Skip to main content
Log in

Is There an Indian Way of Filmmaking?

  • Published:
International Journal of Hindu Studies Aims and scope Submit manuscript

This is a preview of subscription content, log in via an institution to check access.

Access this article

Price excludes VAT (USA)
Tax calculation will be finalised during checkout.

Instant access to the full article PDF.

References Cited

  • Beck, Brenda E. F. 1982. The Three Twins: The Telling of a South Indian Folk Epic. Bloomington: Indiana University Press.

  • Behl, Aditya and Simon Weightman, trans. 2000. Madhumalati: An Indian Sufi Romance. Oxford: Oxford University Press.

  • Benjamin, Walter. 2002. “The Work of Art in the Age of Its Technological Reproducibility: Second Version.” In Howard Eiland and Michael W. Jennings, eds., Walter Benjamin: Selected Writings. Volume 3 : 1935–1938, 101–33. Cambridge: Harvard University Press.

  • Blackburn, Stuart H. and Joyce Burkhalter Flueckiger. 1989. “Introduction.” In Stuart H. Blackburn, Peter J. Claus, Joyce B. Flueckiger, and Susan S. Wadley, eds., Oral Epics in India, 1–11. Berkeley: University of California Press.

  • Booth, Gregory D. 1995. “Traditional Content and Narrative Structure in the Hindi Commercial Cinema.” Asian Folklore Studies 54, 2: 169–90.

    Google Scholar 

  • Booth, Gregory D. 2000. “Religion, Gossip, Narrative Conventions and the Construction of Meaning in Hindi Film Songs.” Popular Music 19, 2: 125–45.

    Google Scholar 

  • van Buitenen, J. A. B., ed. and trans. 1959. Tales of Ancient India. Chicago: University of Chicago Press.

  • Chakrabarty, Dipesh. 2000. Provincializing Europe: Postcolonial Thought and Historical Difference. Princeton: Princeton University Press.

  • Chakravarty, Sumita S. 1993. National Identity in Indian Popular Cinema, 1947–1987. Austin: University of Texas Press.

  • Chatterjee, Gayatri. 2002. Mother India. London: British Film Institute.

  • Corrigan, Timothy and Patricia White. 2005. The Film Experience: An Introduction. Boston: Bedford/St. Martin’s Press.

  • Dahmen-Dallapiccola, Anna Libera. 1989. Shastraic Traditions in Indian Arts. 2 volumes. Stuttgart: Steiner.

  • Dalmia, Vasudha and Heinrich von Stietencron, eds. 1995. Representing Hinduism: The Construction of Religious Traditions and National Identity. New Delhi: Sage.

  • De Bruijn, Thomas. 1996. The Ruby Hidden in the Dust: A Study of the Poetics of Malik Muhammad Jayasi’s Padmavat. Ph.D. dissertation. Leiden: University of Leiden Library.

  • Dickey, Sara. 1993. Cinema and the Urban Poor in South India. Cambridge: Cambridge University Press.

  • Dirks, Nicholas B. 2001. Castes of Mind: Colonialism and the Making of Modern India. Princeton: Princeton University Press.

  • Dissanayake, Wimal and Malti Sahai. 1992. Sholay: A Cultural Reading. New Delhi: Wiley Eastern.

  • Eck, Diana L. 1981. Darśan: Seeing the Divine Image in India. Chambersburg: Anima.

  • Gerow, Edwin. 2002. “Rasa and Katharsis: A Comparative Study, Aided by Several Films.” Journal of the American Oriental Society 122, 2: 264–77.

  • Ghosh, Manomohan. 1961. The Nāṭyaśāstra, Ascribed to Bharata-Muni. Volume 2: Translation (chapters 28–36). Calcutta: The Asiatic Society and Manisha Granthalaya.

  • Ghosh, Manomohan. 1967. The Nāṭyaśāstra, Ascribed to Bharata-Muni. Volume 1: Text (chapters 1–27). Calcutta: The Asiatic Society and Manisha Granthalaya.

  • Hasan, Mir, ed. 1973. Waris Shah: The Adventures of Hir and Ranjha. London: Peter Owen.

  • Hiltebeitel, Alf. 1999. Rethinking India’s Oral and Classical Epics: Draupadī Among Rajputs, Muslims, and Dalits. Chicago: University of Chicago Press.

  • Jain, Kajri. 2007. Gods in the Bazaar: The Economies of Indian Calendar Art. Durham: Duke University Press.

  • Joshi, Sam. 2004. “How to Watch a Hindi Film: The Example of Kuch Kuch Hota Hai.” Education About Asia 9, 1: 22–25.

  • Kabir, Nasreen Munni. 2001. Bollywood: The Indian Cinema Story. London: Channel 4.

  • Kakar, Sudhir. 1983. “The Cinema as Collective Fantasy.” In Aruna Vasudev and Philippe Lenglet, eds., Indian Cinema Superbazaar, 89–97. New Delhi: Vikas.

  • Kakar, Sudhir. 1989. Intimate Relations: Exploring Indian Sexuality. Delhi: Viking.

  • Kapur, Anuradha. 1993. “The Representation of Gods and Heroes: Parsi Mythological Drama of the Early Twentieth Century.” Journal of Arts & Ideas 23–24: 85–107.

  • Kapur, Geeta. 1987. “Mythic Material in Indian Cinema.” Journal of Arts & Ideas 14–15: 79–108.

  • Kazmi, Fareed. 1999. The Politics of India’s Conventional Cinema: Imaging a Universe, Subverting a Multiverse. New Delhi: Sage.

  • Kesavan, Mukul. 1994. “Urdu, Awadh and the Tawaif: The Islamicate Roots of Hindi Cinema.” In Zoya Hasan, ed., Forging Identities: Gender, Communities and the State, 244–57. New Delhi: Kali for Women.

  • King, Christopher R. 1994. One Language, Two Scripts: The Hindi Movement in Nineteenth Century North India. Delhi: Oxford University Press.

  • Kurtz, Stanley N. 1992. All the Mothers are One: Hindu India and the Cultural Reshaping of Psychoanalysis. New York: Columbia University Press.

  • Lath, Mukund, ed. and trans. 1981. Half a Tale: A Study in the Interrelationship Between Autobiography and History. Jaipur: Rajasthan Prakrit Bharati Sansthan.

  • Lutgendorf, Philip. 2002. “A Superhit Goddess/A Made-to-Satisfaction Goddess: Jai Santoshi Maa Revisited.” Manushi: A Journal About Women and Society 131: 10–16, 24–37.

  • Lutze, Lothar. 1985. “From Bharata to Bombay: Change and Continuity in Hindi Film Aesthetics.” In Beatrix Pfleiderer and Lothar Lutze, eds., The Hindi Film: Agent and Re-Agent of Cultural Change, 3–15. New Delhi: Manohar.

  • Manuel, Peter L. 1993. Cassette Culture: Popular Music and Technology in North India. Chicago: University of Chicago Press.

  • Marriott, McKim, ed. 1990 [1989]. India Through Hindu Categories. New Delhi: Sage.

  • Masson, J. L. and M. V. Patwardhan, trans. 1970. Aesthetic Rapture: The Rasādhyāya of the Nāṭyaśāstra. 2 volumes. Poona: Deccan College Research Institute.

  • Metz, Christian. 1986. “The Imaginary Signifier.” In Philip Rosen, ed., Narrative Apparatus Ideology: A Film Theory Reader, 244–78. New York: Columbia University Press.

  • Mishra, Vijay. 1985. “Towards a Theoretical Critique of Bombay Cinema.” Screen 26, 3–4: 133–46.

  • Mishra, Vijay. 2002. Bollywood Cinema: Temples of Desire. London: Routledge.

  • Mitter, Partha. 1977. Much Maligned Monsters: History of European Reactions to Indian Art. Oxford: Clarendon Press.

  • Mulvey, Laura. 1975. “Visual Pleasure and Narrative Cinema.” Screen 16, 3: 6–18.

    Google Scholar 

  • Nandy, Ashis. 1989. The Tao of Cricket: On Games of Destiny and the Destiny of Games. New Delhi: Penguin.

  • Nayar, Sheila J. 2004. “Invisible Representation: The Oral Contours of a National Popular Cinema.” Film Quarterly 57, 3: 13–23.

    Google Scholar 

  • Pandian, M. S. S. 1992. The Image Trap: M. G. Ramachandran in Film and Politics. New Delhi: Sage.

  • Pinney, Christopher. 1999. “Indian Magical Realism: Notes on Popular Visual Culture.” In Gautam Bhadra, Gyan Prakash, and Susie Tharu, eds., Subaltern Studies X: Writings on South Asian History and Society, 201–33. Delhi: Oxford University Press.

  • Pramaggiore, Maria and Tom Wallis. 2005. Film: A Critical Introduction. London: Laurence King.

  • Prasad, M. Madhava. 1998. Ideology of the Hindi Film: A Historical Construction. Delhi: Oxford University Press.

  • Pritchett, Frances W. 1985. Marvelous Encounters: Folk Romance in Urdu and Hindi. New Delhi: Manohar.

  • Pritchett, Frances W., ed. and trans. 1991. The Romance Tradition in Urdu: Adventures from the Dāstān of Amīr Ḥamzah. New York: Columbia University Press.

  • Rai, Alok. 2001. Hindi Nationalism. New Delhi: Orient Longman.

  • Rajadhyaksha, Ashish. 1987. “The Phalke Era: Conflict of Traditional Form and Modern Technology.” Journal of Arts & Ideas 14–15: 47–78.

  • Ramanujan, A. K. 1990 [1989]. “Is There an Indian Way of Thinking?: An Informal Essay.” In McKim Marriott, ed., India through Hindu Categories, 41–58. New Delhi: Sage.

  • Ramaswamy, Sumathi, ed. 2003. Beyond Appearances?: Visual Practices and Ideologies in Modern India. New Delhi: Sage.

  • Rangacharya, Adya. 1996. The Nāṭyaśāstra: English Translation with Critical Notes. New Delhi: Munshiram Manoharlal.

  • Ray, Satyajit. 1976. Our Films, Their Films. Bombay: Orient Longman.

  • Roghair, Gene H. 1982. The Epic of Palnāḍu: A Study and Translation of Palnāṭi Vīrula Katha, a Telugu Oral Tradition from Andhra Pradesh, India. New York: Clarendon Press.

  • Saari, Anil. 1985. “Concepts of Aesthetics and Anti-Aesthetics in the Contemporary Hindi Film.” In Beatrix Pfleiderer and Lothar Lutze, eds., The Hindi Film: Agent and Re-Agent of Cultural Change, 16–28. New Delhi: Manohar.

  • Schechner, Richard. 1985. Between Theater and Anthropology. Philadelphia: University of Pennsylvania Press.

  • Schechner, Richard. 2001. “Rasaesthetics.” The Drama Review 45, 3: 27–39, 41–44, 46–50.

  • Schomer, Karine. 1989. “Paradigms for the Kali Yuga: The Heroes of the Ālhā Epic and Their Fate.” In Stuart H. Blackburn, Peter J. Claus, Joyce B. Flueckiger, and Susan S. Wadley, eds., Oral Epics in India, 140–54. Berkeley: University of California Press.

  • Shirreff, A. G. 1944. Padmavati of Malik Muhammad Jaisi. Calcutta: Royal Asiatic Society of Bengal.

  • Smith, Frederick M. 2006. The Self Possessed: Deity and Spirit Possession in South Asian Literature. New York: Columbia University Press.

  • Smith, John D. 1991. The Epic of Pābūjī: A Study, Transcription, and Translation. Cambridge: Cambridge University Press.

  • Taylor, Woodman. 2002. “Penetrating Gazes: The Poetics of Sight and Visual Display in Popular Indian Cinema.” Contributions to Indian Sociology 36, 1–2: 297–322.

  • Thomas, Rosie. 1985. “Indian Cinema: Pleasures and Popularity.” Screen 26, 3–4: 116–31.

    Google Scholar 

  • Thomas, Rosie. 1989. “Sanctity and Scandal: The Mythologization of Mother India.” Quarterly Review of Film and Video 11, 3: 11–30.

  • Thomas, Rosie. 1995. “Melodrama and the Negotiation of Morality in Mainstream Hindi Film.” In Carol A. Breckenridge, ed., Consuming Modernity: Public Culture in a South Asian World, 157–82. Minneapolis: University of Minnesota Press.

  • Vasudevan, Ravi S. 2000a. “The Politics of Cultural Address in a ‘Transitional’ Cinema: A Case Study of Indian Popular Cinema.” In Christine Gledhill and Linda Williams, eds., Reinventing Film Studies, 130–64. London: Arnold.

  • Vasudevan, Ravi S. 2000b [1993]. “Shifting Codes, Dissolving Identities: The Hindi Social Film of the 1950s as Popular Culture.” In Ravi S. Vasudevan, eds., Making Meaning in Indian Cinema, 99–121. Delhi: Oxford University Press.

  • Virdi, Jyotika. 2003. The Cinematic ImagiNation: Indian Popular Films as Social History. New Brunswick: Rutgers University Press.

  • Wadley, Susan S. 1989. “Choosing a Path: Performance Strategies in a North Indian Epic.” In Stuart H. Blackburn, Peter J. Claus, Joyce B. Flueckiger, and Susan S. Wadley, eds., Oral Epics in India, 75–101. Berkeley: University of California Press.

  • Wadley, Susan S. 2004. Raja Nal and the Goddess: The North Indian Epic Dhola in Performance. Bloomington: Indiana University Press.

  • Wagoner, Phillip B. 1996. “ ‘Sultan Among Hindu Kings’: Dress, Titles, and the Islamicization of Hindu Culture at Vijayanagara.” Journal of Asian Studies 55, 4: 851–80.

    Google Scholar 

Download references

Author information

Authors and Affiliations

Authors

Corresponding author

Correspondence to Philip Lutgendorf.

Rights and permissions

Reprints and permissions

About this article

Cite this article

Lutgendorf, P. Is There an Indian Way of Filmmaking?. Hindu Studies 10, 227–256 (2006). https://doi.org/10.1007/s11407-007-9031-y

Download citation

  • Published:

  • Issue Date:

  • DOI: https://doi.org/10.1007/s11407-007-9031-y

Keywords

Navigation