This text invites the reader to think about collaborative research differently. Using the concepts of 'letting go' and 'poetics', it envisions collaborative research as a space where relationships are forged with the use of arts-based and multimodal ways of seeing, inquiring, and representing ideas.
A Landmark in recent Indian cinema, by acclaimed director Mani Ratnam. In January 1993 sectarian rioting left 2,000 Hindus and Muslims dead in Bombay. Only two years later Mani Ratnam's audacious Tamil film Bombay (1995) used these events as a backdrop to a love story between a Hindu boy and a Muslim girl. Bombay was condemned by Muslim critics for misrepresentation and it was embroiled in censorship controversies. These served only to heighten interest and the film ran to packed houses in India and abroad. Lalitha Gopolan shows how Bombay struggles to find a narrative that can reconcile communal differences. She looks in detail at the way official censors tried to change the film under the influence of powerful figures in both the Muslim and the Hindu communities. In going on to analyse the aesthetics of Bombay, she shows how themes of social and gender difference are rendered through performance, choreography, song and cinematography. This is a fascinating account of a landmark in recent Indian cinema.
This book provides a sustained engagement with contemporary Indian feature films from outside the mainstream, including Aaranaya Kaandam, I.D., Kaul, Chauthi Koot, Cosmic Sex, and Gaali Beeja, to undercut the dominance of Bollywood focused film studies. Gopalan assembles films from Bangalore, Chennai, Delhi, Kolkata, and Trivandrum, in addition to independent productions in Bombay cinema, as a way of privileging understudied works that deserve critical attention. The book uses close readings of films and a deep investigation of film style to draw attention to the advent of digital technologies while remaining fully cognizant of ‘the digital’ as a cryptic formulation for considering the sea change in the global circulation of film and finance. This dual focus on both the techno-material conditions of Indian cinema and the film narrative offers a fulsome picture of changing narratives and shifting genres and styles.
A framework for understanding the distinctiveness of Indian cinema as a national cinema within a global context dominated by Hollywood is proposed by this book. With its sudden explosions into song-and-dance sequences, half-time intermissions and heavy traces of censorship, Indian cinema can be identified as a 'Cinema of Interruptions'. To the uninitiated viewer, brought up on the seamless linear plotting of Hollywood narrative, this unfamiliar tendency towards digression may appear random and superfluous, yet this book argues that such devices assist in the construction of a distinct visual and narrative time-space. 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). 'Cinema of Interruptions' places commercial Indian film within a global system of popular cinemas, but also points out its engagement with the dominant genre principles implemented by Western film. By focusing on the action-genre work of leading contemporary directors J.P. Dutta, Mani Ratnam, and Vidhu Vinod Chopra, brazen national style is shown to interact with international genre films to produce a hybrid form that reworks the gangster film, the western and the avenging woman genre. 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 the book presents not only a fresh framework for understanding popular Indian cinema but also a contribution to film genre studies.
Spiritual seeking is part of the Indian ethos. Peopleof all ages and stations journey in utter faith anddevotion to places of worship - all seeking theelusive grail of inner peace, support in their earthystruggles, and eventual release from this mortalexistence.*Temples direct believers along the path of salvation,while serving as places of refuge in times of conflictand distress. India is perhaps first and foremost aland of temples.*Kerala has more than 2000 temples - withfascinating legends attached to them. The ritualsand pujas differ from temple to temple but arein accordance with the norms laid down by wellknown saints-preceptors such as Adi Sankara andVilwamangala Swami.Although millions of devotees and tourists visitKerala's temples every year, little is available byway of essential information in order to facilitatethe pilgrim route. This book presents detailsregarding location, timings, pujas and festivals, aswell as the legends and significance of the variousofferings at the important temples in the State.*The temples have been grouped according tolocation, allowing for visits to as many temples aspossible within the shortest travel time.*Useful information regarding accommodation,places of tourist interest and shopping optionsclose to the temples, have also been provided.* These pages are dedicated to the pilgrim soul ineach of us...
This text invites the reader to think about collaborative research differently. Using the concepts of 'letting go' and 'poetics', it envisions collaborative research as a space where relationships are forged with the use of arts-based and multimodal ways of seeing, inquiring, and representing ideas.
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