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| List of Illustrations | |
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| Acknowledgements | |
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| Preface | |
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| Hindi Films: Theoretical Debates and Textual Studies | |
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| Introduction | |
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| Early accounts: from escapist fantasy to textual pleasure | |
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| Ideology, hegemony and interpellation: exploiting the form of Hindi films | |
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| Cultural constructions: textual analysis and feminist critique | |
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| Beyond simplistic oppositions | |
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| Conclusion | |
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| Audiences and Hindi Films: Contemporary Studies | |
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| Hindi films and the South-Asian Diaspora | |
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| Reconciling 'tradition' and 'modernity'? North Indian men watching movies | |
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| Beyond 'escapism' and 'reality': North Indian women watching television | |
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| Conclusion | |
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| Contemporary Hindi Film-Going and the Viewing Context in Two Countries | |
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| Why watch audiences? | |
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| Cinema halls and audiences in historical and geographic perspective | |
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| Going to the cinema in Bombay: reality, refuge or romance? | |
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| Hindi films in London: ethnic nostalgia or empowered viewing? | |
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| Conclusion | |
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| 'A man who smokes should never marry a village girl': Comments on Courtship and Marriage 'Hindi Film-Style' | |
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| First, the texts | |
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| Everyone's favourite movie | |
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| Romancing the family: Hum Aapke Hain Koun...! and its viewers | |
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| Conclusion | |
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| Short Skirts, Long Veils and Dancing Men: Responses to Dress and the Body | |
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| Show and sell: young viewers read clothing in Hindi films | |
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| Clothing, the body and the erotic promise of Hindi films | |
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| Conclusion | |
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| More or Less Spicy Kisses: Responses to Sex Love and Sexuality | |
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| Contextualising the Indian media sex debate | |
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| Taboo scenes: kissing, sex and the 'innocent' viewer | |
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| Sexuality, chastity and national honour: 'being' Indian in Switzerland and various other sexual encounters | |
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| Conclusion: films, experience and meaning | |
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| Politics and Spectatorship 1: Viewing Love, Religion and Violence | |
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| Introduction | |
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| Films, viewers and the politics of Hindutva fascism | |
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| 'Counterfeit collective memories': riots, religion and subjectivity in contemporary Hindi films | |
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| The pleasures and pitfalls of 'othering': inter-religious romance meets jingoistic nationalism | |
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| Conclusion | |
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| Politics and Spectatorship 2: Young Men Viewing Terrorism and State Violence | |
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| Countenancing cinematic terrorism: young men take on the state | |
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| Conclusion | |
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| Conclusion: The Tricky Politics of Viewing Pleasure | |
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| Looking back at texts and audiences | |
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| Looking back at gender, sexuality and spectatorship | |
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| Politics and spectatorship | |
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| India and the United Kingdom | |
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| A note of caution | |
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| Implications for the future | |
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| Notes | |
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| Bibliography | |
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| Filmography | |
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| Index | |