Indian Cinema in the Time of Celluloid: From Bollywood to the Emergency

1. IntroductionPART I: THE 'CINEMA-EFFECT' OUTSIDE THE CINEMA: 'BOLLYWOOD' AND THE PERFORMING CITIZEN2. 'Bollywood' 2004: The Globalized Freak Show of what was Cinema; 3. When Was Bollywood?; 4. The 'Cinema-Effect': Cultural Rights Vs. The Production Of Authenticity; 5. Social Lineages of the Cinema-Effect: Demonstrating Spectatorial AbilityAfterword: Bollywood And The Cinema-Effect: A Concluding NotePART II: ADMINISTERING THE SYMBOLS OF AUTHENTICITY-PRODUCTION: THE CINEMA-EFFECT AND THE STATE - AND REVISITING A 1990s CONTROVERSY6. Administering the Symbols of Authenticity-Production; 7. 'You Can See Without Looking': The Cinematic 'Author' and Freedom Of Expression in the Cinema; 8. 'People-Nation' And Spectatorial Rights: The Political 'Authenticity-Effect', the Shiv Sena and a Very Bombay HistoryPART III: 1970S QUESTIONS: THE CINEMA-EFFECT, THE NATIONAL SYMBOLIC AND THE AVANT-GARDE9. The Nation Detours; 10. The Indian Emergency; 11. The Problem, and a 'Coproduction Of Modernities'; 12. 'Taking' The Shot': Alternative Beginnings To The Mechanism; 13. The Practice: Two Films And A Painting (1): Bhupen Khakhar's List; 14. The Practice: Two Films And A Painting (2): Mani Kaul And The 'Cinematic Object' - Uski Roti; 15. The Practice: Two Films And A Painting (3): Gautam Ghose's Maabhoomi, Territorial Realism And The 'Narrator'

Centre for the Study of Culture & Society, Bangalo

"One of the finest writers on Indian cinema ... shows once again his imagination in posing new questions and his use of largely neglected primary sources." Rachel Dwyer, author of Filming the Gods: Religion and Indian Cinema