標(biāo)題: Titlebook: Women Filmmakers in Contemporary Hindi Cinema; Looking through thei Aysha Iqbal Viswamohan Book 2023 The Editor(s) (if applicable) and The [打印本頁(yè)] 作者: Grievous 時(shí)間: 2025-3-21 16:59
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書目名稱Women Filmmakers in Contemporary Hindi Cinema讀者反饋學(xué)科排名
作者: Panther 時(shí)間: 2025-3-21 21:49 作者: 迫擊炮 時(shí)間: 2025-3-22 01:46
Revisioning Family Drama: The Global Spaces of Romance and Science Fiction in Honey Irani’s Storiesn the cinematic imagination and the distribution of Hindi films in the new century. Honey Irani’s contribution to this turn in Hindi cinema in terms of the spatial imagination of . and the genre of romance in her subsequent films needs further exploration. So do her creations of female and male char作者: 為寵愛(ài) 時(shí)間: 2025-3-22 05:30 作者: 強(qiáng)制性 時(shí)間: 2025-3-22 11:30
Farah Khan: Cinephilia, Nostalgia and Melancholia roles played by three key elements of her .: cinephilia, nostalgia and a deepening melancholia that underpins her signature style of dizzying, glossy cinema. These three elements cannot be de-linked from Khan’s gender or her religiously minoritised identity. Finally, the chapter deploys an intersec作者: Minikin 時(shí)間: 2025-3-22 14:27 作者: Parley 時(shí)間: 2025-3-22 18:41 作者: monologue 時(shí)間: 2025-3-23 01:03
Mira Nair and the Cinema of Postcolonial Spectacleediated a space for the performance of the postcolonial nation, even as cultural otherness accrues an eminently saleable commodity value in the global market. This chapter seeks to frame Mira Nair’s films in the context of shifting cultural economies of cinema in the last three decades and how the s作者: Truculent 時(shí)間: 2025-3-23 02:01
Figurations of Fallible Women: The Art and Act of Writing by Juhi Chaturvediweaving inter-textual connections, I argue that Chaturvedi’s interview and her films speak to each other, and alert us about a longer history of discreet interpositions shaped by women, and the ways in which women leak out as ‘a(chǎn)uthors’ of films. I enquire about the nature of film work, questions of 作者: Dictation 時(shí)間: 2025-3-23 08:11
Queer Counter-narratives, Feminist Authorship, and the Inclusive Storytelling of Gazal Dhaliwal films for major themes dealing with acceptance and awareness around sexuality, dissembling gender norms associated with femininity and masculinity, and their overarching message of inclusivity. To underscore the cinematic and cultural significance of Dhaliwal’s films, I take theoretical recourse to作者: 機(jī)警 時(shí)間: 2025-3-23 09:44 作者: perjury 時(shí)間: 2025-3-23 14:25 作者: 減弱不好 時(shí)間: 2025-3-23 20:40
Marginalizations and Repressions in Vijaya Mehta’s , and om marginalized communities such as the Parsi community in . and the narratives of the performing women, the . (courtesans) in . negotiate issues of self and identities? How do the spatio-temporal locations that the films signpost via the negotiations of . and performance foreground complexities sur作者: MOT 時(shí)間: 2025-3-23 23:19 作者: Debate 時(shí)間: 2025-3-24 03:19 作者: 擋泥板 時(shí)間: 2025-3-24 09:29 作者: 合適 時(shí)間: 2025-3-24 14:38
Aysha Iqbal Viswamohan 2010 (though this figure is much disputed), this would increase the contribution from building damage to over 80?%. The main cause of deaths and injuries, as suggested by previous studies (Coburn and Spence, Earthquake protection .; Marano et al. Nat Hazards, 49, .) are due to damage and especially作者: 冰河期 時(shí)間: 2025-3-24 15:20
ually associated with this complex subject. The book will help readers to discover diverse perspectives of statistical theory followed by relevant worked-out examples. Keeping in mind the needs of readers, as well as constantly changing scenarios, the material is presented in an easy-to-understand form..978-81-322-3421-0978-81-322-2514-0作者: 種族被根除 時(shí)間: 2025-3-24 19:58
Aysha Iqbal Viswamohanrence is to things, and that these other uses, however common, are secondary, and have a figurative content. Or, to put it another way, that these diverse sorts of object are being assimilated to things and treated accordingly when they are said to be alienated or appropriated. So whereas solidarity作者: 六個(gè)才偏離 時(shí)間: 2025-3-24 23:55 作者: 吞沒(méi) 時(shí)間: 2025-3-25 05:29
Nandana Boseeacts to this harmony, or the lack of it. This sense can-not be immediately or directly masked, but it can be corrupted by dissolute conduct or false religion. It will be seen that the moral sense, as Shaftesbury thus conceived of it, is not very clearly distinguished, if at all, from a sense of nat作者: CLAMP 時(shí)間: 2025-3-25 10:02
Akriti Rastogigy with Hobbes can be misleading if it is pressed too far. For one thing, Hume at no time sets out to demonstrate his conclusions in the manner of a geometrical or strictly logical system, beginning with definitions and proceeding to regularly proved theorems.作者: LINE 時(shí)間: 2025-3-25 12:10 作者: 好色 時(shí)間: 2025-3-25 19:51 作者: Immunization 時(shí)間: 2025-3-25 21:18
rviews was primarily to engage with senior bankers in an earnest dialogue about their views on banking and about actual banking conduct. In view of the vast scope of banking, a decision was made to limit the focus to banks in Australia and Hong Kong for the interviews. Two sets of common interview q作者: 軟弱 時(shí)間: 2025-3-26 03:26 作者: Allure 時(shí)間: 2025-3-26 04:47
, Mira Nair Vijaya Mehta, and Zoya Akthar. The volume will be of interest to academics and theorists of gender and Hindi cinema, as well as anybody interested in contemporary Hindi films in their various manifestations..978-3-031-10234-9978-3-031-10232-5作者: BRACE 時(shí)間: 2025-3-26 11:59 作者: 圍裙 時(shí)間: 2025-3-26 13:34
Aysha Iqbal ViswamohanExplores how feminism shines and impacts on Hindi filmmakers.Alankrita Shrivastava, Ashwiny Iyer Tiwari, Bhavani Iyer, Farah Khan, Gazal Dhaliwal, Guneet Monga, Gauri Shinde.Honey Irani, Juhi Chaturve作者: ascetic 時(shí)間: 2025-3-26 20:14
http://image.papertrans.cn/w/image/1030163.jpg作者: 沒(méi)收 時(shí)間: 2025-3-26 22:29 作者: 招人嫉妒 時(shí)間: 2025-3-27 02:41
Introduction: Wonder Women, Iron Ladies,llywood. The work is grounded in the major theories of modernity, postmodern feminism, semiotics, cultural production and gender performativity in globalized times. While it is aimed at those doing academic and theoretical readings of gender and Hindi cinema, it is also beneficial to those who are i作者: SPER 時(shí)間: 2025-3-27 09:04 作者: Essential 時(shí)間: 2025-3-27 10:47 作者: 冒號(hào) 時(shí)間: 2025-3-27 16:18
Revisioning Family Drama: The Global Spaces of Romance and Science Fiction in Honey Irani’s Storiesigh-profile multi-starrer projects such as . . ., and . in the 1970s and early 1980s, had scored a significant hit in 1989 with the romantic .. Honey Irani, with no known credentials in her portfolio, impressed Yash Chopra with her storyline for . (1991), which was, at the time, an unusual romantic 作者: 拒絕 時(shí)間: 2025-3-27 18:22
Women (Not) Telling Women’s Stories: Tanuja Chandra’s Directorial Journey from Action-Thriller to Romatic significance lies in Chandra’s initial resistance to make the text-book women-centric films of the 1990s, where melodrama is the default mode of storytelling. Instead, Chandra is interested to narrate stories of women and narratives of their agency through film genres that are overtly masculin作者: inquisitive 時(shí)間: 2025-3-27 22:53
Reema Kagti and the Ethics of Surprisefellow director Zoya Akhtar as well as her three directorial features, . ., . ., and . .. While contemporary female directors such as Nandita Das and Kiran Rao are known for their social engagement, Kagti’s works seem to abide by more conventional film formulas. This chapter argues that Kagti’s work作者: 展覽 時(shí)間: 2025-3-28 03:02
Farah Khan: Cinephilia, Nostalgia and Melancholiaad. The woman-directed, big-budget blockbuster film intended for general audiences remains an even a rarer beast. As such . stands out for the four films (so far) ascribed to her direction for being not only creating big budget (for India), big grossing, big star films, but also for a professional t作者: BLANK 時(shí)間: 2025-3-28 08:35 作者: goodwill 時(shí)間: 2025-3-28 10:58 作者: perimenopause 時(shí)間: 2025-3-28 15:57
Mira Nair and the Cinema of Postcolonial Spectaclee history of social life as “the decline of . into ., and . into merely .”. In 1988, . arrived at the cusp of ., as India was in the process of opening its skies and market to the world, even as satellite television and a global market economy was to effect paradigm shifts in its socio-cultural habi作者: Meditative 時(shí)間: 2025-3-28 19:36
Figurations of Fallible Women: The Art and Act of Writing by Juhi Chaturvediand the Indian film industry. In a manner of speaking, ‘women’ screenwriters are few and far between in Indian contexts, although, recent researches have shown how women were involved with the act ‘writing’ (as well as with directing, producing, and with other departments), since the early period, d作者: 獨(dú)輪車 時(shí)間: 2025-3-29 00:25 作者: 朦朧 時(shí)間: 2025-3-29 06:37
“Rosy Ki Khwaheeshein”: Scripted Romance and Acquaintance Rape in Alankrita Shrivastava’s Oeuvre of ind the scopophilic representation of female sexual desire by invoking certain widely marketed and frequently censored genres of erotic expression (erotic novels and app-based?telephone sex) and then exposing their disturbing social underbelly where sexual violence resides. Shrivastava’s agentive fe作者: encomiast 時(shí)間: 2025-3-29 10:32 作者: 預(yù)知 時(shí)間: 2025-3-29 15:01 作者: 誘騙 時(shí)間: 2025-3-29 15:38 作者: 挑剔小責(zé) 時(shí)間: 2025-3-29 21:41
liwal, Guneet Monga, Gauri Shinde.Honey Irani, Juhi Chaturve.This book is a comprehensive anthology comprising essays on women film directors, producers and screenwriters from Bollywood, or the popular Hindi film industry. It derives from the major theories of modernity, postmodern feminism, semioti作者: bioavailability 時(shí)間: 2025-3-30 03:26 作者: Pepsin 時(shí)間: 2025-3-30 05:04
Reema Kagti and the Ethics of Surprisee those of ., ., and .) uses the conventions of the epic nationalist film to offer a more inclusive vision of the nation. In this way, Kagti’s oeuvre, alongside Akhtar’s, offers a different futurity to popular Hindi cinema beyond the simplistic teleology of Bollywood “gentrification” foreseen by many critics.作者: 誹謗 時(shí)間: 2025-3-30 12:02
Book 2023extraordinary group of women filmmakers like Ashwini Iyer Tiwari, Bhavani Iyer, Farah Khan, Mira Nair Vijaya Mehta, and Zoya Akthar. The volume will be of interest to academics and theorists of gender and Hindi cinema, as well as anybody interested in contemporary Hindi films in their various manifestations..作者: Gastric 時(shí)間: 2025-3-30 13:57 作者: folliculitis 時(shí)間: 2025-3-30 16:42
