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summary
How did the imperial logic underlying British and Indian film policy change with the British Empire’s loss of moral authority and political cohesion? Were British and Indian films of the 1930s and 1940s responsive to and responsible for such shifts? Cinema at the End of Empire illuminates this intertwined history of British and Indian cinema in the late colonial period. Challenging the rubric of national cinemas that dominates film studies, Priya Jaikumar contends that film aesthetics and film regulations were linked expressions of radical political transformations in a declining British empire and a nascent Indian nation. As she demonstrates, efforts to entice colonial film markets shaped Britain’s national film policies, and Indian responses to these initiatives altered the limits of colonial power in India.

Table of Contents

  1. Cover
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  1. Half Title, Title Page, Copyright, Dedication, Epigraph
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  1. Contents
  2. pp. ix-x
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  1. List of Illustrations
  2. pp. xi-xii
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  1. Acknowledgments
  2. pp. xii-xiv
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  1. Introduction
  2. pp. 1-12
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  1. 1. Film Policy and Film Aesthetics as Cultural Archives
  2. pp. 13-38
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  1. Part One: Imperial Governmentality
  1. 2. Acts of Transition: The British Cinematograph Films Acts of 1927 and 1938
  2. pp. 41-64
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  1. 3. Empire and Embarrassment: Colonial Forms of Knowledge about Cinema
  2. pp. 65-104
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  1. Part Two: Imperial Redemption
  1. 4. Realism and Empire
  2. pp. 107-134
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  1. 5. Romance and Empire
  2. pp. 135-164
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  1. 6. Modernism and Empire
  2. pp. 165-192
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  1. Part Three: Colonial Autonomy
  1. 7. Historical Romances and Modernist Myths in Indian Cinema
  2. pp. 195-238
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  1. Notes
  2. pp. 239-288
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  1. Bibliography
  2. pp. 289-308
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  1. Index of Films
  2. pp. 309-312
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  1. General Index
  2. pp. 313-320
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Additional Information

ISBN
9780822387749
Related ISBN
9780822337805
MARC Record
OCLC
1086519215
Pages
336
Launched on MUSE
2019-06-24
Language
English
Open Access
Yes
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