Popular Cinephilia in North India
Amongst the Hindi film magazines Madhuri stands out as an engaged, earnest and agenda-driven journalistic intervention. It acted as a crucial bridge, an effective mediator between several disparate segments and stake-holders: the film makers, viewers, stars, fans, state, industry, litterateurs, dire...
Ausführliche Beschreibung
Gespeichert in:
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Ravikant [verfasserIn] |
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| Format: |
Artikel |
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| Sprache: |
Englisch |
| Erschienen: |
2015 |
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| Rechteinformationen: |
Nutzungsrecht: © 2015 Taylor & Francis 2015 |
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| Schlagwörter: |
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| Übergeordnetes Werk: |
Enthalten in: Journalism studies - Abingdon : Taylor & Francis, 2000, 16(2015), 5, Seite 637 |
|---|---|
| Übergeordnetes Werk: |
volume:16 ; year:2015 ; number:5 ; pages:637 |
| Links: |
|---|
| DOI / URN: |
10.1080/1461670X.2015.1054161 |
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OLC1960828037 |
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| 520 | |a Amongst the Hindi film magazines Madhuri stands out as an engaged, earnest and agenda-driven journalistic intervention. It acted as a crucial bridge, an effective mediator between several disparate segments and stake-holders: the film makers, viewers, stars, fans, state, industry, litterateurs, directors, "Urdu" and "Hindi", music makers, listeners, exhibitors, theatre-patrons, "commercial" and "art" cinema types, regional, national and world cinema-lovers, and so on. It also continued with the ongoing task of educating Hindi readers about the intricacies of the film medium and its evolving history, ran vigorous campaigns advocating adoption of Nagri (Hindi) script for credit-rolls, and identified progressive literature waiting to be scripted; excavated new locations for shooting films, and more generally, invented a new form to narrate in words some of the classics of Hindi cinema. This paper argues that the restraint, irony as well as exuberance evident in its editorial choices, content and design were very much grounded in but not circumscribed by the aspirations of an expanding middle class nurtured on a print universe marked by Hindi nationalistic sensibility of the 1960s and 1970s. All the same, Madhuri's unique crowd-sourced campaigns lent a sense of civic identity to its readers, who started clamouring for better sonic, visual and hygienic facilities and comforts at cinema halls. | ||
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Popular Cinephilia in North India |
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Popular Cinephilia in North India |
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popular cinephilia in north india |
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Popular Cinephilia in North India |
| abstract |
Amongst the Hindi film magazines Madhuri stands out as an engaged, earnest and agenda-driven journalistic intervention. It acted as a crucial bridge, an effective mediator between several disparate segments and stake-holders: the film makers, viewers, stars, fans, state, industry, litterateurs, directors, "Urdu" and "Hindi", music makers, listeners, exhibitors, theatre-patrons, "commercial" and "art" cinema types, regional, national and world cinema-lovers, and so on. It also continued with the ongoing task of educating Hindi readers about the intricacies of the film medium and its evolving history, ran vigorous campaigns advocating adoption of Nagri (Hindi) script for credit-rolls, and identified progressive literature waiting to be scripted; excavated new locations for shooting films, and more generally, invented a new form to narrate in words some of the classics of Hindi cinema. This paper argues that the restraint, irony as well as exuberance evident in its editorial choices, content and design were very much grounded in but not circumscribed by the aspirations of an expanding middle class nurtured on a print universe marked by Hindi nationalistic sensibility of the 1960s and 1970s. All the same, Madhuri's unique crowd-sourced campaigns lent a sense of civic identity to its readers, who started clamouring for better sonic, visual and hygienic facilities and comforts at cinema halls. |
| abstractGer |
Amongst the Hindi film magazines Madhuri stands out as an engaged, earnest and agenda-driven journalistic intervention. It acted as a crucial bridge, an effective mediator between several disparate segments and stake-holders: the film makers, viewers, stars, fans, state, industry, litterateurs, directors, "Urdu" and "Hindi", music makers, listeners, exhibitors, theatre-patrons, "commercial" and "art" cinema types, regional, national and world cinema-lovers, and so on. It also continued with the ongoing task of educating Hindi readers about the intricacies of the film medium and its evolving history, ran vigorous campaigns advocating adoption of Nagri (Hindi) script for credit-rolls, and identified progressive literature waiting to be scripted; excavated new locations for shooting films, and more generally, invented a new form to narrate in words some of the classics of Hindi cinema. This paper argues that the restraint, irony as well as exuberance evident in its editorial choices, content and design were very much grounded in but not circumscribed by the aspirations of an expanding middle class nurtured on a print universe marked by Hindi nationalistic sensibility of the 1960s and 1970s. All the same, Madhuri's unique crowd-sourced campaigns lent a sense of civic identity to its readers, who started clamouring for better sonic, visual and hygienic facilities and comforts at cinema halls. |
| abstract_unstemmed |
Amongst the Hindi film magazines Madhuri stands out as an engaged, earnest and agenda-driven journalistic intervention. It acted as a crucial bridge, an effective mediator between several disparate segments and stake-holders: the film makers, viewers, stars, fans, state, industry, litterateurs, directors, "Urdu" and "Hindi", music makers, listeners, exhibitors, theatre-patrons, "commercial" and "art" cinema types, regional, national and world cinema-lovers, and so on. It also continued with the ongoing task of educating Hindi readers about the intricacies of the film medium and its evolving history, ran vigorous campaigns advocating adoption of Nagri (Hindi) script for credit-rolls, and identified progressive literature waiting to be scripted; excavated new locations for shooting films, and more generally, invented a new form to narrate in words some of the classics of Hindi cinema. This paper argues that the restraint, irony as well as exuberance evident in its editorial choices, content and design were very much grounded in but not circumscribed by the aspirations of an expanding middle class nurtured on a print universe marked by Hindi nationalistic sensibility of the 1960s and 1970s. All the same, Madhuri's unique crowd-sourced campaigns lent a sense of civic identity to its readers, who started clamouring for better sonic, visual and hygienic facilities and comforts at cinema halls. |
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Popular Cinephilia in North India |
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