This book traces the heightened time-consciousness that has emerged since the 1990s in popular Indian discourses – across cinema, television, print and consumer culture – and argues that these anxieties concerning time are symptomatic of the struggle between labor and capital. Drawing on critical theory, cinema and media studies and Marxist-feminist concepts, Kapur shows how the recent political-economic shift in India toward neoliberalism has been accompanied by a new emphasis on youth and a preoccupation with change, novelty and the acceleration of time, with profound consequences for conceptions of time, youth and the relations between generations.
The world of brands is undergoing a sea of change in the domain of consumer culture and it has become a challenge to cater to the minds of audiences. As such, effective branding has moved from being product- and service-oriented to organizational- and social movement-oriented. Holistic Approaches to Brand Culture and Communication Across Industries is a pivotal reference source for the latest research findings on the use of theoretical and applied frameworks of brand awareness and culture. Featuring extensive coverage on relevant areas such as consumer behavior, observational research, and brand equity, this publication is an ideal resource for professionals, researchers, academics, students, managers, and practitioners actively involved in the marketing industry.
In Where Histories Reside Priya Jaikumar examines eight decades of films shot on location in India to show how attending to filmed space reveals alternative timelines and histories of cinema. In this bold “spatial” film historiography, Jaikumar outlines factors that shape India's filmed space, from state bureaucracies and commercial infrastructures to aesthetic styles and neoliberal policies. Whether discussing how educational shorts from Britain and India transform natural landscapes into instructional lessons or how Jean Renoir’s The River (1951) presents a universal human condition through the particularities of place, Jaikumar demonstrates that the history of filming a location has always been a history of competing assumptions, experiences, practices, and representational regimes. In so doing, she reveals that addressing the persistent question of “what is cinema?” must account for an aesthetics and politics of space.
Key changes have emerged in Bollywood in the new millennium. Twenty-First Century Bollywood traces the emerging shifts in both the content and form of Bollywood cinema and examines these new tendencies in relation to the changing dynamics of Indian culture. The book historically situates these emerging trends in relation to previous norms, and develops new, innovative paradigms for conceptualizing Bollywood in the twenty-first century. The particular shifts in contemporary Bollywood cinema that the book examines include the changing nature of the song and dance sequence, the evolving representations of male and female sexuality, and the increasing presence of whiteness as a dominant trope in Bollywood cinema. It also focuses on the increasing presence of Bollywood in higher education courses in the West, as well as how Bollywood’s growing presence in such academic contexts illuminates the changing ways in which this cinema is consumed by Western audiences. Shifting the focus back on the cinematic elements of contemporary films themselves, the book analyses Bollywood films by considering the film dynamics on their own terms, and related to their narrative and aesthetic usage, rather than through an analysis of large-scale industrial practices. It will be of interest to students and scholars of South Asian Studies, Film Studies, and Cultural Studies.
This book provides a local journalist’s perspective on a four-decade long regional contribution to global news production. It shows how the fixers’ risky news pursuits made possible for global media to access distant regions and dangerous caves on Pakistan and Afghanistan borders, causing unprecedented deaths of the local reporters in the context of the U.S-led war on terror. The book analyzes the fixer as a role in its relationship with militarization. It is not a coincidence that fixers become valuable to commercial media only during the height of violence or crises. Emerging under conditions of scarcity or war, the value of this role, in turn, is intrinsically tied to the fear of extinction. It is this vulnerability or perceived expendability— imposed by the need to find work—that binds fixers in a symbiotic relationship with global market and global war. This book, then, serves as a vantage point from which one can clearly see the connection between the regional wars and commercial media, as well as local journalists’ transformation into daily wage earners in a global media shift toward neoliberalism.
This book explores the consequences of unbridled expansion of neoliberal values within India through the lens of popular film and culture. The focus of the book is the neoliberal self, which, far from being a stable marker of urban, liberal, millennial Indian identity, has a schizophrenic quality, one that is replete with contradictions and oppositions, unable to sustain the weight of its own need for self-promotion, optimism, and belief in a narrative of progress and prosperity that has marked mainstream cultural discourse in India. The unstable and schizophrenic neoliberal identity that is the concern of this book, however, belies this narrative and lays bare the sense of precarity and inherent inequality that neoliberal regimes confer upon their subjects. The analysis is explicitly political and draws upon theories of feminist media studies, popular culture analyses, and film studies to critique mainstream Hindi cinema texts produced in the last two decades. Rele Sathe also examine a variety of other peripheral ‘texts’ in her analysis such as the film star, the urban space, web series, YouTube videos, and social media content.
Following an experimental railway track at Chintadripet, in 1835, the battle for India's first railroad was fought bitterly between John Chapman's Great Indian Peninsular Railway and Rowland MacDonald Stephenson's East India Railway Company, which was merged with Dwarkanauth Tagore's Great Western of Bengal Railway. Even at the height of the Mutiny of 1857, Bahadur Shah Zafar promised Indian owned railway tracks for native merchants if Badshahi rule was restored in Delhi. From Jules Verne to Rudyard Kipling to Mark Twain to Rabindranath Tagore to Nirad C. Chaudhuri to R.K. Narayan and Ruskin Bond-the aura of Indian trains and railway stations have enchanted many writers and poets. With iconic cinematography from The Apu Trilogy, Aradhana, Sonar Kella, Sholay, Gandhi, Dil Se, Parineeta, Barfi, Gangs of Wasseypur, and numerous others, Indian cinema has paved the way for mythical railroads in the national psyche. The Great Indian Railways takes us on a historic adventure through many junctions of India's hidden railway legends, for the first time in a book replete with anecdotes from imperial politics, European and Indian accounts, the battlefronts of the Indian nationalist movement, Indian cinema, songs, advertisements, and much more, in an ever-expanding cultural biography of the Great Indian Railways. Dubbed as 'one of a kind' this awe-inspiring saga is 'compulsive reading.' 'In this fascinating cultural history, Arup K Chatterjee charts the extraordinary journey of the Indian Railways, from the laying of the very first sleeper to the first post-Independence bogey. It evokes our collective accumulation of those innumerable memories of platform chai and rail-gaadi stories, bringing alive through myriad voices and tales the biography of one of India's defining public institutions.' – Shashi Tharoor, Author, M.P., Lok Sabha 'The Great Indian Railways is a fascinating and well-researched cultural biography of the Indian Railways-those intricate arteries of the soul of India, as have been experienced, written, filmed, and dreamed. We cannot all travel by rail to know India, as Gandhiji did, but we can and should read this book!' – Tabish Khair, Author, Professor
Dr. Vijay Mallya is not your typical everyday CEO. He has made it to the Forbes billionaires' list many number of times but he doesn't care if he is on the list or not because he doesn't want to be categorized as a ruthless moneymaker. He not only lives like The King of Good Times but he is working overtime to persuade others to live the high life too. Once upon a time, his critics called him the playboy of the east for his glamorous lifestyle but slowly and steadily Dr. Mallya has earned the respect of his detractors. After the launch of Kingfisher Airlines in 2005, he was chosen as the Indian Businessman of the year. The Indian government honored him with the Outstanding Business Leader Award and ETNow selected Dr. Mallya as one of the three big movers and shakers of the first decade of 21st century corporate India. After his father's untimely death, Dr. Mallya became the CEO of a hundred million dollar UB Group and grew it into a multi-billion dollar global empire. He is a genius of a businessman who is the ultimate brand ambassador of his company UB Group. He sets himself high goals and works round the clock to achieve them. His out-of-the-box thinking and business strategies have revolutionized the way brand equity could be grown by businesses in the country. He is a supreme human being and so his business rivals and political rivals are usually surprised by Dr. Mallya's magnanimity. As a politician, Dr. Mallya has been trying really hard to change the Indian political landscape. He is a brand marketing genius but for him, superior customer service always comes first. He goes to extreme lengths to make sure customers are satisfied by his products and services. Dr. Mallya is also a sports fanatic. He owns the Force India Formula One team and has been an instrumental figure in bringing the Formula One Grand Prix championship race to India. He also owns the Indian Premier League cricket team called the Royal Challengers and is very much involved in making a successful championship run for the team. He is also the man who has changed horse racing in India from a gambling den to a classy entertainment venue. For all the critics who downplayed Dr. Mallya's success and bashed his playboy image, it is not surprising that he is having the last laugh. Dr. Mallya and his future generations are set to carry on the Mallya legacy successfully. Long live the King of Good Times.
This collection offers new approaches to theorizing Asian film in relation to the history, culture, geopolitics and economics of the continent. Bringing together original essays written by established and emerging scholars, this anthology transcends the limitations of national borders to do justice to the diverse ways in which the cinema shapes Asia geographically and imaginatively in the world today. From the revival of the Silk Road as the “belt and road” of a rising China to historical ruminations on the legacy of colonialism across the continent, the authors argue that the category of “Asian cinema” from Turkey to the edges of the Pacific continues to play a vital role in cutting-edge film research. This handbook will serve as an essential guide for committed scholars, students, and all those interested in the past, present, and possible future of Asian cinema in the 21st century.
