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’etre 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.
The book throws new light on a phenomenon that is arguably basic to all
cinema, but which India’s cinematic evidence throws into sharpest
relief: the narrative simulation of a symbolically sanctified
rationality at the behest of a state. This evidence is explored through
three key moments of serious crisis for the twentieth-century Indian
state, in all of which the cinema appears to have played a central
role. Bollywood saw Indian cinema herald a globalized culture industry
considerably larger than its own financial worth, and a major presence
in India’s brief claim to financial superpower status. The debate on
Fire centrally located spectatorial negotiations around the
constitutional right to freedom of speech at a key moment in modern
Indian history when Article 19 was under attack from pro-Hindutva
forces. And the Emergency (1975-77) saw a New Indian Cinema politically
united against totalitarian rule but nevertheless rent asunder by
disputes over realism, throwing up new questions around the formation
of an epochal moment in independent India.
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