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Bollywood and Postmodernism: Popular Indian Cinema in the 21st Century:            Neelam Sidhar Wright:
Applying postmodern concepts and locating postmodern motifs in key commercial Hindi films, this innovative study reveals how Indian cinema has changed in the 21st century.

Twenty-First Century Bollywood:            Ajay Gehlawat:
Key changes have emerged in Bollywood in the new millennium. Twenty-First Century Bollywood traces the emerging shifts in both the content and form of Bollywood cinema and examines these new tendencies in relation to the changing dynamics of Indian culture. The book historically situates these emerging trends in relation to previous norms, and develops new, innovative paradigms for conceptualizing Bollywood in the twenty-first century.
The particular shifts in contemporary Bollywood cinema that the book examines include the changing nature of the song and dance sequence, the evolving representations of male and female sexuality, and the increasing presence of whiteness as a dominant trope in Bollywood cinema. It also focuses…
Shifting the focus back on the cinematic elements of contemporary films themselves, the book analyses Bollywood films by considering the film dynamics on their own terms, and related to their narrative and aesthetic usage, rather than through an analysis of large-scale industrial practices. It will be of interest to students and scholars of South Asian Studies, Film Studies, and Cultural Studies
3. Brand Bollywood: A New Global Entertainment Order:
            Derek Bose:

Based on original research, this book draws on the author's personal observations and extensive discussions with film makers, media professionals and market players. It is backed by data from a variety of surveys, audit studies and annual reports. Derek Bose uses these sources to arrive at conclusions that place the issue of media convergence in the framework of film development.

Bollywood and Globalization: Indian Popular Cinema, Nation, and Diaspora :(eds.):Rini Bhattacharya Mehta, Rajeshwari V. Pandharipande:

Commercial cinema has always been one of the biggest indigenous industries in India, and remains so in the post-globalization era, when Indian economy has entered a new phase of global participation, liberalization and expansion. Issues of community, gender, society, social and economic justice, bourgeois-liberal individualism, secular nationhood and ethnic identity are nowhere more explored in the Indian cultural mainstream than in commercial cinema. As Indian economy and policy have gone through a sea-change after the end of the Cold War and the commencement of the Global Capital, the largest cultural industry has followed suit. This book is a significant addition to the study of post-Global Indian culture. The articles represent a variety…

Is It All About Hips?: Around the World with Bollywood Dance:            Sangita Shresthova:

In this brilliant ethnography, Sangita Sresthova, who has pioneered various dance forms brings alive the world of Bollywood dance. You embark upon this exhilarating journey at a live performance in London, and travel with the author discovering how this unique dance form has united peoples and cultures far and wide. Behind-the-stage preparations and dance classes booming with desi exuberance come to life with a panorama of colorful stills, making this book is the first-of-its-kind account of the Bollywood dance culture flourishing worldwide.
Global Bollywood: Travels of Hindi Song and Dance:            Sangita Gopal, Sujata Moorti:

As a student of the Hindi film, this book is a rich resource on the music of the Hindi film. Many times film music is more popular than the film--being released prior to the film, film music is often the bellweather as to a film's success or failure!!  This volume will give you new insight into how music is made, marketed and exploited to enhance a film's success, or failure!

From Bombay to Bollywood: The Making of a Global Media Industry:            Aswin Punathambekar:

From Bombay to Bollywood analyzes the transformation of the national film industry in Bombay into a transnational and multi-media cultural enterprise, which has come to be known as Bollywood. Combining ethnographic, institutional, and textual analyses, Aswin Punathambekar explores how relations between state institutions, the Indian diaspora, circuits of capital, and new media technologies and industries have reconfigured the Bombay-based industry’s geographic reach. Providing in-depth accounts of the workings of media companies and media professionals, Punathambekar has produced a timely analysis of how a media industry in the postcolonial world has come to claim the global as its scale of operations.   Based on extensive field research in India and the U.S., this book offers empirically-rich and theoretically-informed analyses of how the imaginations and practices of industry professionals give shape to the media worlds we inhabit and engage with. Moving beyond a focus on a single medium, Punathambekar develops a comparative and integrated approach that examines four different but interrelated media industries--film, television, marketing, and digital media. Offering a path-breaking account of media convergence in a non-Western context, Punathambekar’s transnational approach to understanding the formation of Bollywood is an innovative intervention into current debates on media industries, production cultures, and cultural globalization. Aswin Punathambekar is Assistant Professor of Communication Studies at the University of Michigan-Ann Arbor. He is the co-editor of Global Bollywood (NYU Press, 2008). In the Postmillenial Pop series   

Bollywood and Its Other(s): Towards New Configurations:            Vikrant Kishore, Amit Sarwal, Parichay Patra (eds.):

With the disciplinary incarnation of film studies in India, ‘Bollywood’
ceases to be a loosely applied term, even though academicians and
industry persons differ considerably on its usage. Bollywood refers to the
globalized cinema and media cultures of the industry located in Bombay
(now Mumbai), and it is associated with the economic l iberalization
of the 1990s and some subsequent corollaries. Bombay cinema in the
pre-liberalization era is referred to as Hindi popular cinema. Around
the early 1990s, the neologism ‘Bollywood’ became attached to the
Mumbai-based commercial Hindi cinema. Ashish Rajadhyaksha (2007)
has defined Bollywood as an industry where cinema itself is reduced
only to a memory, a part of the nostalgia industry. He has mentioned
how the film trade journals like Screen invented and circulated the selfdeprecating
term through their page called ‘Bollywood Beat’. In order
to define culture economically, Rajadhyaksha concentrates on the larger
significance of the culture industry beyond the confines of traditional
cinema exhibition, the emergence of the corporate- industrial-financial
capital and the proliferation of the ancillary sector of film production/
exhibition. Above all, the export of a globalized version of Indian
nationalism to be consumed by the diaspora finds an extremely
significant place in his argument. Most of the anthologies published
recently focus primarily on the

Conjugations: Marriage and Form in New BollywoodCinema:            Sangita Gopal:
Bollywood movies have been long known for their colorful song-and-dance numbers and knack for combining drama, comedy, action-adventure, and music. But when India entered the global marketplace in the early 1990s, its film industry transformed radically. Production and distribution of films became regulated, advertising and marketing created a largely middle-class audience, and films began to fit into genres like science fiction and horror. In this bold study of what she names New Bollywood, Sangita Gopal contends that the key to understanding these changes is to analyze films’ evolving treatment of romantic relationships.
Gopalargues that the form of the conjugal duo in movies reflects other social forces in India’s new consumerist and global society. She takes a daring look at recent Hindi films and movie trends—the decline of song-and-dance sequences, the upgraded status of the horror genre, and the rise of the multiplex and multi-plot—to demonstrate how these relationships exemplify different formulas of contemporary living. A provocative account of how cultural artifacts can embody globalization’s effects on intimate life, Conjugations will shake up the study of Hindi film.   

Hong Kong and Bollywood: Globalization of Asian Cinemas:            Joseph Tse-Hei Lee, Satish Kolluri (eds.):

This volume examines the transmission, reception, and reproduction of new cinematic styles, meanings, practices, and norms in early twenty-first-century Asia. Hong Kong and Bollywood offers new answers to the field of inter-Asian cultural studies, which has been energized by the trends towards transnationalism and translatability. It brings together a team of international scholars to capture the latest development in the film industries of Hong Kong and Mumbai, and to explore similar cross-cultural, political, and socioeconomic issues. It also explains how Hong Kong and Bollywood filmmakers have gone beyond the traditional focus on nationalism, urbanity and biculturalism to reposition themselves as new cultural forces in the…

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Pedro_P + 1 + 195 Thanks for sharing. • It would be much better if you add an index with the titles of the books at the beginning of the thread.

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2. The Slumdog Phenomenon: A Critical Anthology:Ajay Gehlawat:
3. Logics of Globalization: Studies in International Communications:Anandam Kavoori:
4. Cinema, Law, and the State in Asia:Corey K. Creekmur, Mark Sidel:

5. Reframing Bollywood: Theories of Popular Hindi Cinema:Ajay Gehlawat:
6. The Magic of Bollywood: At Home and Abroad:Anjali Gera Roy:
7. Brave New Bollywood: In Conversation with Contemporary Hindi Filmmakers:Nirmal Kumar, Preeti Chaturvedi:
8. Bollywood Shakespeares:Craig Dionne, Parmita Kapadia (eds.):

9. Film Tourism in Asia: Evolution, Transformation, and Trajectory:Sangkyun Kim, Stijn Reijnders (eds.):
10. Bollywood Sounds: The Cosmopolitan Mediations of Hindi Film Song:Jayson Beaster-Jones:

1. Beyond Bollywood: The Cultural Politics of South Asian Diasporic Film:Jigna Desai:

Beyond Bollywood is the first comprehensive look at the emergence, development, and significance of contemporary South Asian diasporic cinema. From a feminist and queer perspective, Jigna Desai explores the hybrid cinema of the ''Brown Atlantic'' through a close look at films in English from and about South Asian diasporas in the United States, Canada, and Britain, including such popular films as My Beautiful Laundrette, Fire, Monsoon Wedding, and Bend it Like Beckham.

2. The Slumdog Phenomenon: A Critical Anthology:Ajay Gehlawat:

“The ‘Slumdog’ Phenomenon” addresses multiple issues related to “Slumdog Millionaire” and, in the process, provides new ways of looking at this controversial film. Each of the book’s four sections considers a particular aspect of the film: its relation to the nation, to the slum, to Bollywood and its reception. The volume provides a critical overview of the key issues and debates stemming from the film, and allows readers to reexamine them in light of the anthology’s multiple perspectives.

3. Logics of Globalization: Studies in International Communications:Anandam Kavoori:

The Logics of Globalization provides students and scholars of international communication a critical language through which to interrogate the flow of global media culture. Drawing on transnational cultural studies, the book offers analysis of popular culture_focusing on film, video games, music, sports, cell phones, and performance.

4. Cinema, Law, and the State in Asia:Corey K. Creekmur, Mark Sidel

This book crosses the conventional border between the analysis of on-screen and off-screen intersections of law and cinema.  It not only addresses the representation of law on screen (for example, through discussions of how lawyers, police, and prisons are depicted, or how courtroom sequences function as narratives), but also focuses on how the state shapes and regulates cinema.  The volume addresses the distinct contexts of China, India, Japan, Korea, the Philippines, and Vietnam, along with an integrative introduction that puts the essays and themes into context for scholars and students alike.

5. Reframing Bollywood: Theories of Popular Hindi Cinema:Ajay Gehlawat:

This book combines multiple theoretical approaches to provide a fresh perspective on Bollywood—just as a Bollywood film that transgresses multiple genres—and challenges the homogenizing tendencies in much of the ongoing scholarship in the area. It covers five areas of controversial theorization: the religious frame, the musical frame, the subaltern frame, the (hetero) sexual frame and the ‘crossover’ frame. By deconstructing each of these hegemonic paradigms, it reshapes the understanding of a Bollywood film and restructures its relationships with multiple disciplines including film and theatre studies, postcolonial studies, South Asian studies, queer studies, and transnational studies.

6. The Magic of Bollywood: At Home and Abroad:Anjali Gera Roy:

This anthology aims to portray the soft power of Bollywood, which makes it a unique and powerful disseminator of Indian culture and values abroad. The essays in the book examine Bollywood s popularity within and outside South Asia, focusing on its role in international relations and diplomacy. Established and emerging scholars in literature, theater, film, dance, music, media, cultural studies, and sociology from different parts of the world present their views from multidisciplinary perspectives based on case studies from Australia, New Zealand, the UK, Germany, Russia, the US, Senegal, Pakistan, Bangladesh, Indonesia and Canada, in addition to India.

7. Brave New Bollywood: In Conversation with Contemporary Hindi Filmmakers:Nirmal Kumar, Preeti Chaturvedi:

These are interesting times in the history of Indian cinema, particularly because the established aesthetic conventions and modes of production of the Hindi film industry are being challenged, as are the boundaries between what is alternative and what is mainstream. This book is an attempt to contextualize the upsurge in this form of cinema in Bollywood/Hindi film industry.

It also aims to promote an academic enquiry into the works of these filmmakers, their religious beliefs, social moorings, cinematic influences, attitudes towards filmmaking and experiences of making movies. It will be an important reading for serious students of South Asian studies, film studies and media studies as well as the general reader who has an interest in cinema.  

8. Bollywood Shakespeares:Craig Dionne, Parmita Kapadia (eds.):

Play this game. Describe the formal elements of Bollywood cinema,
but try not to use the references to nation or other historical markers
that describe its roots in specific cultural types of theaters or genres.
For instance, instead of saying “it is indebted to Parsi theater,” you would
have to say “it borrows from the an age-old theatre based in feudal romance
and its tropes—realism and fantasy, snide humor, catchy folk songs, feats of
daring or heroism from local legends, use of dazzling stage effects.” Describe
its use of dance in the same way: instead of saying “northern Indian folk
dance,” describe the way it plays off of “festival dancing” noting the separation
from the plot, often interspersed free from flow of the narrative.

9.  Film Tourism in Asia: Evolution, Transformation, and Trajectory:Sangkyun Kim, Stijn Reijnders (eds.):

This book focuses on film tourism: the phenomenon of people visiting locations from popular film or TV series. It is based on a unique, Asian perspective, encompassing case studies from around the pan-Asian region, including China, Taiwan, India, Japan, South Korea, Thailand, Hong Kong, Indonesia, and Singapore. By focusing emphatically on film tourism in the non-West, this book offers a timely and crucial contribution to a more comprehensive understanding of the relation between film, culture and place, particularly in light of the increased volume of media production and consumption across Asia, and the consequent film tourism destinations that are currently popping up across the Asian continent.

10. Bollywood Sounds: The Cosmopolitan Mediations of Hindi Film Song:Jayson Beaster-Jones:

Bollywood Sounds focuses on the songs of Indian films in their historical, social, commercial, and cinematic contexts. Author Jayson Beaster-Jones takes readers through the highly collaborative compositional process, highlighting the contributions of film directors, music directors (composers), lyricists, musicians, and singers in song production. Through close musical and multimedia analysis of more than twenty landmark compositions, Bollywood Sounds illustrates how the producers of Indian film songs have long mediated a variety of musical styles, instruments, and performance practices to create a uniquely cosmopolitan music genre. As an exploration of the music of seventy years of Hindi films, Bollywood Sounds provides long-term historical insights into film songs and their musical and cinematic conventions in ways that will appeal both to scholars and to newcomers to Indian cinema

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