Cinema of interruptions: action genres in contemporary Indian cinema
The book proposes an ambitious new framework for understanding the distinctiveness of Indian cinema within a global context dominated by Hollywood. With its sudden explosions into song-and-dance sequences, half-time intermissions, and heavy traces of censorship, Indian cinema can be seen as a "cinema of interruptions." To the uninitiated viewer, brought up on the seamless linear plotting of Hollywood narrative, this unfamiliar tendency toward digression may appear random and superfluous. Yet this book argues that in the hands of imaginative directors, the conventions of Indian cinema become opportunities for narrative play and personal expression in such films asSholay(1975), Nayakan(1987),Parinda (1989),Hathyar(1981), andHey Ram!(1999). Central to this study is the relationship Indian cinema shares with its audience, and an understanding of the pleasures it offers the cinephile. In articulating this bond, Gopalan presents a fresh framework for understanding popular Indian cinema and an important new contribution to film genre studies.
30 pages matching Delhi in this book
Results 1-3 of 30
What people are saying - Write a review
We haven't found any reviews in the usual places.
Avenging Women in Indian Cinema
Masculinity at the Interval in J P Duttas Films
Screening the Past in Mani Ratnams Nayakan
4 other sections not shown
Abdul Anna Anna's audience avenging women Batwara Bombay brother camera Chopra's cinematic style cinephilia close-up shot coitus interruptus commercial cinema conventions cultural dance sequences Delhi diegesis disjunctions dominant Dutta's films early cinema essay female film cuts film industry film theory film-makers film's flashback gangster film gangster genre genre films Ghulami global Hathyar heterosexual high-angle shot Hindi cinema Hindi film Hindu homosocial images Indian cinema Indian films Indian popular cinema intercutting interval Kamal Haasan Karan kill Kishan love story male masculine mise en scene Moosa morphing moving trains Mumbai narrate narrative cinema Nayakan opening Parinda Paro pleasure popular films Prakash Prakash's death production protagonists rape scenes rape-revenge Ratnam reading relationship representations revenge revisionist Western screen segment sexual Sholay Singh slow-motion shots song and dance soundtrack space spatial spectator structuring suggests Sumer temporal thakurs University Press Velu Velu's Vidhu Vinod Vidhu Vinod Chopra viewers violence Western