Sirens of Modernity
World Cinema via Bombay
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Description de l'ouvrage:
By the 1960s, Hindi-language films from Bombay were in high demand not only for domestic and diasporic audiences but also for sizable non-diasporic audiences across Eastern Europe, Central Asia, the Middle East, and the Indian Ocean world. Often confounding critics who painted the song-dance films as noisy and nonsensical. if not dangerously seductive and utterly vulgar, Bombay films attracted fervent worldwide viewers precisely for their elements of romance, music, and spectacle. In this richly documented history of Hindi cinema during the long 1960s, Samhita Sunya historicizes the emergence of world cinema as a category of cinematic diplomacy that formed in the crucible of the Cold War. Interwoven with this history is an account of the prolific transnational circuits of popular Hindi films alongside the efflorescence of European art cinema and Cold War–era forays of Hollywood abroad. By following archival leads and threads of argumentation within commercial Hindi films that seem to be odd cases—flops, remakes, low-budget comedies, and prestige productions—this book offers a novel map for excavating the historical and ethical stakes of world cinema and world-making via Bombay.
À propos de l'auteur :
Samhita Sunya is Assistant Professor of Cinema in the Department of Middle Eastern and South Asian Languages and Cultures at the University of Virginia.
Revue de Presse:
"[A] profound labour of love. . . . Sunya’s book is a gift to faculty and students of both undergraduate and graduate studies because of its depth, lucidity, and accessibility." — FemAsia "Sirens of Modernity provides a rigorous and scholarly, yet accessible and engrossing, contribution to Indian cinema studies that will be useful for world cinema studies, sound studies, and gender studies." — Film Quarterly "Sunya’s groundbreaking and sophisticated study of Indian commercial cinema, its self-reflexivity, and its excesses. . . .will inspire more research that centers media texts, objects, and contexts beyond bipolar Cold War imaginaries of the field and open new routes of historiographic and theoretical inquiry." — Journal of Cinema and Media Studies "We as readers are left with . . . a love letter to Hindi cinema and a new method of doing film studies where textual analysis meets material histories, feminist analysis meets poetic evaluation and archival inspection meets literary appreciation. This is a method of excess, of affect and hope, of friendship and solidarity, much like the oddities of 1960s Hindi cinema that Sunya lovingly unpacks for us at a dangerously similar time of global political crisis in our present. As images of war and strife flood our social media, books like this leave us aching for the utopian prem nagar (‘city of love’)." — Studies in South Asian Film & Media
Voir le site internet de l'éditeur University of California Press
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