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1

Repetition as Commentary - the Phenomena of Indian Cinema

100%
Hirszfeld A.
Kwartalnik Filmowy
|
2008
|
issue 62-63
71-80
EN
The authoress attempts to analyze and reveal the context within which the discourse of Bollywood cinema came to exist. This discourse is related to the stereotypes of the East that are deeply rooted in the Western tradition, with the orientalism that still precedes critical thought. Orientalism is above all an auto commentary on the Western self, as reflected in the self 'Other'. The West creates itself through the contrast with the Orient. As a result we are dealing with a most interesting repetition: people of the Orient, although they do not construct 'orienatalistic' ideas, they take part in the line of Orientalistic thought created and propagated by the West, and repeat it. What we are dealing with here is not only economic but also ideological imperialism: Western critique of masala films using categories of a product, which forms part of the classic model of orientalistic thought on the Orient, into the model of the tempting exoticism. The authoress looks at this phenomenon through the prism of myth, as interpreted by Barthes and Propp. Bollywood cinema is infected by the West: the old myths are replaced by quasi-bourgeois myth-ideologies. What is created is new knowledge, hotchpotch of comments and new discourses, but they are created by the West.
2
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GLOBALIZATION AND INDIAN MEDIA. TV IN TRANSITION

100%
Tokarski S.
Acta Asiatica Varsoviensia
|
2009
|
issue 22
89-100
EN
The article is a comprehensive presentation of the process of globalization and development of media in India, with particular emphasis on the transition of Indian TV. The author analyzes the changes of TV business in this country and mentions the transforming audience. The transition of Indian media has been considered an important factor of modernizing India at the age of globalization and a foundation for the new identity of the Indian subcontinent.
3
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Passion for Cinema. Twórczość filmowa Anuraga Kashyap

88%
Lipka-Chudzik K.
Studia Filmoznawcze
|
2011
|
vol. 32
47-58
EN
This article discusses the work and career of Anurag Kashyap, an Indian film director living in Mumbai. He is considered one of the most creative and versatile filmmakers of contemporary Hindi cinema, experimenting with as many different genres as possible. His made-for-TV directorial debut, Last Train to Mahakali (1999), is a murder mystery. Afterwards, Kashyap made crime thriller Paanch (2000, unreleased), docudrama Black Friday (2004), metaphysical horror No Smoking (2007) and animation for children Return of Hanuman (2007). His latest works, both released in 2009, are: violent love story Dev.D and political fiction Gulaal. Dev.D — a modernized adaptation of the Bengali classic novel Devdas — became his first commercial success and changed the director’s status in Hindi film industry from an independent outsider to a respected producer supporting young filmmakers. But Anurag Kashyap’s future in the business is still uncertain.
4
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Bollywood, dil se!

88%
Nadolna J.
Studia Filmoznawcze
|
2011
|
vol. 32
247-254
EN
Bollywood – the Hindi-language film industry based in Mumbai in India and a cultural phenomenon, has become very popular in Poland in last few years. Urszula Woźniakowska's book Bollywood. Pragnienie prawdy i tęsknota za mitem [Bollywood. A desire for truth and longing for myth] is the third Polish book devoted to the popular Indian film industry. The paper analyses and discusses each of the fice book chapters – first three explain the historical and cultural background of Bollywood and its aesthetics, two others, written after the author's stay and research in India and in the UK (among the Indian and Pakistani diaspora), refer to the Bollywood's reception in these two countries.
5
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Sare Dźahan Se Aććha Hindustan Hamara? Zachód w filmach Karana Johara

75%
Szurlej T.
Studia Filmoznawcze
|
2011
|
vol. 32
59-71
EN
In the article“Sare Jahan Se Achchha Hindustan Hamara”? The Western world in Karan Johar’s films, Tatiana Szurlej describes the works of this famous Indian director. She presents foreign, mostly western influences on the Indian culture. Films of Karan Johar are often regarded as praise of traditional Indian culture opposed to the western world. Tatiana Szurlej tries to prove, that Johar’s films only seemingly praise Indianness. In fact, Johar’s films often condemn the Indian blindness and the intolerance. The director tries to confront the west openness with this attitude. The Indian tradition is the source of tensions and endearing heroes in his films, but Johar does not criticise it completely. He believes that Indian and western tradition do not have to compete, because they both represent good and bad aspects. Tatiana Szurlej presents four films directed by Johar and one with his screenplay and shows the development of this idea.
6
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Wyjście z tamilskiego „getta” — o przekraczaniu granic w twórczości Maniego Ratnama

75%
Straszewska M.
Studia Filmoznawcze
|
2011
|
vol. 32
73-83
EN
In my article I’m presenting works of Mani Ratnam — one of the most significant and unique film directors in the whole Indian film industry. What makes this Tamil filmmaker special is the fact, that he managed to combine entertainment with art cinema and blend regional character of Tamil cinema with aesthetics of Bollywood. In his films Ratnam often explores social and political issues (which is typical for south Indian cinema), however he focuses on emotional relations and psychological complexity of characters. The appearance of his films in the 1990s (especially ”terrorist trilogy” Roja (1992), Bombay (1994), Dil Se (1998)) revolutionized Tamil cinema — for the first time Tamil filmmaker told stories from the perspective of the whole ”Indian” nation, not only Tamil (which is specific for Kollywood). Soon he became one of the most famous and acclaimed Tamil directors in history. In my article I’m observing how Mani Ratnam’s style has evolved through almost 30 years of his career. I especially wanted to focus on how he crossed the borders between Kollywood and Bollywood and blended roughness and hermetic ”nationalism” of Tamil cinema with entertaining universal dimension of Hindi cinema.
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