New PDF release: Indian Literature and Popular Cinema: Recasting Classics

By Heidi R.M. Pauwels

ISBN-10: 020393329X

ISBN-13: 9780203933299

ISBN-10: 0415447410

ISBN-13: 9780415447416

This ebook is set the preferred cinema of North India ("Bollywood") and the way it recasts literary classics. It addresses questions on the interface of movie and literature, reminiscent of how Bollywood video clips remodel literary issues, provide assorted (broader or narrower) interpretations, shift plots, tales, and characters to deal with the medium and the economics of the style, occasionally even altering the way in which literature is learn. This ebook addresses the socio-political implications of well known reinterpretations of "elite culture", exploring gender matters and the perceived "sexism" of the North Indian renowned movie and the way that performs out whilst literature is remodeled into movie. Written by way of a global team of specialists on Indian literature and movie, the chapters during this e-book specialise in those vital questions, but in addition conceal quite a lot of literary works which have been tailored in movie. every one a part of the e-book discusses how a selected style of literature has been "recast" into movie. the person chapters specialize in comparisons and shut reports of person movies or movie songs encouraged by means of "classics" of literature. The booklet may be of curiosity to these learning Indian movie and literature and South Asian pop culture extra more often than not.

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Extra info for Indian Literature and Popular Cinema: Recasting Classics (Routledge Contemporary South Asia Series)

Sample text

M. (1996) Guru Dutt: A Life in Cinema, Delhi: Oxford University Press. —— (2001) Bollywood: The Indian Cinema Story, London: Channel 4 Books. Kazmi, F. (1999) The Politics of India’s Conventional Cinema: Imaging a Universe, Subverting a Multiverse, New Delhi: Sage. Lutgendorf, P. (2002) “Jai Santoshi Maa and Caste Hierarchy in Indian Films” and “A ‘Made to Satisfaction’ Goddess: Jai Santoshi Maa Revisited,” Manushi 131: 10–16; 24–37. McFarlane, B. (1996) Novel to Film: An Introduction to the Theory of Adaptation, Oxford: Clarendon Press.

All of the articles feature quite innovative approaches. The present volume builds on and is a continuation of the trend in the articles on film in that volume. 13 The description of the individual chapters and their introduction is largely based on the authors’ own summary, often using their turns of phrase. 14 I hasten to add that in no way do I wish to replicate a problematic periodization of Indian history (see also note 16). 15 This term is a bit of a misnomer, as of course the classical drama was multilingual, with different characters speaking in different forms of Prakrit, and Sanskrit being reserved for the higher-class male characters and the stage directions.

Kalyug After an early career in advertising and documentary filmmaking, Shyam Benegal emerged as a nationally recognized director following the modest commercial success of his first feature films Ankur (“the sprout,” 1974), Nishant (“the calm,” 1975), and Manthan (“the churning,” 1976), all of which dealt with themes of peasant oppression and mobilization. a. “parallel cinema”), that was seen as rejecting the timeworn clichés of the “dream factories” of Bombay in favor of shorter films with more “linear” narratives, little or no song and dance, a “realist” mode of representation, and a focus on social issues viewed through the lens of progressive leftist politics.

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Indian Literature and Popular Cinema: Recasting Classics (Routledge Contemporary South Asia Series) by Heidi R.M. Pauwels

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