Leave Disco Dancer Alone

In this important new book, Sudha Rajagopalan explores the consumption of Indian popular cinema in post-Stalinist Soviet society. In doing so, she highlights the enthusiastic response Indian popular films and their stars received from the Soviet audience, as well as the discursive and institutional context in which this consumption occurred from the mid-fifties till the end of the Soviet era in 1991.The death of Stalin in 1953 was followed by the introduction of important changes in government policy in the Soviet Union, including a relative liberalisation of leisure and culture which revealed the state s resurgent interest in addressing popular tastes. The renewed import and screening of foreign entertainment films in the Soviet Union was one of the most visible outcomes of this change. Drawing on oral history methodology and archival research in Russia, the author analyses the ways in which Soviet movie-goers, policy makers, critics and sociologists responded to, interpreted and debated Indian cinema in the Soviet Union between 1954 and the end of the eighties. Complemented by contemporary press and archival photos which capture the rapturous reception given to actors like Raj Kapoor, Nargis, Shashi Kapoor, Amitabh Bachchan and Mithun Chakraborty as well as Soviet film posters announcing films like Awara, Betaab and Chandni, this engaging book, which is also the first monograph on Indian cinema abroad among non-diasporic audiences, is a must-read not only for students and scholars of film history and cultural studies, but every such lay reader who has grown up on a regular diet of popular Indian cinema.

When Nikita Khrushchev visited Hollywood in 1959 only to be scandalized by a group of scantily clad actresses, his message was blunt: Soviet culture would soon consign the mass culture of the West, epitomized by Hollywood, to the "dustbin of history." In Moscow Prime Time, a portrait of the Soviet broadcasting and film industries and of everyday Soviet consumers from the end of World War II through the 1970s, Kristin Roth-Ey shows us how and why Khrushchev’s ambitious vision ultimately failed to materialize. The USSR surged full force into the modern media age after World War II, building cultural infrastructures—and audiences—that were among the world’s largest. Soviet people were enthusiastic radio listeners, TV watchers, and moviegoers, and the great bulk of what they were consuming was not the dissident culture that made headlines in the West, but orthodox, made-in-the-USSR content. This, then, was Soviet culture’s real prime time and a major achievement for a regime that had long touted easy, everyday access to a socialist cultural experience as a birthright. Yet Soviet success also brought complex and unintended consequences. Emphasizing such factors as the rise of the single-family household and of a more sophisticated consumer culture, the long reach and seductive influence of foreign media, and the workings of professional pride and raw ambition in the media industries, Roth-Ey shows a Soviet media empire transformed from within in the postwar era. The result, she finds, was something dynamic and volatile: a new Soviet culture, with its center of gravity shifted from the lecture hall to the living room, and a new brand of cultural experience, at once personal, immediate, and eclectic—a new Soviet culture increasingly similar, in fact, to that of its self-defined enemy, the mass culture of the West. By the 1970s, the Soviet media empire, stretching far beyond its founders’ wildest dreams, was busily undermining the very promise of a unique Soviet culture—and visibly losing the cultural cold war. Moscow Prime Time is the first book to untangle the paradoxes of Soviet success and failure in the postwar media age.

Do you eat, drink, sleep, think Hindi Cinema all the time like an obsession? Then we are already friends and sure going to have a great time together discovering many hidden and interesting facts about Hindi Cinema. Facts that are not just two-line trivia but studied in depth along with other finer details about the subject. For instance: • The ageless Guide and its English version • The spiritual connect in Silsila and Rab Ne Bana Di Jodi • Bertrand Russell & Jagjit Singh in a Hindi film cameo • A bold film suggesting castration for rapists in 1988 • Utpal Dutt - not just a comedian • The two Hindi film songs that won the Grammy Award • Amitabh-Bally Sagoo’s Aby Baby and Adalat • The lost art of riddle-based songs in Hindi film music • Three unusually sensual movies by Hrishikesh Mukherjee • Shocking Hindi films made on the subject of Incest And if this all sounds interesting, then do give it a try as ‘Picture Abhi Baaki Hai, Dost”

Through enhancing reflection on the treatment of cultural diversity in contemporary Western societies, this collection aims to move the debate beyond the opposition between ethnicity and citizenship and demonstrate ways to achieve equality in multicultural and globalised societies.

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.

Taking the achievements, ambiguities, and legacies of World War II as a point of departure, The Shadow of War: The Soviet Union and Russia, 1941 to the Present offers a fresh new approach to modern Soviet and Russian history. Presents one of the only histories of the Soviet Union and Russia that begins with World War II and goes beyond the Soviet collapse through to the early twenty-first century Innovative thematic arrangement and approach allows for insights that are missed in chronological histories Draws on a wide range of sources and the very latest research on post-Soviet history, a rapidly developing field Supported by further reading, bibliography, maps and illustrations.

This new Handbook offers a wide-ranging overview of current scholarship on the Cold War, with essays from many leading scholars. The field of Cold War history has consistently been one of the most vibrant in the field of international studies. Recent scholarship has added to our understanding of familiar Cold War events, such as the Korean War, the Cuban Missile Crisis and superpower détente, and shed new light on the importance of ideology, race, modernization, and transnational movements. The Routledge Handbook of the Cold War draws on the wealth of new Cold War scholarship, bringing together essays on a diverse range of topics such as geopolitics, military power and technology and strategy. The chapters also address the importance of non-state actors, such as scientists, human rights activists and the Catholic Church, and examine the importance of development, foreign aid and overseas assistance. The volume is organised into nine parts: Part I: The Early Cold War Part II: Cracks in the Bloc Part III: Decolonization, Imperialism and its Consequences Part IV: The Cold War in the Third World Part V: The Era of Detente Part VI: Human Rights and Non-State Actors Part VII: Nuclear Weapons, Technology and Intelligence Part VIII: Psychological Warfare, Propaganda and Cold War Culture Part IX: The End of the Cold War This new Handbook will be of great interest to all students of Cold War history, international history, foreign policy, security studies and IR in general.

The first book-length survey of cinema's vital role in the Cold War cultural combat between the U.S. and the USSR. Focuses on 10 films--five American and five Soviet, both iconic and lesser-known works--showing that cinema provided a crucial outlet for the global "debate" between democratic and communist ideologies.