The convergence of brand culture, television and stardom has forever changed the profile of the Indian film star, generating new sites for the product

The language of documentary in India has moved from capturing “reality” to presenting “authenticity” and from being an instrument of propaganda at the

Marathi cinema, as old as Indian cinema itself, has not only arrived but is thriving.

Bengal happened to produce a highly successful set of popular conventions, most importantly a form of bourgeois melodrama that became commonly identif

Kamal Hassan. Having been part of the film world for 54 of his 58 years, Kamal Hassan is today an epitome of versatility. His career started with a ba

Cinema music exists only because there is cinema and has been and is constantly in a state of transition.

It is the unacknowledged contribution of countries like India that liberated themselves from colonial rule to create discourse for the postmodern and

The year 1913 marks an important new development in the creation of a permanent home for film in specialised cinema theatres, which is every bit as mo

Vipin Vijay is a postgraduate in film-making from the Satyajit Ray Film and Television Institute, Kolkata. He has made several award-winning short fil

While apologists for corporatisation argue that it will clean up film-making, critics feel that this is not necessarily the case and that the cottage

Tamil cinema inherited interesting and different characteristics from the art form it evolved from, the “company drama”: a strong aural tradition and

As differentiation between genres began to get blurred in the early 1970s, the star and his relation to the fan became the sole aesthetic preoccupatio

Cinema was adopted enthusiastically by the pluralistic society of Kerala, just emerging from feudalism and casteism in the early 20th century, as an i

The fan phenomenon is uniquely south Indian, and if there is one single feature that characterises all fan activity, it is the fans’ acute sense of en

A look at the film history of Assam reveals a pathetic tale of struggle for survival in a market-driven situation.

Mahesh Bhatt. For all his candour in real life, his films, such as Arth (1982) and Saaransh (1984), have made the best possible statements on his beha

Whether dabbling in mythology, as in the silent era, or Nehruvian socialism, or the escapist formula fare in the 1970s and later, Hindi cinema was alw

A greater range of women’s experiences and lives needs to be covered in depth before the daughters of India can see themselves as full human beings on