Indian Cinema in the Time of Celluloid: From Bollywood to the Emergency

Contents Acknowledgement VIII The Argument 0 A theory of Cinema that can account for Indian Cinema 3 The Evidence Bollywood and the Performing Citizen 1 ’Bollywood’ 2004: The Globalized freak show of what used to be cinema 51 2 When was Bollywood?: Textual and Historical discrepancies 69 3 The cinema-effect 1: Cultural rights versus the production of authenticity 84 4 The cinema-effect 2: Social lineages, spectatorial ability 106 The Cinema-effect and the state 5 Administering the Symbols of authenticity production, and revisiting a 1990s controversy 133 6 ‘You can see without looking’: The cinematic ‘Author’ and freedom of expression in cinema 167 7 ‘People-Nation’ and spectatorial rights: The political ‘Authenticity-effect’, the Shiv Sena and a very Bombay history 1970s questions: The ‘Cinema- Effect’, the national-symbolic and the avant garde 193 8 The detour of the Nation: Realist complicities, Nationalist excesses 219 9 The Indian emergency: Aesthetics of state control 231 10 The problem: A ‘Co-production of modernities’ 255 11 The Mechanism” ‘Taking’ the shot 274 The Practice: Two films and a Painting 12 Bhupen Khakhar’s list: Revisiting view from the Teashop 295 13 Mani Kaul and the ‘Cinematic object’: Uski Roti and the rulebook of cinema 319 14 Gautam Ghose’s Maabhoomi: Territorial realism and the ‘Narrator’ 352 Afterword 15 The cinema-effect: A concluding note 395 Bibliography 401 Index 429