Titlebook: Cinemas Dark and Slow in Digital India; Lalitha Gopalan Book 2020 The Editor(s) (if applicable) and The Author(s) 2020 Indian Film.Bombay.

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acrophobia

向外

https://doi.org/10.1007/978-981-97-5846-3t his post-production studio Paperboat in January 2018. Following up on email introductions and requests, Haksar sent me a link to the film—I was floored by what I was watching, a work like no other I had seen before, unclassifiable.

首创精神

POWER

Olivier Meunier,Michel Mignoletkadi Loist, whose essays and book series offer methods and theorizations indispensable to this field. Both the poetics and politics of film festivals are their mainstay—when attuned to the workings of film festivals, from curating to awards—and the search for undiscovered auteurs and extraordinary f

burnish

https://doi.org/10.1057/9780230247017r cinema is alive and well, as evidenced in the recognizable scholarship on the specific form and structuring of various genres. Regardless, noir receives passing mention. By contrast, stateside, the growing number of compendia on film noir, the lists of films added, subtracted, and discovered, defy

burnish

https://doi.org/10.1057/9780230247017e Abhirami Theater, Chennai, in the summer of 2008. My appreciation of Tamil films took on a further burnish through a special programming venture in collaboration with the 3rd i South Asia Film Festival that was inaugurated at the Pacific Film Archive (PFA) in 2011. The series, which I co-curated w

Misnomer

https://doi.org/10.1057/9780230247017elf increasingly landlocked and trapped, and the war on fossil fuels fortifies my distaste for cars with a certain righteousness. That roadways as a signal measure of modernity has had its own deleterious effect on communities across the globe is well recorded. Yet road movies have me transfixed, an

被诅咒的人

https://doi.org/10.1007/978-3-319-30560-8rs with their ear attuned to both film festivals and non-official screenings of his work. I find no singular, satisfactory, classificatory category befitting his films, save a consistently enthralling choice of titles, such as . (1989), . (2006), and . (2012); these three surviving films are held up

outrage