Book Description
The book proposes an ambitious new framework for understanding the distinctiveness of Indian cinema within a global context dominated by Hollywood. With its sudden explosions into song-and-dance sequences, half-time intermissions, and heavy traces of censorship, Indian cinema can be seen as a "cinema of interruptions." To the uninitiated viewer, brought up on the seamless linear plotting of Hollywood narrative, this unfamiliar tendency toward digression may appear random and superfluous. Yet this book argues that in the hands of imaginative directors, the conventions of Indian cinema become opportunities for narrative play and personal expression in such films as Sholay (1975), Nayakan (1987), Parinda (1989), Hathyar (1981), and Hey Ram! (1999).
Central to this study is the relationship Indian cinema shares with its audience, and an understanding of the pleasures it offers the cinephile. In articulating this bond, Gopalan presents a fresh framework for understanding popular Indian cinema and an important new contribution to film genre studies. --Ce texte fait référence à une édition épuisée ou non disponible de ce titre.
About the author
Lalitha Gopalan teaches Film Studies at Georgetown University where she is an Assistant Professor in the School of Foreign Service and Department of English.
