Valentina Vitali
Biographic Data
| ID | 1035008 |
|---|---|
| NAME | Valentina Vitali |
| GIVEN NAMES | Valentina |
| FAMILY NAME | Vitali |
| SIGNATURE | VITALI V |
| AFFILIATIONS | University of East London |
| ORCID | 0000-0003-0275-1310 |
| VERIFIED | Yes |
| TOTAL WORKS | 18 |
| TOTAL CITATIONS | 4 |
| AUTHOR COUNT | 18 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2000 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 1 |
Ranjit Movietone: India’s Longest Running Studio and Industrial Integration in Cinema
This essay revisits the history of Ranjit Movietone, India’s longest-running studio to date. Based on new research, it argues that Ranjit Movietone’s 40-year record was made possible by a form of transversal integration that is not accounted for in current film historiography. The result of a symbiotic relationship between film production and cotton trading in colonial India, Ranjit Movietone’s mode of operation hinged on time delay, overproducti…
Notes on the impact of video online distribution in South Asia
South Asian nations have all been heavily exposed to Hindi cinema for many decades. Within a region where tensions between individual nations make movement of goods and people at best difficult, Hindi cinema made in India has been simultaneously a shared medium and a form of cultural supremacy. Video online distribution (VOD) has begun to destabilise this film industrial configuration, enabling the regional (and global) circulation of films from …
Esha Niyogi De, Women’s Transborder Cinema: Authorship, Stardom and Filmic Labor in South Asia
B & C Circuit
This short essay considers how scholarship of South Asian cinema has advanced knowledge of low-budget, popular film genres (such as action, horror and porn films) beyond South Asian film studies
Contemporary Women Filmmakers in Myanmar: Reflections on a Visit in February 2019
Existing accounts of Myanmar’s film industry available to English speakers are more than twenty years out of date. Opening with a brief overview of cinema in Myanmar since 2000, this article is based on a recent visit to the Myanmar Motion Picture Development Department and the Yangon Film School, on conversations with staff, students and alumnae of these institutions and of the National University of Arts and Culture, and with local independent …
Interview with Dechen Roder
Interview with Rubaiyat Hossain
Why a Special Issue on Women’s Cinema
Interview with Lanka Bandaranayake
The Women's Royal Indian Naval Service: Picturing India's new woman
Lack of research on the Women’s Royal Indian Naval Service (W.R.I.N.S.) has led to the misconception that most of the women recruited into the Royal Indian Navy during World War 2 were either British or ‘Anglo-Indian’. In reality, by far the majority of the ‘Wrins’, as they came to be called, were Indian. In this paper I follow two parallel lines of enquiry. The first inspects the material stored in British archives - official navy documents, ill…
Meanings of Failed Action: A Reassessment of the 1946 Royal Indian Navy Uprising
The exhibition, Meanings of Failed Action: Insurrection 1946, opened in Mumbai on 17 March 2017, and then in New Delhi on 8 February 2018. The second part of Vivan Sundaram's ‘The History Project’,1 this new installation was intended to mark seventy years of Indian Independence and Partition by exploring an often forgotten moment of Indian history: the uprising of the Royal Indian Navy's ratings in February 1946, when 10,000 naval ratings took ch…
Introduction to the dossier: Paul Willemen (1944–2012)
Hou Hsiao‐Hsien reviewed
Press reviews of Hou Hsiao‐Hsien’s films appeared in a range of European magazines at a time when Hou’s films were hardly, if at all, available for watching in European cinemas. This essay asks what, in this context, may have been the reviews’ function. By way of an examination of a representative sample of these texts, I argue that, far from negotiating a relationship between, on the one hand, the producers, distributors and exhibitors of Hou’s …
Theorising National Cinema
On the Frontal Subjects of the Hindi Melodrama: Notes for a Comparative Approach to Film
Research Article| May 01 2006 On the Frontal Subjects of the Hindi Melodrama: Notes for a Comparative Approach to Film Valentina Vitali Valentina Vitali Search for other works by this author on: This Site Google boundary 2 (2006) 33 (2): 159–176. https://doi.org/10.1215/01903659-2006-007 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn Email Permissions Search Site Citation Valentina Vitali; On the Frontal Subjects of the Hindi Melodrama…
Why study cinema? Serial visions of the culture industry and the future of film studies
In Britain, film studies came on the agenda in the 1970s, when it served as a terrain for the formulation of a critical understanding of how cinema functioned within the broader context of industrial capitalism and the nexus between that and the reshaping of people's habits and lives. However, during that decade, a different agenda was also at work, which, from the early 1980s, began to receive support from neo‐liberal ‘free‐market’ ideologues. O…
Corporate art and critical theory: On Shirin Neshat
Promotional and critical accounts of Shirin Neshat’s work fail to address what may be at stake in the work’s ability to cross the boundaries between ‘high art’ institutions and the thoroughly industrialized domain of cinema. Neither the commonalities between these two institutionalized discursive networks nor their differences appear to inform approaches to her work. And yet, there remains a strong suspicion that evaluations of the work in one of…
Conversations
Corporate art and critical theory: On Shirin Neshat
Promotional and critical accounts of Shirin Neshat’s work fail to address what may be at stake in the work’s ability to cross the boundaries between ‘high art’ institutions and the thoroughly industrialized domain of cinema. Neither the commonalities between these two institutionalized discursive networks nor their differences appear to inform approaches to her work. And yet, there remains a strong suspicion that evaluations of the work in one of…
Hou Hsiao‐Hsien reviewed
Press reviews of Hou Hsiao‐Hsien’s films appeared in a range of European magazines at a time when Hou’s films were hardly, if at all, available for watching in European cinemas. This essay asks what, in this context, may have been the reviews’ function. By way of an examination of a representative sample of these texts, I argue that, far from negotiating a relationship between, on the one hand, the producers, distributors and exhibitors of Hou’s …
Conversations
Corporate art and critical theory: On Shirin Neshat
Promotional and critical accounts of Shirin Neshat’s work fail to address what may be at stake in the work’s ability to cross the boundaries between ‘high art’ institutions and the thoroughly industrialized domain of cinema. Neither the commonalities between these two institutionalized discursive networks nor their differences appear to inform approaches to her work. And yet, there remains a strong suspicion that evaluations of the work in one of…
Why study cinema? Serial visions of the culture industry and the future of film studies
In Britain, film studies came on the agenda in the 1970s, when it served as a terrain for the formulation of a critical understanding of how cinema functioned within the broader context of industrial capitalism and the nexus between that and the reshaping of people's habits and lives. However, during that decade, a different agenda was also at work, which, from the early 1980s, began to receive support from neo‐liberal ‘free‐market’ ideologues. O…
Theorising National Cinema
On the Frontal Subjects of the Hindi Melodrama: Notes for a Comparative Approach to Film
Research Article| May 01 2006 On the Frontal Subjects of the Hindi Melodrama: Notes for a Comparative Approach to Film Valentina Vitali Valentina Vitali Search for other works by this author on: This Site Google boundary 2 (2006) 33 (2): 159–176. https://doi.org/10.1215/01903659-2006-007 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn Email Permissions Search Site Citation Valentina Vitali; On the Frontal Subjects of the Hindi Melodrama…
Hou Hsiao‐Hsien reviewed
Press reviews of Hou Hsiao‐Hsien’s films appeared in a range of European magazines at a time when Hou’s films were hardly, if at all, available for watching in European cinemas. This essay asks what, in this context, may have been the reviews’ function. By way of an examination of a representative sample of these texts, I argue that, far from negotiating a relationship between, on the one hand, the producers, distributors and exhibitors of Hou’s …
Introduction to the dossier: Paul Willemen (1944–2012)
Meanings of Failed Action: A Reassessment of the 1946 Royal Indian Navy Uprising
The exhibition, Meanings of Failed Action: Insurrection 1946, opened in Mumbai on 17 March 2017, and then in New Delhi on 8 February 2018. The second part of Vivan Sundaram's ‘The History Project’,1 this new installation was intended to mark seventy years of Indian Independence and Partition by exploring an often forgotten moment of Indian history: the uprising of the Royal Indian Navy's ratings in February 1946, when 10,000 naval ratings took ch…
Contemporary Women Filmmakers in Myanmar: Reflections on a Visit in February 2019
Existing accounts of Myanmar’s film industry available to English speakers are more than twenty years out of date. Opening with a brief overview of cinema in Myanmar since 2000, this article is based on a recent visit to the Myanmar Motion Picture Development Department and the Yangon Film School, on conversations with staff, students and alumnae of these institutions and of the National University of Arts and Culture, and with local independent …
Interview with Dechen Roder
Interview with Rubaiyat Hossain
Why a Special Issue on Women’s Cinema
Interview with Lanka Bandaranayake
The Women's Royal Indian Naval Service: Picturing India's new woman
Lack of research on the Women’s Royal Indian Naval Service (W.R.I.N.S.) has led to the misconception that most of the women recruited into the Royal Indian Navy during World War 2 were either British or ‘Anglo-Indian’. In reality, by far the majority of the ‘Wrins’, as they came to be called, were Indian. In this paper I follow two parallel lines of enquiry. The first inspects the material stored in British archives - official navy documents, ill…
B & C Circuit
This short essay considers how scholarship of South Asian cinema has advanced knowledge of low-budget, popular film genres (such as action, horror and porn films) beyond South Asian film studies
Ranjit Movietone: India’s Longest Running Studio and Industrial Integration in Cinema
This essay revisits the history of Ranjit Movietone, India’s longest-running studio to date. Based on new research, it argues that Ranjit Movietone’s 40-year record was made possible by a form of transversal integration that is not accounted for in current film historiography. The result of a symbiotic relationship between film production and cotton trading in colonial India, Ranjit Movietone’s mode of operation hinged on time delay, overproducti…
Notes on the impact of video online distribution in South Asia
South Asian nations have all been heavily exposed to Hindi cinema for many decades. Within a region where tensions between individual nations make movement of goods and people at best difficult, Hindi cinema made in India has been simultaneously a shared medium and a form of cultural supremacy. Video online distribution (VOD) has begun to destabilise this film industrial configuration, enabling the regional (and global) circulation of films from …
Esha Niyogi De, Women’s Transborder Cinema: Authorship, Stardom and Filmic Labor in South Asia
Cinema and Media Studies (10 works) · South Asian Cinema and Culture (9 works) · Movie theater (7 works) · Art (6 works) · History (6 works) · Media studies (6 works) · Sociology (6 works) · Art history (5 works) · Political science (5 works) · History (4 works)