Titlebook: Cinemas Dark and Slow in Digital India; Lalitha Gopalan Book 2020 The Editor(s) (if applicable) and The Author(s) 2020 Indian Film.Bombay.

護(hù)航艦

Axon895

agitate

agitate

Minding the Gape phrase at cinema studies conferences, when questions of research at archives arise, to remind my colleagues of economic disparities between cinemas. Film archives have long been the privilege of First World nations, their upkeep and protocols the envy of many of us working on cinemas that have had

共同時(shí)代

Slowing Downkadi Loist, whose essays and book series offer methods and theorizations indispensable to this field. Both the poetics and politics of film festivals are their mainstay—when attuned to the workings of film festivals, from curating to awards—and the search for undiscovered auteurs and extraordinary f

遵循的規(guī)范

Bombay Noirr cinema is alive and well, as evidenced in the recognizable scholarship on the specific form and structuring of various genres. Regardless, noir receives passing mention. By contrast, stateside, the growing number of compendia on film noir, the lists of films added, subtracted, and discovered, defy

Astigmatism

Tamil New Wavee Abhirami Theater, Chennai, in the summer of 2008. My appreciation of Tamil films took on a further burnish through a special?programming venture?in collaboration?with the 3rd i South Asia Film Festival that was?inaugurated at the Pacific Film Archive (PFA) in 2011. The series, which I co-curated w

Barter

2否定

Untitled: Amitabh Chakraborty’s Cinemars with their ear attuned to both film festivals and non-official screenings of his work. I find no singular, satisfactory, classificatory category befitting his films, save a consistently enthralling choice of titles, such as . (1989), . (2006), and . (2012); these three surviving films are held up

Adenoma