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The Secret Politics of Our Desires
This book examines the enormous industry of Indian popular cinema. It provokes a thinking of cinema as political in the widest sense - from its importance in ideas of nation and national cultural formation to class and gender.
The Lure of the Image
The Lure of the Image shows how a close study of camera movement challenges key assumptions underlying a wide range of debates within cinema and media studies. Highlighting the shifting intersection of point of view and camera position, Daniel Morgan draws on a range of theoretical arguments and detailed analyses across cinemas to reimagine the relation between spectator and camera—and between camera and film world. With sustained accounts of how the camera moves in films by Fritz Lang, Guru Dutt, Max Ophuls, and Terrence Malick and in contemporary digital technologies, The Lure of the Image exposes the persistent fantasy that we move with the camera within the world of the film and examines the ways that filmmakers have exploited this fantasy. In so doing, Morgan provides a more flexible account of camera movement, one that enables a fuller understanding of the political and ethical stakes entailed by this key component of cinematic style.
Fantasy of Modernity
Looks at the role of love in 1950s Bombay cinema in terms of its cultural function and its social significance.
A Person of Pakistani Origins
A personal account of what it means to grow up as a Pakistani in the West. The author is a public intellectual who writes passionately about identity and belonging.
The Moving Image
One of the first serious film studies in India. A contemporary analysis of the central issues contained in Indian films issues which distinguish this cinema from films of other countries. The book argues that film in India is a genuine cultural expression carrying meaning. The special and valuable insights on Indian cinema that this book offers are enhanced by Dr Valicha s own fascination with films.
Exploring Computers
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Reasoning Solved Papers
2023-24 RRB Reasoning Solved Papers
Naushadnama
The seven letters in Naushad’s name are like the seven notes of Hindustani classical music. After just a few years in films, Naushad (1919-2006) went to rule the Hindi cinema music world for around two decades, beginning with the landmark Rattan (1944). His oeuvre (from 1940 to 2005) consists of an unmatched list of jubilees, many of which are musical milestones such as Andaz (1949), Baiju Bawra (1952), Mother India (1957) and Mughal-e-Azam (1960). No individual stays supreme without putting in tremendous efforts to reach the pinnacle and to stay there as long as possible, as our maestro did. And no composer probably moved so cleverly, behind the scenes, than did Naushad to sustain his hol...
Verse, Voice, and Vision
Although it is a somewhat underrepresented form of literature in popular sensibility, poetry finds relevance in the modern world through its appearance in cinema. Film adaptations of poems and depictions of poets on the screen date back to the silent era and continue to the present day. However, there have been few serious studies of how cinema has represented the world of poetic expression. In Verse, Voice, and Vision: Poetry and the Cinema, Marlisa Santos has compiled essays that explore the relationship between one of the world’s oldest art forms—poetry—and one of the world’s newest art forms—film. The book is divided into three sections: poets on film, poetry as film, and film ...
Guru Dutt
Guru Dutt is now named along with the masters of world cinema—like Orson Welles, Mizoguchi, Hitchcock, Jancso, Ophüls—for his innovative cinematic form and his deep humanism and compassion. In Guru Dutt: A Tragedy in Three Acts, renowned film-maker and scholar Arun Khopkar sheds new light on Dutt’s genius through a close examination of Dutt’s three best-known films—Pyaasa, Kaagaz Ke Phool and Sahib Bibi Aur Ghulam. With a nuanced eye, Khopkar explores the historical context which influenced Dutt’s deeply melancholic style while also analysing the intricacies of the medium—acting, lighting, music, editing, rhythm—that Dutt carefully deployed to create his masterpieces. Originally written in Marathi, this exquisite English translation paints a layered portrait of a troubled genius for whom art was not merely a thing of beauty but a vital part of living itself.
