If you are interested in film, or poetry, or awareness, or embodiment, or the experience of art, you may love this book.
Author: Nathaniel Dorsky
Publisher: Tuumba Press
If you are interested in film, or poetry, or awareness, or embodiment, or the experience of art, you may love this book. -Recommended by Maia, City Lights Books Nathaniel Dorsky has been making and exhibiting films within the avant-garde tradition since 1964.
DEVOTIONAL CINEMA NATHANIEL DORSKY It is a privilege to have been
invited to speak on religion and cinema ... I ' ll reference a small number of
feature films , all in the well - known canon , but I would like to be clear at the
outset that ...
Author: Mary Lea Bandy
Publisher: The Museum of Modern Art
The Hidden God: Film and Faith, which accompanies a MoMA Film at the Gramercy Theatre program in the winter of 2003-2004, offers a range of approaches to cinema's explorations of a hidden God. Its thirty-five authors include filmmakers, magazine and newspaper critics, film scholars, curators of The Museum of Modern Art's Department of Film and Media, and others; together they discuss over fifty films, some more or less explicitly religious in theme, others from a gamut of genres not always connected with questions of faith: the western, the thriller, the policier, the costume drama, science fiction, horror, comedy. The films come from Africa, the Middle East, and Japan as well as Europe and the United States, but even so, the book and exhibition are intended not as an encyclopedic anthology but, more humbly, as starting points in the study of an eternal theme.
This argument may also clarify the decline of devotional films and the fact that
they have been relegated to a marginal ... In terms of numbers the production
span of devotionals/mythologicals was large around the time of Independence
Author: Ronie Parciack
The popular Hindi film industry is the largest in India and the most conspicuous film industry in the non-Western world. This book analyses the pivotal visual and narrative conventions employed in popular Hindi films through the combined prism of film studies and classical Indian philosophy and ritualism. The book shows the films outside Western paradigms, as visual manifestations and outcomes of the evolution of classical Hindu notions and esthetic forms. These include notions associated with the Advaita-Vedānta philosophical school and early Buddhist thought, concepts and dynamism stemming from Hindu ritualism, rasa esthetic theories, as well as Brahmanic notions such as dharma (religion, law, order), and mokṣa (liberation). These are all highly abstract notions which the author defines as "the unseen": a cluster of diversified concepts denoting what subsists beyond the phenomenal, what prevails beyond the empirical world of saṁsāra and stands out of this world (alaukika), while simultaneously being embodied and transformed within visual filmic imagery, codes and semiotics that are teased out and analyzed. A culturally sensitive reading of popular Hindi films, the interpretations put forward are also applicable to the Western context. They enable a fuller understanding of religious phenomena outside the primary religious field, within the vernacular arenas of popular culture and mass communication. The book is of interest to scholars in the fields of Indology, modern Indian studies, film, media and cultural studies.
One of the striking features of Muslim Devotional films is that their depiction of the
religious shows clear overlaps between the Islamicate and the more strictly
Islamic, in their use of language, musical forms and religious architecture, with
Author: Ali Nobil Ahmad
This book collates a comprehensive range of fascinating essays by leading authors on film from across the Muslim world. Responding to political and theoretical misconceptions about Islam and Muslim culture, it covers North African, Arab and Asian cinemas in a rich series of industry histories, single film studies and detailed analyses of celebrated directors. Cinema in Muslim Societies is innovative and timely in its explicit engagement with vexing questions of Islamic aesthetics, political activism, socialism and the role of women in Muslim contexts. The authors explore a wide variety of topics, from cinematic art and poetry to religious identity and pornography. Debated extensively at a programme of public talks and screenings at the Institute of Contemporary Arts in London in 2011, this volume remains supremely relevant in a world of polarising identities and political violence engulfing Muslim societies and the West. This book was originally published as a special issue of Third Text.
APPENDIX Six GENRES OF BOLLYWOOD FILMS The six genres of Bollywood
films can be characterised as follows : DEVOTIONAL FILMS Devotional films ,
sometimes referred to as mythologicals , are the films with which the Indian film ...
Author: Rajinder Kumar Dudrah
Bollywood: Sociology Goes to the Movies rejuvenates a dormant dialogue within sociology about understanding the possible relationships between cinema, culture, and society. This is done through an interdisciplinary conversation with studies of the cinema drawn from film and media, and cultural studies.
Religion and Indian Cinema Rachel Dwyer ... restrictions on the depiction of God
and his Prophets, there is no equivalent 'Islamic' film to parallel the mythological
and devotional films and so it may be said that there is no 'Filming the gods'.
Author: Rachel Dwyer
Filming the Gods examines the role and depiction of religion in Indian cinema, showing that the relationship between the modern and the traditional in contemporary India is not exotic, but part of everyday life. Concentrating mainly on the Hindi cinema of Mumbai, Bollywood, it also discusses India's other cinemas. Rachel Dwyer's lively discussion encompasses the mythological genre which continues India's long tradition of retelling Hindu myths and legends, drawing on sources such as the national epics of the Mahabharata and the Ramayana; the devotional genre, which flourished at the height of the nationalist movement in the 1930s and 40s; and the films made in Bombay that depict India's Islamicate culture, including the historical, the courtesan film and the 'Muslim social' genre. Filming the Gods also examines the presence of the religious across other genres and how cinema represents religious communities and their beliefs and practices. It draws on interviews with film stars, directors and producers as well as popular fiction, fan magazines and the films themselves. As a result, Filming the Gods is a both a guide to the study of film in religious culture as well as a historical overview of Indian religious film.
Dorsky, Nathaniel, Devotional Cinema. Tuumba Press, 2003. Eck, Diana L,
Darshan: Seeing the Divine Image in India, Anima Books, 1985. Eckel, Malcolm
David, To See the Buddha: A Philosopher's Quest for the Meaning of Emptiness.
Author: Sharon A. Suh
Publisher: Bloomsbury Publishing
How do contemporary films depict Buddhists and Buddhism? What aspects of the Buddhist tradition are these films keeping from our view? By repeatedly romanticizing the meditating monk, what kinds of Buddhisms and Buddhists are missing in these films and why? Silver Screen Buddha is the first book to explore the intersecting representations of Buddhism, race, and gender in contemporary films. Sharon A. Suh examines the cinematic encounter with Buddhism that has flourished in Asia and in the West in the past century – from images of Shangri-La in Frank Capra's 1937 Lost Horizon to Kim Ki-Duk's 2003 international box office success Spring, Summer, Fall, Winter...and Spring. The book helps readers see that representations of Buddhism in Asia and in the West are fraught with political, gendered, and racist undertones. Silver Screen Buddha draws significant attention to ordinary lay Buddhism, a form of the tradition given little play in popular film. By uncovering the differences between a fictionalized, commodified, and exoticized Buddhism, Silver Screen Buddha brings to light expressions of the tradition that highlight laity and women, on the one hand, and Asian and Asian Americans, on the other. Suh engages in a re-visioning of Buddhism that expands the popular understanding of the tradition, moving from the dominance of meditating monks to the everyday world of raced, gendered, and embodied lay Buddhists.
Prominent among them were Aga Hashr Kashmiri , considered the greatest
wordsmith in Urdu , and Radheshyam Kathavachak , a doyen of Hindu
mythological , devotional , and historical films in Hindi . So profound was their
influence that all ...
Author: Encyclopedia Britannica
Publisher: Popular Prakashan
The Encyclopaedia Which Brings Together An Array Of Experts, Gives A Perspective On The Fascinating Journey Of Hindi Cinema From The Turn Of The Last Century To Becoming A Leader In The World Of Celluloid.
Name Lies Salvation, 1969) was released which brought droves to the cinema
halls. With S. Mohinder's soulful and inspiring devotional music and fine
characterization of a Sikh family led by Prithviraj Kapoor and Veena, the film
Author: K. Moti Gokulsing
India is the largest film producing country in the world and its output has a global reach. After years of marginalisation by academics in the Western world, Indian cinemas have moved from the periphery to the centre of the world cinema in a comparatively short space of time. Bringing together contributions from leading scholars in the field, this Handbook looks at the complex reasons for this remarkable journey. Combining a historical and thematic approach, the Handbook discusses how Indian cinemas need to be understood in their historical unfolding as well as their complex relationships to social, economic, cultural, political, ideological, aesthetic, technical and institutional discourses. The thematic section provides an up-to-date critical narrative on diverse topics such as audience, censorship, film distribution, film industry, diaspora, sexuality, film music and nationalism. The Handbook provides a comprehensive and cutting edge survey of Indian cinemas, discussing Popular, Parallel/New Wave and Regional cinemas as well as the spectacular rise of Bollywood. It is an invaluable resource for students and academics of South Asian Studies, Film Studies and Cultural Studies.
As she gazes out from curtains that perfectly match her outfit, we hear
Mohammed Rafi on the soundtrack, movingly singing a devotional song about
searching for Rama.1 Cut to a shot of what Sita sees out of the window: it is
Rama, her ...
Author: Sheila J. Nayar
Publisher: Bloomsbury Publishing
For more than half a century now, scholars have debated over what comprises a 'genuinely' religious film-one that evinces an 'authentic' manifestation of the sacred. Often these scholars do so by pitting the 'successful' films against those which propagate an inauthentic spiritual experience-with the biblical spectacular serving as their most notorious candidate. This book argues that what makes a filmic manifestation of the sacred true or authentic may say more about a spectator or critic's particular way of knowing, as influenced by alphabetic literacy, than it does about the aesthetic or philosophical-and sometimes even faith-based-dimensions of the sacred onscreen. Engaging with everything from Hollywood religious spectaculars, Hindu mythologicals, and an international array of films revered for their 'transcendental style,' The Sacred and the Cinema unveils the epistemic pressures at the heart of engaging with the sacred onscreen. The book also provides a valuable summation of the history of the sacred as a field of study, particularly as that field intersects with film.
... played by Dutt himself and the very high quality of Sahir Ludhianvi's poems—
which make it a landmark of Indian cinema. ... when below on the street a pair of
itinerant singers breaks into a devotional love song, Aaj sajan mohe ang laga lo.
Author: B D Garga
Publisher: Penguin UK
As a film-maker and film historian, B.D. Garga has closely witnessed and participated in the growth of Indian cinema from the early 1940s. With more than fifty years’ experience as a film journalist, and having served on various national and international film festival juries, he is probably India’s foremost authority on the subject of cinema. In this extraordinary collection of essays, Garga delves into the vast repertoire of his scholarship and experience to provide an insider’s view of Indian and international cinema over the years. Even as he discusses the contribution of men behind the screen—the director, editor, cinematographer—he profiles some of the greatest masters of Indian cinema, like Himansu Rai and P.C. Barua, Bimal Roy and Raj Kapoor, while critically analysing some classic films from the golden era of cinema in India—Devdas (1935) and Sant Tukaram (1936) to Mother India (1957) and Mughal-e-Azam (1960). Embellished with over forty exquisite and vintage photographs from the author’s private collection, The Making of Great Cinema also contains fascinating essays that highlight the contribution of the Soviet masters to international cinema; address important issues like film censorship, sex in Indian films and the relationship between film and politics; and provide a memorable account of the origins of cinema in India and the country’s many cinematic milestones.
... or a warrior queen (the queen ot Jhansi, for instance) or even a female
renouncer (Sita, the medieval devotional singer Mita) but through Bollywood
cinema's greatest epic melodrama, Mehboob Khan's foundational film Mother
Author: Vijay Mishra
India is home to Bollywood - the largest film industry in the world. Movie theaters are said to be the "temples of modern India," with Bombay producing nearly 800 films per year that are viewed by roughly 11 million people per day. In Bollywood Cinema, Vijay Mishra argues that Indian film production and reception is shaped by the desire for national community and a pan-Indian popular culture. Seeking to understand Bollywood according to its own narrative and aesthetic principles and in relation to a global film industry, he views Indian cinema through the dual methodologies of postcolonial studies and film theory. Mishra discusses classics such as Mother India (1957) and Devdas (1935) and recent films including Ram Lakhan (1989) and Khalnayak (1993), linking their form and content to broader issues of national identity, epic tradition, popular culture, history, and the implications of diaspora.
... of devotional films to star in , such as Shri Ganesh Mahima , Hanuman Pataal ,
Lakshmi Narayan , and Veer Ghatotkach . The devotional film being the staple
diet of Indian film , Meena Kumari , like Nirupa Roy and later Anita Guha , had to
Author: Hameeduddin Mahmood
Publisher: New Delhi : Affiliated East-West Press
Articles; previously published in various journals.
... 349 ; of screenings 14 , 22 - 4 , 27 – 8 , 430 church / cinema parallels 22 , 298 ,
337 - 41 , 387 Cinema and Sentiment ... The ( Burnett and Martell ) 11 - 12 “
Devotional Cinema ” ( Dorsky ) 389 , 407 - 15 devotional films 129 , 131 , 286 ,
Author: Jolyon P. Mitchell
Film is now widely studied in theology and religious studies departments. This volume explores key topics including, early responses to film, directors, films and audiences, cultural and social contexts, biblical connections, theological approaches and religious studies perspectives, amongst others.