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Laleen Jayamanne examines the major works of leading Indian film director, Kumar Shahani, and explores the reaches of modernist film aesthetics in its international form. More than an auteur study, Jayamanne approaches Shahani's films conceptually, as those that reveal cinema's synaesthetic capabilities, or "cinaesthesia." As the author shows, Shahani's cinematic project entails a modern reformulation of the ancient oral tradition of epic narration and performance in order to address the contemporary world, establishing a new cinematic expression, "an epic idiom." As evidenced by his films, constructing cinematic history becomes more than an archival project of retrieval, and is instead a living history of the present which can intervene in the current moment through sensory experiences, propelling thought.

Table of Contents

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  1. Cover
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  1. Title Page, Copyright Page
  2. pp. i-viii
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  1. Contents
  2. pp. ix-x
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  1. Preface and Acknowledgments
  2. pp. xi-2
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  1. 1. To Arrive at the Station: Trains of Thought
  2. pp. 3-26
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  1. 2. To Leave the Factory: With Cloth and Film
  2. pp. 27-54
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  1. 3. To Derail Thought: Of Infinity as Motif or Walking
  2. pp. 55-70
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  1. 4. In the Beginning Was Sound: Tarang (Wave)
  2. pp. 71-94
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  1. 5. Lapidary Dynamisms: River, Stone, Icon
  2. pp. 95-124
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  1. 6. A Second Nervous System: Acting and Thinking
  2. pp. 125-148
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  1. 7. Shahani and Baz Luhrmann: Directing as Choreographic Act
  2. pp. 149-180
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  1. 8. Modulating Cinematic Avatars: Shahani's Unit
  2. pp. 181-218
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  1. 9. Memory of the World: Archive Fever
  2. pp. 219-246
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  1. Notes
  2. pp. 247-270
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  1. Bibliography
  2. pp. 271-280
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  1. Filmography
  2. pp. 281-284
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  1. Index
  2. pp. 285-301
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