Mahurat (original) (raw)
2021
A comprehensive overview of how to study film, this updated third edition provides concise and provocative summaries for approaching the language of film analysis, ways of thinking about film history, and approaches and methods for studying cinema, from national cinemas to genre to stardom and beyond. The new edition tracks the changes in film production and exhibition by situating the study of film within contemporary digital media cultures and structures, such as social media and streaming platforms. Without forsaking its emphasis on the study of film, the third edition updates its examples and provides fresh insight into today's image culture. Film Studies: The Basics provides beginning students in film studies, as well as lifelong film buffs, with the tools to pursue film analysis, film history, and further inquiries into the medium.
The AnaChronisT
The idea for the Reel Eye special issue of The AnaChronisT was prompted by a workshop and conference held at Eötvös Loránd University (ELTE) in September 2021, as part of the ELTE Film and Culture BA Specialisation Programme of the School of English and American Studies (SEAS). The programme was launched in 2015 to improve BA education with the encouragement of the late Prof. Tibor Frank, director of SEAS back then, and of Prof. Ákos Farkas, head of the Department of English Studies (DES) back then. They were both highly dedicated to starting a new Film and Culture programme, which was co-hosted by ELTE SEAS and the Department of Film Studies. With this Reel Eye special issue, we would also like to pay tribute to the work and support of three colleagues: the late Prof. Tibor Frank, Prof. Ákos Farkas, and Prof. Marcell Gellért (now retired), who also participated both in the creation of the Film and Culture 2016 textbook and in the Reel Eye Conferences. By now, we have trained almost 100 students in the Film and Culture programme, who continued their MA studies at different film departments after graduation, finding their feet either in academia or in the film industry. Among our first-generation students, there were young talents who, since then, have proved to be important parts of the Hungarian and international film industries, either as theoreticians, scriptwriters, or filmmakers, of which we are all very proud.
Quarterly Review of Film and Video
Andhra Pradesh. Her areas of research include feminist theology, catholic feminism, liberation theology, sexuality studies, and autobiography studies. She holds an M.Phil degree and has presented papers in both International and National Conferences, and published articles in journals. Dr. Soumya Jose is an Assistant Professor in the School of Humanities and Management, National Institute of Technology Andhra Pradesh. Dr. Jose does research in African American Theatre, Gender Studies, and Diaspora Studies. Dr. Jose has published more than fifty articles in high impact international research journals, edited books, and encyclopaedias.
Islamicate Cultures of Bombay Cinema
Manager of the Preservation Unit at the NFAI for granting us access to archive prints. We are also grateful to the National Film Development Corporation for giving us access to their prints of Mammo and Salim Langde pe Mat Ro. Special thanks go to Urmila Joshi, Chief Librarian at the NFAI, for her invaluable and timely help with research materials and references and for responding instantly to pho^e re(luests for clarifications even as the book was going to press. We would also like to thank Lakshmi lyer and Arti Karkhanis for furnishing film stills. We thank Aruna Arora, Librarian at the School of Arts and Aesthetics, JNU, for her instant responses on requests for books and materials, and making sure that we had what we needed. We would like to thank Kavita Singh for giving us references on Mughal art, and Najaf Haider for stimulating discussions and responding to requests for clarifications. Indira Chandrasekhar at Tulika Books has been an inspiration to work with. Enthusiastically supportive of this book from the very beginning, she has worked round the clock on the editing, formating, photographs and proofs, and it is due to her that you hold this beautiful book in your hands. We would also like to thank Rani Ray for her work on editing and proofing the text. We are extremely grateful to Ravinder Singh for his prompt responses and wonderful work to produce most of the stills in this book. Thanks are also due to Ravinder Randhawa for his work on the stills, and to Swara Bhaskar and Ravinder Randhawa for their untiring work to create and obtain the film prints from which a number of the stills were made. Swara Bhaskar also worked on the proofs, the glossary and the credits of the films, and we would like to thank her for her work.
THE CINEMA OF INDIA: NEED OF INDIAN FILM THEORY
DEV SANSKRITI: Interdisciplinary International Journal (2016), 7, 38-49 (ISSN: 2279-0578) ABSTRACT With what outlook should one construct, analyze or dissect film theory? Should one view cinema as a medium of mass communication? Propaganda? Entertainment? Art? Or should cinema be considered a concoction of them all? In trying to formulate a film theory, dealing with all these elementary characteristics of cinema poses a serious problem. Gaston Roberge notes that – “A theory of movies would tell us what a movie is, what it is made for, how it is created in images and sounds, and for whom it is made.” Gaston Roberge; The Indian Film Theory: Flames of Sholay, Notes and Beyond, (Sampark) p. 11 The questions respectively deal with the content of a movie, the validity of the content in terms of the prevailing socio-political circumstance,the form of the movie and the target audience of the movie. Now, obviously, it is required for Indian cinema to be able to provide at least a level of generalization in answering the aforementioned questions to be considered to have a theory of its own. The purpose of this article would be to investigate whether or not such a generalization (subsequently, a film theory) is possible for Indian cinema, and then to delve further to find out how much of that theory is rooted in our original outlook toward audio-visual art. Now obviously the span of one article does not allow analysis of every type of cinema produced in as cinema-crazy a country as ours, where almost every state has its own regional cinema, independent cinema, art-house cinema and recently, underground cinema. For the purpose of the present article, therefore, we would restrict ourselves to the popular Indian cinema, namely Bollywood productions that some critics coin as commercial or entertainment cinema. Keywords : Bollywood, Indian Cinema, Natyasastra,
Cinema Studies: The Key Concepts
This is the essential guide for anyone interested in film. Now in its second edition, the text has been completely revised and expanded to meet the needs of today's students and film enthusiasts. Some 150 key genres, movements, theories and production terms are explained and analysed with depth and clarity.