Bellocchio Bertolucci Pasolini Verga and beyond Italian Cinema research from new look eScholarship org uc

Image from I pugni in tasca/Fists in pocket (Marco Bellocchio, Italy, 1965).
See Deborah Youngs short essay on this film here.

Heres another post to celebrate Open Access Week, just in the nick of time.

Film Studies For Free, tipping its jaunty e-hat to the fabulous weblog Open Access News for the information, has been delighted today to revisit the eScholarship archive of the University of California, which has had a makeover. Heres the explanation of the whys and wherefores. FSFF can happily testify that it is now even more user-friendly than before, so do please explore it.

To celebrate, heres a little crop of wonderful, openly-accessible articles on Italian cinema, all published in the UCLA journal Carte Italiane, that FSFF was able to harvest in a even shorter jiffy than usual.

• Sarah A. Carey, Before and After the Revolution: The Power(lessness) of the Image in I pugni in tasca, Buongiorno, notte, Prima della rivoluzione and The Dreamers, Carte Italiane, 2:4, 2008

• Brendan W. Hennessy, A Cinematic Premonition of Disorder: Social and Political Satire in Bellocchios La cina è vicina (1967), Carte Italiane, 2:4, 2008
  

• Antonio Idini, Stealing Home: Flight from Exile in Il ladro di bambini, Carte Italiane, 1:14, 1994

• Peggy Kidney, Recent Publications in the Field of Italian Cinema, Carte Italiane, 1:7, 1986

• David Pendleton, Pasolinis Cinema of Regression, Carte Italiane, 1:12, 1992

• Dana Renga, Womens Place: Contradictory Models of Female Behavior in Italian Cinema (1932-1940), Carte Italiane, 1:16, 1999

• Robert Spiegel, Verga and the Realist Cinema, Carte Italiane, 1:2, 1981

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Bollywood for Beginners and Beyond Introductions to Popular Hindi Cinema Studies

Kajol and Shahrukh Khan in  Dilwale Dulhaniya Le Jayenge / The Big Hearted Will Take the Bride (Aditya Chopra, 1995)

With a wary eye on the fast-approaching (in many places at least) and not-so-mellow fruitfulness of a new academic year, Film Studies For Free today brings you its handy guide to online introductions to popular Hindi cinema.

Not all of the wonderful, openly accessible resources linked to below the embedded video are designed for those new to this core academic film studies subject, but all are clearly written, and thus very accessible, as well as highly informative to those at many different stages in their scholarly fascination with this most popular of world cinemas.

Talking of fascination, a nice place to start might be Jonathan Torgovniks wonderful online portfolio of photographs: Bollywood Dreams (Phaidon Press, 2003).

 

The Seductive World of Indian Cinema (2007)

Discussion between author Anupama Chopra, leading filmmaker Vidhu Vinod Chopra, and Bollywood expert and Assistant Professor of Anthropology at NYU Tejaswini Ganti. The discussion is moderated by Richard Allen, Chair of Cinema Studies at the Tisch School of the Arts.

• A Guide to South Asian Cinema, ImagineAsia: British Film Institute, 2002
• Anustup Basu, Mantras of the Metropole: Geo-televisuality and Contemporary Indian Cinema, PhD e-thesis, University of Pittsburgh, 2005
• Gregory D. Booth, Traditional Content and Narrative Structure in the Hindi Commercial Cinema, Asian Folklore Studies, Volume 54, 1995: 169-190
• Devon Burk, Whats A Kiss: The Unchaste Chastity of Bollywood, The Virginia Review of Asian Studies, Vol. XI, Fall 2008
• Corey Creekmur, The Devdas Phenomenon, Philips fil-ums, University of Iowa (date unknown)
• Patrick Colm Hogan, Hindi Cinema as a Challenge to Film Theory and Criticism, Projections, Volume 3, Number 2, Winter 2009 , pp. v-ix(1)
• Aniruddha Dutta, Nation, Liberalisation And Film Songs: Technology And Hybridisation In Contemporary Hindi Film Music, Wide Screen Journal, 1.16, April 2009
• Faiza Hirji, When Local Meets Lucre: Commerce, Culture and Imperialism in Bollywood Cinema, Global Media Journal 4.7, Fall 2005
  
• Wendy F. Hsu, Between Narrative and Expressive, Fantasy and Melodrama in Bombay (Bollywood) Film, Virginia Review of Asian Studies, July 2003
• Tabish Khair, The ironies of Bollywood, 16:9,  7.31, April 2009
• Mark Lorenzen and Florian Arun Taeube, Breakout from Bollywood? Internationalization of Indian Film Industry, DRUID Papers, 07-06
• Philip Lutgendorf with Corey Creekmur, Philips Fil-Ums: Notes on Indian popular cinema, University of Iowa (date unknown)
• Vijay Mishra, Bollywood Cinema: A Critical Genealogy, Asian Studies Institute, 2006
• Anna Morcom, The Cinematic Study of Hindi Film Songs, Hindi Film Songs and the Cinema (Ashgate Publishing, 2007) 
• Shammi Nanda,Censorship and Indian Cinema: The Case of War and Peace, Bright Lights Film Journal, Issue 38, November 2002
• Sheila J Nayar, The values of fantasy: Indian popular cinema through Western scripts, Journal of Popular Culture; Summer 1997; 31, 1  
• Ally Ostrowski, Found in Translation: From Hollywood Hits to Bollywood Blockbusters, Journal of Religion and Film, Vol. 11, No. 2 October 2007
• Heidi Pauwels, “The Woman Waylaid at the Well” or Paṇaghaṭa-līlā An Indian Folk Theme Appropriated in Myth and Movies, Asian Ethnology, Volume 69, Number 1, 2010, 1–33
• Aswin Punathambekar and Anandam Kavoori, Introduction, Global Bollywood, edited by Anandam P. Kavoori and Aswin Punathambekar (NYU Press, 2008)
• Anjali Ram, Framing the feminine: diasporic readings of gender in popular Indian cinema, Womens Studies in Communication, March 22 2002
• Shakuntala Rao, The Globalization of Bollywood: An Ethnography of Non-Elite Audiences in India, The Communication Review, 10: 57–76, 2007
• Amrita Sen, Maqbool and Bollywood Conventions, Asian Shakespeares on Screen: Two Films in Perspective, special issue, edited by Alexander C. Y. Huang, Borrowers and Lenders 4.2 (Spring/Summer 2009)
• Brian Shoesmith, [Review of] Sangita Gopal and Sujata Moorti (eds), Global Bollywood: Travels of Hindi Song and Dance. Minneapolis: University of Minnesota Press, 2008, Screening the Past, Issue 25, 2009
• Sangita Shresthova, Strictly Bollywood? Story, Camera and Movement in Hindi Film Dance, MSc e-thesis, Princeton, 2003
• Neelam Sidhar Wright, Bollywood eclipsed : the postmodern aesthetics, scholarly appeal, and remaking of contemporary popular Indian cinema, DPhil Thesis, University of Sussex, 2010 
• Neelam Sidhar Wright, "Tom Cruise? Tarantino? E.T.? ...Indian!": Innovation through Imitation in the Cross-cultural Bollywood Remake, Cultural Borrowings: Appropriation, Reworking, Transformation, edited buy Iain Robert Smith, Scope, Issue 15, 2010
• Lakshmi Srinivas, The active audience: spectatorship, social relations and the experience of cinema in India, Media, Culture & Society, Vol. 24: 155–173, 2002

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