Indian Cinema in the Time of Celluloid

From Bollywood to the Emergency

Ashish Rajadhyaksha

Tulika Books 2012

Language: English

456 Pages

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Price INR 650.0 Price USD 32.5

Book Club Price INR 487.5 USD 24.375

About the Book

Nowhere has the cinema made more foundational a public intervention than in India, and yet the Indian cinema is consistently presented as something of an exception to world film history. What if, this book asks, film history was instead written from the Indian experience? Indian Cinema in the Time of Celluloid reconstructs an era of film that saw an unprecedented public visibility attached to the moving image and to its social usage. The cinema was not invented by celluloid, nor will it die with celluloid’s growing obsolescence. But ‘celluloid’ names a distinct era in cinema’s career that coincides with a particular construct of the twentieth-century state. This is not merely a coincidence: the very raison d’être of celluloid was derived from the use to which the modern state put it, as the authorized technology through which the state spoke and as narrative practices endorsing its authority as producer of the rational subject. Arguing that there was a ‘spectatorial pact’ around the attribution of state authority to the celluloid apparatus, Indian Cinema in the Time of Celluloid explores the circumstances under which social practices surrounding the celluloid experience also included political negotiations over its authority. While modern states everywhere have put the cinema to varied and by now familiar uses, in India we had the politicization of key tenets associated with the apparatus itself. Indian cinema throws significant new light on the uses to which canonical concepts such as realism could be put, and on the frontiers at which cinematic narrative could operate.

Ashish Rajadhyaksha

Ashish Rajadhyaksha is a film historian and occasional art curator. He is the author of Ritwik Ghatak: A Return to the Epic (1982), Indian Cinema in the Time of Celluloid: From Bollywood to the Emergency (2009) and The Last Cultural Mile: An Inquiry into Technology and Governance in India (2011). He edited the Encyclopaedia of Indian Cinema (with Paul Willemen) (1994, 1999), In the Wake of Aadhaar: The Digital Ecosystem of Governance in India (2013), and a book of Kumar Shahani’s writings, The Shock of Desire and Other Essays (2015). He co-wrote, with Nishant Shah and Nafis Aziz Hasan, Overload, Creep, Excess: An Internet from India (2021). Rajadhyaksha co-curated (with Geeta Kapur) the ‘Bombay/Mumbai 1992–2001’ section of ‘Century City: Art and Culture in the Modern Metropolis’ at the Tate Modern (2002); the ‘You Don’t Belong’ festival of film and video in four cities in China (2011) and ‘Memories of Cinema’ at the IVth Guangzhou Triennial (2011); ‘“Make-Belong”: Films in Kochi from China and Hong Kong’, Kochi-Muziris Biennale (2015); and the exhibition ‘Tah-Satah: A Very Deep Surface: Mani Kaul & Ranbir Singh Kaleka: Between Film and Video’ at the Jawahar Kala Kendra, Jaipur (January–March 2017).

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