Titlebook: Women Filmmakers in Contemporary Hindi Cinema; Looking through thei Aysha Iqbal Viswamohan Book 2023 The Editor(s) (if applicable) and The

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Introduction: Wonder Women, Iron Ladies,llywood. The work is grounded in the major theories of modernity, postmodern feminism, semiotics, cultural production and gender performativity in globalized times. While it is aimed at those doing academic and theoretical readings of gender and Hindi cinema, it is also beneficial to those who are i

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Revisioning Family Drama: The Global Spaces of Romance and Science Fiction in Honey Irani’s Storiesigh-profile multi-starrer projects such as . . ., and . in the 1970s and early 1980s, had scored a significant hit in 1989 with the romantic .. Honey Irani, with no known credentials in her portfolio, impressed Yash Chopra with her storyline for . (1991), which was, at the time, an unusual romantic

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Women (Not) Telling Women’s Stories: Tanuja Chandra’s Directorial Journey from Action-Thriller to Romatic significance lies in Chandra’s initial resistance to make the text-book women-centric films of the 1990s, where melodrama is the default mode of storytelling. Instead, Chandra is interested to narrate stories of women and narratives of their agency through film genres that are overtly masculin

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Reema Kagti and the Ethics of Surprisefellow director Zoya Akhtar as well as her three directorial features, . ., . ., and . .. While contemporary female directors such as Nandita Das and Kiran Rao are known for their social engagement, Kagti’s works seem to abide by more conventional film formulas. This chapter argues that Kagti’s work

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Farah Khan: Cinephilia, Nostalgia and Melancholiaad. The woman-directed, big-budget blockbuster film intended for general audiences remains an even a rarer beast. As such . stands out for the four films (so far) ascribed to her direction for being not only creating big budget (for India), big grossing, big star films, but also for a professional t

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