It is commonplace to remark that India has the largest film industry anywhere, producing “unquestionably the most-seen movies in the world” (Kabir 2001: 1). Of the many languages in which Indian movies are made, films in Hindi (or Urdu) are the most prominent globally, and they comprise the most obviously “national” cinema (Ganti 2004: 12). Indian films in general, and Hindi films in particular, have had international success for decades (Desai 2004: 40). They constitute perhaps the only national cinema that can come close to rivaling the U.S. film industry. This parallel with Hollywood has led to the popular name for the Hindi film industry, “Bollywood.” The name refers particularly to the entertainment-oriented films from the 1960s on, and of these especially the films produced since the early 1990s in the period of economic neoliberalism and globalization.
Patrick Colm Hogan
Georges Franju's Eyes Without a Face
This essay proposes a reading of Georges Franju's Eyes Without a Face that focuses on the cultural and philosophical contexts of the face, its destruction, and imagined reconstruction in postwar France. The film foregrounds the protagonist's lack of a face and the effort to restore it into a cinematic argument heralding the ruin of natural beauty and genuine face-to-face relations, an approach that in turn theorizes the postwar world as premised on ethical and aesthetic opacity. By considering contemporary treatments of the face, as well as the representations of injury and violence, the essay argues that at stake in the political and aesthetic judgments proposed by the failed face transplants in the film was a concern with the technological reconstruction of a natural and pure state, a reconstruction that was now seen as impossible and could have devastating consequences at the ethical and aesthetic levels.
Michael Radford’s The Merchant of Venice
Maria-Clara Versiani Galery
December 2004), https:/www.theguardian.com/film/2004/dec/09/religion.film (accessed 27 May 2017). 4 André Bazin, ‘Theater and Cinema’, in Film Theory and Criticism: Introductory Readings , ed. Gerald Mast, Marshall Cohen and Leo Braudy (New York: Oxford
The Human Body as Raw Material
Film Theory and Criticism: Introductory Readings , eds. Leo Braudy and Marshall Cohen . New York : Oxford University Press . Plato . 1997 . “ Phaedo .” Pp. 49 – 100 in Plato: Complete Works , ed. John M. Cooper . Indianapolis
Jessica Bay, Alaina Schempp, Daniela Schlütz, and R. Colin Tait
. New York : Random House . Freeland , Cynthia A. ( 1996 ) 2004. “ Feminist Frameworks for Horror Films .” In Film Theory and Criticism: Introductory Readings , 6th ed., ed. Leo Braudy and Marshall Cohen , 742 – 763 . Oxford : Oxford
Beyond the Kuleshov Effect
Cinema: The First Wave, 1915–1929 . Princeton, NJ : Princeton University Press . Albéra , François . 1995 . Albatros: Des russes à Paris, 1919–1929 . Paris : Cinémathèque française . Balázs , Béla . 1999 . “The Face of Man.” In Film Theory and
Sclafani , and Ronald Roblin , 583 – 590 . New York : St. Martin's Press . Sparshott , F. E. 1985 . “ Basic Film Aesthetics .” In Film Theory and Criticism: Introductory Readings , 3rd edition, ed. Leo Braudy , Marshall Cohen , and
Three Roles in the Career of Tahia Carioca (1946, 1958 and 1972)
. Brill ). Mulvey , L. ( 1999 ), ‘ Visual Pleasure and Narrative Cinema ’, in Film Theory and Criticism: Introductory Readings (eds) L. Braudy and M. Cohen ( Oxford : Oxford University Press ), 833 – 844 . Nieuwkerk , K. van ( 1996