Music in Contemporary Indian Film: Memory, Voice, Identity (Routledge Music and Screen Media Series)

Music in Contemporary Indian Film: Memory, Voice, Identity provides a rich and detailed look into the unique dimensions of music in Indian film. Music is at the center of Indian cinema, and India’s film music industry has a far-reaching impact on popular, folk, and classical music across the subcontinent and the South Asian diaspora. In twelve essays written by an international array of scholars, this book explores the social, cultural, and musical aspects of the industry, including both the traditional center of "Bollywood" and regional film-making. Concentrating on films and songs created in contemporary, post-liberalization India, this book will appeal to classes in film studies, media studies, and world music, as well as all fans of Indian films. Music in Contemporary Indian Film- Front Cover Music in Contemporary Indian Film Title Page Copyright Page Contents List of Figures and Tables Figures Tables Series Foreword Preface Introduction Indian Film Industries Writing on Indian Film Conventions, Music, and Personnel of Indian Film Songs Case Study: Kabhi Khushi Kabhie Gham (K3G) (Johar 2001) Chapter Themes and Overview Notes References PART I: Hindi Hegemony Chapter 1: 1942 – A Love Story: R.D. Burman’s Posthumous “Comeback” at the End of Old Bollywood Ends, Beginnings, and Transitions in Mumbai’s Film and Music Industry R.D. Burman in the World of Hindi Film Song The Songs of 1942 – A Love Story Conclusion Note References Chapter 2: Antakshari in Maine Pyar Kiya: Intertextual Pleasures and Musical Medleys at the Dawn of a New Era in Hindi Cinema Introduction The Film and Its Context The Antakshari Scene Meaning and Significance Notes References Chapter 3: From Vamp to Queen: The Remixed Sound of the Bollywood Scene The Remix Phenomenon The Original Reviving the Retro Conclusion, a.k.a. End-Credits Sequence Notes References Website Chapter 4: Authorizing Gesture: Mirchi Music Awards and the Re-calibration of Songs and Stardom Awards Ceremonies as Shows Aural and Visual Performances Bombay Cinema and Television Acknowledgments Notes References Chapter 5: Tensions of Musical Re-animation from Bollywood to Indian Idol Hindi Film Songs in and beyond the Film The Emergence of Reality Music TV in a Changing India Bollywood Songs and Insider Influence “Jab tak hai jaan”: From Sholay to Indian Idol Re-animating and Re-inscribing the Original Coda: Failures and Successes Notes References Chapter 6: Magic, Destruction, and Redemption in the Soundtracks of Aashiqui 2, RockStar, and Rock On!! Rock in India: The Exotic Years Rock’s Emergence Only Rock Can Save You: The Use of Rock inAashiqui 2, Rock On!!, and RockStar A New Genre for a New Era Magic, Destruction, and Redemption Conclusion Notes References PART II: Regions and Identities Chapter 7: Violence, Reconciliation, and Memory: A.R. Rahman’s “Bombay Theme” Film Song, Film Music The Bombay Soundtrack Music, Film, and Memory Acknowledgments Notes References Chapter 8: Iconic Voices in Post-Millennium Tamil Cinema “Why This Kolaveri Di” The Anti-Playback Aesthetic Language, Sound, and the Cultural Politics of Masculinity Item Numbers and Mass Hero Films Sound and Meaning in “Kalasala” Gender and the Management of Relatedness Conclusion: Why This Kolaveri (and That Kalasala)? Acknowledgments Notes References Websites Chapter 9: Folk Drums and Tribal Girls: Sounding the Himalayas in Indian Film Sounding Himalayan Folk Madhumati (Roy 1958) Film Music in the Indian Himalayas Notes References Chapter 10: Film Frontiers: Imagining Rajasthan in Contemporary Bollywood Film Introduction: A Precarious Space Regional Articulations of Identity Rajasthan as Distillation of the Nation Developing the State in Rajasthan Dor: A Widow’s Freedom? Paheli: A Woman’s Choice Coda Note References Websites Chapter 11: Evolution of a Ritual Musical Genre: The Adaptation of Qawwali in Contemporary Hindi Film Introduction: Sama (Listening) The Context of Khanaqahı Qawwalı Transformation One: From the Hermitage (khanaqah) to the Shrine (dargah) Transformation Two: Qawwali to Filmi Qawwali Qawwali in Hindi Cinema “Khwaja mere khwaja . . . ” Jodhaa Akbar (Gowariker 2008) Qawwali’s Next Transformation: Rock-Pop-Techno Qawwali Conclusion Notes Bibliography Chapter 12: Music, Sound, Noise: Interposition of the Local and the Global in Anurag Kashyap’s Gangs of Wasseypur Mixing Music: Melody, Disco, and Contexts of Memory Mixing Noise: The Local/Global in Anurag Kashyap Films Sonic Explorations in Gangs of Wasseypur Sound Trippin’: Sneha Khanwalkar’s Sound Innovations Khanwalkar and Kashyap’s Partnership Conclusion Notes References Afterword Music in Contemporary Indian Film: Memory, Voice, Identity Singers and Voices The Song in the Film Songs and Different Types of Love Bibliography List of Contributors Index __Music in Contemporary Indian Film: Memory, Voice, Identity__