This book considers the popular cinema of North India (Bollywood) and how it recasts literary classics. It addresses the socio-political implications of popular reinterpretations of elite culture, exploring gender issues and the perceived sexism of popular films and how that plays out when literature is reworked into film.

This book analyses the novels of Salman Rushdie and their stylistic conventions in the context of Indian popular cinema and its role in the elaboration of the author’s arguments about post-independence postcolonial India. Focusing on different genres of Indian popular cinema, such as the ‘Social’, ‘Mythological’ and ‘Historical’, Stadtler examines how Rushdie’s writing foregrounds the epic, the mythic, the tragic and the comic, linking them in storylines narrated in cinematic parameters. The book shows that Indian popular cinema’s syncretism becomes an aesthetic marker in Rushdie’s fiction that allows him to elaborate on the multiplicity of Indian identity, both on the subcontinent and abroad, and illustrates how Rushdie uses Indian popular cinema in his narratives to express an aesthetics of hybridity and a particular conceptualization of culture with which ‘India’ has become identified in a global context. Also highlighted are Rushdie’s uses of cinema to inflect his reading of India as a pluralist nation and of the hybrid space occupied by the Indian diaspora across the world. The book connects Rushdie’s storylines with modes of cinematic representation to explore questions about the role, place and space of the individual in relation to a fast-changing social, economic and political space in India and the wider world.

Popular Indian Cinema is clearly a worldwide phenomenon. But what often gets overlooked in this celebration is this cinema’s intricate relationship with global dynamics since its very inception in the 1890s. With contributions from a range of international scholars, this volume analyses the transnational networks of India’s popular cinema in terms of its production, narratives and reception. The first section of the book,Topographies, concentrates on the globalised audio-visual economies within which the technologies and aesthetics of India’s commercial cinema developed. Essays here focus on the iconic roles of actors like Devika Rani and Fearless Nadia, film-makers such as D G Phalke and Baburao Painter, the film Sant Tukaram, and aspects of early cinematography. The second section, Trans-Actions, argues that the ‘national fantasy’ of Indian commercial cinema is an unstable construction. Essays here concentrate on the conversations between Indian action movies of the 1970s and other genres of action and martial arts films; the features of post-liberalisation Indian films designed to meet the needs of an ‘imagined’ global audience in the 1990s; and the changing metaphor of ‘the vamp’ as portrayed through desirous women in films with examples of the Anglo-Asian, the westernized Indian woman of ‘low character’, and the contemporary figure of the ‘heroine’. The final section, Travels, focuses on the overseas reception of Indian cinema with ethnographic case studies from Germany, Guyana, the USA, South Africa, Nigeria and Britain. The contributors highlight various issues concerning modernity, racial/ethnic identity, the gaze of the ‘mainstream Other’, gender, hybridity, moral universes, and the articulation of desire and disdain.

This book is a collection of incisive articles on the interactions between Indian Popular Cinema and the political and cultural ideologies of a new post-Global India.

Pivoting on the nation as a central preoccupation in Hindi films, Virdi (communication and film and media studies, U. of Windsor, Canada) contends that Hindi cinema appropriates familiar Hollywood cinematic strategies for its own distinctive aesthetics and poetics. Annotation (c)2003 Book News, Inc., Portland, OR (booknews.com).

This book investigates the millennial history of the Indian subcontinent. Through the various methods adopted, the objects and moments examined, it questions various linguistic, literary and artistic appropriations of the past, to address the conflicting comprehensions of the present and also the figuring/imagining of a possible future. The volume engages with this general cultural condition, in relation both to the subcontinent’s current “synchronic” reality and to certain aspects of the culture’s underlying diachronic determinations. It also reveals how the multiple heritages are negotiated through the subcontinent’s long-term sedimentational history. It scrutinizes both conservative interpretations of heritage and a possibly incremental enrichment, and the additional possibility of a mode of appropriation open to a dialectic of creative destruction, in which the patrimonial imperative is challenged, leaving room for processes of renewal and rejuvenation. The collection is organized around four major topics: Orientalism, addressed by way of the Tamil Epic Manimekalai, through the evocation of the Hastings Circle and views on a possible Hindu-Muslim unity sketched out by Sayyid Ahmed Khan; modernism in Indian and Burmese texts written in English; pictorial art, through a consideration of the work of British Asian and Indian film directors; and, finally, the current state of a body of critical thinking on gender.