Titlebook: Gender, Cinema, Streaming Platforms; Shifting Frames in N Runa Chakraborty Paunksnis,?arūnas Paunksnis Book 2023 The Editor(s) (if applicab

CULP

and the Politics of Private Viewing on SVOD Platformsferent filmmakers under one banner, wherein the plots may actually have a common theme like social issues, horror genre, or in recent times pandemic and isolation itself becoming a common ground. . is an anthology film, released by Netflix in India and abroad on June 15, 2018, and is committed to a

Amplify

New Feminist Visibilities and Sisterhood: Re-interpreting Marriage, Desire, and Self-Fulfillment in ne as a protagonist in Bollywood or “mainstream” Hindi narratology post-2010 is a distinct extrapolation of a country’s changing sociocultural, economic, and political inflections. The “female led” cine-narratives while redefining gender roles and responsibilities question and explore desire in a pa

ACME

Morsel

凝視

: The Banality of Rape debate in the media in recent years—following numerous rape cases. One such case that received vast public and media attention was a gang rape, which occurred on a moving bus in New Delhi on 16 December 2012, and led to the death of a the young?raped woman, Jyoti Singh. As a reaction, masses storme

撕裂皮肉

Deeply Personal Is Deeply Political: New Voices in Women’s Documentary Practice in Indian Subcontineo, provoked by the post-digital condition of proliferation of image production and dissemination, have charted a fresh path in non-fiction film making that reflects their Artistic Self. A figural study of the various disruptive strategies that are mobilised by these woman directors helps us to under

枯萎將要

Glutinous

CSR-Richtlinie-Umsetzungsgesetzrs argue that although gender has been a “central issue” since the colonial times, its visibility in the discourse of India’s popular culture increased manifold after the economic liberalization in the 1990s. By providing an overview of historical debates on gender in Indian context, the introductio

偽造

類似思想

Andy Budd,Simon Collison,Cameron Molle “on-demand culture” has allowed the emergence of newer subjectivities which go beyond the socially conditioned and Bollywood-centric portrayals of Indian women. Shahana from the web series . (2015) and Tara Khanna from . (2019) embody such non-conformist subjectivities and engage with the institut