Piyush Chhabra is a Ph.D Scholar of Cinema Studies at the School of Arts and Aesthetics, Jawaharlal Nehru University, New Delhi. He works on the entanglements between law and different media forms.
Most viewers arrived at 'Dil Se..' after listening to its songs on music television channels while growing up. When viewed outside its narrative, the songs seem like expressions of love in turbulent times. However, an unease sets in when it slowly starts to creep on audiences that this is not really a love story.
20 years on, Bunty Aur Babli's iconic song 'Kajra Re' remains one of those rare, lightning in the bottle moments that popular Hindi cinema produces, where a mix of cultural forces pull their weight together to create a phenomenon that completely captures the imagination of the masses.
American TV shows like 'The Bear', 'Somebody Somewhere', and 'Shrinking' make use of time and space in distinctive ways that highlight the value of long-form storytelling in narrating stories about death.
Charmed by the recently re-released Qayamat se Qayamat Tak, I ponder about the takeaways from the film, the state of film viewing, as well as film stardom.
Page 3 cemented director Madhur Bhandarkar’s place in Bollywood as a keen observer of the lives of Mumbai’s rich and famous. 20 years on, how do we place it within the mediascape of the 2000s as well as his oeuvre?
Swades played a significant role in articulating the contours of citizenship. Two decades later, the evolving cinematic landscape has added new dimensions to its theme.
Punjab has, for long, been a rich source of stories and music for Bollywood. As the land of abundance of yore gives way to a more complicated present on screen, how does Bollywood adapt?
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