Titlebook: Bollywood and its Other(s); Towards New Configur Vikrant Kishore,Amit Sarwal,Parichay Patra Book 2014 Palgrave Macmillan, a division of Mac

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Introductionefine culture economically, Rajadhyaksha concentrates on the larger significance of the culture industry beyond the confines of traditional cinema exhibition, the emergence of the corporate- industrial-financial capital and the proliferation of the ancillary sector of film production/exhibition. Abo

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Hindi Popular Cinema and Its Peripherieseover, she also co-starred with the singing legend K. L. Saigal in . (1945), . (1946) and in . (1947), though her career arguably took off with . (1942). Let us say that she was one of the actors who continued to perform her own songs, even at the times when the popularity of the playback singers so

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The Ramsay Chroniclesamsay, Kiran Ramsay, Shyam Ramsay, Gangu Ramsay and Arjun Ramsay—who edited, produced and directed horror films to keep the ‘Ramsay Brothers’ syndicate afloat. The journey which started in the early 1970s and reached its peak in the 1980s still continues, albeit sporadically, in the 21st century. Th

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Introductionsons differ considerably on its usage. Bollywood refers to the globalized cinema and media cultures of the industry located in Bombay (now Mumbai), and it is associated with the economic l iberalization of the 1990s and some subsequent corollaries. Bombay cinema in the pre-liberalization era is refe

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Self, Other and Bollywoodealities of cinema as a whole. My primary concern with this book—and my argument in it—is topical: the concept of an ever-permeating ‘other’, cinema or otherwise, moderates my occasional dabbling with continental philosophy, and the current anthology deals with otherization as a central theme. I am

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