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Indian Film Stars offers original insights and important reappraisals of film stardom in India from the early talkie era of the 1930s to the contemporary period of global blockbusters. The collection represents a substantial intervention to our understanding of the development of film star cultures in India during the 20th and 21st centuries.
The contributors seek to inspire and inform further inquiries into the histories of film stardom-the industrial construction and promotion of star personalities, the actual labouring and imagined lifestyles of professional stars, the stars' relationship to specific aesthetic cinematic conventions (such as frontality and song-dance) and production technologies (such as the play-back system and post-synchronization), and audiences' investment in and devotion to specific star bodies-across the country's multiple centres of film production and across the overlapping (and increasingly international) zones of the films' distribution and reception. The star images, star bodies and star careers discussed are examined in relation to a wide range of issues, including the negotiation and contestation of tradition and modernity, the embodiment and articulation of both Indian and non-Indian values and vogues; the representation of gender and sexuality, of race and ethnicity, and of cosmopolitan mobility and transnational migration; innovations and conventions in performance style; the construction and transformation of public persona; the star's association with film studios and the mainstream media; the star's relationship with historical, political and cultural change and memory; and the star's meaning and value for specific (including marginalised) sectors of the audience.
About the Author
Michael Lawrence is Reader in Film Studies at the University of Sussex, UK. He is the author of Sabu (BFI Publishing, 2014) and the co-editor, with Laura McMahon, of Animal Life and the Moving Image (BFI Publishing, 2015), and, with Karen Lury, of The Zoo and Screen Media: Images of Exhibition and Encounter (2016) and, with Rachel Tavenor, of Global Humanitarianism and Media Culture (2019).
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I had hopes for this book but was not expecting what I would read within the pages. If your kink is deplorable grammar, incoherent sentences, and inconsistent messages, then this book is for you. At first, I thought the book I received was not the book I ordered. But as I dived in, it was very confusing. I would not recommend this book to anyone
There are not many reviews on the internet for this book. In researching the many stores selling the book, it was self-published which makes a lot of sense. The online description is written perfectly, so reading the actual book was very difficult. Pages two and three are written clearly as well as the table of contents. Pages 155 and 156 are also written logically.
It appears this book was written, then sent through a program like “Grammarly.” Once completed it seems it was published without being re-read or edited. The first clue was the title narrative that used “Has” instead of “As.” The table of contents is one page off from what it shows on pages four though seven. Many of the “q’s” are written as “[]”
Below are some examples of what was within the pages of this book written verbatim:
“Chains & Discipline/ Domination & entry/ Sadism & Masochism (BDSM) is a wide classification of bed room play.” Page 9
“When bringing up the topic of chains, you are actually asking a person to offer you their depend on, their flexibility, and also possibly their suggestion of security in exchange for sensual/sexual enjoyment, power-play, and also feasible re-evaluation of your very own connection.” Page 39
“Techni[]ue can take a selection of kinds and also be as easy or facility as you pick to (new paragraph) bargain for your details scenario” Page 52
“BDSM stands for chains as well as entry, technique and also supremacy as well as sadism and also masochism.” Page 125
“SHELF means Risk Aware Consensual Kink.” Page 130
“Approval is whatever.” Page 152
“your twist isn’t my twist, yet your twist is OKAY.” Page 153
“You can be a top, base, or button” Page 153
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Excellent book, great source for parents