Bollywood: A Guidebook to Popular Hindi Cinema (Routledge by Tejaswini Ganti

By Tejaswini Ganti

In Bollywood, anthropologist and picture student Tejaswini Ganti offers a consultant to the cultural, social and political value of Hindi cinema, outlining the historical past and constitution of the Bombay movie undefined, and the improvement of well known Hindi filmmaking because the Thirties. delivering info and statement at the key gamers in Bollywood, together with composers, administrators and stars, in addition to fabric from present filmmakers themselves, the components coated in Bollywood comprise: background of Indian cinema major topics and features of Hindi cinema major motion pictures, administrators and stars creation and distribution of Bollywood movies interviews with actors, administrators and screenwriters. a person drawn to, or learning Bollywood cinema will locate this a invaluable buy.

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IPTA was a theater movement informally affiliated to the Communist Party of India. Founded in 1943 in Bombay by a group of progressive writers, musicians, actors, artists, and activitists, IPTA’s manifesto called for the “task of building a brave new world of freedom and social justice” and its motto was “workers are the salt of the earth and to be part of their destiny is the greatest adventure of our time” (in Chakravarty 1993: 92–3). Many prominent actors, composers, directors, lyricists, and writers from the Bombay film industry had been involved in this movement prior to their work in cinema.

By 1942, major shortages of raw stock occurred and only recognized producers received a maximum of 11,000 feet for features and 400 feet for trailers. Priority given to films supporting the war effort resulted in an overabundance of war movies. In 1943, the colonial government imposed state control over raw stock distribution which was in place until 1945. Wartime shortages in basic goods and commodities led to a thriving black market and by 1944, war profiteers increasingly laundered their illegal earnings by investing in film production.

Their arguments range from equity – that television, cable, and satellite are not subjected to entertainment tax – to the moral/philosophical – they are providing a great service to the nation by entertaining people and on what grounds can the government tax entertainment? K. Gandhi and Jawaharlal Nehru who were fighting for independence from British INTRODUCTION 45 46 INTRODUCTION rule. While Phalke was explicitly nationalist in his motivation for making films – he wanted to create Indian images for Indian audiences and establish a completely indigenous or swadeshi27 industry – the Indian National Congress (INC), one of the main organizations fighting against British colonial rule, did not accord the medium much importance.

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