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The 1977 blockbuster Amar Akbar Anthony about the heroics of three Bombay brothers separated in childhood became a classic of Hindi cinema and a touchstone of Indian popular culture. Beyond its comedy and camp is a potent vision of social harmony, but one that invites critique, as the authors show.
Even forty years after it was made, Amar Akbar Anthony remains the final word in film entertainment, which many film-makers aspire to, but seldom manage to replicate. Well-known journalist and author Sidharth Bhatia goes behind the scenes of one of the most loved Hindi films of all time to unravel the story of its making and what it means to Indian cinema. Talking to various people associated with the film - cameraman Peter Pereira, scriptwriter Kader Khan, composer Pyarelal and stars Rishi Kapoor and Amitabh Bachchan - who fondly remember how Manmohan Desai created this magical movie, he has written a book as entertaining as the film itself, a tribute both to the iconic film and to the incredible vision of its maker.
Anhonee ko honee karna hamara kaam hai.' (It is our job to make the impossible possible.) The sentence leading into the title song of the blockbuster film Amar Akbar Anthony sums up the magic of Manmohan Desai, the master entertainer whose desire to please his public made his name synonymous with success during much of his career in popular Hindi cinema from 1960 to 1988. In Enchantment of the Mind: Manmohan Desai's Films, Connie Haham delves into the director's work and analyses some of his cinematic signatures - speed, fun, adventure and delight, alongside a devotion to motherhood and a stance in favour of inter-religious harmony. His cinema is fondly remembered for its many catchy tunes and the characters brought to life by leading stars, from Raj Kapoor to Amitabh Bachchan. Lending extra magic to this book is Manmohan Desai's own account of a life dedicated to cinema - a medium he wielded artfully to depict both struggle and an affirmation of life.
Powers of the Real analyzes the cultural politics of cinema’s persuasive sensory realism in interwar Japan. Examining cultural criticism, art, news media, literature, and film, Diane Wei Lewis shows how representations of women and signifiers of femininity were used to characterize new forms of pleasure and fantasy enabled by consumer culture and technological media. Drawing on a rich variety of sources, she analyzes the role that images of women played in articulating the new expressions of identity, behavior, and affiliation produced by cinema and consumer capitalism. In the process, Lewis traces new discourses on the technological mediation of emotion to the 1923 Great Kanto Earthquake and postquake mass media boom. The earthquake transformed the Japanese film industry and lent urgency to debates surrounding cinema’s ability to reach a mass audience and shape public sentiment, while the rise of consumer culture contributed to alarm over rampant materialism and “feminization.” Demonstrating how ideas about emotion and sexual difference played a crucial role in popular discourse on cinema’s reach and its sensory-affective powers, Powers of the Real offers new perspectives on media history, the commodification of intimacy and emotion, film realism, and gender politics in the “age of the mass society” in Japan.
As almost every aspect of making and viewing movies is replaced by digital technologies, even the notion of "watching a film" is fast becoming an anachronism. With the likely disappearance of celluloid film stock as a medium, and the emergence of new media, what will happen to cinema--and to cinema studies? In the first of two books exploring this question, Rodowick considers the fate of film and its role in the aesthetics and culture of the twenty-first century.
100 Iconic Bollywood Costumes is a definitive guide to these colorful silver screen outfits and more Beautifully illustrated and a must-buy for fans and scholars of women's fashion and Bollywood cinema Full of insider know-how from designer legends such as Manish Malhotra 100 Iconic Bollywood Costumes is a celebration of fashion in Indian cinema, studded with beautiful illustrations of India's most enduring glam icons. It pays tribute to the colorful silver screen looks that have not only come to define their lms and actresses, but have also shaped the way millions of Indian women view style: Madhubala's classic Anarkali in Mughal-e-Azam (1960), Kajol's tomboy chic in Kuch Kuch Hota Hai (1998), Kareena Kapoor's game-changing Patialas in Jab We Met (2007), and many more. Packed with insider know-how on the creative processes behind these influential costumes - from designer legends such as Manish Malhotra to the stylish performers themselves - 100 Iconic Bollywood Costumes is a must-have for both fans and scholars of women's fashion, Bollywood cinema, and the quintessential quirks of modern Indian culture.
Film noir remains one of the most enduring legacies of 1940s and ’50s Hollywood. Populated by double-crossing, unsavory characters, this pioneering film style explored a shadow side of American life during a period of tremendous prosperity and optimism. Edward Dimendberg compellingly demonstrates how film noir is preoccupied with modernity—particularly the urban landscape. The originality of Dimendberg’s approach lies in his examining these films in tandem with historical developments in architecture, city planning, and modern communications systems. He confirms that noir is not simply a reflection of modernity but a virtual continuation of the spaces of the metropolis. He convincingly shows that Hollywood’s dark thrillers of the postwar decades were determined by the same forces that shaped the city itself. Exploring classic examples of film noir such as The Asphalt Jungle, Double Indemnity, Kiss Me Deadly, and The Naked City alongside many lesser-known works, Dimendberg masterfully interweaves film history and urban history while perceptively analyzing works by Raymond Chandler, Edward Hopper, Siegfried Kracauer, and Henri Lefebvre. A bold intervention in cultural studies and a major contribution to film history, Film Noir and the Spaces of Modernity will provoke debate by cinema scholars, urban historians, and students of modern culture—and will captivate admirers of a vital period in American cinema.
India is home to Bollywood - the largest film industry in the world. Movie theaters are said to be the "temples of modern India," with Bombay producing nearly 800 films per year that are viewed by roughly 11 million people per day. In Bollywood Cinema, Vijay Mishra argues that Indian film production and reception is shaped by the desire for national community and a pan-Indian popular culture. Seeking to understand Bollywood according to its own narrative and aesthetic principles and in relation to a global film industry, he views Indian cinema through the dual methodologies of postcolonial studies and film theory. Mishra discusses classics such as Mother India (1957) and Devdas (1935) and recent films including Ram Lakhan (1989) and Khalnayak (1993), linking their form and content to broader issues of national identity, epic tradition, popular culture, history, and the implications of diaspora.