Coming soon
Cinema Studies
This course will enable students to:
• Understand and know the principles, forms and process of cinema as a discipline.
• Know the various theories of cinema studies
• Relate various technologies and their development.
Birth of Film, Silent Film, Studio System, Decline of Studio system in India The Star System, The Rise of the American Film Industry – Silent Cinema & Technical Thrills and its Early Form: Cinema of Attractions – Emergence of Censorship
Technical Elements, Symbolic Elements - Examining Narratives: Syntagmatic versus Paradigmatic Approach – Genre Analysis: Areas of Possible Genre Research – Researching Principal Elements: Essential Approach, Categorization Approach, and Iconography – Genre Development: Experimental, Classical, Parody and Deconstruction – Approaching Genre through Aesthetics and Exchange - Reading Narratives as ‘text’
Silent Film Theory - Soviet Montage Theorists – Russian Formalism &Bakhtian School – Frankfurt School – Cult of the Auteur – Americanization of the Auteur Theory – The Advent of Structuralism – Interrogating Authorship & Genre – From Linguistics to Psychoanalysis – Feminist Interventions in Film Studies – Birth of the Spectator and Semiotics - Queer Theory – Louis Althusser and Ideology – Michel Foucault : Discourse Power and Knowledge
Eisenstein and Socialist Cinema – German Expressionism – The Devastation of War and Italian Neorealism –The Coming of Modernism: The New Wave Cinemas – French New Wave: German New Wave : Japanese New Wave: British New Wave.
The Golden Age of Indian Cinema –Indian Art Cinema and the Parallel Cinema Movement – The Nation and its Fragment: The Idealized Woman - Narrating the Nation Through Heroes and Villains – Heroines : From Romance to Sexed Up Bodies – Major Hindi Film Genres and Forms - Song and Spectacle – Issues of Censorship – The Nation in Transition: The Problematic Decade of the 70s and the 80s -Contemporary Indian Cinema: Trends and Transformation - NRI cinema and the Multiplex
- The Moving Image: Kishore Vallicha., Orient Longman, New Delhi
- ParthaChatterji. The Nation and its Fragments: Colonial and Post-Colonial Histories. Princeton: Princeton University Press, 1993.
- AshisNandy. The Intimate Enemy: Loss and Recovery of Self under Colonialism. Bombay, Calcutta, Madras: Oxford University Press. 1983.
- Michel Foucault. The Foucault Reader, ed. P Rabinow. Harmondsworth: 1984.
- The Oxford History of World cinema: Oxford university Press
- Indian Popular Cinema: A Narrative of Cultural Change. K. Moti Gokulsing, K. Gokulsing, Wimal Dissanayake -Trentham Books – Revised and Updated -2004
- Cinema Studies – Susan Hayward – Routledge 2007
- Pleasure and the Nation – Rachel Dwyer and Christopher Pinney – OUP
- Film as Social Practice – Graeme Turner – Routledge – London -2006
- Islamicate Cultures of Bombay Cinema -Ira Bhasker& Richard Allen -Tulika Press -2009
- Fingerprinting Popular Culture: The Mythic and the Iconic in Indian Cinema -Ashish Nandy, Vinay Lal – OUP -2007
- Indian Popular Cinema: Industry, Ideology and Consciousness –ManjunathPendakur -Hampton Press, Inc. 2003.
- Encyclopedia of Hindi Cinema –GovindNihalani and Saibal Chatterjee – Encyclopedia Britannica (India) Pvt Ltd -2003
- Virdi, J. (2003). The Cinematic ImagiNation: Indian Popular Films as Social History. New Delhi : Permanent Black .
- Shrivastava, S. (2007). Passionate Modernity: Sexuality, Class and Consumption in India. Routledge .
- Neale, S. (1980). Genre. London: British Film Institute.
- Athique, A. (2011, July). From cinema hall to multiplex: A public history. South Asian Popular Culture, 9(2), 147-160.
- Bakhtin, M. (1968). Speech genres and other late essays. (V. W. McGee, Trans.) Texas: University of Texas Press.
