Teses / dissertações sobre o tema "Cinéma hindi"

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

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

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.

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.

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.

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

In 1991, India entered the global market as a liberalized economy when, coerced by the International Monetary Fund, it adopted “structural adjustment” policies. The early period of economic liberalization in India engendered a sense of optimism and forward-looking aspiration in the national imaginary and culture. This faith in novelty and change, for the urban middle-classes, was a result of the increase in incomes in white-collar jobs and the availability of greater choices in the commodity market for consumers. Thirty years later, the fantasy of wealth and abundance that was supposed to transform the country into a thriving superpower is visibly cracking. Social reality has not kept up with the promises afforded by economic liberalization. The increasing wealth gap and the dangerous marriage between neoliberalism and right-wing politics has created public culture of everyday violence, divisiveness, and despair. In this dissertation, I examine how recent mainstream Hindi cinema has responded to India's neoliberal turn. My work is based on the premise that the cinema of the past two decades is a record of social history. The major themes I focus on are the pervasiveness of neoliberal values into everyday life and work and the consequent formation of a neoliberal subjectivity. I also focus on how forms of neoliberal selfhood contend with existing social structures of caste, class, sexuality and religious identity in India. Finally, I lay out the interconnections between the recent rise of Hindu fundamentalism in India, popular cinema and neoliberal culture.

Although sexual objectification is commonplace in media culture, music videos provide the most potent examples of it. The current investigation makes an important contribution to the relevant literature regarding the objectification of women in song lyrics while simultaneously broadening the content used to assess objectification. It reflects the ways of objectification of women in India by analyzing Bollywood rap and item songs. Based on objectification theory, one of the primary goals in the present study was to measure differences between visual and behavioral sexual objectification, drawing on theoretically derived indicators of sexual objectification. It also concentrated on measuring the change in the objectification patterns over the years. This was done by conducting a content analysis of 201 songs (n=201). The findings suggested that the visual objectification of women was higher than the behavioral objectification of women and that there is a shift in the common themes and the level of objectification over the decades.

Abstract and research report are on separate disks.
Abstract 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.

Thesis (M.A.)--University of Wisconsin--Madison, 2001.
Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 74-79).

This dissertation focuses on a textual analysis of the representation of femininity and female sexuality in popular Hindi cinema. Popular Hindi cinema has been a major point of reference for Indian culture in the last century, and will undoubtedly persist in the 21 st century. To an extent, Hindi cinema has shaped and reflected the burgeoning transformation of a 'traditional India' to a 'modern India'. (I use the term modern to reflect the impact the west has had on Indian society, and how this impact in turn is reflected on screen). Issues surrounding gender and sexuality tend to be avoided, if not subverted in Hindi cinema. More specifically, issues surrounding femininity and female sexuality in Hindi cinema is either not recognised or 'mis-recognised' on screen. Feminist studies, in relation to film, have taken up these issues, to a large extent in the west (cf. Hollows, 2000; Kaplan, 2000; Macdonald, 1995). Chatterji (1998) maintains that the interest of feminists in film began as a general concern for the underrepresentation and mis-representation of women in cinema. This study explores issues surrounding the 'presences' and 'absences' (as identified by Chatterji) in the representations of female sexuality and femininity in popular Hindi cinema. The project offers a comparative study of the films produced by two popular Hindi cinema filmmakers. Pooja Bhatt's Jism (The Body) (January, 2003) is analysed in comparison to Karan Johar's Kabhi Kushi Kabhi Gham (Sometimes happiness, sometimes sadness) (November, 2000). The study compares, contrasts and analyses the ways in which each of these films (and thus, how each filmmaker) positions female sexuality and femininity in popular Hindi cinema. Keywords: popular Hindi cinema, femininity, female sexuality, gender, representation.
Thesis (M.A.)-University of KwaZulu-Natal, 2006.