Bombay Cinemas Islamicate Histories
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| Author | : Ira Bhaskar |
| Publisher | : |
| Total Pages | : 428 |
| Release | : 2022-04 |
| Genre | : |
| ISBN | : 9781789383973 |
An engaging account of the history and influence of Muslim cultures on Bombay cinema. Following Marshal Hodgson, the term "Islamicate" is used to distinguish the cultural forms associated with Islam from the religion itself. The term is especially useful in South Asia where Muslim cultures have commingled with other local cultures over a millennium to form a rich vein of syncretic aesthetic expression. Comprised of fourteen essays written by major scholars, this collection presents an engaging account of the history and influence of cultural Islam on Bombay cinema. The book charts the roots of South Asian Muslim cultures and the precursors of Bombay cinema's Islamicate idioms in the Urdu Parsi Theatre; the courtesan cultures of Lucknow; the literary, musical, and performance traditions of north India; the traditions of miniature painting; and various modes of Perso-Arabic story-telling. Published at a time of acute crisis in the perception and understanding of Islam, this book demonstrates how Muslim and Hindu cultures in India are inextricably entwined.
| Author | : Ira Bhaskar |
| Publisher | : |
| Total Pages | : 346 |
| Release | : 2009 |
| Genre | : Arts, Indic |
| ISBN | : 9788189487539 |
This book explores the Islamicate cultures that richly inform Bombay cinema. These cultures are imagined forms of the past and therefore a contested site of histories and identities. Yet they also form a culturally potent and aesthetically fertile reservoir of images and idioms through which Muslim communities are represented and represent themselves. Islamicate influences inform the language, poetry, music, ideas, and even the characteristic emotional responses elicited by Bombay cinema in general; however, the authors argue that it is in the three genre forms of The Muslim Historical. The Muslim Courtesan Film and The Muslim Social that these cultures are concentrated and distilled into precise iconographic, performative and narrative idioms. Furthermore, the authors argue that it is through these three genres, and their critical re-working by New Wave filmmakers, that social and historical significance is attributed to Muslim cultures for Muslims and non-Muslims alike. Ira Bhaskar is Associate Professor of Cinema Studies at the School of Arts and Aesthetics, Jawaharlal Nehru University, New Delhi. Richard Allen is Professor and Chair of Cinema Studies at the Tisch School of the Arts, New York University.
| Author | : Nile Green |
| Publisher | : Cambridge University Press |
| Total Pages | : 345 |
| Release | : 2011-03-21 |
| Genre | : History |
| ISBN | : 1139496638 |
As a thriving port city, nineteenth-century Bombay attracted migrants from across India and beyond. Nile Green's Bombay Islam traces the ties between industrialization, imperialism and the production of religion to show how Muslim migration fueled demand for a wide range of religious suppliers, as Christian missionaries competed with Muslim religious entrepreneurs for a stake in the new market. Enabled by a colonial policy of non-intervention in religious affairs, and powered by steam travel and vernacular printing, Bombay's Islamic productions were exported as far as South Africa and Iran. Connecting histories of religion, labour and globalization, the book examines the role of ordinary people - mill hands and merchants - in shaping the demand that drove the market. By drawing on hagiographies, travelogues, doctrinal works, and poems in Persian, Urdu and Arabic, Bombay Islam unravels a vernacular modernity that saw people from across the Indian Ocean drawn into Bombay's industrial economy of enchantment.
| Author | : Debashree Mukherjee |
| Publisher | : Columbia University Press |
| Total Pages | : 288 |
| Release | : 2020-09-22 |
| Genre | : Performing Arts |
| ISBN | : 0231551673 |
From starry-eyed fans with dreams of fame to cotton entrepreneurs turned movie moguls, the Bombay film industry has historically energized a range of practices and practitioners, playing a crucial and compelling role in the life of modern India. Bombay Hustle presents an ambitious history of Indian cinema as a history of material practice, bringing new insights to studies of media, modernity, and the late colonial city. Drawing on original archival research and an innovative transdisciplinary approach, Debashree Mukherjee offers a panoramic portrait of the consolidation of the Bombay film industry during the talkie transition of the 1920s–1940s. In the decades leading up to independence in 1947, Bombay became synonymous with marketplace thrills, industrial strikes, and modernist experimentation. Its burgeoning film industry embodied Bombay’s spirit of “hustle,” gathering together and spewing out the many different energies and emotions that characterized the city. Bombay Hustle examines diverse sites of film production—finance, pre-production paperwork, casting, screenwriting, acting, stunts—to show how speculative excitement jostled against desires for scientific management in an industry premised on the struggle between contingency and control. Mukherjee develops the concept of a “cine-ecology” in order to examine the bodies, technologies, and environments that collectively shaped the production and circulation of cinematic meaning in this time. The book thus brings into view a range of marginalized film workers, their labor and experiences; forgotten film studios, their technical practices and aesthetic visions; and overlooked connections among media practices, geographical particularities, and historical exigencies.
| Author | : K. Moti Gokulsing |
| Publisher | : Routledge |
| Total Pages | : 741 |
| Release | : 2013-04-17 |
| Genre | : Performing Arts |
| ISBN | : 113677291X |
India is the largest film producing country in the world and its output has a global reach. After years of marginalisation by academics in the Western world, Indian cinemas have moved from the periphery to the centre of the world cinema in a comparatively short space of time. Bringing together contributions from leading scholars in the field, this Handbook looks at the complex reasons for this remarkable journey. Combining a historical and thematic approach, the Handbook discusses how Indian cinemas need to be understood in their historical unfolding as well as their complex relationships to social, economic, cultural, political, ideological, aesthetic, technical and institutional discourses. The thematic section provides an up-to-date critical narrative on diverse topics such as audience, censorship, film distribution, film industry, diaspora, sexuality, film music and nationalism. The Handbook provides a comprehensive and cutting edge survey of Indian cinemas, discussing Popular, Parallel/New Wave and Regional cinemas as well as the spectacular rise of Bollywood. It is an invaluable resource for students and academics of South Asian Studies, Film Studies and Cultural Studies.
| Author | : Salma Siddique |
| Publisher | : Cambridge University Press |
| Total Pages | : 278 |
| Release | : 2022-11-30 |
| Genre | : Performing Arts |
| ISBN | : 1009151207 |
This book will be of interest to students and scholars of South Asian history and popular culture. It examines partition's impact on cultural production, based on hard to access archives and collections situated in India, Pakistan, United Kingdom and the United States.
| Author | : Hilal Ahmed |
| Publisher | : Penguin Random House India Private Limited |
| Total Pages | : 147 |
| Release | : 2024-07-22 |
| Genre | : Political Science |
| ISBN | : 9357082956 |
Present-day political discourse swings between two contrary positions on the issue of Muslims. Hindutva politics categorizes Muslims as a monolithic religious group to substantiate Hindu homogeneity. The liberals, on the other hand, claim to protect Muslims as a religious minority to defend Indian democracy (if not secularism!). In both cases, Muslim identity is envisioned as a one-dimensional phenomenon. A Brief History of the Present attempts to go beyond the obvious to rethink the role of minorities, specifically Muslims, in the ‘New India’ that has revealed itself since 2014. By diving deep into the complexities of Muslim identity and its role in everyday life while at the same time viewing the Muslim communities through a historical lens, the author attempts to provide a far more accurate picture of Indian Muslims than what is perceived currently. Through the author’s interpretation of a wide range of quantitative and qualitative sources and his long experience as an observer of the Indian political scenario for more than three decades, the book presents a deeply considered view of a burning question: the current status of Muslims in India.
| Author | : Ranjani Mazumdar |
| Publisher | : U of Minnesota Press |
| Total Pages | : 306 |
| Release | : 2007 |
| Genre | : Motion picture industry |
| ISBN | : 9781452913025 |
| Author | : Ruth Vanita |
| Publisher | : Bloomsbury Publishing USA |
| Total Pages | : 229 |
| Release | : 2018-02-22 |
| Genre | : Performing Arts |
| ISBN | : 1501334433 |
Indian cinema is the only body of world cinema that depicts courtesans as important characters. In early films courtesan characters transmitted Indian classical dance, music and aesthetics to large audiences. They represent the nation's past, tracing their heritage to the fourth-century Kamasutra and to nineteenth-century courtly cultures, but they are also the first group of modern women in Hindi films. They are working professionals living on their own or in matrilineal families. Like male protagonists, they travel widely and develop networks of friends and chosen kin. They have relations with men outside marriage and become single mothers. Courtesan films are heroine-oriented and almost every major female actor has played this role. Challenging received wisdom, Vanita demonstrates that a larger number of courtesans in Bombay cinema are Hindu and indeterminate than are Muslim, and that films depict their culture as hybrid Hindu-Muslim, not Islamicate. Courtesans speak in the ambiguous voice of the modern nation, inviting spectators to seize pleasure here and now but also to search for the meaning of life. Vanita's groundbreaking study of courtesans and courtesan imagery in 235 films brings fresh evidence to show that the courtesan figure shapes the modern Indian erotic, political and religious imagination.
| Author | : Pedram Partovi |
| Publisher | : Taylor & Francis |
| Total Pages | : 244 |
| Release | : 2017-07-14 |
| Genre | : Social Science |
| ISBN | : 1315385619 |
Critics and academics have generally dismissed the commercial productions of the late Pahlavi era, best known for their songs and melodramatic plots, as shallow, derivative ‘entertainment’. Instead, they have concentrated on the more recent internationally acclaimed art films, claiming that these constitute Iranian ‘national' cinema, despite few Iranians having seen them. Film discourse, and even fan talk, have long attempted to marginalize the mainstream releases of the 1960s and 1970s with the moniker filmfarsi, ironically asserting that such popular favorites were culturally inauthentic. This book challenges the idea that filmfarsi is detached from the past and present of Iranians. Far from being escapist Hollywood fare merely translated into Persian, it claims that the better films of this supposed genre must be taken as both a subject of, and source for, modern Iranian history. It argues that they have an appeal that relies on their ability to rearticulate traditional courtly and religious ideas and forms to problematize in unexpectedly complex and sophisticated ways the modernist agenda that secular nationalist elites wished to impose on their viewers. Taken seriously, these films raise questions about standard treatments of Iran's modern history. By writing popular films into Iranian history, this book advocates both a fresh approach to the study of Iranian cinema, as well as a rethinking of the modernity/tradition binary that has organized the historiography of the recent past. It will appeal to those interested in Iranian cinema, Iranian history and culture, and, more broadly, readers dissatisfied with a dichotomous approach to modernity.
