Popular Hindi Cinema

The main objective of the paper is not only to contribute the homage to Hrishikesh Mukherjee, but also it will suppose to critically depict some kind of objective readings of his films, rather than to contain tales of experiences and blood and flesh relations with Hrishikesh Mukherjee, where the image of the artist gets to relive with a renewal of love and affection within the minds of his connoisseurs. The objectivity may demand certain kind of analysis, formulation, diachronic readings which at times may look little remote from the directness of the pleasure of viewing and appreciating his films up front.

नवगीत पर सन 2021 में आथर्स प्रेस, नई दिल्ली से यशस्वी नवगीतकार डॉ अवनीश सिंह चौहान द्वारा संपादित 'नवगीत वाङ्मय' नाम से एक और संकलन प्रकाश में आया है, जो चार पर्वों में संकलित, नाम के अनुरूप नवगीत की समग्रता को समोये हुए है। इस ग्रंथ में डॉ चौहान द्वारा लिखी भूमिका— 'प्रसंगवश' मात्र डेढ़ पेज में है। लघुकाय इस भूमिका में डॉ चौहान आम आदमी के साथ-साथ खास आदमी के दुख-दर्दों की बात भी उठाते हैं। भले ही दोनों के दुख-दर्द अलग-अलग हैं, पर खास आदमी का दुख-दर्द भी दुख-दर्द है, उसे नकारना वे समीचीन नहीं मानते। दूसरे वे नवगीत को प्रेम, प्रकृति, हर्ष, विषाद, संघर्ष, वर्तमान विसंगतियों आदि जीवन के सतरंगी अनुभवों को उकेरने की एक सशक्त एवं प्रतिष्ठित विधा मानते हैं। थोड़े शब्दों में उन्होंने बहुत कुछ कहने का प्रयास किया है। .... इस प्रकार काव्य, लेख और साक्षात्कार से युक्त यह संकलन नवगीत पर एक सम्यक संपादन है और 'वाङ्मय' शब्द की व्यापकता के अनुरूप भी।

[पुस्तक : नवगीत वाङ्मय, संपादक : अवनीश सिंह चौहान, प्रकाशक : आथर्सप्रेस, नई दिल्ली, प्रकाशन वर्ष : 2021 (संस्करण प्रथम, पेपर बैक), पृष्ठ : 174, मूल्य रु 350/- , ISBN 978-93-5529-004-5]

MLA Citation:
पूर्वाभास, बुधवार, 12 जनवरी 2022: http://www.poorvabhas.in/2022/01/blog-post.html

While the monstrous feminine of Hollywood is available transhistorically over much of cinema across the world, the female monster of Hindi horror cinema remains ignored and merits serious academic exploration. Much of the widely accepted modern art-horror theory as applied to the horror genre is predicated upon Julia Kristeva’s notion of the
‘abject’ and the Freudian notion of the ‘return of the repressed’. While Creed (1993, 2002) exemplifies that horror texts indeed serve to illustrate abjection, her work reduces all forms of the monstrous feminine in the horror genre to fear of the abject mother. I posit that there is no universal archetype of the abject mother, and the maternal as an abject figure does not find resonance in the Hindi horror genre. Instead, I propose that a sub-genre, which I term the ‘Monstrous “Other” Feminine’ narrative, within the Hindi horror cinema engendered in the 1980s, presents an interstitial phantasmal female monster with wanton sexual
desire and gaze as the abject ‘other’. Through narrative closures, traditional gendered perspectives are reinforced, normative femininity is deified and the monstrous other feminine, commanding sovereign female desire and controlling gaze, is annihilated. Exorcism becomes the means
not only of expelling the interstitial phantasmal being but also of punishing and disciplining the female body for unrestrained desire and look.

Bollywood is a cultural product that has moulded their representational possibilities to depict the changing social and political scenario of India. Moreover, it is an industry that are commercially successful and makes all effort to take into the ambit its middle class Indian sentiments and interest. One of its recent venture of a cross-over business ambition is the launch of Indian Premier League with most of the franchised team is owned by Bollywood stars or at least branded or heralded by film star. This made cricket match an extremely glamorized event with all the mix of a Bollywood film. This articles look into this aspect of transformation of a popular game like cricket in India with due consideration to the cultural, entertainment and Bollywoodizing aspect of the aspect of the game.

Indian cinema has always been fascinated by a variety of psychological disorders such as pervasive developmental disorders, mental retardation, anxiety and mood disorders, personality and identity disorders, etc. This paper is a qualitative research; the objective is to explore any disparity between the cinematic representation and the DSM criteria for diagnosis of the disorders, and the effect of these representations (or misrepresentations, if any) on the layman’s perceptions of them. A review and analysis of certain popular Indian films (made between 1990 and 2010) that thematically
explore certain prevalent psychological disorders is attempted here, focusing on four major film industries in India, namely- Hindi from the north, Tamil from the south, Marathi from the west and Bengali from the east. This also includes structured interviews to assess both the knowledge about and attitudes towards the same, as created by such cinema, among general public that is not predisposed to accurate information (in terms of correct clinical picture, causes and treatment). These were conducted on a random sample of 120 subjects in the age range of 15-60, who had no prior or present knowledge of psychology. Results were assessed in percentage and mean values. Observations found disparity between the representation of mental disorders in Indian cinema and their DSM descriptions, which had an influence on its audience. The general perception about mental disorders is that it is curable, maybe controlled with discipline and is largely unacceptable in society. It was concluded that accurate portrayals make for relatively correct impressions on the viewers and leave less scope for misconception.

By using Filmfare magazine this chapter illustrates a particular vein of Indian cinema discourse in the fifties, which were marked by a special aspirational fervor in the era of the new republic, five-year plans and Bandung. This feeling was strongly consolidated after the first Indian Film Festival in 1951 and exposure to the new cinemas of Japan and Italy. It was given greater impetus by Awara’s (1951) spectacular success in the USSR and West Asia, and then by the Pather Panchali (1955) phenomenon. This aspirational domain was marked by a plethora of projects announced, rumored or aborted. This chapter illustrates how this energy fizzled out in the next decade and the Bombay industry adopted a more inward-looking stance, focusing on Technicolor-Gevacolor romances that would dominate the tempestuous sixties. This chapter is a critical exploration of this transformation.

This paper analyses discussions about Indian film genres taking place in the trade press, and in film critical discourse, taking the periodical filmindia and left-wing film critic KA Abbas as a reference point. In counterpoint to a wider field of fantasy films drawing upon Arabian nights. dastaan and legendary romance stories, such as Laila Majnu and Shireen Farhad, and historicals such as Pukar and Humayun and arguably engaging audiences across ethnic-religious groups, there emerged a Muslim Social genre, projecting contemporary Muslim life. The article looks at the politics of its emergence in relationship to inter-communal dynamics, including the Pakistan demand of 1940, and Hindu cultural criticism and mobilization.

Mumbai or the erstwhile Bombay has been inextricably linked to Bollywood. And what is inextricably linked to Bollywood is music. Popular Hindi music has been a defining element of contemporary Indian culture and thereby warrants academic scrutiny. This paper tries to trace the history of Bombay through the lens of Bollywood, especially its music. These lyrical testimonies are corroborated with interviews of four Mumbai residents, who are also thorough listeners of Hindi cinema music. Through a detailed reading of the lyrics of songs about Mumbai, their cinematic context, and oral history interviews, a reconstruction of the city's socio-cultural past has been attempted.

Home > Media Arts home > Research > Profile > Publications > Cinetopia

Cinetopia : Leftist Street Theatre and the Musical Production of the City in 1950s Bombay Cinema. / Dass, Manishita.
In: positions: asia critique, Vol. 25, No. 1, 01.02.2017, p. 101-124.

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    Manishita Dass

    Department of Media Arts

Abstract
The city of Bombay emerged as an emblematic space of India's postcolonial modernity in Hindi cinema during the 1950s, India's first decade of independence. This article focuses on the mise-en-scène of musical sequences—from popular Hindi films such as C.I.D. (dir. Raj Khosla, 1956), Awara (The Vagabond, dir. Raj Kapoor, 1951), Shree 420 (The Gentleman Cheat, dir. Raj Kapoor, 1955), Aar paar (This Way or That, dir. Guru Dutt, 1954), and Pocket maar (Pickpocket, dir. H. S. Rawail, 1956), as well as less commercially successful films such as Phir subah hogi (Dawn Will Come Again, dir. Ramesh Saigal, 1958)—that featured Bombay in a prominent role and delivered it to the Indian public as an iconic space oscillating between exuberance and disenchantment. The author analyzes how these musical sequences use performance, music, and set design to reimagine the metropolis as a site of social critique and utopian fantasy. The urban landscape created through these musical performances and the often highly stylized studio sets is not meant to be read as an authentic representation of real-life locales. Instead, the set as artifice insistently draws attention to its constructed nature and, in fact, relies, for its legibility and evocative power, on this “unreality effect.” The author's aim is to show how this unreal city emerges, in part, out of popular cinema's encounter with the Indian left cultural movement and leftist street theater of the 1940s, and how it functions as a “cinetopia,” a heterogeneous space of utopian longings and dystopian disenchantment.

Hindi film narratives are guided by paradigms of "good" and "bad" and the triumph of good over the evil. The "good" is often subtly equated with the "traditional" and more importantly Indian. The "bad" being equated with "non-tradition" and non-Indian. Hindi films often allure to the universally constructed ideals reaffirming the traditional and condemning the "other" the exotic but the outsider. However the "ideal" is not constant and is often in the state of flux and constant change. Popular Hindi cinema constructs this "ideal" through its narrative. A crisis is created in the course of the "ideal" and the narrative resolves this crisis by reestablishing the moral order. Few films in the commercial circuit transgress this "ideal" and are often then addressed as a cult film. (Thomas, 2014) However it is true that unlike Hollywood and other film Industries, popular Hindi cinema never had an idealized and coherent film form. Both Kaushik Bhaumik and Stephen Huges have casted their doubts on the puritarian attitude towards Indian cinema. "When cinema came to India it came not only with film equipment"s but existing genres and narrative form" (Majumdar 2009:1). If we look at the filmography of Indian cinema it will be clear to us that at any point of time, there was no one form, which can claim its sole existence in Indian cinematic History. It is true that few forms dominated at one point or the other and were acknowledged too but then other were so prominent, that there existence cannot be negated. Early cinema was a mix bag of mythological, fantasy as well as stunt romances; Talkies had the filmed play, "realist" socials and Fearless Wadia stunt films and 1950"s had the strange dichotomy of "masala films" on one hand and the "call for realism" on the other.

"The aim of this paper is to explore Hindu–Muslim relations through the cinematic register of on-screen inter-faith marriages, and critique the under-currents of ‘Otherness’ that undergirds most of these narratives in the post-Hindutva milieu. Since the Hindu female embodies the (Hindu) nation in popular imagination, Muslim males gain access to Hindu females only within narrations of perfidy and ‘inappropriate appropriation’, signifying their perceived ‘Otherness’. The cohabitation of the Muslim female with a Hindu male, on the other hand, is framed within quotidian love narratives and marks her homecoming or gharwaapsi. Even as it offers national integration as its central motif, Jodhaa Akbar (JA) offers a narrative in which Akbar must be sufficiently indigenized and homogenized to merit absorption into the nation. JA both participates in and responds to the construction of this ‘Otherness’,as I shall demonstrate. While charting a new cartography of cinematic terrain where the
faith of a minority group occupies the centre stage, JA nevertheless presents a Hindutva polemic aware of accusations of self-aggrandizement and thus amenable to hegemonic concerns."

This paper will attempt to explore the intricate relationship between cinema, violence and history through a detailed reading  of Anurag Kashyap's 'Gangs of Wasseypur' (2012).  The two part saga spans from early 1940's to present day, narrating a story of feudal rivalry and vengeance set against the backdrop of Dhanbad coalmines. With a detailed analysis of the film text, this paper will traverse across public sphere discourses, critical and popular, generated around the film(s), to understand the representation of the erasure of violence through the moving image.

First book to study the horror genre of Hindi cinema in all its forms and expressions Filming Horror: Hindi Cinema, Ghosts and Ideologies bridges the gap that currently exists in the field of genre studies in Hindi cinema. Analyzing more than 80 horror films from Mahal (1949) to Ragini MMS 2 (2014), the book uncovers narrative strategies, frames unique approaches of investigation, and reviews the revolutions taking place within this genre. The book argues that Hindi horror cinema, which lies at the intersection of myths, ideology and dominant socio-religious thoughts, reveals three major strands of narrative constructs, each corresponding to the way the nation has been imagined at different times in post-colonial India. Moving beyond establishing the theoretical framework of horror cinema, the book intends to demonstrate how this genre, along with its subsets, provides us with the means to contemplate the nation and its representation.

This essay makes sense of the trauma of cinematic un-belonging, whether sedimented over a landscape situated in the crevices of caste-revenge and justice, or extracted from nonplussed strangers trapped in the photographic meanwhile of Hindi cinema's ground-zero, via two landmark films situated orthogonal to popular cinema's straightforward certitudes.

Bombay cinema has remained largely aloof from the science-fiction genre. The indigenous Indian space program in the 1970s did not spark the invasion/mutation sub-genre in Hindi cinema the way it had done for Hollywood in the 1950s. Pakistan's scientific endeavors did not prompt national anxieties in India. Yet Hindi cinema has presented viewers with monstrosities begotten by science. This article reconnoiters the Monster/Creature narrative in Hindi cinema and contextualizes the historically specific monstrous visions in two pioneering monster narratives of the 1980s. The horror-inflected Hindi science-fiction genre with its “moral tales of scientific excesses” remains essentially an anti-science discourse.

Over the last five years, a Youtube channel, The Viral Fever (TVF), has gained enormous popularity across urban India. I invite us to think of TVF as a quick and witty rehashing of the disassembled constellations drawn from the promotional frenzy of various media platforms, of which the celebrity form remains a key guiding force. In this new rendering of digital transactions, references are drawn from celebrity events, celebrity news and an increasingly contiguous - however scattered across media platforms - lifeworld of promotional frenzy, including reality television and web series. Some of these web-based platforms are hosted on Youtube as channels, while some have also developed their own platforms while retaining a presence on Youtube. While a lot of it is primarily witty commentary over what I call the 'membrane of the popular', there is an increasing emergence of new fictional content. Most of the web-based content is very specific and single-minded in its demographic focus upon the urban youth, which has made the mobile phone an emerging counterpart to television. Indeed, not only the demographic target but also the historical legacy of television channels is starkly different from the web-based media. This has also led to the emergent discourse that as opposed to television, the web-based content is more 'real' and relatable. It is in this sense that web-based media are fundamentally different from television, and its particular interest in the family demographic. This paper unpacks the web-based media constellations and argues that they are situated on the bridge between advertising and meta-commentary on the informally constituted celebrity universe. These digital media constellations need to be disassembled to be identified for they are - alternative routes to advertorial aggregation of celebrities, commodities and targeted demographic lifeworlds, all mounted upon the axis of humour. The digital economies, in the process, are shaped by the informality and intimacy they offer via portable platforms, but remain firmly situated on the promotional imperative of the advertising industry. The 'reconfigurations' and 'epochal shifts' of the digital transactions, therefore, must be understood for what they actually are: promotional infrastructure built over and around the existing media economies, so as to access the paying consumer via every platform and device possible.

Hindi cinema has long been instrumental in defining the boundaries between the "self" and the "other," often by providing stereotypical representations of the other's different religious, linguistic or ethnic affiliations. It was often Pakistan that played the role of the other, especially in films dealing with international terrorism or war. However, certain recent films focus on the lives of everyday people and emphasize the possibility of redefining the India-Pakistan relationship by portraying cross-border friendship between everyday Indians and Pakistanis. In this article, I look at two such films, Bajrangi Bhaijaan (Khan, 2015) and Happy Bhag Jayegi (Aziz, 2016) and investigate whether these films provide a more nuanced portrayal of Pakistani characters than previous war or spy films. Throughout the paper I suggest that this is not the case and that these films, despite their wholesome message, employ a variety of stereotypes related to gender, religion, and nationality, which have been crucial in delineating the cultural boundaries of the Indian nation.

Just like film noir shaped the cinema of Guru Dutt, the films of Orson Welles and Frank Capra, along with those of the neorealists—Roberto Rossellini (Rome, Open City) and Vittorio De Sica (Bicycle Thieves, Shoeshine and Miracle in Milan)—gave shape and colour to Kapoor’s films.

Of all his films that bear the influence of Italian neorealism, Boot Polish (1954), produced and apparently ghost-directed by him, veers strikingly apart in choice of protagonists (children), lack of a love angle (Jaagtey Raho being the only other exception), and its complete submergence in socio-political realities.

The neorealists’ slice of realism had struck a deep chord with Kapoor. In his own words: “De Sica and Zavattini brought to the screen what they saw and felt. Something real. Slices of life… however, the most effective part of the whole movement was the allegory that was part of the film. That was very important.” It is interesting to examine the several similarities and differences between the two films.

The Hindi Cinema industry in the 1970s was a combination of mainstream movies featuring ‘superstars’ and the growing popularity of the ‘angry young man’. But in the race to best represent the woes and frustrations of the Indian populace, in the tradition of popular cinema, there was an inherent tendency to use escapism. The protagonist was inevitably shown to reach from obscurity to limelight, right all the wrongs by the virtue of ‘heroism’. This resulted in a ‘reel’ depiction of real public, which was based on aspirations rather than reality.
This gap was bridged in the 1970s, with the rise in the portrayal of the ‘common man’. This paper is an investigation to understand this creation of the ‘reel’ middle class and its journey to being the, ‘hero’ of a movie. The study will be based on the works of Amol Palekar-the poster boy of the common man. Through movies like Choti Si Baat , and Golmaal will take a socio-realist approach to ascertain the validity of the portrayal, problems and the capability of the middle class persona to become the ‘hero’ of a story.

Highway, as depicted in the film serves as a connecting link, an end to charter the route to release and freedom for Veera and Mahabir Bhati. Scenes of common and rustic life with its simple language and manner abound in the film. Veera and Mahabir exemplify the spirit of rebellion against the oppressive system and tradition. Imagination, passion, emotion and mysticism take the film closer to romanticism. The elements of sadness, gloom, silence, death and escape -all defining features of romanticism suffuse the canvass of the film. Silence with all encompassing gloom works like a language in the film. Finally 'love for nature' as the ultimate feature of romanticism serves as a unifying element of the plot in the film.

A shy but determined Dalit man; born in pre-partitioned Rawalpindi, Shailendra (1923-1966) was the poet whose subversive poems and deeply romantic and philosophical songs, I grew up listening to. I remembered word for word many of his works but was completely oblivious, for many years, to the genius of the lyricist who penned them. Years later, I critically analyzed his verses to discover how he brilliantly fused the age-old Indian consciousness with the tensions of the modern world in his mainstream lyrics. His legacy is that they have, over the decades, seeped into the corpus of Indian folk culture and linguistic life. Article In the winter of 2014, when I was a precocious child of thirteen, I happened to visit the quaint city of Bareilly along with a team of passionate theatre artists; donned in black kurtas. It was to perform a nukkad natak-a Rajoria| 1

Satyajit Ray (1921-1992) fue un director de cine bengalí, escritor e ilutrador, estableció un nuevo estándar para el cine indio con su Trilogía "APU": Pather Pancheli (Canción de la pequeña carreta, 1955), Aparajito (The Unvanquished, 1956) y Apur Sansar (El mundo de Apu, 1959) con el que generó perspectivas encontradas, ya que sus intenciones en el cine fueron la universalidad de las historias desde su contecto indio y bajo estructuras de géneros fílmicos, pero con un gito evitando el lugar común. Justamente, en este artículo escrito por él mismo, puntualiza el cine que quiso realizar y la manera en cómo se comparó con varios de sus colegas a tal grado de colocarse como uno de los cineastas consagrados en la historia del cine indio. Ray también habla sobre la dificultad de adptar las obras literarias a la pantalla, su preocupación por el público y las formas de producción de aquella época en su país, en donde alude a una carente sistematización y colaboración por parte del gobierno de la India. Un personaje autocrítico y autocomplaciente en su paso por el nuevo cine Bengalí durante las décadas de los cincuentas hasta los sesentas del siglo XX.

समय-समय पर प्रबुद्ध नवगीतकारों के साथ-साथ समर्पित सम्पादकों ने समाज-निर्माण के उद्देश्य से नवगीत— गीत का आधुनिक संस्करण, की वैश्विक चेतना का विस्तार करने की भरपूर कोशिश की है। ऐसी ही एक कोशिश के रूप में इस संपादित पुस्तक— 'नवगीत वाङ्मय' (Navgeet Vangmay) को देखा जा सकता है, जिसके 'समारंभ' खण्ड में तीन संस्थापक नवगीतकारों— शम्भुनाथ सिंह, शिवबहादुर सिंह भदौरिया व राजेंद्र प्रसाद सिंह के संक्षिप्त परिचय सहित उनकी नवगीत पर टिप्पणियाँ एवं उनके तीन-तीन नवगीत, 'नवरंग' खण्ड में नौ प्रतिष्ठित नवगीतकारों— गुलाब सिंह, मयंक श्रीवास्तव, शान्ति सुमन, राम सेंगर, नचिकेता, वीरेंद्र आस्तिक, बुद्धिनाथ मिश्र, विनय भदौरिया व रमाकान्त के संक्षिप्त परिचय सहित उनकी नवगीत पर टिप्पणियाँ एवं उनके नौ-नौ नवगीत, 'अथबोध' खण्ड में दिनेश सिंह का 'नये-पुराने' पत्रिका (गीत अंक-5, 1999) से लिया गया एक सारगर्भित लेख, 'साक्षात्कार' खण्ड में मधुसूदन साहा से हुई अवनीश सिंह चौहान की महत्वपूर्ण बातचीत, और 'परिशिष्ट' खण्ड में नवगीत की प्रथम पंक्ति के साथ नवगीतकारों के नाम व पते को सहेजा गया है। इस संदर्भ में डॉ विमल (पूर्व आचार्य एवं अध्यक्ष, हिंदी विभाग, वर्धमान विश्वविद्यालय, वर्धमान) का मानना है—"संपादन-कला के मर्मज्ञ आचार्यों से अपने सतत जुड़ाव के कारण मैं यहाँ यह बात साधिकार लिख रहा हूँ कि डॉ अवनीश सिंह चौहान द्वारा संपादित— 'नवगीत वाङ्मय' में प्रयुक्त संपादन-कला वस्तुतः शिखर-चुम्बी है। शिखर-चुम्बी इसलिए कि इस पुस्तक में प्रस्तुत अभिव्यंजना के प्रत्येक पक्ष (नवगीतकारों का चयन, नवगीतों का चयन, सुगठित टिप्पिणियाँ, लेख, साक्षात्कार आदि) में संपादक ने जिस कौशल को प्रस्तुत किया है, वह सराहनीय ही नहीं, अनुकरणीय भी है। चयन व संपादन कला में दक्षता हेतु संपादक महोदय को मेरी बहुत-बहुत बधाई।"
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शीर्षक : नवगीत वाङ्मय
सम्पादक : अवनीश सिंह चौहान
प्रकाशक : नई दिल्ली : ऑथर्सप्रेस
प्रकाशन वर्ष : 2021
पृष्ठ : 174
ISBN: 978-93-5529-004-5
MLA Citation:
चौहान, अवनीश सिंह, नवगीत वाङ्मय, ऑथर्सप्रेस, 2021
ASIN
https://www.amazon.in/dp/B09FY2T7NY/ref=sr_1_1?dchild=1&qid=1631335221&refinements=p_27%3AAbnish+Singh+Chauhan&s=books&sr=1-1

फ़ैज़ की पंक्ति थी 'इक उम्मीद से दिल बहलता रहा' - ये उम्मीद ग़ालिब के 'दिल बहलाने के ख़याल' से अलग थी। यहाँ सर्वेश्वर की 'दिए में तेल से भीगी बाती' की उम्मीद थी। अवनीश अपने गीतों में चाहे जितनी क्रूर स्थितियों का वर्णन करें लेकिन उम्मीद का दामन नहीं छोड़ते। मैथ्यू आर्नल्ड का मानना था 'कि सभ्यता के संक्रांति काल में कविता ही अंततः मानव सभ्यता और संस्कृति को पोषित कर सकती है' - तो अवनीश के गीत भी इस भाव से अलग नहीं हैं। उनके कुछ गीतों में जीवन और समाज की निर्मलता और मासूमियत के ऐसे चित्र  देखने को मिलते हैं जो निश्चित ही ऐसी उम्मीद जागते हैं जिनसे दिल को आने वाले सुखद समय के इंतज़ार में बहलाया जा सकता है। 
MLA Citation:
अभिजीत, "इक उम्मीद से दिल बहलता रहा", शोध दिशा (ISSN: 0975-735X), शोध अंक 27, जुलाई-दिसंबर 2014, पृ. 229-232

Abstract Sanjay Srivastava’s rational, scientific hero, who emerged in the immediate post-colonial Hindi cinema of the 1950s, was strongly linked to the Indian government’s Soviet-style Five-Year Plans. Rigorous town planning and large-scale socio-urban experiments created the conditions for the cosmopolitan, Westernised filmic hero to acquire a hegemonic position within the discursive practices of the Nehruvian state. However, he was by no means the only embodiment of masculinity on offer. Employing narrative analyses of two key Hindi films of the period, I posit that there were competing visions of masculinity, not aligned with, but rather opposed to, the hegemonic discourse of metropolitan culture and cosmopolitan outlook of Nehruvianism.

समीक्षित कृति : वीरेन्द्र आस्तिक. गीत अपने ही सुनें. नई दिल्ली :  के.के. पब्लिकेशन्स, 2017. पृष्ठ : 128, मूल्य : रु 395/-, ISBN: 978-81-7844-305-8           

शीर्षक : 'गीत अपने ही सुनें' का प्रेम-सौंदर्य
पत्रिका : साहित्य कुञ्ज
वर्ष : 16
अंक : 162 
तिथि : 1 अगस्त 2020 
पृष्ठ : वेब
ISSN: 2292-9754

MLA Citation:
चौहान, अवनीश सिंह, "'गीत अपने ही सुनें' का प्रेम-सौंदर्य", साहित्य कुञ्ज , वर्ष : 16, अंक : 162, 1 अगस्त 2020, वेब पृष्ठ

Western culture with its different ingredients has greatly influenced the film Queen. It is visible in the title, setting, story and characters of the film. The rediscovery of Rani, the leading character of the film is not something brought about because of her brief interaction with western culture and atmosphere but as a result of her evolved inner strength. Other characters are variously affected by this western influence. Contradicting the popular belief concerning liberating influence of western culture, most of these characters remain shackled in their narrow prejudices despite remaining in touch with it (western culture) for long.

Sanjay Srivastava’s rational, scientific hero, who emerged in the immediate post-colonial Hindi cinema of the 1950s, was strongly linked to the Indian government’s Soviet-style Five-Year Plans. Rigorous town planning and large-scale socio-urban experiments created the conditions for the cosmopolitan, Westernised filmic hero to acquire a hegemonic position within the discursive practices of the Nehruvian state. However, he was by no means the only embodiment of masculinity on offer. Employing narrative analyses of two key Hindi films of the period, I posit that there were competing visions of masculinity, not aligned with, but rather opposed to, the hegemonic discourse of metropolitan culture and cosmopolitan outlook of Nehruvianism.

Ahmedabad International Literature Festival 2016, having the byline “Debate, Discuss, Deconstruct; You can do it all, be there”, lived up to it when all forms and genres of literature including Media and Cinema were discussed threadbare in 15 sessions for two-day event with huge presence and constructive participation from audience with a view to communicate together, share information, nurture talent,​ ​explore opportunities​
and add values to life and society.

Speakers from all over Gujarat, India and abroad went into the details of subjects and deconstructed it for the mutual understanding and comprehensive education. All the esteemed speakers like Madhur Bhandarkar, Piyush Mishra, Yogesh Gadhavi, Raghuveer Chaudhari, Chinu Modi, Geoff Wain, Arthur Duff, Sumant Batra, Sandeep Nath, Usha Narayanan, Abnish Singh Chauhan, Anil Chavda, Tushar Shukla,Tuhin Sinha, Anuja Chandramouli, Madhuri Sharma, Jigna Shah and others were extremely pleased to see such a vibrant and interactive audience eager to know the difference between good and great literature of today's world!

READ MORE: http://creationandcriticism.com/_blog/2016/11/17/64-ailf2016-a-journey-begins/

This paper engages with the politics of framing to explicate how Bollywood has framed the political, material and ideological compulsions of Kashmir insurgency, nation-formation, and citizenship in India. Moving beyond traditional readings, I will focus on the multiple ways in which the images of Kashmir's conflict in the past and present are communicated to, and shared in, the popular culture, highlighting the importance of “remembering” certain segments of the past and “forgetting” or ignoring others. This paper deals with the cinematic images that seek to challenge and renegotiate modern, political, and ethical dilemmas by exploring the constitutive tension, aporias, perplexities and paradoxes between— “man” and “citizen,” the principle of universal human rights and that of state sovereignty, the growing problem of statelessness, and biopolitical humanitarianism. https://www.tandfonline.com/doi/abs/10.1080/02759527.2014.11932989