The Melodramatic Public: Film Form and Spectatorship in Indian Cinema


Indian Cinema Today. . .and YesterdayThe Thematics of MelodramaThe Shifting Agenda of Film Studies in IndiaThe Melodramatic PublicI. Debates in Melodrama StudiesThe Archaeology of Melodrama in Euro-American Theatre and CinemaMelodrama as Generalized Mode of Cinematic NarrationMelodrama vs Classical Narrative CinemaThe Post-Colonial Question: Melodrama vs RealismDeconstructing the Universal and the NationalII. Thinking About Melodrama in Indian CinemaPre-Cinema HistoriesFilm Form: The Heterogeneous Popular FormatMelodramatic Interventions‘Horizontal’ and ‘Vertical’ ArticulationsRevisiting Melodrama in HollywoodMelodramatic and Other PublicsIntroduction. Narrative Form and Modes of Address in Indian FilmShifting Codes, Dissolving Identities: Realist Art Cinema Criticism and Popular Film FormCritical Discourses in the 1950sPopular Narrative FormVisual FiguresAppropriations and Transformations of‘Modern’ CodesThe Street and the Dissolution of Social IdentityIconic TransactionsRedefining the Popular: Melodrama and RealismThe Popular Cultural Politics of the Social FilmThe Cultural Politics of Address in a ‘Transitional’ CinemaIndian Popular Cinema Genres and Discourses of TransformationDominant Currents in Contemporary CriticismThe Politics of Indian MelodramaIconicity, Frontality, and the Tableau FrameThe Reconstruction of the IconDarshanTableau, Time, and SubjectivityThe Political Terms of Spectatorial SubjectivityNeither State Nor Faith: Mediating Sectarian Conflict in Popular CinemaCommunity Typology and Public Form in Popular CinemaPhalke and the Typological Discourse of Early CinemaThe Social Film: Community Typage/Modernity/PsychologyThe Historical Film: Differentiating Historical and Contemporary PublicsThe Transcendent Location of Stellar BodiesRaj KapoorNana PatekarA Modernist Public: The Double-Take of Modernism in the Work of Satyajit RayThe Modernism of the TrilogyThe Unfinished Agenda of HistoryCharulata (1964)The ContemporaryAranyer Din Ratri (Days and Nights in the Forest, 1969)Cinema and Territorial Imagination in the Subcontinent: Tamilnadu and IndiaIntroductionThe Formation of a Pan-Indian Market: Inter-Regional Translatability in the Cinema of Social ReformDifferentiated Territories of a Subcontinental Cinema Before and After Nation-State FormationVoice, Space, Form: The Symbolic and Territorial Itinerary of Mani Rathnam’s Roja (1992)Kashmir and TamilnaduThe Politics of IdentityTamilness as Intractable EdificeThe Connotations of PlaceThe Recalibration of Popular FormBombay (Mani Rathnam, 1995) and Its PublicsPlot SynopsisTowards a Modern Identity: The Basic Narrative StructureThe Representation of Inter-Community DifferencesJournalistic Effects and Truth Claims: The Pattern of Public EventsThe Navigation of Sectarian Differences: Community and SexualitySelf-Alienation in the Constitution of Decommunalized SpaceMelodramatic Identification: The Claims of Self-SacrificeAnother History Rises to the Surface: Melodrama in the Age of Digital Simulation: Hey Ram! (Kamalahasan, 1999)Plot SynopsisA New History?Publicizing an Unofficial HistoryNarrative Form: Dropping the Quotation MarksReading Hindutva Masculinity‘Lifting the Mogul Pardha’Melodrama: Peformativity and ExpressivityMelodrama in the Age of Digital SimulationІІІ Melodrama Mutated and Differentiated: Narrative Form, Urban Vistas, and New Publics in a History of the PresentIntroductionThe Urban ImaginationDifferentiated Film PublicsDiscourses and Practices of the Cinematic Public: Bollywood, Globalization, and Genre DiversificationSelves Made Strange: Violent and Performative Bodies in the Cities of Indian Cinema 1974-2003In Retrospect: The Breaching of VistasOur Violent Times: The Morphology of Bodies in SpaceDiagnosing the Sources of ViolenceIntimations of Dispersal: The Poetry and Anxiety of a Decentred WorldSocial Transvestism and the Open-Ended Seductions of Performance: The Work of Aamir KhanSatya: The Politics of Cinematic and Cinephiliac PerformativityThe Contemporary Film Industry—I: The Meanings of ‘Bollywood’Bollywood, Mark 1: The Transformation of the Bombay Film EconomyBollywood, Mark 2: Multi-Sited Histories of Indian CinemaThe Contemporary Film Industry—II: Textual Form, Genre Diversity, and Industrial StrategiesNarrative Form in the Contemporary Epoch—I: Father India and the Emergence of the Global NationMothers, Communities, NationsFather, Social Order, State FormThe Symbolic Functions ofthe Father: Dilwale Dulhania Le Jayenge (Aditya Chopra, 1995)The Multicultural Father Deceased and Reincarnated: Kal Ho Na Ho (Nikhil Advani, 2004)Narrative Form in the Contemporary Epoch—II: The Emergence of Genre CinemaRangeela (Ram Gopal Varma, 1995)Bhoot (Ram Gopal Varma, 2003)Ek Hasina Thi (Sriram Raghavan, 2003)Beyond or Within Bollywood?The Cinematic Public—I: MelodramaThe Cinematic Public—II: Cinema and Film After the Proliferation of Copy CultureBibliography
 
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