Aakshi Magazine
Biographic Data
| ID | 6736699 |
|---|---|
| NAME | Aakshi Magazine |
| GIVEN NAMES | Aakshi |
| FAMILY NAME | Magazine |
| SIGNATURE | MAGAZINE A |
| AFFILIATIONS | University of St Andrews |
| ORCID | 0000-0003-1306-6511 |
| VERIFIED | Yes |
| TOTAL WORKS | 3 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 3 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2019 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 0 |
The Bollywood audience we were waiting for? Pathaan’s dancing-fans
This article examines the celebratory reception of the many videos of Pathaan ’s ‘dancing-fans’ that circulated on social media during the film’s release. It argues that an un-nuanced celebration of this vocal fan obscures the inaccessibility of the cinema theatre as a public space of leisure in neo-liberal India. Shot on mobile phone cameras inside cinemas, these videos were heralded as evidence of the ‘return’ of the Hindi film audience. The ce…
Uday Bhatia
Tum Toh Mohammed Rafi Nikle
This article explores the role of the song sequence as a narrative device in contemporary Hindi cinema. It does this through an analysis of select song sequences from six films – Ae Dil Hai Mushkil, Tumhari Sulu, Dangal, Highway, Tamasha and Udta Punjab. These songs play an essential role in the film narratives, and the article discusses them through a focus on song picturization, song lyrics and the absence of lip-synchronization. The broader co…
No prominent works on this page.
Tum Toh Mohammed Rafi Nikle
This article explores the role of the song sequence as a narrative device in contemporary Hindi cinema. It does this through an analysis of select song sequences from six films – Ae Dil Hai Mushkil, Tumhari Sulu, Dangal, Highway, Tamasha and Udta Punjab. These songs play an essential role in the film narratives, and the article discusses them through a focus on song picturization, song lyrics and the absence of lip-synchronization. The broader co…
Uday Bhatia
The Bollywood audience we were waiting for? Pathaan’s dancing-fans
This article examines the celebratory reception of the many videos of Pathaan ’s ‘dancing-fans’ that circulated on social media during the film’s release. It argues that an un-nuanced celebration of this vocal fan obscures the inaccessibility of the cinema theatre as a public space of leisure in neo-liberal India. Shot on mobile phone cameras inside cinemas, these videos were heralded as evidence of the ‘return’ of the Hindi film audience. The ce…
Art (3 works) · Cinema and Media Studies (3 works) · South Asian Cinema and Culture (3 works) · Hindi (2 works) · Shakespeare, Adaptation, and Literary Criticism (2 works) · Advertising (1 work) · Artificial Intelligence (1 work) · Business (1 work) · Computer Science (1 work) · Context (archaeology (1 work)