000			03360cam a2200289 4500
001			8424
005			20181127185910.0
008			140709s2014 ii 000 0 eng d
010			_a 2014357913
020			_a0199450560
020			_a9780199450565
082	0	4	_a791.430954 _223
100	1		_aRaghavendra, M. K., _e
240	1	0	_aEssays. _kSelections
245	1	4	_aThe politics of Hindi cinema in the new millennium : _bBollywood and the Anglophone Indian nation / _cM.K. Raghavendra.
264		1	_aNew Delhi, India : _bOxford University Press, _c2014.
300			_axl, 264 pages ; _c23 cm
336			_atext _btxt _2rdacontent
337			_aunmediated _bn _2rdamedia
338			_avolume _bnc _2rdacarrier
505			_aPreface ; Introduction ; 1. The Global and the Pre-Modern ; Raaz (2002) ; 1. The Adulterous Woman ; Jism (2003) to Kabhi Alvida Na Kehna (2006) ; 1. 'Undivided India' ; Gadar: Ek Prem Katha (2001) and Veer-Zara (2004) ; 1. The Youth Film as Dissent ; Rang de Basanti (2006) and the Political Class ; 1. The Agony Aunt and the Small Illegality ; Munna Bhai MBBS (2003) and Lage Raho Munna Bhai (2006) ; 1. Thieves like Us ; Enterprise in Bunty Aur Babli (2005), Dhoom 2 (2006), and Guru (2007) ; 1. The 'Hyperreal' and the Narrowing Nation ; Om Shanti Om (2007) ; 1. The Reservations of Middle-Class Concern ; Page 3 (2005), Corporate (2006), Traffic Signal (2007), and Fashion (2008) ; 1. Dystopia or Entrepreneurial Fantasy ; Kaminey (2009) ; 1. The Exemplary Citizen ; Education, Taare Zamin Par (2007) and Three Idiots (2009) ; 1. Politics and Enterprise ; Raajneeti (2010) ; 1. The Anthropological Gaze ; Agrarian Issues and Peepli (Live) (2010) ; 1. Resisting the Anglophone Nation ; Rab Ne Bana Di Jodi (2008) and Dabangg (2010) ; 1. Transactions ; Friendships in Dil Chahta Hai (2001) and Zindagi Na Milegi Dobara (2011) ; 1. Sport and the Nation ; Iqbal (2005), Chak De India (2007) and Paan Singh Tomar (2012) ; Conclusion: Collapsing State, Dissolving Nation ; Index ; About the Author _g _r _t
520			_aThis book charts out a new direction in scholarship on Indian cinema. It argues that with mainstream Hindi cinema becoming 'Bollywood' and the diaspora becoming a key commercial factor, the constituency addressed by the mainstream Hindi film has significantly changed. Consequently, the audience for Hindi cinema has become more asymmetric. With the emergence of a new knowledge economy in the 1990s and Indian professionals traveling and settling abroad, a new 'Anglophone Indian Nation', the one with the greatest spending power, was born. Where mainstream Hindi cinema had been regarded as a pariah by the Indian state, the commercial success of Bollywood globally gave it immense respectability in the government. This work expresses the hope that understanding such an asymmetry will help us appreciate some of the alignments in India and the political forces which often masquerade as 'opinion'. Apart from bringing out the transformation of the mainstream Hindi film after it became 'Bollywood', the book provides fresh insights into political developments in India in the past decade outside cinema.
650		0	_aMotion picture industry _zIndia.
650		0	_aMotion pictures _zIndia.
650		0	_aMotion pictures and language.
650		0	_aMotion pictures, Hindi.
999			_c7283 _d7283