Acknowledgments | p. xiii |
Indian Popular Cinema: Mapping the Contours | p. 1 |
In the Throes of Change: Exhibition, Production, and Distribution | p. 15 |
Exhibition | p. 16 |
Production | p. 24 |
Distribution | p. 35 |
Global Markets | p. 40 |
Ancillary Markets | p. 44 |
Between Film and Television: Shifting Axis | p. 46 |
Underworld Dons and Racketeers | p. 51 |
Conclusion | p. 55 |
Endnotes | p. 57 |
Shifting Currents: State and Cinema | p. 59 |
National Film Development Corporation | p. 60 |
Importation of Films | p. 65 |
Relaxation of Imports | p. 67 |
Politics of Censorship | p. 73 |
State Governments and the Film Industry | p. 88 |
Conclusion | p. 91 |
Endnotes | p. 92 |
Masala Film: Aesthetics and Politics | p. 95 |
Popular Cinema as a Sociocultural Force | p. 97 |
Popular Cinema and Politics | p. 98 |
Sources and Influences | p. 101 |
Storytelling | p. 103 |
Hybridity | p. 108 |
An Indian Aesthetic? | p. 111 |
Middle Cinema | p. 115 |
Conclusion | p. 116 |
Endnotes | p. 117 |
Film Music: Pleasure and Popularity | p. 119 |
Film Music Industry | p. 123 |
Aesthetic of the Song | p. 126 |
Major Types of Songs | p. 131 |
Hybrid Music and National Consciousness | p. 138 |
Background Score | p. 139 |
Conclusion | p. 143 |
Endnotes | p. 143 |
Sexuality: Repression and Voyeuristic Excess | p. 145 |
Sexuality and Ideology | p. 145 |
Female Sensuality | p. 147 |
Romance and Sex | p. 149 |
Dominant Patterns of Male-Female Relationships | p. 152 |
Sex as Box Office "Ingredient" | p. 156 |
Rain Sequences | p. 159 |
Institutional Response | p. 162 |
Conclusion | p. 169 |
Endnotes | p. 169 |
Snake Movies: Myth and Sexuality | p. 173 |
Genre Characteristics of Snake Movies | p. 174 |
Myth and Sexuality | p. 175 |
Nagina: A Close Analysis | p. 179 |
Nagamandala: A Close Analysis | p. 185 |
Conclusion | p. 196 |
Endnotes | p. 197 |
References | p. 199 |
Author Index | p. 207 |
Subject Index | p. 211 |
List of Tables | |
Growth of Cinemas in India | |
Cinemas in India by State and Type (1983 and 1997) | |
Total Number of Theaters and After Tax Box Office Revenue (1980-87) | |
Indian and Foreign Films Censored in Selected Years | |
Feature Films Produced by Language and Year, 1984-88 | |
Pictures Produced and Released in South India, 1931-1984 | |
Comparative Costs of Hindi Film, 1975, 1985 | |
Total Export Revenues 1979 through February 1989 | |
Number of Films Sold and Revenue from Key Export Markets for Indian Films (1988) | |
Statewise Breakdown of Theaters Completed Under NFDC's Theater Financing Scheme and Total Loans Disbursed (1988 and 1995) | |
List of Illustrations | |
Rajkumar playing double role in Shankaraguru | |
Bhanumati and N.S. Krishnan in Nallathambi | |
Akkineni and Anjali in Mayalamari | |
Shivaji and Girija in Manorama | |
Bangalore Theatre showing a Kannada film | |
Shringar Theatre, Hubli surrounded by shops | |
Kottureshwara theater under construction | |
Superstar Rajanikant and Mammootty in Dalapathi | |
Postcard showing Salman Khan and Madhuri Dixit in a scene from Hum Aapke Hain Kaun? | |
Poster from Mission Kashmir | |
Chamakte Sitare international concert poster | |
Last scene from Paar, an NFDC financed film | |
Victor Banerjee and Swatilekha Chatterji in Ghare Bhaire | |
Bill Board of an imported film in Madras | |
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