Kaustav Bakshi

Madhuja Mukherjee

Popular Cinema in Bengal marks a decisive turn in studies of Bengali language cinema by shifting the focus from auteur and text-based studies to exhaustive readings of the film industry. The book covers a wide range of themes and issues, including: generic tropes (like comedy and action); iconic figurations (of the detective and the city); (female) stars such as Kanan Bala, Sadhana Bose and Aparna Sen; intensities of public debates (subjects of high and low cultures, taste, viewership, gender and sexuality); print cultures (including posters, magazines and song-booklets); cinematic spaces; and trans-media and trans-cultural traffic. By locating cinema within the crosscurrents of geo-political transformations, the book highlights the new and persuasive research that has materialised over the last decade. The authors raise pertinent questions regarding 'regional' cinema as a category, in relation to 'national' cinema models, and trace the non-linear journey of the popular via multiple (media) trajectories. They address subjects of physicality, sexuality and its representations, industrial change, spaces of consumption, and cinema’s meandering directions through global circuits and low-end networks. Highlighting the ever-changing contours of cinema in Bengal in all its popular forms and proposing a new historiography, Popular Cinema in Bengal will be of great interest to scholars of film studies and South-Asian popular culture. The chapters were originally published in the journal South Asian History and Culture.

Genre, Stars, Public Cultures

Popular Cinema in Bengal

Monika Mehta

This volume points to the limits of models such as regional, national, and transnational, and develops ‘network’ as a conceptual category to study cinemas of India. Through grounded and interdisciplinary research, it shows how film industries located in disparate territories have not functioned as isolated units and draws attention to the industrial traffic – of filmic material, actors, performers, authors, technicians, genres, styles, sounds, expertise, languages, and capital, across trans-regional contexts -- since the inception of cinema. It excavates histories of film production, distribution and exhibition, and their connections beyond regional and national boundaries, and between places, industrial practices, and multiple media. The chapters in this volume address a range of themes such as transgressive female figures; networks of authors and technicians; trans-regional production links and changing technologies, and new media geographies. By tracking manifold changes in the contexts of transforming media, and inter-connections between diverse industrial nodal points, this book expands the critical vocabulary in media and production studies and foregrounds new methods for examining cinema. A generative account of industrial networks, this volume will be useful for scholars and researchers of film studies, cinema studies, media studies, production studies, media sociology, gender studies, South Asian studies, and cultural studies.

Shooting Stars, Shifting Geographies and Multiplying Media

Industrial Networks and Cinemas of India

Explores the complex relationships between cinema, industry, cultures, labour and gender during the studio era (1930–55) The fourth book in the Readings in Gender Studies series, Voices of the Talking Stars is a feminist historiography for films compiled by the School of Women’s Studies, Jadavpur University. It interrogates the frameworks of film history, culture and politics, weaving in debates on romance, sexuality, body and masculinity. Examining new categories of analysis such as desire and disquiet, this volume brings together some rare photographs and writings by leading women actors—reproduction of poems by Meena Kumari Naz, an open letter titled ‘I’m a Bad Girl’ by Mae West and an extract from her film I’m No Angel, an interview with Jamuna Barua and a translation from Kanan Devi’s autobiography. It also includes excerpts from the Indian Cinematograph Committee Report (1927–28).

Madhuja Mukherjee

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