Literatura científica selecionada sobre o tema "Cinéma hindi"
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Artigos de revistas sobre o assunto "Cinéma hindi"
Wankhede, Harish S. "Examining the Presence of Dalit identity in Hindi Cinema". Current Research Journal of Social Sciences and Humanities 5, n.º 2 (10 de janeiro de 2023): 76–82. http://dx.doi.org/10.12944/crjssh.5.2.03.
Texto completo da fonteMistry, Pratima. "The Changing Role of Women in Hindi Cinema". Indian Journal of Applied Research 4, n.º 7 (1 de outubro de 2011): 537–39. http://dx.doi.org/10.15373/2249555x/july2014/199.
Texto completo da fonteJapee, Dr Gurudutta. "INDIAN FILMS IN GLOBAL CONTEXT - MONEY OR CREATIVITY!" GAP GYAN - A GLOBAL JOURNAL OF SOCIAL SCIENCES 1, n.º 1 (5 de setembro de 2018): 24–29. http://dx.doi.org/10.47968/gapgyan.11003.
Texto completo da fonteParda, Małgorzata. "Determinants of the spatial diffusion of Bollywood cinema". Miscellanea Geographica 23, n.º 1 (31 de janeiro de 2019): 33–38. http://dx.doi.org/10.2478/mgrsd-2018-0030.
Texto completo da fonteBhugra, Dinesh. "Psychoanalysis in Hindi cinema". Acta Neuropsychiatrica 20, n.º 2 (abril de 2008): 96–97. http://dx.doi.org/10.1111/j.1601-5215.2008.00275.x.
Texto completo da fonteSaini, Rahul Kumar. "The interpretation of Hindi cinema (with special reference to fiction)". RESEARCH REVIEW International Journal of Multidisciplinary 8, n.º 7 (15 de julho de 2023): 167–70. http://dx.doi.org/10.31305/rrijm.2023.v08.n07.023.
Texto completo da fonteJain, Chhaya. "OVERALL VIEW ON HINDI CINEMA". International Journal of Research -GRANTHAALAYAH 7, n.º 4 (30 de abril de 2019): 141–46. http://dx.doi.org/10.29121/granthaalayah.v7.i4.2019.883.
Texto completo da fonteBhugra, Dinesh, e Susham Gupta. "Psychoanalysis and the Hindi cinema". International Review of Psychiatry 21, n.º 3 (janeiro de 2009): 234–40. http://dx.doi.org/10.1080/09540260902747672.
Texto completo da fonteRiaz, Sanaa. "Un/Familiar Other: The Indian Muslim and Bollywood Filmscapes". European Journal of Behavioral Sciences 5, n.º 4 (4 de janeiro de 2023): 31–49. http://dx.doi.org/10.33422/ejbs.v5i4.928.
Texto completo da fonteOza, Preeti. "GAGGED NARRATIVES FROM THE MARGIN: INDIAN FILMS AND THE SHADY REPRESENTATION OF CASTE". GAP GYAN - A GLOBAL JOURNAL OF SOCIAL SCIENCES 2, n.º 3 (16 de agosto de 2019): 131–34. http://dx.doi.org/10.47968/gapgyan.230021.
Texto completo da fonteTeses / dissertações sobre o assunto "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.
Texto completo da fonteIndian 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.
Texto completo da fonteAmong 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.
Texto completo da fonteOrfall, 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.
Texto completo da fonteGaur, 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.
Texto completo da fonteVitali, 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.
Texto completo da fonteDatta, 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.
Texto completo da fonteMecklai, 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.
Texto completo da fonteBudha, 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.
Texto completo da fonteSrour, 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.
Texto completo da fonteIn 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
Livros sobre o assunto "Cinéma hindi"
Agravāla, Prahalāda. Hindī sinemā: Ādi se ananta = Hindi cinema : aadi se anant. Ilāhābāda: Sāhitya Bhaṇḍāra, 2014.
Encontre o texto completo da fonteEncyclopaedia Britannica (India) Pvt. Ltd., ed. Encyclopaedia of Hindi cinema. New Delhi: Encyclopaedia Britannica (India) Pvt. Ltd., 2003.
Encontre o texto completo da fonteViswamohan, Aysha Iqbal, e Clare M. Wilkinson, eds. Stardom in Contemporary Hindi Cinema. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-0191-3.
Texto completo da fonteChopra, Satish. Forgotten masters of Hindi cinema. Delhi: LG Publishers Distributors, 2015.
Encontre o texto completo da fonteSaari, Anil. Hindi cinema: An insider's view. New Delhi: Oxford University Press, 2009.
Encontre o texto completo da fonteBhattacharya, Nandini. Hindi cinema: Repeating the subject. New York: Routledge, 2012.
Encontre o texto completo da fontePrem, Nishi. Love and longing in Hindi cinema. Mumbai: VJM Media, 2009.
Encontre o texto completo da fonteIqbal Viswamohan, Aysha, ed. Women Filmmakers in Contemporary Hindi Cinema. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-10232-5.
Texto completo da fonteNarwekar, Sanjit. Crafting movies: Exploring Hindi mainstream cinema. Mumbai: Mindscape, 2000.
Encontre o texto completo da fonteVitali, Valentina. Hindi action cinema: Industries, narratives, bodies. New Delhi: Oxford University Press, 2008.
Encontre o texto completo da fonteCapítulos de livros sobre o assunto "Cinéma hindi"
Singh, Vivek. "Disability and Hindi Cinema". In The Discourse of Disability, 104–35. London: Routledge India, 2024. http://dx.doi.org/10.4324/9781032722054-6.
Texto completo da fonteDwyer, Rachel. "The Biopic in Hindi Cinema". In A Companion to the Historical Film, 219–32. Oxford, UK: Blackwell Publishing Ltd., 2013. http://dx.doi.org/10.1002/9781118322673.ch11.
Texto completo da fonteChakraborty, Abin. "Hindutva, History and Hindi Cinema". In Engaging with a Nation, 88–101. London: Routledge India, 2024. http://dx.doi.org/10.4324/9781003504504-9.
Texto completo da fonteBarat, Ipsita. "Digital Horror in Hindi Cinema". In Indian Cinema Today and Tomorrow, 58–72. London: Routledge India, 2024. http://dx.doi.org/10.4324/9781003491651-6.
Texto completo da fonteJain, Veenus. "Cinema, Hindu Themes in". In Hinduism and Tribal Religions, 1–9. Dordrecht: Springer Netherlands, 2018. http://dx.doi.org/10.1007/978-94-024-1036-5_609-1.
Texto completo da fonteJain, Veenus. "Cinema, Hindu Themes in". In Hinduism and Tribal Religions, 346–54. Dordrecht: Springer Netherlands, 2022. http://dx.doi.org/10.1007/978-94-024-1188-1_609.
Texto completo da fonteMukherjee, Madhuja. "Hindi Popular Cinema and Its Peripheries". In Bollywood and Its Other(s), 67–85. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137426505_6.
Texto completo da fonteWankhede, Harish S. "Dalit Representation in Hindi Cinema 1". In The Routledge Companion to Caste and Cinema in India, 17–31. London: Routledge India, 2022. http://dx.doi.org/10.4324/9781003343578-4.
Texto completo da fonteViswamohan, Aysha Iqbal, e Clare M. Wilkinson. "Introduction: Charting Stars in New Skies: Celebrity in Globalised Hindi Cinema". In Stardom in Contemporary Hindi Cinema, 1–12. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-0191-3_1.
Texto completo da fonteMukherjee, Silpa. "The Body and Its Multimedia Sensations: Forging Starry Identities Through Item Numbers". In Stardom in Contemporary Hindi Cinema, 135–57. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-0191-3_10.
Texto completo da fonte