By Tejaswini Ganti
In Bollywood, anthropologist and picture pupil Tejaswini Ganti offers a consultant to the cultural, social and political value of Hindi cinema, outlining the background and constitution of the Bombay movie undefined, and the improvement of renowned Hindi filmmaking because the Nineteen Thirties. supplying info and observation at the key gamers in Bollywood, together with composers, administrators and stars, in addition to fabric from present filmmakers themselves, the parts lined in Bollywood comprise: heritage of Indian cinema major issues and features of Hindi cinema major movies, administrators and stars construction and distribution of Bollywood motion pictures interviews with actors, administrators and screenwriters. somebody attracted to, or learning Bollywood cinema will locate this a worthy buy.
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Extra info for Bollywood: A Guidebook to Popular Hindi Cinema (Routledge Filmguidebooks)
The rapid spread of this unauthorized cable network with satellite access was one of the main reasons for the changes that occurred in the Indian television landscape in the 1990s. Rupert Murdoch’s STAR TV started beaming into India in 1992 and ZEE TV, India’s ﬁrst private Hindi language and most successful satellite channel, was also launched in 1992. Other satellite channels followed soon after, and the experience of INTRODUCTION 35 36 INTRODUCTION television for Indian viewers was transformed – from watching the single-channel state broadcasting network to having an option of 10–50 channels depending on the cable operator.
The most immediate impact on ﬁlmmaking was felt by those working in the Bengali ﬁlm industry located in Calcutta, and the Punjabi industry in Lahore, as both industries lost personnel and audiences. The Bengali and Punjabi ﬁlm markets were partitioned and the ensuing antagonistic politics between India and Pakistan resulted in very little cultural exchange or cooperation. The Bengali industry was severely affected as 40 percent of its market became East Pakistan and thus, foreign territory. Shortly after independence, Pakistan imposed taxes on imported Indian ﬁlms and then in 1952, Pakistan banned the import of Indian ﬁlms into its western half, with the eastern half following in 1962.
Jagriti Pictures. Rejected. This is a sloppy stunt picture, not suitable for public exhibition. The Madonna’s Secret – English. Republic Pictures. Prohibited as this is a crime picture without any relieving feature. Trailer is also banned. (in Barnouw and Krishnaswamy 1980: 140) Filmmakers’ initial response to the government’s new policies was to patiently explain their problems and grievances. The various industry associations wrote editorials, letters, and sent delegations to meet with various authorities.