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Titlebook: Women Filmmakers in Contemporary Hindi Cinema; Looking through thei Aysha Iqbal Viswamohan Book 2023 The Editor(s) (if applicable) and The

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书目名称Women Filmmakers in Contemporary Hindi Cinema
副标题Looking through thei
编辑Aysha Iqbal Viswamohan
视频video
概述Explores how feminism shines and impacts on Hindi filmmakers.Alankrita Shrivastava, Ashwiny Iyer Tiwari, Bhavani Iyer, Farah Khan, Gazal Dhaliwal, Guneet Monga, Gauri Shinde.Honey Irani, Juhi Chaturve
图书封面Titlebook: Women Filmmakers in Contemporary Hindi Cinema; Looking through thei Aysha Iqbal Viswamohan Book 2023 The Editor(s) (if applicable) and The
描述.This book is a comprehensive anthology comprising essays on women film directors, producers and screenwriters from Bollywood, or the popular Hindi film industry. It derives from the major theories of modernity, postmodern feminism, semiotics, cultural production, and gender performativity in globalized times. The collection transcends the traditional approaches of looking at films made by women filmmakers as ‘feminist’ cinema, and focuses on an extraordinary group of women filmmakers like Ashwini Iyer Tiwari, Bhavani Iyer, Farah Khan, Mira Nair Vijaya Mehta, and Zoya Akthar. The volume will be of interest to academics and theorists of gender and Hindi cinema, as well as anybody interested in contemporary Hindi films in their various manifestations..
出版日期Book 2023
关键词Hindi cinema; Women filmmakers; Stardom; auteurism; sexuality; gender studies; globalization; feminist film
版次1
doihttps://doi.org/10.1007/978-3-031-10232-5
isbn_softcover978-3-031-10234-9
isbn_ebook978-3-031-10232-5
copyrightThe Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerl
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Revisioning Family Drama: The Global Spaces of Romance and Science Fiction in Honey Irani’s Storiesn the cinematic imagination and the distribution of Hindi films in the new century. Honey Irani’s contribution to this turn in Hindi cinema in terms of the spatial imagination of . and the genre of romance in her subsequent films needs further exploration. So do her creations of female and male char
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Farah Khan: Cinephilia, Nostalgia and Melancholia roles played by three key elements of her .: cinephilia, nostalgia and a deepening melancholia that underpins her signature style of dizzying, glossy cinema. These three elements cannot be de-linked from Khan’s gender or her religiously minoritised identity. Finally, the chapter deploys an intersec
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Mira Nair and the Cinema of Postcolonial Spectacleediated a space for the performance of the postcolonial nation, even as cultural otherness accrues an eminently saleable commodity value in the global market. This chapter seeks to frame Mira Nair’s films in the context of shifting cultural economies of cinema in the last three decades and how the s
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Figurations of Fallible Women: The Art and Act of Writing by Juhi Chaturvediweaving inter-textual connections, I argue that Chaturvedi’s interview and her films speak to each other, and alert us about a longer history of discreet interpositions shaped by women, and the ways in which women leak out as ‘authors’ of films. I enquire about the nature of film work, questions of
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Queer Counter-narratives, Feminist Authorship, and the Inclusive Storytelling of Gazal Dhaliwal films for major themes dealing with acceptance and awareness around sexuality, dissembling gender norms associated with femininity and masculinity, and their overarching message of inclusivity. To underscore the cinematic and cultural significance of Dhaliwal’s films, I take theoretical recourse to
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