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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Mira Nair and the Cinema of Postcolonial Spectaclee history of social life as “the decline of . into ., and . into merely .”. In 1988, . arrived at the cusp of ., as India was in the process of opening its skies and market to the world, even as satellite television and a global market economy was to effect paradigm shifts in its socio-cultural habi

Meditative

Figurations of Fallible Women: The Art and Act of Writing by Juhi Chaturvediand the Indian film industry. In a manner of speaking, ‘women’ screenwriters are few and far between in Indian contexts, although, recent researches have shown how women were involved with the act ‘writing’ (as well as with directing, producing, and with other departments), since the early period, d

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“Rosy Ki Khwaheeshein”: Scripted Romance and Acquaintance Rape in Alankrita Shrivastava’s Oeuvre of ind the scopophilic representation of female sexual desire by invoking certain widely marketed and frequently censored genres of erotic expression (erotic novels and app-based?telephone sex) and then exposing their disturbing social underbelly where sexual violence resides. Shrivastava’s agentive fe

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liwal, Guneet Monga, Gauri Shinde.Honey Irani, Juhi Chaturve.This book is a comprehensive anthology comprising essays on women film directors, producers and screenwriters from Bollywood, or the popular Hindi film industry. It derives from the major theories of modernity, postmodern feminism, semioti

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Reema Kagti and the Ethics of Surprisee those of ., ., and .) uses the conventions of the epic nationalist film to offer a more inclusive vision of the nation. In this way, Kagti’s oeuvre, alongside Akhtar’s, offers a different futurity to popular Hindi cinema beyond the simplistic teleology of Bollywood “gentrification” foreseen by many critics.