This book explores the dramatic rise in popularity of the women’s biopic in contemporary Bollywood, within the context of wider cultural shifts over the past decade. Delving into the societal shifts reflected in the genre, both on and off screen, the book explores the contours of individual agency and the centring of women in Indian cinema. The book offers new insight into women-centric Hindi biopics, a fast-rising genre carving out a tradition of its own, with female directors and actors contributing to this rising postfeminist celebration of women’s agency and individuality. The authors posit that the alternative narratives, created by Bollywood and accepted by mainstream audiences, have become a catalyst to elevate women or female actors to protagonists, without the need to conform to the sexist mores of mainstream Bollywood. This book will be of interest to scholars, researchers and upper-level students in the areas of film studies, media industries, gender and feminism, and South Asian studies.

Dancing Women: Choreographing Corporeal Histories of Hindi Cinema, an ambitious study of two of South Asia's most popular cultural forms — cinema and dance — historicizes and theorizes the material and cultural production of film dance, a staple attraction of popular Hindi cinema. It explores how the dynamic figurations of the body wrought by cinematic dance forms from the 1930s to the 1990s produce unique constructions of gender, sexuality, stardom, and spectacle. By charting discursive shifts through figurations of dancer-actresses, their publicly performed movements, private training, and the cinematic and extra-diegetic narratives woven around their dancing bodies, the book considers the "women's question" via new mobilities corpo-realized by dancing women. Some of the central figures animating this corporeal history are Azurie, Sadhona Bose, Vyjayanthimala, Helen, Waheeda Rehman, Madhuri Dixit, and Saroj Khan, whose performance histories fold and intersect with those of other dancing women, including devadasis and tawaifs, Eurasian actresses, oriental dancers, vamps, choreographers, and backup dancers. Through a material history of the labor of producing on-screen dance, theoretical frameworks that emphasize collaboration, such as the "choreomusicking body" and "dance musicalization," aesthetic approaches to embodiment drawing on treatises like the Natya Sastra and the Abhinaya Darpana, and formal analyses of cine-choreographic "techno-spectacles," Dancing Women offers a variegated, textured history of cinema, dance, and music. Tracing the gestural genealogies of film dance produces a very different narrative of Bombay cinema, and indeed of South Asian cultural modernities, by way of a corporeal history co-choreographed by a network of remarkable dancing women.

This book explores the dramatic rise in popularity of the women's biopic in contemporary Bollywood, within the context of wider cultural shifts over the past decade. Delving into the societal shifts reflected in the genre, both on and off screen, the book explores the contours of individual agency and the centring of women in Indian cinema. The book offers new insight into women-centric Hindi biopics, a fast-rising genre carving out a tradition of its own, with female directors and actors contributing to this rising postfeminist celebration of woman's agency and individuality. The authors posit that the alternative narratives, created by Bollywood and accepted by mainstream audiences, have become a catalyst to elevate women or female actors to protagonists, without the need to conform to the sexist mores of mainstream Bollywood. This book will be of interest to scholars, researchers and upper-level students in the areas of film studies, media industries, gender and feminism, and South Asian studies.

The subtitle says it all: how and why Bollywood found it worthwhile to explore the reality of the millennial women who are thriving in India - small part of the demographics but very influential. Advertising discovered women as The Hindi film Heroine is a brand and brand ambassador. The market met contemporary women who are independent, with freer attitudes to relationships, including pre-marital sex, Rom coms of the new millennium reflect this new-found freedom, defying patriarchy that still defines our society. Globalisation is culturally irreversible. From the 1990s onwards, Bollywood has responded to globalisation with fear of loss of identity and desire to integrate with global trends. It results in popular cinema becoming glocal. Bollywood celebrates nonconformists, subversives woman as the hero, stories in their own way unequivocally said No means No. Most daringly. Iconic characters like Choti Bahu, Paro and Chandramukhi transformed into today’s women with the power to change their lives. This happened with the energy infused into the mainstream by indie filmmakers with vision and the will to tell stories in their own way.

Why are domestic workers converting to Islam in the Arabian Peninsula and Persian Gulf region? In Everyday Conversions Attiya Ahmad presents us with an original analysis of this phenomenon. Using extensive fieldwork conducted among South Asian migrant women in Kuwait, Ahmad argues domestic workers’ Muslim belonging emerges from their work in Kuwaiti households as they develop Islamic piety in relation—but not opposition—to their existing religious practices, family ties, and ethnic and national belonging. Their conversion is less a clean break from their preexisting lives than it is a refashioning in response to their everyday experiences. In examining the connections between migration, labor, gender, and Islam, Ahmad complicates conventional understandings of the dynamics of religious conversion and the feminization of transnational labor migration while proposing the concept of everyday conversion as a way to think more broadly about emergent forms of subjectivity, affinity, and belonging.

The two phenomena highlighted in this edited volume 'motherhood/mothering and masculinities' are each recent areas of development in critical Feminist and Men's Studies. In contributing to these areas of gender studies, this book draws attention to the fact that much can also be gained when we explore relationships between them, an idea that may not readily come to mind. While femininities and masculinities are co-constructed, motherhood and mothering bring additional perspectives to the study of femininity that affect the construction of masculinity in complex ways. The 12 chapters in this volume allow readers to ponder some of these complexities and may suggest other issues that require investigation. Spanning many continents, the essays have both a global and historical reach emphasising cultural differences and historical changes. Of import is the idea that mothers have agency and are active in constructions affecting their lives. They are able to bring motherhood out of the shadows as they strive to build, re-evaluate, or alter their roles within families and communities. These have an impact on developments in masculinities. The book is divided into three parts and the chapters investigate a wide range of issues including cultural constructs, gender in parent/child, relationships, non-binary developments, the impact of war on mothering, decolonisation struggles, and much more.

The biographical film or biopic is a staple of film production in all major film industries and yet, within film studies, its generic, aesthetic, and cultural significance has remained underexplored. The Biopic in Contemporary Film Culture fills this gap, conceptualizing the biopic with a particular eye toward the "life" of the genre internationally. New theoretical approaches combine with specially commissioned chapters on contemporary biographical film production in India, Italy, South Korea, France, Russia, Great Britain, and the US, in order to present a selective but well-rounded portrait of the biopic’s place in film culture. From Marie Antoinette to The Social Network, the pieces in this volume critically examine the place of the biopic within ongoing debates about how cinema can and should represent history and "real lives." Contributors discuss the biopic’s grounding in the conventions of the historical film, and explore the genre’s defining traits as well as its potential for innovation. The Biopic in Contemporary Film Culture expands the critical boundaries of this evolving, versatile genre.

Dialogues, encounters and interactions through which particular ways of knowing, understanding and thinking about the world are forged lie at the centre of anthropology. Such ‘intellectual exchange’ is also central to anthropologists’ own professional practice: from their interactions with research participants and modes of pedagogy to their engagements with each other and scholars from adjacent disciplines. This collection of essays explores how such processes might best be studied cross-culturally. Foregrounding the diverse interactions, ethical reasoning, and intellectual lives of people from across the continent of Asia, the volume develops an anthropology of intellectual exchange itself.

This book is a comprehensive anthology comprising essays on women film directors, producers and screenwriters from Bollywood, or the popular Hindi film industry. It derives from the major theories of modernity, postmodern feminism, semiotics, cultural production, and gender performativity in globalized times. The collection transcends the traditional approaches of looking at films made by women filmmakers as ‘feminist’ cinema, and focuses on an extraordinary group of women filmmakers like Ashwini Iyer Tiwari, Bhavani Iyer, Farah Khan, Mira Nair Vijaya Mehta, and Zoya Akthar. The volume will be of interest to academics and theorists of gender and Hindi cinema, as well as anybody interested in contemporary Hindi films in their various manifestations.

In the 19th century, the world was Europeanized. In the 20th century, it was Americanized. Now, in the 21st century, the world is being Asianized. The “Asian Century” is even bigger than you think. Far greater than just China, the new Asian system taking shape is a multi-civilizational order spanning Saudi Arabia to Japan, Russia to Australia, Turkey to Indonesia—linking five billion people through trade, finance, infrastructure, and diplomatic networks that together represent 40 percent of global GDP. China has taken a lead in building the new Silk Roads across Asia, but it will not lead it alone. Rather, Asia is rapidly returning to the centuries-old patterns of commerce, conflict, and cultural exchange that thrived long before European colonialism and American dominance. Asians will determine their own future—and as they collectively assert their interests around the world, they will determine ours as well. There is no more important region of the world for us to better understand than Asia – and thus we cannot afford to keep getting Asia so wrong. Asia’s complexity has led to common misdiagnoses: Western thinking on Asia conflates the entire region with China, predicts imminent World War III around every corner, and regularly forecasts debt-driven collapse for the region’s major economies. But in reality, the region is experiencing a confident new wave of growth led by younger societies from India to the Philippines, nationalist leaders have put aside territorial disputes in favor of integration, and today’s infrastructure investments are the platform for the next generation of digital innovation. If the nineteenth century featured the Europeanization of the world, and the twentieth century its Americanization, then the twenty-first century is the time of Asianization. From investment portfolios and trade wars to Hollywood movies and university admissions, no aspect of life is immune from Asianization. With America’s tech sector dependent on Asian talent and politicians praising Asia’s glittering cities and efficient governments, Asia is permanently in our nation’s consciousness. We know this will be the Asian century. Now we finally have an accurate picture of what it will look like.