-
Notes
- NYU Press
- Chapter
- Additional Information
>> 209 Notes Introduction 1. My use of the term “media capital” is informed by Michael Curtin’s work which foregrounds the spatial dimensions of transnational media flows (2003; 2007). I will elaborate how the term informs this book at a later point in this introduction. For now, I am using it to simply indicate the position that cities like Bombay and Los Angeles occupy as major centers of media production. 2. Anna Tsing, Friction: An Ethnography of Global Connection (Princeton: Princeton University Press, 2005), 58. 3. Ibid. 4. Shanti Kumar, “Mapping Tollywood: The Cultural Geography of ‘Ramoji Film City’ in Hyderabad,” Quarterly Review of Film and Video 23, no. 2 (2006): 129–38; S. V. Srinivas, Megastar: Chiranjeevi and Telugu Cinema after NTR (New Delhi: Oxford University Press, 2009). 5. For a more detailed consideration of the changing cultural geography of Hyderabad, see Kumar, “Mapping Tollywood.” 6. Brian Larkin, Signal and Noise: Media, Infrastructure, and Urban Culture in Nigeria (Durham : Duke University Press, 2009); Sudha Rajagopalan, Indian Films in Soviet Cinemas: The Culture of Movie-Going after Stalin (Bloomington: Indiana University Press, 2008). 7. Ravi Vasudevan, “The Meanings of ‘Bollywood,’” Journal of the Moving Image 7 (2008). 8. Ashis Nandy, introduction to The Secret Politics of Our Desires: Innocence, Culpability, and Indian Popular Cinema, ed. Ashis Nandy (New York: St. Martin’s Press, 1998), 2. 9. Ibid. 10. Bhrigupati Singh, “The Problem,” Seminar, May 2003. 11. Ibid. 12. The notable exception here is Manjunath Pendakur. See, for example, his article, “New Cultural Technologies and the Fading Glitter of Indian Cinema,” Quarterly Review of Film and Video 11 (1989): 69–78. 13. Bhrigupati Singh, “The Problem” Also, Amit Rai makes a similar argument in approaching Bollywood as a “new media assemblage.” Rai argues that “neither formalist analyses of film culture nor representational theories of subjectivation” are adequate for understanding a media ecology that is defined by complex interconnections among media forms, industries, and modes of consumption. However, Rai does not focus on actual industry dynamics and practices. Amit Rai, Untimely Bollywood: Globalization and India’s New Media Assemblage (Durham: Duke University Press, 2009), 20. 14. While some scholars have written about “regional” language films and the film industries based in the four southern states of Tamilnadu, Kerala, Andhra Pradesh, and Karnataka, and the eastern state of West Bengal, scholarship on cinema in India has predominantly focused on Hindi-language films produced in Bombay. 15. Sumita S. Chakravarty, National Identity in Indian Popular Cinema, 1947–1987 (Austin: University of Texas Press, 1993); Madhava M. Prasad, Ideology of the Hindi Film: A Historical Construction (New Delhi: Oxford University Press, 1998); Ravi S. Vasudevan’s anthology, 210 > 211 industry in Bombay—Shoveling Smoke: Advertising and Globalization in Contemporary India (Durham: Duke University Press, 2003). 31. Serra Tinic, On Location: Canada’s Television Industry in a Global Market (Toronto: University of Toronto Press, 2006); Michael Curtin, Playing to the World’s Biggest Audience: The Globalization of Chinese Film and TV (Berkeley: University of California Press, 2007). 32. Michael Curtin, “Media Capital: Towards the Study of Spatial Flows,” International Journal of Cultural Studies 6, no. 2 (2003): 204. 33. Ritu Birla, Stages of Capital: Law, Culture, and Market Governance in Late Colonial India (Durham: Duke University Press, 2009); Kajri Jain, Gods in the Bazaar: The Economies of Indian Calendar Art (Durham: Duke University Press, 2007). 34. Arjun Appadurai, “Spectral Housing and Urban Cleansing: Notes on Millennial Mumbai,” Public Culture 12, no. 3 (2000): 627. 35. Jain, Gods in the Bazaar, 37. 36. Curtin, “Media Capital,” 205. 37. Alexandra Alter, “A Passage to Hollywood,” Wall Street Journal, February 6, 2009. For more details on the Reliance Entertainment-DreamWorks deal, see Lauren Schuker, “Spielberg, India’s Reliance to Form Studio,” Wall Street Journal, September 20, 2008. 38. See, for example, Mrinalini Sinha, Colonial Masculinity: The “Manly Englishman” and the “Effeminate Bengali” in the Late Nineteenth Century (Manchester: Manchester University Press, 1995). 39. David Morley and Kevin Robins, Spaces of Identity: Global Media, Electronic Landscapes and Cultural Boundaries (New York: Routledge, 1995). 40. Nandini Lakshman and Ronald Grover, “Why India’s Reliance Is Going Hollywood,” Business Week, June 18, 2008, http://www.businessweek.com/print/globalbiz/content/jun2008/ gb20080618_504190.htm 41. Ibid. 42. Ashish Rajadhyaksha, In the Time of Celluloid: From Bollywood to the Emergency (Bloomington : Indiana University Press, 2009); also see Neepa Majumdar’s discussion of the translocation of Hollywood stardom in the Indian film industry in the interwar period (Wanted Cultured Ladies Only!) and Nitin Govil, “Something...