Ajay Gehlawat
Biographic Data
| ID | 6727598 |
|---|---|
| NAME | Ajay Gehlawat |
| GIVEN NAMES | Ajay |
| FAMILY NAME | Gehlawat |
| SIGNATURE | GEHLAWAT A |
| AFFILIATIONS | Sonoma State University |
| VERIFIED | No |
| TOTAL WORKS | 9 |
| TOTAL CITATIONS | 4 |
| WORKS AS AUTHOR | 9 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2010 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 1 |
Disco Nazia
Though only fifteen at the time and originally from Pakistan, Nazia Hassan arguably reshaped female playback singing in popular Hindi cinema with 'Aap jaise koi,' the hit song she recorded for Qurbani (1980). Hassan's song for this film, and her ensuing hit songs for the subsequent film, Star (1982), can be seen as ushering in a new type of female playback singing which corresponds in many ways with the simultaneous advent of the disco phenomenon…
Female Bonds in Bollywood
This study examines multiple instances of female Bond figures in contemporary Bollywood films. In the process, this study examines the evolution of Bollywood in the 21st century and the subsequent broadening of the concept of the film actor to incorporate dancing skills. Such an expansion of the concept of performance serves as the basis for a subsequent comparison of female representations in the opening titles sequences of Bond films with those…
Hungama ho gaya ? (An uproar has happened?)
A recurring staple of the popular Hindi film is when actresses dance as if they were drunk. Underlying such performances are notions of nasha (intoxication) and sharam, or shame. This article explores the recurring tendency of Indian women to either feign or otherwise embody states of intoxication in popular Hindi film songs from the late 1960s up to the present era, as well as the underlying motivations for such intoxicated performances. In the …
Do the write-up
Spike Lee has made a compelling critique of some of the critics’ responses to Do the Right Thing (1989, hereafter DTRT)1 1 See Lee, “Spike’s Last Word.”, but I would like to delve a bit deeper. Bef
The metatext of Bajirao Mastani
Sanjay Leela Bhansali’s Bajirao Mastani (2015) utilizes an historical account to (re)tell a contemporary story. While Bhansali takes great pains to disavow any intention of religious critique, this article argues that such a critique – of fundamentalist Hindu forces – can be read as the metatext of the film. Such a metatext becomes particularly apparent in the contemporary Indian context, in which the always fraught relations between Hindus and M…
The picture is not yet over
The end credits song sequence is a recent Bollywood innovation which has emerged in the twenty-first century. Such sequences are increasingly featured in contemporary Bollywood films and can be described as a component of the (preceding) film which also functions independently of it, both internally and externally. Unlike the more conventional, ‘Hollywoodesque’ outtakes and bloopers that occasionally accompany a film’s end credits, the Bollywood …
The evolution of song and dance in Hindi cinema
The history of Hindi cinema is in many ways the history of song and dance. Put another way, the evolution of Hindi cinema can perhaps most accurately be seen through its song and dance. Since the a
The construction of 1970s femininity, or why Zeenat Aman sings the same song twice
This paper examines how Zeenat Aman helped inaugurate new forms of sexuality and femininity in 1970s Bollywood. Along with redefining the rules of a screen heroine's identity, Aman also created a range of grey characters such as Sheetal in Manoj Kumar's Roti Kapada aur Makaan (1974) and Sheela in Feroz Khan's Qurbani (1980). These roles became associated with hugely popular songs of the period, lip-synched by Aman, including ‘Aap jaisa koi,’ from…
The Strange Case of The Princess and the Frog
The evolution of song and dance in Hindi cinema
The history of Hindi cinema is in many ways the history of song and dance. Put another way, the evolution of Hindi cinema can perhaps most accurately be seen through its song and dance. Since the a
The Strange Case of The Princess and the Frog
The Strange Case of The Princess and the Frog
The construction of 1970s femininity, or why Zeenat Aman sings the same song twice
This paper examines how Zeenat Aman helped inaugurate new forms of sexuality and femininity in 1970s Bollywood. Along with redefining the rules of a screen heroine's identity, Aman also created a range of grey characters such as Sheetal in Manoj Kumar's Roti Kapada aur Makaan (1974) and Sheela in Feroz Khan's Qurbani (1980). These roles became associated with hugely popular songs of the period, lip-synched by Aman, including ‘Aap jaisa koi,’ from…
The metatext of Bajirao Mastani
Sanjay Leela Bhansali’s Bajirao Mastani (2015) utilizes an historical account to (re)tell a contemporary story. While Bhansali takes great pains to disavow any intention of religious critique, this article argues that such a critique – of fundamentalist Hindu forces – can be read as the metatext of the film. Such a metatext becomes particularly apparent in the contemporary Indian context, in which the always fraught relations between Hindus and M…
The picture is not yet over
The end credits song sequence is a recent Bollywood innovation which has emerged in the twenty-first century. Such sequences are increasingly featured in contemporary Bollywood films and can be described as a component of the (preceding) film which also functions independently of it, both internally and externally. Unlike the more conventional, ‘Hollywoodesque’ outtakes and bloopers that occasionally accompany a film’s end credits, the Bollywood …
The evolution of song and dance in Hindi cinema
The history of Hindi cinema is in many ways the history of song and dance. Put another way, the evolution of Hindi cinema can perhaps most accurately be seen through its song and dance. Since the a
Do the write-up
Spike Lee has made a compelling critique of some of the critics’ responses to Do the Right Thing (1989, hereafter DTRT)1 1 See Lee, “Spike’s Last Word.”, but I would like to delve a bit deeper. Bef
Hungama ho gaya ? (An uproar has happened?)
A recurring staple of the popular Hindi film is when actresses dance as if they were drunk. Underlying such performances are notions of nasha (intoxication) and sharam, or shame. This article explores the recurring tendency of Indian women to either feign or otherwise embody states of intoxication in popular Hindi film songs from the late 1960s up to the present era, as well as the underlying motivations for such intoxicated performances. In the …
Female Bonds in Bollywood
This study examines multiple instances of female Bond figures in contemporary Bollywood films. In the process, this study examines the evolution of Bollywood in the 21st century and the subsequent broadening of the concept of the film actor to incorporate dancing skills. Such an expansion of the concept of performance serves as the basis for a subsequent comparison of female representations in the opening titles sequences of Bond films with those…
Disco Nazia
Though only fifteen at the time and originally from Pakistan, Nazia Hassan arguably reshaped female playback singing in popular Hindi cinema with 'Aap jaise koi,' the hit song she recorded for Qurbani (1980). Hassan's song for this film, and her ensuing hit songs for the subsequent film, Star (1982), can be seen as ushering in a new type of female playback singing which corresponds in many ways with the simultaneous advent of the disco phenomenon…
Art (8 works) · History (8 works) · History (7 works) · Literature (7 works) · South Asian Cinema and Culture (7 works) · Cinema and Media Studies (6 works) · Sociology (6 works) · Aesthetics (5 works) · Gender Studies (4 works) · Gender Studies (4 works)