspora indien à la confluence des rapports sociaux : cinéastes et héroïnes d'une communauté imaginée". Thesis, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/31847.

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Dans les industries filmiques majoritaires encore dominées par des voix et des regards masculins, la production des réalisatrices, notamment en diaspora, demeure souvent méconnue. Cette recherche étudie le cas des cinéastes en diaspora indienne et le regard que celles-ci portent sur leurs sociétés d’origine et hôte. L’objectif est d’examiner les mécanismes discursifs de production filmique et la circulation de leurs films en festival à l’occasion de leur premier visionnement. Nous cernons ainsi comment les réalisatrices participent de la formation de la diaspora indienne entendue comme une « communauté imaginée » et rendent compte de l’appartenance genrée à celle-ci. Notre thèse s’articule alors autour de la question suivante : comment la mise en scène d’héroïnes en diaspora contribue-t-elle à produire des récits alternatifs constitutifs d’un imaginaire de l’espace-diaspora indien? Alors que la production des réalisatrices n’appartient à aucune des industries filmiques majoritaires (Bollywood et Hollywood), tout en empruntant certains de leurs référents et influences, elle se situe dans un entredeux filmique que nous examinons à la lumière des dimensions « matérielle et idéelle » de leurs pratiques cinématographiques. Celles-ci étant comprises au titre d’« imagination comme pratique sociale », nous prêtons plus spécifiquement attention à l’exercice de monstration de rapports sociaux consubstantiels de sexe, ethniques et de classe, en et hors diaspora, au sein des sociétés hôtes nord-américaines qu’elles dépeignent. Pour ce faire, nous mobilisons une approche méthodologique qualitative articulant l’analyse de données de trois ordres : 1. l’analyse d’un corpus de dix films réalisés par des cinéastes en diaspora indienne en Amérique du Nord ; 2. une série de six entretiens semi-dirigés avec leurs auteures ; 3. une observation à dimension participative du festival de films de la diaspora indienne à New York (NYIFF) à deux reprises, en 2012 et en 2013. Notre encadrement théorique tire profit du croisement conceptuel de plusieurs contributions issues de trois champs d’étude, soit des apports théoriques en sociologie de la culture et des Cultural Studies, des contributions en sociologie des relations ethniques et des travaux féministes sur la consubstantialité des rapports sociaux. Cet encadrement théorique inusité nous permet d’analyser les pratiques des réalisatrices en diaspora indienne et d’entrevoir leurs (re)positionnements au sein de relations sociales majoritaires/minoritaires, donnant lieu à l’expression d’un « majoritaire idéalisé » en diaspora et à l’expérience d’un « entre-majoritaires ».
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Libri sul tema "Indian film festivals"

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Institute, American Indian Film. Films of the American Indian Film Festival, 1975-2000. San Francisco: American Indian Film Institute, 2001.

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1952-, Narwekar Sanjit, e Indian Documentary Producers' Association, a cura di. Flashback: A panorama of Indian documentaries, 1981-2001. Mumbai: Indian Documentary Producers' Association, 2002.

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International Film Festival of India (30th 1999 Hyderabad, India). 30th International Film Festival of India '99 =: Bhārata kā 30 vā Antarāshṭrīya Philma Samāroha. New Delhi: Directorate of Film Festivals, Ministry of Information & Broadcasting, 1999.

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editor, Rajesh Salam, e Manipur Film Development Corporation, a cura di. 8th Manipur State Film Festival: December 18-24, 2013, MFDC Multipurpose Auditorium, Palace Compound, Imphal. Imphal: Manipur Film Development Corporation Limited, 2013.

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International Film Festival of India. International Film Festival of India '91 =: Bhārata kā Antarrāshṭrīya Filma Samāroha '91. New Delhi: Directorate of Film Festivals, Ministry of Information and Broadcasting, 1991.

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11th Kolkata Film Festival, 10-17 November 2005. Kolkata: Kolkata Film Festival, 2005.

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Kolkata Film Festival (8th 2002 Calcutta, India). 8th Kolkata Film Festival: 10-17 November, 2002. Kolkata: Kolkata Film Festival, Nandan, West Bengal Film Centre, 2002.

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International Documentary and Short Film Festival of Kerala (3rd 2010 Trivandrum, India). 3rd International Documentary & Short Film Festival of Kerala: 11-15 June, 2010, Thiruvananthapuram : festival book. A cura di Sreekumar K. S e Kerala State Chalachitra Academy. Thiruvananthapuram: Kerala State Chalachithra Academy, 2010.

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Asian Children's Film Festival (1st 2002 Hyderabad, India). 1st Asian Children's Film Festival, 2002, Hyderabad, 14th-21st November: [souvenir]. [Hyderabad: Childrens Film Society, A.P., 2002.

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Academy, Kerala State Chalachitra, a cura di. 6th International Documentary and Short Film Festival of Kerala: 2013 June 07 to 11, Thiruvananthapuram. Thiruvananthapuram: Kerala State Chalachitra Academy, 2013.

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Capitoli di libri sul tema "Indian film festivals"

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Karlekar, Tilottama. "Precarity, Innovation, and Survival in the Indian Film Festival Sector". In Rethinking Film Festivals in the Pandemic Era and After, 231–54. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-14171-3_12.

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AbstractDespite the vast expansion in the film festival sector in India since the early 2000s, most festivals have remained financially precarious. This is true of more mainstream festivals with industry support as well as of myriad activist and “alternative” festivals on the margins. In addition, the country’s Hindu nationalist government has subjected all cultural spaces to increased scrutiny and policing. As the virus affected India and the Indian government enforced a national lockdown, festival organizers had to adapt rapidly. In order to survive, they looked both to global strategies and specific local histories of exhibition and circulation. In this chapter, I map the festival sector in India in the midst of crisis and explore the divergent strategies for survival adopted by festival organizers. I focus closely on the “frontline” strategies implemented by two community-based, activist film festivals that have adopted distinct, yet successful, models for navigating the pandemic. Already adept at negotiating multiple forms of precarity, they connected with new global audiences while redefining ideals of “community.” This chapter explores what these festival experiments tell us about how the festival as medium might change politically, economically, and cinematically, even beyond the pandemic.
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Dasgupta, Rohit K., e Kaustav Bakshi. "Open Access: Queer creative Indian city: queer film festivals, precarious cultural work and community making in Kolkata". In The Cultural Industries of India, 8–25. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003372523-2.

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LaRue, Nicholas. "Film Festivals". In Behind the Scenes of Indie Film Marketing, 143–59. New York: Focal Press, 2024. http://dx.doi.org/10.4324/9781003399643-11.

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Battaglia, Giulia. "Film festivals, small media and online networks". In Documentary Film in India, 159–77. New York : Routledge, 2017. | Series: Routledge contemporary South Asia series: Routledge, 2017. http://dx.doi.org/10.4324/9781315147727-7.

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Battaglia, Giulia. "The Development of Documentary Film Festivals in India: A Small-Media Phenomenon". In Documentary Film Festivals Vol. 1, 221–39. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-17320-3_14.

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Battaglia, Giulia. "Between cultural performance and cultural activism: contemporary documentary film festivals in India". In South and East Asian Cinemas Across Borders, 60–74. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003141563-5.

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Battaglia, Giulia. "Between cultural performance and cultural activism: contemporary documentary film festivals in India". In South and East Asian Cinemas Across Borders, 60–74. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003141563-5.

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Acciari, Monia. "Film Festivals as Cosmopolitan Assemblages". In Indian Cinema Beyond Bollywood, 100–116. Routledge, 2018. http://dx.doi.org/10.4324/9781351254267-7.

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Ahmed, Omar. "Feminist Concerns". In Studying Indian Cinema, 87–106. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733681.003.0006.

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Abstract (sommario):
This chapter surveys the career and legacy of Indian cinema's greatest film-maker, Satyajit Ray. If Raj Kapoor can be credited with popularising Indian cinema around the globe, then Satyajit Ray can certainly lay claim to bringing a measure of artistic credibility and sincerity to Indian cinema. Choosing a favourite Ray film was a tricky proposition given the consistency he maintained as a film-maker over four decades. He may have built his reputation on the Apu trilogy, winning major awards at film festivals, but his lifelong fascination with Bengali novelist Rabindranath Tagore provided the source material for some of his finest and most complex works. Charulata (The Lonely Wife, 1964) forms the focus for the chapter, which covers the Bengal renaissance, Satyajit Ray's status as an auteur, gender representations in the films of Ray, camera and narrative style, the relationships between the three central characters, political undercurrents, and the film's portrayal of married life in the Bengali middle class.
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Kishore, Shweta. "Histories and Cultures: Space, Filmmaker, Text and Spectator". In Indian Documentary Film and Filmmakers, 21–46. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474433068.003.0002.

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Beginning from 1980s onwards to the present day, this chapter examines diverse events including the formation of collectives, alternative film festivals, citizen-partnerships and other forms of democratic petitioning including public protest, to consider the importance of “relationality” or “bundles of relations” as the underpinning of independent documentary practice in India. Following three central concepts of documentary studies, the position of the filmmaker, the politics of textual representation and the position of the documentary spectator, I identify their context specific functioning. I trace the conceptualisation of “documentary filmmaker” formed in dialogue with the values of Third Cinema, the feminist “documentary text” that critiques media representation and ideologies, and finally, the problematizing of “documentary spectator” evident in the methods of participatory video producers
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