India is the largest film producing country in the world and its output has a global reach. After years of marginalisation by academics in the Western world, Indian cinemas have moved from the periphery to the centre of the world cinema in a comparatively short space of time. Bringing together contributions from leading scholars in the field, this Handbook looks at the complex reasons for this remarkable journey.

Combining a historical and thematic approach, the Handbook discusses how Indian cinemas need to be understood in their historical unfolding as well as their complex relationships to social, economic, cultural, political, ideological, aesthetic, technical and institutional discourses. The thematic section provides an up-to-date critical narrative on diverse topics such as audience, censorship, film distribution, film industry, diaspora, sexuality, film music and nationalism.

The Handbook provides a comprehensive and cutting edge survey of Indian cinemas, discussing Popular, Parallel/New Wave and Regional cinemas as well as the spectacular rise of Bollywood. It is an invaluable resource for students and academics of South Asian Studies, Film Studies and Cultural Studies.

chapter |4 pages


ByK. Moti Gokulsing, Wimal Dissanayake

part |30 pages

Historical analysis

chapter |12 pages

From Cultural Backwardness to the Age of Imitation

An essay on film history
ByM. Madhava Prasad

chapter |16 pages

The Indian New Wave

ByIra Bhaskar

part |142 pages

Regional cinemas

chapter |15 pages

‘Bengali' Cinema

Its making and unmaking
BySharmistha Gooptu

chapter |12 pages

Assamese Cinema

Dreams, reality and dichotomies
ByManoj Barpujari

chapter |9 pages

Odia Cinema at Seventy-Five

ByShyamhari Chakra

chapter |16 pages

Marathi Cinema

The exile, the factory and fame
ByAmrit Gangar

chapter |14 pages

Gujarati Cinema

Stories of sant, sati, shethani and sparks so few
ByAmrit Gangar

chapter |13 pages

Matriliny to Masculinity

Performing modernity and gender in Malayalam cinema
ByMeena T. Pillai

chapter |12 pages

Kannada Cinema and Princely Mysore

ByM.K. Raghavendra

chapter |10 pages

The Star-Politicians of Tamil Nadu

The origin and emergence
ByS. Theodore Baskaran

chapter |13 pages

Beyond the Star

Telugu comedy films and realpolitik in Andhra Pradesh
ByJoe Christopher

chapter |15 pages

From Lahore to Bombay … to Vancouver

The checkered journey of Punjabi cinema 1
ByPrabhjot Parmar

part |148 pages

Themes and perspectives

chapter |13 pages

Queer Times in Bollywood

ByRama Srinivasan

chapter |12 pages

The Scale of Diasporic Cinema

Negotiating national and transnational cultural citizenship
ByJigna Desai

chapter |15 pages

Digitizing the National Imaginary

Technology and hybridization in Hindi film songs of the post-liberalization period 1
ByAniruddha Dutta

chapter |12 pages

Music in Mainstream Indian Cinema

ByPremendra Mazumder

chapter |13 pages


In and out of the box
ByAnil Zankar

chapter |15 pages

The Fictions of Science and Cinema in India

ByRaminder Kaur

chapter |14 pages

Film Censorship in India

Deconstructing an incongruity
BySomeswar Bhowmik

chapter |14 pages

Advertising and Marketing of Indian Cinema

ByLynne Ciochetto

part |50 pages

The business of Indian cinemas

chapter |11 pages

Film Distribution

The changing landscape
ByRavi Gupta

chapter |14 pages

Corporatization and the Hindi Film Industry

ByTejaswini Ganti

chapter |9 pages

Indian Cinemas

Acknowledging property rights
ByAmir Ullah Khan

chapter |15 pages

Foundations, Movements and Dissonant Images

Documentary film and its ambivalent relations to the nation state
ByNicole Wolf

part |56 pages

Cinema halls and audiences

chapter |15 pages

Active Audiences and the Experience of Cinema 1

ByLakshmi Srinivas

chapter |11 pages

Hindi Film Audiences Outside South Asia

ByShakuntala Banaji

chapter |13 pages

Cinema as Social Space

The case of the multiplex
ByAdrian Athique

chapter |12 pages

Virtual Darshan

Social networking and virtual communities in the Hindi film context
BySteven Baker

chapter |4 pages


ByK. Moti Gokulsing, Wimal Dissanayake