000			03909cam a22004934a 4500
001			musev2_103883
003			MdBmJHUP
005			20240815120857.0
006			m o d
007			cr||||||||nn|n
008			220722s2022 wau o 00 0 eng d
010			_z 2022015153
020			_a9780295750804
020			_z9780295750798
035			_a(OCoLC)1337409770
040			_aMdBmJHUP _cMdBmJHUP
100	1		_aDadi, Iftikhar, _eauthor.
245	1	0	_aLahore Cinema : _bBetween Realism and Fable / _cIftikhar Dadi.
264		1	_aSeattle : _bUniversity of Washington Press, _c[2022]
264		3	_aBaltimore, Md. : _bProject MUSE, _c2022
264		4	_c©[2022]
300			_a1 online resource (264 pages).
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
490	0		_aGlobal South Asia
505	0		_aIntroduction: The Lahore effect -- Between neorealism and humanism: Jago Hua Savera -- Lyric romanticism: Khurshid Anwar's Music and films -- Cinema and politics: Khalil Qaiser and Riaz Shahid -- The Zinda Bhaag Assemblage: reflexivity and form.
506	0		_aOpen Access _fUnrestricted online access _2star
520			_a"The post-Partition cinema produced between 1956 and 1969-the long '60s-in Lahore, Pakistan, drew promiscuously from Hindu mythology, Bengali performance traditions, Islamicate legends, Sufi conceptions of the self, Punjabi and Sindhi oral narratives, Parsi theater, Urdu lyric poetry, historical and social realism, Hollywood musicals, the psychological and sensorial stimulus of modernity, and more. Consideration of this rich field of influence offers insights into not only the decade that led to the overthrow of the Ayub Khan government, followed in 1971 by the loss of Bangladesh, but also into cultural affiliation in the fraught South Asian present, when frameworks of multiplicity and plurality are in jeopardy. Urdu-language films from Lahore made during this period reveal ways that cinematic form and narrative intersect with cultural memory and with the challenges of their time, characterized by trauma in the aftermath of Partition in 1947, a constricted socio-political horizon, and accelerating modernity. In Lahore Cinema Iftikhar Dadi probes the role of language, rhetoric, and lyric in the making of meaning, and the relevance of the Urdu cultural universe to the genesis of Bombay filmmaking. He argues that commercial cinema in South Asia is among the most powerful vectors of social and aesthetic modernization. It has provided affective and imaginative resources for its audiences to navigate an accelerating modernity and a fraught politics by anchoring social change across the terrain of deeper cultural imaginaries. And it has played an influential progressive role during the mid-twentieth century, by constituting publics beyond existing social divides, in forging a shared and expanded experience of modernity that extends beyond regional, ethnic, and sectarian affiliations, and in affectively challenging the selective amnesia of nation-state ideologies"-- _cProvided by publisher.
588			_aDescription based on print version record.
650		7	_aMotion pictures. _2fast _0(OCoLC)fst01027285
650		0	_aMotion pictures _zUrdu-speaking countries.
650		0	_aMotion pictures _zPakistan _zLahore _xHistory _y20th century.
650		0	_aMotion pictures _zPakistan _xHistory _y20th century.
651		7	_aPakistan _zLahore. _2fast _0(OCoLC)fst01205808
651		7	_aPakistan. _2fast _0(OCoLC)fst01210275
655		7	_aHistory. _2fast _0(OCoLC)fst01411628
655		7	_aElectronic books. _2local
710	2		_aProject Muse. _edistributor
830		0	_aBook collections on Project MUSE.
856	4	0	_zFull text available: _uhttps://muse.jhu.edu/book/103883/
945			_aProject MUSE - 2022 History
945			_aProject MUSE - 2022 Complete
999			_c235654 _d235653