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Category — Film Theory

Wide Screen 6.1 Special Issue on Videogame Adaptation

cover-finalWe’re back after a two year hiatus! This special issue, titled Videogame Adaptation has been edited by Kevin M. Flanagan. Click here to access the entire issue. As usual, it is completely open-access.

September 7, 2016   No Comments  

Gangs of Wasseypur

Anurag Kashyap: Talking at and talking with cinema.

Films are texts that become subjects of acrimony between reviewers and fan girls and boys. The former, most often sitting in the periphery of the film world, are borderline narcissists and somewhere off centre lie the fangirls and boys. In this universe, it is almost impossible to have a meaningful conversation unless we are generally in agreement, for example Shah Rukh Khan is the best (replace Shah Rukh Khan with any actor you zealously follow). My review of Gangs… is not aimed to pander to either the Anurag Kashyap fan girls and boys and of course, it is an exercise in narcissism. [Read more →]

September 26, 2012   No Comments  

Early Tamil Cinema With Deleuze: The Case Of Cintamani (1937)

Last few weeks had been quite hectic as I was trying to connect early Tamil cinema with Deleuze’s notions of movement-image. I was preparing a paper for Dr Stephen Hughes’ (SOAS) seminar on “Early Tamil Cinema” held in Chennai during Feb.17-18,2011. Working on this paper meant working against the “limit” of Deleuzean notions contained in his Cinema I and II books, as pointed out by David Martin Jones. David Martin Jones’ “Towards Another ‘-Image’: Deleuze, Narrative Time and Popular Indian Cinema,” (Deleuze Studies 2 (1) 25-48) points to the limitation of the supposedly eurocentric approach of Deleuze’s Cinema I and II books in examining the case of Indian cinema. [Read more →]

February 20, 2011   1 Comment  

Interiorising Bangla cinema and its decline

by Suruchi Mazumdar

Uttam Kumar passed away thirteen days before I was born. For the uninitiated, he was the matinee idol of popular Bengali cinema of post-Independent era. As the news of the star actor’s untimely and sudden death spread, my heavily pregnant mother – nonchalantly risking my impending arrival and ignoring my helpless father’s vain objections – wobbled through a swelling and maddening crowd to catch a last glimpse of the hero of her youth and childhood. [Read more →]

November 7, 2010   No Comments  

Zizek Enters India

More than a year after his entry into India (through the India reprint of TSOI), Zizek arrived in India (in flesh and blood) last week to do a lecture series with Navayana publishers and for field work in the IT lands of Bangalore.

January 11, 2010   13 Comments  

Ayan! What’s in your Name? II

The chaste Tamil word Ayan is made to suspend its real aura3 and enact a performative and false aura for the sake of lending a unique flavour to a film which is not unique and which is of a run-of-the mill kind. The word Ayan has its aura fixed in the realism of the Sangam age. Not long ago, Zizek remarked that the “the fetish is the embodiment of a lie that enables us to endure an unbearable truth.4 Invoking the Zizekian notion of fetish, one can come closer to the post-colonial problematic of Ayan as the title of a masala Tamil film. The film Ayan has its unrealistic grandeur as the real (the truth) and claims to be realistic in terms of the title and plot as the fetish (the lie). [Read more →]

April 23, 2009   No Comments  

Ayan! What’s in your Name?:The Zizekian Fetish and the Post-Colonial Problematic of Realism and Language Use in Tamil Cinema

Ayan is the name of a popular Tamil film doing the rounds in theatres in India and abroad (one Tamil diasporic site talks proudly that Ayan is the first Tamil film to have its posters inside an American railway station)1. It is starred by Surya, one of the current star favourites, as Ayan. Ayan (rhymes as Iron in English) opens up immense possibilities to serve as a fit case to apply a host of theoretical perspectives to Tamil cinema as a site of post-colonial markers. [Read more →]

April 22, 2009   1 Comment  

Music, Sound, and the Moving Image

Music, Sound, and the Moving Image is the first international scholarly journal devoted to the study of the interaction between music and sound with the entirety of moving image media – film, television, music video, advertising, computer games, mixed-media installation, digital art, live cinema, et alia. [Read more →]

February 3, 2009   No Comments  

Can the Hindi film industry be “modernised”?


"Rab Ne Bana Di Jodi" brings cheer to exhibitors after six months.

According to the widely-circulated Indian business newspaper Economic Times, the Shah Rukh Khan starrer Rab Ne Bana Di Jodi (Dir: Aditya Chopra) has bailed out the Indian exhibition sector. The last film to have given the sector cheer was the August release of Singh is Kinng (Dir: Anees Bazmee). It is impossible to obtain accurate and reliable data on the Indian exhibition sector, but if we go by reports in the business and economic newspapers we get the picture that all is not well with the industry. Discussions about Hindi cinema post-90s is filled with the buzz word — corporatisation. Let us call it modernisation, given the history of discourse about its “backward” or “not-yet” nature. The Economic Times reports sums up the problem of modernisation well: [Read more →]

December 18, 2008   No Comments  

Benevolent Super Stars and Subaltern Audiences: The Markers of Post Coloniality in Tamil Cinema

The notions of benevolence and benevolent subjectivity have been serving as important theoretical constructs in relating to the conditions of subalterneity in diverse cultural contexts. Gayatri Spivak‘s theoretical addresses concerning the above have elevated the purportedly centuries-old feudal marker of benevolence into a post colonial marker par excellence. This seems not only a theoretically sound mode of [Read more →]

September 25, 2008   1 Comment