Showing posts with label Indian cinema. Show all posts
Showing posts with label Indian cinema. Show all posts

Monday, 14 September 2015

NEW [in]Transition, IN MEDIA RES, VIEW, DELETION, Free FILM QUARTERLY, INDIANCINE.MA

A new score for Georges Méliès's Le Voyage dans la Lune (1902). Written for The New Music Players and Orchestra of Sound and Light for concerts in London and Sussex, UK, with funding support from the RVW Trust and Arts Council England. (Music © University of York Music Press, 2015). More information here.

Hello there! It's been a rather busy few months, so Film Studies For Free had to take a little break from its long-form advocacy activities at this website, although its bountiful open-access recommendations continued to issue forth as usual on Twitter and Facebook. But the extended version of FSFF returns now with news of a number of fabulous online publications for your autumnal (Northern Hemisphere) or Spring (Southern Hemisphere) viewing and reading pleasure. Do scroll down for all the contents listed in the title. Oh and one more thing: don't miss Sight and Sound's ongoing "Women on Film" coverage.


[in]Transition: Journal of Videographic Film and Moving Image Studies, 2.3, 2015
P.S. Please note [in]Transition's call for submissions for a special issue on Latin American cinema at http://mediacommons.futureofthebook.org/intransition/call-special-issue


Some Recent Theme weeks:

  • Monday, August 24, 2015 - Shohini Chaudhuri (University of Essex) presents: Gaza and the Trope of Encirclement
  • Tuesday, August 25, 2015 - Sara Saljoughi (University of Toronto) presents: Nostalgic Returns
  • Wednesday, August 26, 2015 - Michelle Baroody (University of Minnesota) presents: "A River Runs Through It": Visualizing Fluency
  • Thursday, August 27, 2015 - Aisha Jamal (Sheridan College) presents: The ‘Afghan girl" Sherbat Gula’s popularity with Afghans
  • Friday, August 28, 2015 -Negar Mottahedeh (Duke University) presents: A revolutionary meme
ROCK DOCS
  • Monday, August 10, 2015 - Shani Heckman (College of Marin) presents: Celebrity Skinned: Patty Schemel Lesbian Hero featured in film Hit So Hard
  • Tuesday, August 11, 2015 - Landon Palmer (Indiana University) presents: Rocking the Transmission: Vulgar Spontaneity in Live Television Music
  • Wednesday, August 12, 2015 - Jesse Scholtterbeck (Denison University) presents: Performance and the Pursuit of Stardom in Anvil: The Story of Anvil
  • Thursday, August 13, 2015 - Michael Bass (Georgia State University) presents: Filth, Fury, and Fiction: Creating a Mythology in The Great Rock ‘N’ Roll Swindle
  • Friday, August 14, 2015 - Laura Mayne (University of York) presents: Seeking the variety of live performance in The Rolling Stones’ Rock n Roll Circus (1968)
FOUND FOOTAGE ART
  • Monday, August 17, 2015 - Shane Denson (Duke University) presents: VHS Found Footage and the Material Horrors of Post-Cinematic Images
  • Tuesday, August 18, 2015 - Laura Wilson (University of Manchester) presents: Affective Horror of the Found Footage Anthology
  • Wednesday, August 19, 2015 - Anthony C. Bleach (Kutztown University) presents: Video Aesthetics and Nostalgia Deployed in Better Call Saul
  • Thursday, August 20, 2015 - Rebecca Jackson (Johnston Community College) presents: JOLT! And The Glitch Aesthetic
  • Friday, August 21, 2015 - Leo Goldsmith (New York University) presents: The All-Consuming: Scratch Video’s Ambivalent Bodies
  • Monday, June 29, 2015 - Maria San Filippo (University of the Arts Philadelphia) presents: Captive Viewers: Learning In/humanity through Film in ‘Dogtooth’ and ‘The Wolfpack’
  • Tuesday, June 30, 2015 - Emily Carman (Chapman University) presents: Illicit Achive: Sony Hack as Access for Media Industry Studies
  • Wednesday, July 1, 2015 - Catherine Grant (University of Sussex) presents: Scholarly Striptease. Or, The Unintended Consequences of Film Studies For Free
  • Thursday, July 2, 2015 - Zoe Shacklock (University of Warwick) presents: Kathryn Alexandre and the Performance of the Body
  • Friday, July 3, 2015 - Kevin L. Ferguson (Queen’s College) presents: Pee-Wee’s Daddy

VIEW 4.7, 2015: Archaeologies of Tele-Visions and -Realities
Table of Contents
Discoveries
Explorations


DELETION The Open Access Forum in Science Fiction Studies
Episode 10: The Science Fiction Blockbuster
Previous Episodes
FILM QUARTERLY Vol. 68 No. 4, Summer 2015 for free until September 30th, 2015: http://fq.ucpress.edu/content/68/4

Table of Contents

FROM THE EDITOR
FEATURES
  • Black Media Matters: Remembering The Bombing of Osage Avenue by Karen Beckman
  • China Unraveled: Violence, Sin, and Art in Jia Zhangke's A Touch of Sin by Jiwei Xiao
  • Mickey Horror: Escape from Tomorrow and the Gothic Attack on Disney by Aviva Briefel
  • Attention Duras by William Caroline
  • Maximum Emotions, Minimum Words: Interview with Eugène Green by Megan Ratner
COLUMNS
  • Crónica de castas (Chronicle of Castes) and Sangre bárbara (Barbarous Blood) by Paul Julian Smith
  • The Vulnerable Spectator: On the Contagion of Vulnerability by Amelie Hastie
FESTIVAL REPORTS
  • Marking Time: The Long form Documentary at IDFA 2014 by Deirdre Boyle
  • Sundance 2015, The Crystal Ball by B. Ruby Rich
IN MEMORIAM
  • Remembering Resnais: An Encounter on the First Anniversary (Approximately) of His Death by Paul Thomas
PAGE VIEWS
  • Bernie Cook Reflects on Katrina Media at the Ten-Year Mark in FLOOD OF IMAGES: Media, Memory, and Hurricane Katrina by Regina Longo
BOOK REVIEWS
  • Plastic Reality: Special Effects, Technology, and the Emergence of 1970s Blockbuster Aesthetics by Julie A. Turnock DANA POLAN
  • Dangerous Rhythm: Why Movie Musicals Matter by Richard Barrios CARRIE RICKEY
  • Army Film and the Avant Garde: Cinema and Experiment in the Czechoslovak Military by Alice Lovejoy TANYA GOLDMAN
  • L.A. Plays Itself / Boys in the Sand (Queer Film Classics series) by Cindy Patton GREG YOUMANS
  • Making Movies into Art: Picture Craft from the Magic Lantern to Early Hollywoodby Kaveh Askari
  • VITO ADRIAENSENS
  • Film Rhythm after Sound: Technology, Music, and Performance by Lea Jacobs MASHA SHPOLBERG

Indiancine.ma is an annotated online archive of Indian film. It is intended to serve as a shared resource for film scholars and enthusiasts in India and beyond.

Indiancine.ma has been initiated by Pad.ma, and is operated in collaboration with a number of organisations and film studies institutions. These include:

The initial set of films and metadata is based on Ashish Rajadhyaksha's and Paul Willemen's Encyclopedia of Indian Cinema, and the Indiancine.ma Wiki. The website was built with pan.do/ra, and launched in February 2013 at Jaaga in Bangalore, with support from the Bohen Foundation, The Foundation for Arts Initiatives, and the Goethe Institute.

At present, Indiancine.ma is being utilized as a backbone structure for several research projects on Indian film, including a project for an 'Annotated Repository on the Art Cinemas of India" being conducted by the University of Chicago Center in Delhi, a project on the Left and the early Malayalam cinema being overseen by Prof. Satish Poduval of the English & Foreign University, a repository for precious historical print holdings on the history of Tamil and Telugu cinemas being assembled by Samyuktha P.C. (Chennai) and Dr. S.V. Srinivas (Bangalore), and a project on early Bengali films at the Media Lab, Jadavpur. A general focus at the moment is on out-of-copyright films, currently pre-1954.

Books:
Texts:
  • Three Bombay Talkies Films from the 1930s Debashree Mukherjee, as a part of a Pad.ma film histories fellowship, selected and annotated a trio of major Franz Osten Bombay Talkies films. Debashree writes about her selection and annotation strategy and presents an interview with Peter Dietze, grandson of Himanshu Rai with rare images from his Melbourne collection.
  • A Filmi Twist of Fate: An Interview with Peter Dietze, Grandson of Himansu Rai Debashree Mukherjee's interview with Peter Dietze, grandson of Himanshu Rai with rare images from his from his Melbourne collection. In her own words, 'the only extant and accessible collection of studio papers from any Indian talkie studio of this time'.
  • A Second Bibliography Around John Abraham Jenson Joseph is researching Malayalam cinema around the key figure of filmmaker John Abraham. This is part of the Annotated Repositories of the Art Cinemas of India project supported by the University of Chicago's Delhi Centre. This is a first Visual Bibliography of his researches, and includes previously inaccessible material around the Odessa Film Collective and other material on and by Abraham.
  • A Second Select Bibliography on the Cinema of Mrinal Sen This is the first set of materials assembled as a part of the Annotated Repository of the Art Cinemas of India project supported by the University of Chicago Delhi Centre. It includes key texts around the work of Mrinal Sen, and includes publicity materials around Sen's films, the reception of the films when they were first released, on the making of the films, and reviews.
  • A Second Select Bibliography on the Cinema of Jahnu Barua This is the first set of materials assembled as a part of the Annotated Repository of the Art Cinemas of India project supported by the University of Chicago Delhi Centre. It includes reviews and writings on the cinema of Jahnu Barua.
  • Signifying Nativity: ‘Documentary reels’ in early South Indian films By Jenson Joseph
  • The Complete ICC Reports Five complete volumes of the Indian Cinematograph Committee evidence (1927-28).
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Wednesday, 25 June 2014

Indian Cinema and its Centenary at SYNOPTIQUE



Synoptique cover by Malory Beazley based on an image by flickr user lecercle.

It's about time for some link action at Film Studies For Free. Indeed, there will be a little flurry of long overdue entries here over the next days too as there are lots of new issues of great online journals to flag up, as well as other important resources to publicise.
First up, today, news from SYNOPTIQUE about the launch of its latest issue devoted to the Centenary of Indian Cinema, guest edited by Catherine Bernier. The table of contents is given below, or follow the link to access the journal.
SYNOPTIQUE - An Online Journal of Film and Moving Image Studies, Vol 3, No 1, 2014
Table of Contents

Articles
  • Size Zero Begums and Dirty Pictures: The Contemporary Female Star in Bollywood (1-29) by Tupur Chatterjee
  • Recycle Industry: The Visual Economy of Remakes in Contemporary Bombay Film Culture (30-66) by Ramna Walia
  • Visual Perception and Cultural Memory: Typecast and Typecast(e)ing in Malayalam Cinema (67-98) by Sujith Kumar Parayil

Interviews
  • Death Becomes Her: Bombay Cinema, Nation and Kashmir (Kaushik Bhaumik in Conversation with Desire Machine Collective, Guwahati) (99-116) by Kaushik Bhaumik
  • Questions for Kumar Shahani- Interview (117-126) by Aparna Frank
  • Critical Review: Kumar Shahani's Maya Darpan (1972) (127-150) by Aparna Frank

Translations
  • "The Writer in the Film World: Amritlal Nagar’s Seven Years of Film Experience" Translation and Introduction by Suzanne L. Schulz (151-159)

Book Reviews
  • Politics as Performance: An Ambitious Exploration of Cine-Politics in Andhra Pradesh (160-166) by Parichay Patra

Miscellaneous - Festival Reports
  • Is It Dead Yet?: The 42nd Festival du nouveau cinéma (167-169) by Bradley Warren
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Thursday, 22 May 2014

The Other Western: great new issue of TRANSFORMATIONS


Frame grab from Bend of the River (Anthony Mann, 1952). Read an article on this film by Helen Miller and Warwick Mules

Thanks to the always alert and brilliant Adrian Martin, Film Studies For Free got wind of a fantastic new issue of Transformations Journal on The Other Western (meaning [as the editors set out]: unusual Westerns as well as the "global and contemporary Western", which means that the issue provides a great accompaniment for Frames Cinema Journal's own recent take on the Cold War or political Western; and also to FSFF's podcast interview with Austin Fisher on his research on the spaghetti western).

FSFF has only just begun to dig into this issue of Transformations, but what it's read so far is really excellent. All the links are below.

And thank ye kindly, AM!

Transformations, Issue No. 24   2014 — The Other Western

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Tuesday, 18 September 2012

New JOURNAL OF THE MOVING IMAGE on Alternative cinemas in India

Cover of JOURNAL OF THE MOVING IMAGE 10, 2012 (Alternative cinemas in India)

A new issue of Journal of the Moving Image Online, a great, online, open access publication, has hit the e-stands!

Film Studies For Free heard the news via film scholar and JMI editor Moinak Biswas, who has contributed a number of very fine pieces to Volume 10. There are also excellent articles on Mani Kaul (see also FSFF's memorial entry on this fine filmmaker), and on the brilliant MediaLab, a fantastic initiative by Department of Film Studies, Jadavpur University (also the publishers of JMI), by Anustup Bastu.

All the contents are linked to below. Great work!
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Thursday, 15 December 2011

"Global Cinema: Cinéma Engagé or Cinéma Commerciale?" Special Issue of SITUATIONS

Framegrab from Babel (Alejandro González Iñárritu , 2006)
Babel sets out to be a new sort of film that attempts to create a “world cinema” gaze within a commercial Hollywood framework. I examine how it approaches this and ask whether the film succeeds in this attempt. I explore the tensions between progressive and conservative political agendas, and pay particular attention to the ways “other” cultures are seen in a film with “Third World” pretensions and U.S money behind it. I frame my analysis around a key question: does the Iñárritu-led outfit successfully create a paradigmatic “transnational world cinema” text that de-centers U.S. hegemony, or is this a utopian project doomed to failure in a film funded predominantly by major U.S. studios? I examine the ways in which the film engages with the tourist gaze and ask whether the film replaces this gaze with a world cinema gaze or merely reproduces it in new ways . [Deborah Shaw, "Babel and the Global Hollywood Gaze", Situations, 4.1, 2011]

Film Studies For Free is delighted to announce the publication of a new film issue of the Open Access journal Situations: Project of the Radical Imagination. The special issue is entitled "Global Cinema: Cinéma Engagé or Cinéma Commerciale?" and it contains ten essays on modern international films and cinemas, including those of Iran, Nigeria, Mexico, Romania, France, China, Argentina, and India as well as on contemporary film festivals and on films documenting the Israeli-Palestinian conflict.

As the editors write:
The issue has a global reach in its coverage of countries and regions of the world ranging from Hollywood’s own “Global Gaze,” to a placement of Nigerian Cinema as the equal of Africa’s modernist cinema, to Venezuela’s difficult negotiation of a Bolivarian cinema in a neoliberal context, to a questioning of the radical othering of Eastern European cinema whose concerns now seem much closer to those of the West, and, finally, to a tracing of a complex multiperspectival fashioning of the image of the Chinese peasantry in a moment when the distinction between city and country are rapidly fading.  The global reach of the issue extends as well to the range of theoretical positions used to examine contemporary global cinema, be it:  structural-materialist aspects of the questioning of the Israeli-Palestinian problematic; the integration of economic and aesthetic methodologies in a post-Adornian examination of the Cannes Film Festival; feminist and subaltern theory utilized to critique the patriarchal aspects of what is sometimes viewed as India’s most politically progressive cinema; a rereading and deconstruction of French radical workerist post-1968 cinema; and a linking of feminist and anti-colonial perspectives to highlight the way that in Iran Abbas Kiarostami’s Ten spotlights Muslim women's emancipation.
Below are direct links to the contents, as per usual here at FSFF.

Situation homepage  Archives

Vol 4, No 1 (2011) Table of Contents PDF
  • Terri Ginsberg, Dennis Broe, "Whither Globalization? An Idea Whose Time Has Come or Whose Time Has Come and Gone?" PDF
  • Deborah Shaw, "Babel and the Global Hollywood Gaze" PDF
  • Dennis Broe, "The Film Festival as Site of Resistance: Pro or Cannes" PDF
  • Hossein Khosrowjah , "Neither a Victim nor a Crusading Heroine" PDF
  • Jonathon Haynes , "African Cinema and Nollywood: Contradictions" PDF
  • Terri Ginsberg, " Radical Rationalism as Cinema Aesthetics: The Palestinian–Israeli Conflict in North American Documentary and Experimental Film" PDF
  • Paul Douglas Grant, "Just Some of the Ways to Shoot a Strike: Militant Filmmaking in France from Arc to the Groupe Medvedkine" PDF
  • Noah Zweig, "Villa del Cine (Cinema City): Constructing Bolivarian Citizens for the Twenty-First Century" PDF
  • Ping Fu, "Encircling the City: Peasant Migration in Contemporary Chinese Media" PDF
  • Gayatri Devi, "Between Personal Cataclysms and National Conflicts: The Missing Labor Class in Malayalam Cinema" PDF PDF
  • "Eastern European Cinema on the Margins" by Meta Mazaj PDF
  • Contributors, Film Issue PDF
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Wednesday, 6 July 2011

What Time Reflects: In Memory of Mani Kaul, 1944-2011

One of my major influences was the French film maker Robert Bresson. Bresson's films reflected a particular brand of Christian belief called Jansenism which manifests itself in the way leading characters are acted upon and simply surrender themselves to their fate. I believe that cinema is not so much visual as temporal. But most filmmakers concentrate on the spatio-visual aspect. This has led to certain problems. What time reflects is more contemporary than the arrangement of a set of visuals. I do not want to focus on this visual aspect in my films, but want to make the temporal primary. [Mani Kaul, 'Interview', ARC, November 15, 2005]
[Mani Kaul] has been described as a formalist. But the term does not do justice to the intense emotional stories that [reverberate] from the images that make up his interpretations of myth, music and [architecture]—although often they are more like collaborations with those cultural pratices and forms. He defies categorisation: to call his work non-narrative does not account for the detailed and complex narration that his camera work offers within any single scene. Even to call him an Indian film maker does not seem useful since Kaul refuses to locate his work within national or cultural subjectivities. [Ian Iqbal Rashid, 'Asian and Asian Diaspora Programme', RUNGH, Vol. 3, No. 2, 1995, p. 36]


Apologies for the very poor quality of this video;
its inclusion here can only be very insufficiently indicative of the film's actual brilliance
The Indian filmmaker Mani Kaul, who grew up artistically in India’s subsidized ‘‘parallel cinema’’ (i.e., parallel to commercial cinema) in the 1970s, has worked repeatedly with Indian song traditions, including Dhrupad (1982), which mesmerizes with the sound and image of one classical music performance style designed to facilitate spiritual meditation. Such work highlights the way in which we often take sound for granted as a convenient emotional conductor.
Pat Aufderheide, Documentary Film - A Very Short Introduction (Oxford: Oxford University Press, 2007), p. 17

Film Studies For Free was saddened to hear, via film scholar Surbhi Goel, of the death of the great Indian filmmaker Mani Kaul. Last week, it posted a list of links to studies of the works of another legendary director from that country - Ritwik Ghatak, one of Kaul's most important teachers at the Film and Television Institute of India. But Kaul was a genuinely pioneering and deeply unconventional film artist in his own right who also became a hugely influential teacher and writer on cinema. He will be greatly missed.
Tributes:

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    Tuesday, 28 June 2011

    "Born in a dream": studies of Ritwik Ghatak


    Subarnarekha (lit. "Golden Line/Thread", Ritwik Ghatak, India, 1962-65)
    All motion, in fact, has the same origin. The camera moves, so do men. Then everything comes to rest, or, various integral compositions made out of these create a whole design born in that dream.
    Ritwik Ghatak [Ritwikkumar Ghatak, Rows and rows of fences: Ritwik Ghatak on cinema (Calcutta: Seagull Books, 2000), p. 65]

    Every film is going to be more than you can see... Where the real cinema takes place is in your head.
          [...]
    The notion of a film born in a dream that then manages to figure that dream in all of these movements, in all of these modulations, in all of these articulations is at the heart of Ghatak
    Adrian Martin, 'Seven and a Half Minutes with Ritwik Ghatak (An Apprenticeship in Magic)', Film and Television Studies ‘Under Construction’ Seminar Series, Monash University, June 8, 2011(mp3: 1:40:38, mp4 - Video version)
    Very recently, in a much-discussed Film Comment article by David Bordwell, and in the project of a fascinating book titled The Language and Style of Film Criticism ([eds. Alex Clayton and Andrew Klevan] Routledge 2011), an old-fashioned line has been redrawn, separating the work of criticism proper (evocative, descriptive, evaluative, lyrical, etc) from the so-called ‘formalism’ of close, textual analysis (frame and audio analysis, structural segment/part breakdown, etc). I reject this distinction.

    In the lead-up to the WORLD CINEMA NOW conference this September at Monash, I propose taking seven and a half magnificent minutes – one complex scene in three parts – from Ritwik Ghatak’s Subarnarekha (The Golden Line, India, 1965) – and seeing how deeply we can dig into its sharp audiovisual beauty. Ghatak (1925-76), only now receiving the full international recognition he deserves, is a key figure for any history of cinematic forms: using the melodramatic tradition as his pivot between classicism and modernism, he elaborated a moment-to-moment style that was a form of fluid mise en scène shot through at every moment with the kind of disruptive ‘intervals’ beloved of his Master, Eisenstein. In Ghatak, scenes do not simply unfold: they open up into multiple, contesting worlds, man versus woman, old versus new, feeling versus reason, body versus song …

    Along the way of this demonstration, I hope to offer a model of how film analysis might be done, or at least how I try to do it: its possible protocols, procedures, pay-offs. Seven and a half cinematic minutes with Ghatak, plus around two musical minutes with Abdullah Ibrahim, amounting to around sixty minutes … Adrian Martin, 'Seven and a Half Minutes with Ritwik Ghatak (An Apprenticeship in Magic)'
    Today's entry here at Film Studies For Free -- a list of links to openly accessible studies of the work of the great Bengali filmmaker Ritwik Ghatak -- was very much inspired by the online availability of a podcast of a lecture by Adrian Martin, Associate Professor in Film and Television Studies and co-director of the Research Unit in Film Culture and Theory at Monash University. In the lecture Martin discusses a scene in Ghatak's Subarnarekha (lit. "Golden Line/Thread", India, 1962-65).

    The sequence discussed by Martin may be found at 7:40 in the first of the two clips embedded above, continuing up to around six minutes through the second clip. As the above lecture abstract indicates, along the way, Martin says many important things about the practices of film criticism/analysis, and, indeed, about Film Studies more broadly. Great work, and thanks to Arts at Monash University for making it available. [Update: August 2011 - here's a link to the video recording of the lecture. Right click on the link to save to your computer for viewing later).
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    Thursday, 9 September 2010

    Journal of the Moving Image: Indian and South Asian cinema and media studies

    Image from Gadar: Ek Prem Katha (Anil Sharma, 2001). 

    Film Studies For Free just came across a really good e-journal that it hadn't bumped into before: Journal of the Moving Image, an annual publication of the Department of Film Studies, Jadavpur University, Kolkata. 

    It was launched in print format in 1999, but its print and online versions now co-exist. As its mission statement puts it,
    JMI seeks to represent critical work on the state of contemporary screen cultures. There are many regions in the world with large viewing populations, often with vast production infrastructures for film and television; but corresponding institutions or forums for critical engagement with such audio-visual regimes are still highly inadequate. JMI seeks to address a broad set of issues ranging from formal properties of the moving image to the social foundation of its production, transmission and reception. There will be a special focus on India and South Asia, and on issues of transnational media transactions, but we would like to offer a wider range of discussion on film and television from various parts of the world made from different perspectives.
    FSFF wanted to share its contents with you promptly, so direct links to all items so far online are pasted in below, with the most recent issue first. The first three issues of JMI are also being prepared for online publication. 

    There are some excellent items here (you might try out Ravi Vasudevan's The Meanings of ‘Bollywood’ just for starters). So FSFF heartily recommends that you subscribe to JMI ready for its next issue in December. 

    (Also, please check out, if you haven't yet, FSFF's own related entry: "Bollywood" for Beginners and Beyond: Introductions to Popular Hindi Cinema Studies)

    JMI, Number 7, December, 2008
    JMI, Number 5, December, 2006
    JMI, Number 4, November, 2005
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    Monday, 9 August 2010

    "Bollywood" for Beginners and Beyond: Introductions to Popular Hindi Cinema Studies

    Kajol and Shahrukh Khan in  Dilwale Dulhaniya Le Jayenge / The Big Hearted Will Take the Bride (Aditya Chopra, 1995)

    With a wary eye on the fast-approaching (in many places at least) and not-so-mellow fruitfulness of a new academic year, Film Studies For Free today brings you its handy guide to online introductions to popular Hindi cinema.

    Not all of the wonderful, openly accessible resources linked to below the embedded video are designed for those new to this core academic film studies subject, but all are clearly written, and thus very accessible, as well as highly informative to those at many different stages in their scholarly fascination with this most popular of world cinemas.

    Talking of fascination, a nice place to start might be Jonathan Torgovnik's wonderful online portfolio of photographs: Bollywood Dreams (Phaidon Press, 2003).

     
    Discussion between author Anupama Chopra, leading filmmaker Vidhu Vinod Chopra, and Bollywood expert and Assistant Professor of Anthropology at NYU Tejaswini Ganti. The discussion is moderated by Richard Allen, Chair of Cinema Studies at the Tisch School of the Arts.

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