Indian Cinema Research Articles

Review: Shakespeare and Indian Cinemas: "Local Habitations."

Review: Shakespeare and Indian Cinemas: "Local Habitations."

Representation of Indian Christians and their ‘othering’ in Mainstream Indian Cinema, a Critical Evaluation

Abstract The recent changing tides of social and political climate across the globe has impacted the influence of media and culture (Michael Gurevitch, 1982), and in effect, the social fabric of our globalised society. This paper uses theories from Sturcturalism to understand better the larger socio-cultural structures that lay deeply embedded into our understanding of society as a whole. This cultural understanding is important to look at media (and by extension film) through its power dynamics and capital it provides to the groups that it represents and the groups that it does not. The study of these representations as being in opposition to each other in the way of ‘in’ and ‘out’ groups to understand the ways in which culture and cinema receive minorities, and for this paper, the Indian Christian identity in India. Mainstream cinema or Bollywood helps in the translation of in and out groups into the ‘othering’ of religious minorities (Brons, 2015) while also presenting and confirming the already existing ideas of the identity of minorities. This paper looks to identify the importance of alternative cinema, in this case regional Malayalam Cinema, for minorities that have been marginalised by the media and their role in the repairing the self-image of these minorities. The intrinsic binary between the alternative and mainstream cinema here are representative of the power and lack thereof for these minorities in terms of their social and self-perception.This paper goes a step further by not just looking at Indian Christians as a homogeneous whole but also determining the difference in portrayal and representation of the different denominations of the Indian Christian community. Therefore, this paper attempts to explain the reasons for the invisibility of Indian Christian representation or its ‘other-ing’ in mainstream film while also understanding the binary in the internal cultural dynamics within the Christian population through the lens of popular culture and regional or alternative cinema.

Portrayal of Sex Workers in Hindi Cinema

Abstract: This paper will study the different aspects in which prostitution has been portrayed in the Indian cinema. Bollywood has mostly been infamous in its portrayal of women characters in general. There is primarily a stereotypical, misogynistic outlook in the way female prostitutes are perceived in art, whether it be literature or cinema. Along with this, there has been an overt romanticisation of female prostitutes over the decades. This paper is an attempt to portray the different aspects of prostitution as reflected in the journey of Hindi cinema from as early as the 1950s. The criteria of analysis for this paper will majorly be two dimensional. Firstly, to contrast movies from different eras;from black and white movies such as Pyaasa[1957] to movies as modern as Gangubai Kathiawadi[2022]. The motive to inculcate this criteria is to highlight the slight evolution in the representation of female prostitutes; from the continuous trope of ‘damsel in distress’ who has a heart of gold to the girlboss of modern Indian cinema.

The Days of Bowing are Gone: Adivasis in South Indian Movies 2022

The Days of Bowing are Gone: Adivasis in South Indian Movies 2022

REVISITING TITLE DESIGN IN VERNACULAR CINEMA: A CINE SEMIOTIC ANALYSIS

Indian cinema is a term that refers to films made in India since time immemorial and has greatly influenced world cinema. Indian Cinema includes various regional languages and among them is Tamil cinema that produces films in the Tamil language with a very wide audience. It showcases varied and interesting patterns of visual culture. Film posters play a vital role in exhibiting these visual cultures and serve as the essence of a film’s soul. Film posters have a deep-rooted relationship with Indian cinema and one of the important parts of these posters is the title design. Title designs are synonymous with the story of the film with a view to create a visual force. The title designs have a modern facelift in the digital era. The use of new graphic techniques, expressive typography, composition, and color creates a lasting impact particularly in new age film title designs. The current research aims to examine the title designs in Kollywood film posters using a semiotics approach. Analysis is done based on the following aspects such as structural parameters, relationship with the theme of the film, context of use and production techniques.

Reflections of Reality: Kumar Sahani's Cinematic Vision and Social Commentary

A beacon of social realism in the vast field of Indian cinema is Kumar Sahani's cinematic legacy. This research examines Sahani's steadfast dedication to empathy and sincerity when tackling issues of social marginalization, gender, caste, and class. Sahani presents the brutal truths of Indian society with painstaking attention to detail and empathetic narrative, asking viewers to acknowledge their own involvement in the continuation of injustice. In films like "Maya Darpan" and "Tarang," marginalized people's sufferings are depicted graphically, offering subtle criticisms of deeply ingrained societal structures. Sahani urges societal transformation and self-reflection via her examination of topics including land reform, gender inequity, and intercommunal strife. Sahani's cinematic creations are ultimately timeless reminders of the transformational potential of art in encouraging empathy, introspection, and the quest for a more fair and just society.

Portrayal of Muslim Female Character: A Critical Study of Bollywood Movie Raees

The Indian film industry provides a huge source of entertainment to the masses not only in India but also across the borders as well. With the help of artistic fictional expressions, it not only caters to locating facts and realities in the contemporary social structure but also has the undeniable capacity to persuade viewers in a certain way. Indian cinema or “Bollywood” has marked its place in the minds of its consumers and consequently restyled their perceptions about the world around them. There is a variety of subjects, issues and cultures that are projected by the Indian cinema. Amongst them, the portrayal of Muslim females has been the popular theme of Indian cinema. However, Muslim characters like women remain subject to bias. To dissect this phenomenon in Bollywood, present study is an attempt to examine the depiction of Muslim women in Bollywood. For this purpose, Movie, “Raees” (2017) has been selected. Norman Fairclough’s three-dimensional model of Critical Discourse Analysis (2003) used as the methodological framework. Under the theoretical realm of framing theory, this study focuses on the portrayal of the female character in the Bollywood movie Raees. The study concludes that Muslim women are being portrayed as disconnected from their religious beliefs. Keywords: Framing, Muslim women, Critical discourse analysis, Bollywood, Raees,

The urban male protagonist in Indian film noir: A reading of Bees Saal Baad, Woh Kaun Thi?

The urban male protagonist in Indian film noir: A reading of Bees Saal Baad, Woh Kaun Thi?

Exploring Mutated Depictions of Rapes and Justice Distrust in Contemporary Indian Cinema

Exploring Mutated Depictions of Rapes and Justice Distrust in Contemporary Indian Cinema

“Abhi Toh Main Jawan Hoon” (For I am forever young): Reflections on the agentic cinematic presence of Zohra Sehgal in British Indian films

ABSTRACT Representations of older women in film and media have reiterated the negative stereotypes of age-induced incapacitation and loss of voice and agency. However, actor Zohra Sehgal, hailed as the “grand old lady of Bollywood”, re-engages with the normative construct of the passive/submissive screen characterization of an older female. Sehgal’s remarkable performances in The Jewel in the Crown (1984), Bhaji on the Beach (1993), and Bend It Like Beckham (2002) highlight the silenced realities of older women within the diasporic space in terms of desire, autonomy, and choice. In British cinema, where the subjectivities of South Asian older individuals (particularly women) were seldom acknowledged, Sehgal’s on-screen presence challenged and overturned marginalization based on age and ethnicity. Through the paradigm of active/successful ageing, this article argues that the politics of gendered representation and ageing have been recontextualized in British Indian diasporic films to reflect on a positive embodiment of Indian older women.

Following Women's Money: Population, Development, and Indo-American Birth Control Politics in the Mid-Twentieth Century

Abstract: This article traces the history of a transnational birth control movement centered on India and the United States during the 1950s, a transitional decade that followed Indian independence from the British Empire and that witnessed growing US hegemony in a cold war world. I focus on one key philanthropic organization, the Watumull Foundation, and the activities of its leader, Ellen Jensen Watumull. The Watumull Foundation funded birth control activists in India and the United States, including Dhanvanthi Rama Rau and Margaret Sanger, and supported a growing turn toward population control as a chief purpose of the transnational birth control movement. The result was an Indo-American birth control politics in the 1950s that drew upon racialized networks of kinship, marriage, and friendship; was controlled largely by women; and mobilized small donors to bring American philanthropy into Indian development planning.

Cine Medicine in Indian Scenario: A SWOT Analysis.

Cinema has the ability to convey important messages in an engaging and interesting manner. Cine medicine also known as cinema medicine or Cinemeducation has the potential to teach medical students and healthcare professionals about various aspects of medical conditions and illnesses. It is an innovative approach that can enhance empathy among the students and understanding toward patients with various medical conditions. Indian cinema has played a significant role in promoting health awareness and educating people about various medical conditions. Cinemeducation/Cine medicine can be instrumental in inculcating ethics and professionalism among budding clinicians. Of late, medical educationists have understood its importance and have introduced this innovative method in teaching not only medical humanities but medicine per se. This article aims to summarize the strengths, weaknesses opportunities, and threats analysis of the cine medicine along with reviews of Indian cinema for emphasizing the medical condition depicted in these cinemas/movies.

The Virtual Vistas: Cinematic Aesthetics in the Pandemic Era

This study examines the newly formed cinematic art during the pandemic and its influence on the audience. While the people of the world were suffering in the global pandemic, some artists came up with the innovative idea to perform in the lockdown through their devices in isolation. This initiative was for entertainment and to keep the art alive to motivate people who were struggling. The purpose of this creative effort was to express the feeling of isolation and social distance through digital canvas. Artists worldwide, from different countries have experimented with this, and Indian actors have also tried this remote filming concept and given some of the master pieces. This paper contains the critical analysis of such art form assessing its impact on the audience during the pandemic. Additionally, the study also examines the challenges encountered and the sustainability of such remote filming without enough props, camera quality, music and dressing. Beyond analysing the impact of remote filming during pandemic, this paper presents the impact of conducted experiments and its indication to the implications for the future of performing arts. Technological advancements in filming techniques and digital distance performing through unconventional cinematography is worth noticing. As these innovations gain popularity while lockdowns, this research considers how they can be further improved post-lockdown to enhance audience advancement. This research sheds light on the process of such innovations and contributes to shaping the post pandemic landscape of cinema with some existing examples of experiments.

Female Fandom and the Anxieties of Agency: A Feminist Reading of the Indian Female Fan in <i>Guddi</i> (1971)

Academic research on fandom has sometimes stereotyped female fans, potentially influenced by the gendered dichotomy in fan studies. In the context of Indian fan discourses, there has been insufficient academic engagement with gender which poses a significant gap that requires attention. This article explores the intersection of gender, specifically focusing on women, in Indian fan studies. Through a feminist lens, the article undertakes a textual analysis of Hrishikesh Mukherjee’s <i>Guddi</i> (‘The Doll’, 1971), possibly the first Hindi film to diegetically represent a female fan. The study examines how the film portrays female fandom and yet acknowledges that it falls short in successfully dismantling the pathologising stereotypes associated with femininity. Nevertheless, the film successfully initiates a dialogue on the presence and importance of female fan practices in India. It explores how the film acts as a catalyst for a narrative that highlights the agentic potential of fandom. Additionally, the article delves into the broader implications of the film within Indian fan studies, including its capacity to challenge gender norms and inspire further research on female fan practices in the context of Indian cinema.

DARK IS THE NEW LIGHT: A PARADIGM SHIFT IN THE VISUAL NARRATIVE OF INDIAN CINEMA AND WEB SERIES

Indian ancient scriptures contain a rich array of rules, instructions, daily rituals, and customs, which is particularly suitable for a diverse country with its multiculturalism and diverse beliefs. Rasa theory, a fundamental concept in Indian aesthetics that has strong connections to early Indian performing arts such as dance and theater. Contemporary dark films explore themes of violence, crime, moral ambiguity, and the darker aspects of human nature. They often aim to evoke intense and unsettling emotions in the audience. Indian audiences have shown a growing interest in films that challenge conventional storytelling and explore complex and unconventional themes. Films and web series like "Gangs of Wasseypur," "Paatal Lok," "Sacred Games," and "Asur" etc. have received critical acclaim and have been embraced by audiences for their bold narratives and portrayal of darker elements. While there is an audience that enjoys dark narratives, the appreciation of dark cinema among Indian viewers is not universal. However, it has undoubtedly gained momentum and contributed to the evolving filmmaking culture in the country. The goal of this study is to analyze & explore the visual semantics applied in web series with dark themes, aiming to understand their influence on the audience. An exploratory study examines the visual elements employed in popular Indian cinema and web series that portray dark narratives.

CONTEMPORISING PUNJABI CINEMA: CHRONOLOGY AND CULTURE

Indian Cinema is a complex and layered structure with Mumbai based Bollywood productions calling the shots. However, cinema in various languages of India, based out of the many different states is what lends the colour of diversity and the flavor of the local to cinema in India. The present contribution seeks to look at Punjabi cinema through the lens of masculinity, caste, and the evolution of themes. A brief historical perspective on Punjabi cinema is imperative to locate contemporary themes and depictions in the correct light. Cinema in Punjab has evolved over the last fifty years from the depiction of the rural Jatt hero of the 1980s to the NRI Jatt hero of the 2000s. The music industry of Punjab is also inextricably linked to Punjabi cinema as many singers feature as actors and heroes in films. The same is not true for female singers, bringing in the issue of gender and at times, toxic masculinity in Punjabi cinema. The women in Punjabi cinema are either young enchantresses or matronly mothers, who pamper the hero in equal measure. The paper will examine in detail some protagonists of Punjabi cinema who resonate across decades and are glorified till date. The issue of the usually upper caste hero and his family controlling the village with guns and goons has been a recurring image throughout the course of Punjabi cinema. Bollywood, too, cannot do without its fix of at least one Punjabi song, remixed or original and one character who belongs to Punjab. Thus, the chapter will bring out the nuances of Punjabi culture as depicted in Punjabi cinema, adding to the existing scholarship from a more contemporary context.

Gender Politics and Stereotypes in Bollywood Films Dhrishyam 1 and 2<b></b>

Indian cinema is one of the most influential and powerful tools for addressing various social issues via the medium of a screenplay. The Indian film industry, commonly known as Bollywood, is one of the largest and most prolific film industries (Pillania 115) in the world. This article aims to explore Gender Roles and Stereotypes prevalent in Bollywood films, through an in-depth analysis of the popular films Dhrishyam 1 and 2, hereafter referred to as the Dhrishyam film series. By examining the portrayal of lead characters, the study aims to shed light on the ways in which Indian cinema perpetuates societal norms and biases. Through a combination of qualitative content analysis and audience reception analysis, the research provides empirical evidence to support the claim that Indian films, including the “Dhrishyam” film series, contribute to the diffusion of gender stereotyping, consolidating unreasonable societal expectations. With a focus on the intersectionality of gender, identity, and culture, this study aims to provide a comprehensive understanding of the complex relationships between Indian cinema and societal constructs, leading to critical insights into theneed for more diverse and inclusive portrayals in the film industry.

Film as Mass Communication and its Responsibility to Social Change

This paper considers movies as means of mass communication and attempts to highlight the challenges faced by Nepali movies while communicating with people. It believes that the movies are key artistic presentations by which movie-mediatization is possible and a significant positive change can be brought. Movies are made as effectively to socialize people as to provide entertain to them. It means that the movies are highly responsible for bringing positive vibes in society. In order look at the manner in which films are giving a message to the audience, this paper makes a review of key literature on movie, mass communication, mediatization, and impact of movie on mediatization, analyzes the impact of movies on society, and forwards some key conclusions on epitomizing women as heroes. It also takes into consideration the significant impact made by some Indian movies to the Nepali movie industry, which is not growing well because of the premiere of recent Indian movies that are superior to Nepali movies both in quality and quantity. To conclude, the paper encapsulates the notion of film as an art, which has easily entered into people's mind and heart, and is changing people's preoccupied mindset on women and gender roles.

A Comparative Analysis of RK Narayan's "The Guide" and Bollywood's "Guide"

Literary adaptations have been predominant in cinema for decades, with stories being reconceptualized for the film to captivate audiences in new ways. Indian cinema is no exception to this and one such well known adaptation is RK Narayan's novel The Guide into a film. This paper delves into the transformation of R K Narayan's novel "The Guide" into the epochal Bollywood film "Guide" directed by Vijay Anand. Through a comparative analysis, this study explores the differences and similarities between the two, examining how the cinematic adaptation reshapes the narrative, characters, themes, and overall essence of Narayan's original work. By dissecting the creative choices made in bringing the novel to life on screen, this paper aims to highlight the nuances of adaptation in Indian cinema.

FREEDOM OF EXPRESSION: STRUGGLES AND CHALLENGES OF RATHAKANNEER

The notion of freedom of expression, in Tamil films unsimilar to other film industries is a frequently debated topic. Tamil cinema has encountered controversies and obstacles concerning the aspect of freedom of expression over years. Lately there has been an increasing recognition and discussion, about the importance of freedom of speech in Tamil cinema. This struggle for freedom of Expression isn’t that new to Tamil cinema that the dates back to decades before. That is when the wave of Dravidian cinemaemerged the Tamil cinematic sphere faced the notable adherent struggles and challenges for expressions on screen. This research delves into the complexities of freedom of expression in Indian cinema, focusing on M.R. Radha's "Rathakanneer". Employing qualitative analysis, the study explores the challenges faced by the film due to its progressive ideas, enduring censorship, and controversies. Radha's Theatre of Cruelty intensified societal critiques. It underscores art's power to challenge conventions and navigate political and societal pressures, revealing the intricate interplay between cinema, socio-political influences, and cultural heritage.