Salaam Cinema: Representations and Interpretations - Celebrating 100 Years of Bombay Cinema

full name / name of organization: 
Edited by Vikrant Kishore, Amit Sarwal and Parichay Patra
contact email: 
parichay.patra@gmail.com

Book Proposal

Salaam Cinema: Representations and Interpretations
Celebrating 100 Years of Bombay Cinema

Edited by Vikrant Kishore, Amit Sarwal and Parichay Patra

On 3 May 1913, Dhundiraj Govind Phalke (popularly known as Dadasaheb Phalke) presented to India its first silent film, Raja Harishchandra. Phalke proved that film-making can be a lucrative business in India – expected to grow to US$ 3 billion by 2014. A century later, from its transition from silent to sound, the term ‘Bollywood’, though incorrectly, is used to refer to the whole of Indian Cinema. Indian cinema, with aesthetics of its own, is a veritable storehouse of material that can be read in as many ways as possible. As a genre that has grown and developed over a period of 100 years, it is coloured by history, politics, socio-economic conditions, culture, sensibilities, dreams, fantasies, hopes and expectations of Indian people. It is a globalized cultural industry, cinema of attractions and the most fascinating film industry of the world packaged with romance, melodrama, action, costumes, songs and dance extravaganzas.
Success of the Festival of Indian Films, the search for Bollywood’s Star on SBS ONE, the Australian Film Festival, the Australian Prime Minister’s visit to India, and Oz Fest 2012 (the biggest Australian cultural festival ever staged in India) has also demonstrated that the two great nations are coming closer in terms of understanding each other beyond clichés of curry and cricket or economics of export and marketing. It is through Indian Cinema and the journeys of our filmmakers and their representations that new adventures in cultural engagement are being charted out between the two countries.
We invite you to celebrate 100 years of Bombay Cinema and share views on the key representation, transformative moments; changing faces and phases; re-evaluate Australian-Indian film connections; and find ways to engage and build meaningful collaborative film projects between the two countries.

Please submit your papers to Parichay Patra (parichay.patra@gmail.com) by 30th July 2013.

About the Editors
Vikrant Kishore is an alumnus of prestigious institutes like RMIT University—Melbourne, AJK Mass Communication Research Centre – Jamia Millia Islamia and St. Stephens College—Delhi University, India, Dr. Vikrant Kishore is an Academician, Filmmaker, Journalist, and a Photographer. Currently based in Newcastle, Dr Kishore is working at the University of Newcastle as a Lecturer-Communication and Media Production and Course Coordinator (Music Video) in the Bachelor of Communication. Dr. Kishore completed his doctorate in “Bollywood Cinema and Dance” from Royal Melbourne Institute of Technology (RMIT) University in 2011. After the completion of his PhD. he worked as a researcher on ”Australian Research Council” funded project on “Mapping Lifestyle Television in Asia” at RMIT University, Melbourne under the leadership of Dr. Tania Lewis. Dr. Kishore has more than 25 documentaries, and corporate films to his credit and his area of expertise are Bollywood Films, the folk and tribal culture of Eastern India, as well as the issues of caste politics in India. His documentaries on Chhau Dance have been screened in various international film festivals.

Amit Sarwal is Alfred Deakin Postdoctoral Research Fellow at the Centre for Citizenship and Globalisation, Deakin University, Australia and also the Founding Convenor of Australia-India Interdisciplinary Research Network (AIIRN). He has taught as Assistant Professor in the Department of English at SGND Khalsa College and Rajdhani College, University of Delhi, India. He was an Honorary Visiting Scholar (2006-2007) at Monash University as an Endeavour Asia Award winner. His areas of interest include South Asian Diaspora Literature, Australian Literature and Popular Fiction on which he has organised and presented in many conferences and published in various journals and books. He has co-edited a number of books on Australian studies, prominent being: Creative Nation: Australian Cinema and Cultural Studies Reader (2009); Wanderings in India: Australian Perceptions (2012); and Enriched Relations: Public Diplomacy in Australia-Indian Relations (2013).

Parichay Patra is a doctoral candidate in the department of Film and Television Studies, Monash University, Melbourne. Patra studied English literature and Film Studies at Jadavpur University, India. He has published in reputed film journals like the Journal of the Moving Image and in a number of edited volumes. Patra has presented papers in various conferences / seminars / symposia in India, Taiwan and Australia. His area of interest is the history of the Indian New Wave cinema of the 1970s. He is currently working on an article on Ritwik Ghatak’s Subarnarekha (1962) for a collection of essays to be published by Orient Blackswan.

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