By Tejaswini Ganti
In Bollywood, anthropologist and movie pupil Tejaswini Ganti offers a consultant to the cultural, social and political value of Hindi cinema, outlining the background and constitution of the Bombay movie undefined, and the improvement of well known Hindi filmmaking because the Nineteen Thirties. delivering details and observation at the key avid gamers in Bollywood, together with composers, administrators and stars, in addition to fabric from present filmmakers themselves, the parts lined in Bollywood contain: background of Indian cinema major subject matters and features of Hindi cinema major motion pictures, administrators and stars construction and distribution of Bollywood motion pictures interviews with actors, administrators and screenwriters. somebody attracted to, or learning Bollywood cinema will locate this a worthy buy.
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Extra info for Bollywood: A Guidebook to Popular Hindi Cinema (Routledge Filmguidebooks)
5 Shooting for Awara Paagal Deewana (dir. Vikram Bhatt, 2002) in New York City’s Times Square © Tejaswini Ganti, 2001 London, creating websites to promote their ﬁlms, dubbing ﬁlms into English, Spanish, and French, and subtitling them in English, Hebrew, and Japanese in order to expand their markets to include areas without signiﬁcant South Asian diasporic populations. Hindi ﬁlms have become a visible part of the media landscape in the West as evidenced by the premieres of ﬁlms in prestigious international ﬁlm festivals like Cannes, Venice, and Toronto; the screenings of ﬁlms in mainstream cinemas such as London’s Leicester Square, New York’s Times Square, and even the IMAX in Indianapolis; the nomination of Lagaan (see chapter 4) for an Academy Award in the Best Foreign Film category in 2001; and the release of ﬁlms like Baz Luhrmann’s Moulin Rouge, Terry Zwigoff’s Ghost World, and Lars von Trier’s Dancer in the Dark which explicitly reference popular Hindi cinema.
Though the industry associations were pleased with the level of unity displayed by the protest, it did not lead to any concrete changes in government policies. However, later in 1949, the central government appointed a Film 111 4 111 0111 1 111 4 111 0111 4 0111 41 Enquiry Committee comprising ﬁlmmakers and government ofﬁcials to look into the problems of ﬁlmmaking and investigate issues relating to ﬁnance, distribution, exhibition, and taxation. In 1951 the Committee published its report, a comprehensive portrait of ﬁlmmaking in India at the time along with a series of recommendations, but, to the dismay of ﬁlmmakers the government ignored the report.
The press was rigidly censored and newspapers were barred from publishing the names of those arrested. Incidents of torture and even murder occurred in jails. In addition to political arrests, those placed under detention included “bad characters” and “antisocial” elements like smugglers, hoarders, and black marketeers. Indira Gandhi’s son, Sanjay, oversaw a national population policy involving the forced sterilization of millions of mostly poor men and women. He also initiated urban “beautiﬁcation” projects, which involved demolishing poor neighborhoods and clearing slums, thereby displacing thousands of people.