Bombay before Bollywood : film city fantasies / Rosie Thomas.
Material type:
TextSeries: Publication details: Albany : State University of New York Press, (c)2013.Description: 1 online resourceContent type: - text
- computer
- online resource
- 9781438456775
- PN1993 .B663 2013
- COPYRIGHT NOT covered - Click this link to request copyright permission: https://lib.ciu.edu/copyright-request-form
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G. Allen Fleece Library ONLINE | Non-fiction | PN1993.5.4 (Browse shelf(Opens below)) | Link to resource | Available | ocn904339047 |
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Includes bibliographies and index.
""Contents""; ""List of Tables and Figures""; ""Credits""; ""Acknowledgments""; ""Chapter 1 Bombay before Bollywood: Film City Fantasies""; ""The Challenge""; ""Bombay Before Bollywood""; ""Towards Some Alternative Histories""; ""Looking Back: The Longer View""; ""Notes""; ""Part One: Introduction to Part One""; ""Notes""; ""Chapter 2 Thieves of the Orient: The Arabian Nights in Early Indian Cinema""; ""The Arabian Nights in India: Circulation and Adaptation""; ""Lal-E-Yaman (1933) and Noor-E-Yaman (1935)""; ""Orientalism and the Islamicate""; ""The Appeal""; ""Notes""
""Chapter 3 Distant Voices, Magic Knives: Lal-e-Yaman and the Transition to Sound in Bombay Cinema""""Background""; ""Production""; ""Success""; ""The Disembodied Voice""; ""Sound and Vision""; ""Modernities""; ""Notes""; ""Chapter 4 Not Quite (Pearl) White: Fearless Nadia, Queen of the Stunts""; ""Early Years of Bombay Cinema""; ""Wadia Movietone and Nadia""; ""Nationalist Politics""; ""Two Visions""; ""The Nadia Persona""; ""Diamond Queen""; ""Mimicry""; ""Notes""; ""Chapter 5 Zimbo and Son Meet the Girl with a Gun""; ""Introduction""; ""Remakes and Hollywood""; ""Basant Studios""
""Toofani Tarzan: India's 1937 Super Hit""""'Indianisation'""; ""Tarzan and Leela""; ""Tarzan's Appeal in India""; ""Girls, Guns and the Basant Brand""; ""Notes""; ""Chapter 6 Still Magic: An Aladdin's Cave of 1950s B-Movie Fantasy""; ""Magical Worlds""; ""Arabian Nights""; ""A Fabulous Orient""; ""Brute Strength""; ""An Enchanted Gaze""; ""Notes""; ""Part Two: Introduction to Part Two""; ""Notes""; ""Chapter 7 Where the Money Flows, the Camera Rolls""; ""Introduction""; ""Financing Film Production""; ""Credit""; ""Financiers""; ""World Rights Control""; ""Territorial Mortgage""
""Hundi or 'Time Bill'""""Distributors""; ""Minimum Guarantee""; ""Advance""; ""Outright""; ""Territories""; ""Exhibitors""; ""Organisation of Film Production""; ""Terms of Employment""; ""The Producer""; ""Setting up a Production""; ""Consequences of the Bombay System of Production""; ""Consequences of the Black Economy""; ""Distribution/Exhibition Strangleholds""; ""Consequences for Film Form and Content""; ""Notes""; ""Chapter 8 Indian Cinema: Pleasures and Popularity""; ""Narrative""; ""Verisimilitude""; ""The Spectator""; ""Notes""
""Chapter 9 Sanctity and Scandal: The Mythologisation of Mother India""""The Film""; ""Background Reading""; ""The Star""; ""Notes""; ""Chapter 10 Mother India Maligned: The Saga of Sanjay Dutt""; ""Introduction""; ""Sadak""; ""The Star�Sanjay Dutt""; ""Khalnayak""; ""Coda""; ""Notes""; ""References and Select Bibliography""; ""Newspapers & Magazines""; ""Index""
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