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Handbook of Research on Social and Cultural Dynamics in Indian Cinema inducted topic on Odia cinema

Bhubaneswar:29/6/20; Handbook of Research on Social and Cultural Dynamics in Indian Cinema has been released on 30th June 2020 is published by IGI GlobalPennsylvania, USA,.this book comprises  29 chapter deals with different aspects of Hindi cinema as well as regional cinema. In 22 chapter inducted a topic; The odyssey of Odia cinema: A Transition of culture and language penned by an eminent film critic of Odisha  Ashok Palit, which depicts the journey of Odia cinema from 1936 to till now.

There was a time in India when education was confined to a privileged class. At that period, Sanskrit was the only language in which most of the epics and other religious texts were written. A majority of the population had no access to these texts. Later, when regional languages and kinds of literature were developed, all these Sanskrit texts were translated for the common people. The immense popularity of The Ramayan influenced Mr. Mohansundar Devgoswami of Puri (actor, director) to make a feature film based on the Ramayan. Based on a mythological theme with elements of Rasa integrated into the structure of the talkie film, Sita Bibaha became the first Odia film, and though its work began in 1934, this film was eventually released in 1936. Keeping all these things in mind, this chapter intends to give a bird’s eye view of the unknown legacy and odyssey of Odia cinema.

Cinema in India is an entertainment medium that is interwoven into society and culture at large. It is clearly evident that continuous struggle and conflict at the personal as well as societal levels are depicted in cinema in India. It has become a reflection of society both in negative and positive ways. Hence, cinema has become an influential factor and one of the largest mass communication mediums in the nation.

Handbook of Research on Social and Cultural Dynamics in Indian Cinema is an essential reference source that discusses cultural and societal issues including caste, gender, oppression, and social movements through cinema and particularly in specific language cinema and culture published by IGI Global Featuring research on topics such as Bollywood, film studies, and gender equality, this book is ideally designed for researchers, academicians, film studies students, and industry professionals seeking coverage on various aspects of regional cinema in India. This book is being compiled and edited by Santosh Kumar Biswal (Symbiosis International University (Deemed), India), Krishna Sankar Kusuma (Jamia Millia Islamia, India) and Sulagna Mohanty (Amrita Vishwa Vidyapeetham, India)Now this book is available in Amazon

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Publisher: Headquartered in Hershey, Pennsylvania, USA, IGI Global is a leading international academic publisher committed to facilitating the discovery of pioneering research that enhances and expands the body of knowledge available to the research community. Working in close collaboration with expert researchers and professionals from leading institutions, including Massachusetts Institute of Technology (MIT), Harvard University, Stanford University, University of Cambridge, University of Oxford, Tsinghua University, and Australian National University, IGI Global disseminates quality content across 350+ topics in 11 core subject areas. All of these publications have been contributed by over 100,000+ industry-leading researchers and experts worldwide, ensuring that each title contains the most emerging and timeliest research.

Detailed Table of Contents:

 

Foreword………………………………………………………………………………………………………………………….. xxii

Preface…………………………………………………………………………………………………………………………….. xxiii

Section 1

Cinema and Society

Chapter 1

Social Dynamics of Hindi Eco-Cinema and thePolitics of Water………………………………………………… 1

Panchali Bhattacharya, Indian Institute of Technology Bhubaneswar, India

Chapter 2

Recasting Feminine Identity in Assamese Cinema:Joymoti………………………………………………………. 14

Rinku Pegu, Indian Institute of Mass Communication (IIMC), New Delhi, India

Chapter 3

Green Cinema:Reading the Context in Select Indian Cinematic Texts……………………………………….. 23

Pritam Panda, University of Lucknow, India

Chapter 4

Shadowing Lines of Stardom and Politics:Deconstructing Image of “RebelStar”Ambareesh………. 35

Shantharaju S., Christ University, India

Chapter 5

Theorising the Politics of Yakshiin Malayalam Cinema……………………………………………………………. 51

Chitra V. S., Mahatma Gandhi College, University of Kerala, India

Chapter 6

Representation of  Beggars in Tamil Cinema: A Study of Pichaikaran and Naan Kadavul…………….. 64

Manjubasini S., Amrita Vishwa Vidyapeetham, India

Sulagna Mohanty, Amrita Vishwa Vidyapeetham, India

Section 2

Gender and Cinema

Chapter 7

The Idea of  Femininity in Cinematic Rites of  Passage in Bollywood Cinema………………………………. 76

Amrita Satapathy, Indian Institute of Technology, Bhubaneswar, India

Chapter 8

Tawaifs  and  Islamicate Culture: Reading Bollywood’sMuslim Women……………………………………… 93

Nadira Khatun, Xavier University Bhubaneswar, India

Chapter 9

Patriarchy in Assamese Cinema:AnAnalysis of Bhabendra Nath Saikia and JahnuBarua’s Films………………………………………………………………………………………………………………………………… 102

Trisha Dowerah Baruah, School of Mass Communication, Krishna Kanta Handiqui State

Open University, India

Chapter 10

Rise  of  Strong  Women: A  Psychological Reflection in Select Bollywood Movies………………………. 113

Rajalakshmi Ananda Kumar, Amrita School of Engineering, Amrita Vishwa Vidyapeetham, India

Sowndaram C. S. Ravi, Amrita School of Engineering, Amrita Vishwa Vidyapeetham, India

Chapter 11

Portrayal of  Female Nurses  in  IndianCinema………………………………………………………………………… 127

Seeta Devi Akyana, Symbiosis College of Nursing, Symbiosis International University

(Deemed), India

Chapter 12

Breaking  Stereotypes: A  Paradigm  Shiftinthe  Projection  of  Women  in Indian  Short Films………… 135

Manisha Mishra, Rama Devi Women’s University, India

Section 3

Marginalization and Cinema

Chapter 13

Bombay Cinema and  Postmodernism: Capturing Poverty Through NewLens…………………………. 145

Majid Alam, Paris School of International Affairs, Sciences Po, Paris

Chapter 14

Representation of  Marginalizationin Indian and  IranianCinema……………………………………………… 157

Chandrakant Goutam Kamble, Symbiosis International University (Deemed), India

Chapter 15

Exclusion  and  Inclusion  of  Tribes  in  SatyajitRay’s Cinema…………………………………………………….. 170

Susmita Poddar, Independent Researcher, India

Chapter 16

Film  as   a  Reflection  of  Society: Reception  of  Social  Drama in TamilCinema……………………………. 185

Asha Priya Thangavelu, Amrita Viswa Vidhyapeetham, India

Chapter 17

Voicing  the Voiceless: Representation  of   the  Excluded  Transgender  Community in Tamil Cinema……………………………………………………………………………………………………………………………… 197

Tamilselvi Natarajan, QIAMS, India

Chapter 18

A Queer Reading of “new generation” MalayalamCinema……………………………………………………. 211

Ranjith Thankappan, English and Foreign Languages University, India

Chapter 19

Depiction of   Naxalism  in Telugu  Cinema……………………………………………………………………………… 222

Sai Srinivas Vemulakonda, Osmania University, India

Section 4

Cinema, History, and Literature

Chapter 20

Cartographies of   Indian  Cinema: A Transnational   Journey……………………………………………………… 235

Lipika Kankaria, National Institute of Technology, Durgapur, India

Sutanuka Banerjee, National Institute of Technology, Durgapur, India

Chapter 21

Adaptation  of    Shakespeare  in   Bengali   Theatre   and  Cinema……………………………………………………… 250

Darshana Chakrabarty, Arizona State University, USA

Chapter 22

The  Odyssey  of  Odia  Cinema: A Transition  of   Culture  and   Language………………………………………. 267

Ashok Palit, Independent Researcher, India

Chapter 23

Auteurs  and  Transitions  in   Cinema: Discussing  New  Age  Tamil  Film  Directors………………………… 274

Amutha Manavalan, Department of Journalism, Indian Institute of Psychology and

Research (IIPR), India

Section 5

Cinema, Social Media, and Business

Chapter 24

Audiences2.0: Online Movie  Streaming  Platforms  and  Cinema  Audiences………………………………. 293

Surhita Basu, Women’s College, Calcutta, India

 

Chapter 25

South Indian Cinema: A Study of Culture, Production, and  Consumption…………………………………. 303

Krishna Sankar Kusuma, Jamia Millia Islamia, India

Chapter 26

Marketing  Strategies  of   Films  in  Bollywood  Industry……………………………………………………………… 314

Ipsita Barat, St. Xavier’s College (Autonomous), India

Chapter 27

Bollywood  and  SocialMedia: The  Changing  Trends  in Public Relations Practices…………………….. 326

Raj Kishore Patra, Khallikote University, Berhampur, India

Chapter 28

The Diverse Facets of  Commercialization  and  Business  in  Indian Cinema………………………………… 337

Ruth Neyah, Vellore Institute of Technology, India

Vijayakumar M., Vellore Institute of Technology, India

Chapter 29

Harnessing the“Crowd” and  the  Rise  of “Prosumers” in Film making in India…………………………… 350

Mou Mukherjee Das, Future Media School, India

 

Product details

  • Series: Advances in Religious and Cultural Studies
  • Hardcover: 401 pages
  • Publisher: IGI Global; 1 edition (June 26, 2020)
  • Language: English
  • ISBN-10: 1799835111
  • ISBN-13: 978-1799835110
  • Product Dimensions: 8.5 x 0.9 x 11 inches
  • Shipping Weight: 2.8 pounds (View shipping rates and policies)
  • ISBN13: 9781799835110|ISBN10: 1799835111|EISBN13: 9781799835134|DOI: 10.4018/978-1-7998-3511-
  • Available  through AMAZON
 

About Ashok Palit

Ashok Palit has completed his graduation from Upendranath College Soro, Balasore and post graduation from Utkal University in Odia Language and literture.. He has also carved out a niche for himself as a scribe of eminence after joining the profession in 1988. He is also an independent media production professional. He brings loads of experience to Advanced Media, Ashok Palit as a cineaste has been active in film criticism for over three decades. As a film society activist, he soared to eminence for his profound commitment to the art film appreciation and aesthetics of cinema. His mode of discourse is often erudite but always lucid and comprehensible marked by a perfect acumen so rare in the field. A film aesthete with an immense fond of critical sensibilities, he wrote about growth and development of odia cinema in New Indian Express, The Times of India, The Hindustan Times, The Asian Age and Screen. He has been working as an Editor for Cine Samaya from 2002-2004.. He had made solid contribution on cinema in many odia Dailies and weekly such as Samaj, Prajatantra, Dharatri, Samaya, Satabadi, and weekly Samaya.

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