Indian cinema in the time of celluloid: from Bollywood to the Emergency / Ashish Rajadhyaksha

Includes bibliographical references (p. [401]-427) and index.

THE ARGUMENT
0 A Theory of Cinema that Can Account for Indian Cinema
THE EVIDENCE
’Bollywood’ and the Performing Citizen
1 ’Bollywood’ 2004: The Globalized Freak Show of
What Used to Be Cinema
2 When Was Bollywood?: Textual and Historical Discrepancies
3 The Cinema-Effect 1: Cultural Rights versus the Production of Authenticity
4 The Cinema-Effect 2: Social Lineages, Spectatorial Ability
The Cinema-Effect and the State
5 Administering the Symbols of Authenticity Production, and Revisiting a 1990s Controversy
6 ’You Can See without Looking’: The Cinematic ’Author’ and Freedom of Expression in Cinema
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
8 The Detour of the Nation:
Realist Complicities, Nationalist Excesses
9 The Indian Emergency: Aesthetics of State Control
10 The Problem: A ’Co-production of Modernities’
11 The Mechanism: ’Taking’ the Shot
The Practice: Two Films and a Painting
12 Bhupen Khakhar’s List: Revisiting View from the Teashop
13 Mani Kaul and the ’Cinematic Object’: Uski Roti
and the Rulebook of Cinema
14 Gautam Chose’s Maabhoomi: Territorial Realism and
the ’Narrator’
15 The Cinema-Effect: A Concluding Note