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COVER STORY

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18-10-2013

100 years of cinema

Cinema cover

Briefing

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Stardom

Dream merchants

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

Narrating actuality

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

Standing tall

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

RICH TRADITION

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Bengal happened to produce a highly successful set of popular conventions, most importantly a form of bourgeois melodrama that became commonly identif
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In first person: Buddhadeb Dasgupta

A more discerning audience now

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In first person: Girish Kasaravalli

‘Diminishing support’

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The Bachchan phenomenon

Brand Bachchan

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Gulzar speaks

‘Hindi films saved Urdu’

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Parallel cinema

Parallel experience

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Bharathiraja

Man behind the 1970s wave

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In first person: Mammootty

Irresistible magic

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Interview: Kamal Hassan

‘There is no separate pedestal for the performer’

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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
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Music

Singing cinema

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

From Stone Age...

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

‘Indian cinema began with Ray’

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Theatres

Show time

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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
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Interview: Vipin Vijay

‘Aesthetic struggle alone matters’

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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
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Industry

Market and the medium

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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
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Tamil

A way of life

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Tamil cinema inherited interesting and different characteristics from the art form it evolved from, the “company drama”: a strong aural tradition and
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In first person: K. Viswanath

‘Change cannot be at the cost of values’

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In first person: Arghyakamal Mitra

‘We just keep up with the West’

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Telugu

In search of new narratives

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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
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In first person: D. Ramanaidu

‘Telugu industry a force to reckon with’

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In conversation: Samik Bandopadhyay

Centenary and selective memory

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In first person: Akkineni Nageswara Rao

The long journey from Gudivada

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In first person: Sabitri Chatterjee

Nostalgic about a bygone era

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Malayalam

New trails of discovery

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

‘Films were bolder in the past’

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In first person: Soumitra Chatterjee

Back to Bengali literature

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In first person: Goutam Ghose

Cinema in each language is national

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Fan clubs

Hero worship

Lead Story
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
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Assamese

Against odds

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

‘Our cinema will emerge stronger’

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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
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Hindi Cinema

Opiate of the masses

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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
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Women in cinema

Missing angle

Cinema
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