Neepa Majumdar is Associate Professor of Film & Media Studies in the English Department at the University of Pittsburgh. She is the author of Wanted Cultured Ladies Only! Female Stardom and Cinema in India, 1930s to 1950s (University of Illinois Press, 2009). Her research interests include film sound, star studies, South Asian early cinema, and documentary film. She is co-editor of the journals [In]Transition: Journal of Videographic Film and Moving Image Studies and Music, Sound, and the Moving Image.Ranjani Mazumdar is Professor of Cinema Studies at the School of Arts & Aesthetics, Jawaharlal Nehru University, Delhi. She is the author of Bombay Cinema: An Archive of the City (University of Minnesota Press, 2007) and guest editor of a special issue of Bioscope on cinema and techno materiality (2013). Her current research interests include globalization and film culture, intermedial encounters, and the intersection of technology, travel, design, and color in 1960s Bombay Cinema.

• Notes on Contributors viiiAcknowledgements xivIntroduction 1Ranjani Mazumdar and Neepa MajumdarPart I Production Cultures and Circulation 351 Risky Business: The Structure and Practice of Formal Film Distribution in the Hindi Film Industry 37Tejaswini Ganti2 Spectators from the Past: Remakes, Development, and the Bhojpuri Audience 60Kathryn Hardy3 (Not So) Far from Bollywood: Videocinemas of India 78Bhaskar SarkarPart II Cinema and Material Traces 1014 Shifty Outfits: Envisioning the Hindi Film Villain 103Clare M. Wilkinson5 Archival Conjugations: Queer Traces of Love and Loss in Bombay Cinema 122Debashree Mukherjee6 Excavating Movie Queens: The Curious Case of the James Burke Photographs 147Sabeena Gadihoke7 Scenes of Horror: Reading the Documents of Indian Film Censorship 170Kartik NairPart III Voices, Bodies, and Figures of Influence 1978 Dance and Ludic Queerness: A Genealogy of Gestures from Bhagwan to Bachchan 199Usha Iyer9 Performing the Bhadramahila: Suchitra Sen and Popular Bangla Cinema 219Smita Banerjee10 Volatile Scales, Contingent Bodies: The Many Voices of Asha Bhosle 239Shikha Jhingan11 Contemporary Bengali Cinema: Nostalgia, Politics, and the Ghosts of Satyajit Ray 260Meheli Sen12 The Tamasha Film: Gender, Performance, and Melodramatic Form 281Aarti WaniPart IV The Nonfiction Impulse 30313 The Shikar Film and Photograph: Hunting in Colonial India 305Veena Hariharan14 Moving Images: Documentary, Sexual Dissidence, and Vectors of Desire 319Shohini Ghosh15 The Other Song: Gender, Performance, and Aurality in Documentary Film 339Anuja Jain16 Infrastructures of Political Address: The Film and Media Archive 360Ravi VasudevanPart V Transnational and Transregional Circuits 38717 In and Out of Alignment: Cold War Sentiment and Hollywood–Bombay Film Diplomacy in the 1950s 389Nitin Govil18 Coming into Cinema: Critical Cosmopolitanisms of Malayalam Cinema (1930–1955) 412Bindu Menon19 Affective Logics: Re-making Fidelity and Homosociality in Kaante 433Monika Mehta20 The “Conscience of Bollywood” in China: Aamir Khan and Transnational Spreadable Media 456Krista Van Fleit21 “Get on the Train, Baby!” Joining Kashmir and Kanyakumari through Hinglish and English Accents and Language in Chennai Express (2013) 473Helen Ashton and Rachel DwyerPart VI Reflections on the Medium/Media Inscriptions 49322 Staging the Screen, Screening the Stage: Mediation and the Problem of Cinematic Self-Reflexivity 495Neepa Majumdar23 Radical Time: 1971 and Art 514Ashish Rajadhyaksha24 Technological Obsolescence and Space in Bombay Cinema 540Ranjani Mazumdar25 From Unattainable to Distantly Watched Films: Film Archives and their Digital Futures 569Lawrence LiangIndex 590

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Neepa Majumdar is Associate Professor of Film & Media Studies in the English Department at the University of Pittsburgh. She is the author of Wanted Cultured Ladies Only! Female Stardom and Cinema in India, 1930s to 1950s (University of Illinois Press, 2009). Her research interests include film sound, star studies, South Asian early cinema, and documentary film. She is co-editor of the journals [In]Transition: Journal of Videographic Film and Moving Image Studies and Music, Sound, and the Moving Image.Ranjani Mazumdar is Professor of Cinema Studies at the School of Arts & Aesthetics, Jawaharlal Nehru University, Delhi. She is the author of Bombay Cinema: An Archive of the City (University of Minnesota Press, 2007) and guest editor of a special issue of Bioscope on cinema and techno materiality (2013). Her current research interests include globalization and film culture, intermedial encounters, and the intersection of technology, travel, design, and color in 1960s Bombay Cinema.

• Notes on Contributors viiiAcknowledgements xivIntroduction 1Ranjani Mazumdar and Neepa MajumdarPart I Production Cultures and Circulation 351 Risky Business: The Structure and Practice of Formal Film Distribution in the Hindi Film Industry 37Tejaswini Ganti2 Spectators from the Past: Remakes, Development, and the Bhojpuri Audience 60Kathryn Hardy3 (Not So) Far from Bollywood: Videocinemas of India 78Bhaskar SarkarPart II Cinema and Material Traces 1014 Shifty Outfits: Envisioning the Hindi Film Villain 103Clare M. Wilkinson5 Archival Conjugations: Queer Traces of Love and Loss in Bombay Cinema 122Debashree Mukherjee6 Excavating Movie Queens: The Curious Case of the James Burke Photographs 147Sabeena Gadihoke7 Scenes of Horror: Reading the Documents of Indian Film Censorship 170Kartik NairPart III Voices, Bodies, and Figures of Influence 1978 Dance and Ludic Queerness: A Genealogy of Gestures from Bhagwan to Bachchan 199Usha Iyer9 Performing the Bhadramahila: Suchitra Sen and Popular Bangla Cinema 219Smita Banerjee10 Volatile Scales, Contingent Bodies: The Many Voices of Asha Bhosle 239Shikha Jhingan11 Contemporary Bengali Cinema: Nostalgia, Politics, and the Ghosts of Satyajit Ray 260Meheli Sen12 The Tamasha Film: Gender, Performance, and Melodramatic Form 281Aarti WaniPart IV The Nonfiction Impulse 30313 The Shikar Film and Photograph: Hunting in Colonial India 305Veena Hariharan14 Moving Images: Documentary, Sexual Dissidence, and Vectors of Desire 319Shohini Ghosh15 The Other Song: Gender, Performance, and Aurality in Documentary Film 339Anuja Jain16 Infrastructures of Political Address: The Film and Media Archive 360Ravi VasudevanPart V Transnational and Transregional Circuits 38717 In and Out of Alignment: Cold War Sentiment and Hollywood–Bombay Film Diplomacy in the 1950s 389Nitin Govil18 Coming into Cinema: Critical Cosmopolitanisms of Malayalam Cinema (1930–1955) 412Bindu Menon19 Affective Logics: Re-making Fidelity and Homosociality in Kaante 433Monika Mehta20 The “Conscience of Bollywood” in China: Aamir Khan and Transnational Spreadable Media 456Krista Van Fleit21 “Get on the Train, Baby!” Joining Kashmir and Kanyakumari through Hinglish and English Accents and Language in Chennai Express (2013) 473Helen Ashton and Rachel DwyerPart VI Reflections on the Medium/Media Inscriptions 49322 Staging the Screen, Screening the Stage: Mediation and the Problem of Cinematic Self-Reflexivity 495Neepa Majumdar23 Radical Time: 1971 and Art 514Ashish Rajadhyaksha24 Technological Obsolescence and Space in Bombay Cinema 540Ranjani Mazumdar25 From Unattainable to Distantly Watched Films: Film Archives and their Digital Futures 569Lawrence LiangIndex 590

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Neepa Majumdar is Associate Professor of Film & Media Studies in the English Department at the University of Pittsburgh. She is the author of Wanted Cultured Ladies Only! Female Stardom and Cinema in India, 1930s to 1950s (University of Illinois Press, 2009). Her research interests include film sound, star studies, South Asian early cinema, and documentary film. She is co-editor of the journals [In]Transition: Journal of Videographic Film and Moving Image Studies and Music, Sound, and the Moving Image.Ranjani Mazumdar is Professor of Cinema Studies at the School of Arts & Aesthetics, Jawaharlal Nehru University, Delhi. She is the author of Bombay Cinema: An Archive of the City (University of Minnesota Press, 2007) and guest editor of a special issue of Bioscope on cinema and techno materiality (2013). Her current research interests include globalization and film culture, intermedial encounters, and the intersection of technology, travel, design, and color in 1960s Bombay Cinema.

• Notes on Contributors viiiAcknowledgements xivIntroduction 1Ranjani Mazumdar and Neepa MajumdarPart I Production Cultures and Circulation 351 Risky Business: The Structure and Practice of Formal Film Distribution in the Hindi Film Industry 37Tejaswini Ganti2 Spectators from the Past: Remakes, Development, and the Bhojpuri Audience 60Kathryn Hardy3 (Not So) Far from Bollywood: Videocinemas of India 78Bhaskar SarkarPart II Cinema and Material Traces 1014 Shifty Outfits: Envisioning the Hindi Film Villain 103Clare M. Wilkinson5 Archival Conjugations: Queer Traces of Love and Loss in Bombay Cinema 122Debashree Mukherjee6 Excavating Movie Queens: The Curious Case of the James Burke Photographs 147Sabeena Gadihoke7 Scenes of Horror: Reading the Documents of Indian Film Censorship 170Kartik NairPart III Voices, Bodies, and Figures of Influence 1978 Dance and Ludic Queerness: A Genealogy of Gestures from Bhagwan to Bachchan 199Usha Iyer9 Performing the Bhadramahila: Suchitra Sen and Popular Bangla Cinema 219Smita Banerjee10 Volatile Scales, Contingent Bodies: The Many Voices of Asha Bhosle 239Shikha Jhingan11 Contemporary Bengali Cinema: Nostalgia, Politics, and the Ghosts of Satyajit Ray 260Meheli Sen12 The Tamasha Film: Gender, Performance, and Melodramatic Form 281Aarti WaniPart IV The Nonfiction Impulse 30313 The Shikar Film and Photograph: Hunting in Colonial India 305Veena Hariharan14 Moving Images: Documentary, Sexual Dissidence, and Vectors of Desire 319Shohini Ghosh15 The Other Song: Gender, Performance, and Aurality in Documentary Film 339Anuja Jain16 Infrastructures of Political Address: The Film and Media Archive 360Ravi VasudevanPart V Transnational and Transregional Circuits 38717 In and Out of Alignment: Cold War Sentiment and Hollywood–Bombay Film Diplomacy in the 1950s 389Nitin Govil18 Coming into Cinema: Critical Cosmopolitanisms of Malayalam Cinema (1930–1955) 412Bindu Menon19 Affective Logics: Re-making Fidelity and Homosociality in Kaante 433Monika Mehta20 The “Conscience of Bollywood” in China: Aamir Khan and Transnational Spreadable Media 456Krista Van Fleit21 “Get on the Train, Baby!” Joining Kashmir and Kanyakumari through Hinglish and English Accents and Language in Chennai Express (2013) 473Helen Ashton and Rachel DwyerPart VI Reflections on the Medium/Media Inscriptions 49322 Staging the Screen, Screening the Stage: Mediation and the Problem of Cinematic Self-Reflexivity 495Neepa Majumdar23 Radical Time: 1971 and Art 514Ashish Rajadhyaksha24 Technological Obsolescence and Space in Bombay Cinema 540Ranjani Mazumdar25 From Unattainable to Distantly Watched Films: Film Archives and their Digital Futures 569Lawrence LiangIndex 590

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