By Sumita S. Chakravarty
Although Indian renowned cinema has an extended background and is accepted to audiences world wide, it has infrequently been systematically studied. This booklet bargains the 1st special account of the preferred movie because it has grown and adjusted throughout the tumultuous a long time of Indian nationhood. The examine makes a speciality of the cinema’s attribute kinds, its variety of meanings and pleasures, and, chiefly, its ideological building of Indian nationwide identity.
Informed by means of theoretical advancements in movie thought, cultural reports, postcolonial discourse, and “Third international” cinema, the publication identifies the most important genres and events inside of Bombay cinema seeing that Independence and makes use of them to go into greater cultural debates approximately questions of identification, authenticity, citizenship, and collectivity. Chakravarty examines various motion pictures of the interval, together with Guide (Vijay Anand, 1965), Shri 420 [The gentleman cheat] (Raj Kapoor, 1955), and Bhumika [The position] (Shyam Benegal, 1977). She exhibits how “imperso-nation,” performed out in masquerade and conceal, has characterised the illustration of nationwide id in renowned motion pictures, in order that matters and conflicts over classification, communal, and local changes are obsessively evoked, explored, and neutralized.
These findings may be of curiosity to movie and region experts, in addition to basic readers in movie studies.
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Extra info for National Identity in Indian Popular Cinema, 1947-1987 (Texas Film Studies Series)
National Identity in Indian Popular Cinema, 1947-1987 (Texas Film Studies Series) by Sumita S. Chakravarty