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Record Nr. |
UNINA9910838256203321 |
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Autore |
Srinivas Lakshmi |
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Titolo |
House Full : Indian Cinema and the Active Audience / / Lakshmi Srinivas |
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Pubbl/distr/stampa |
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Chicago : , : University of Chicago Press, , [2016] |
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©2016 |
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ISBN |
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Descrizione fisica |
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1 online resource (328 pages) |
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Collana |
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Fieldwork Encounters and Discoveries |
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Classificazione |
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Disciplina |
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Soggetti |
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Motion picture audiences - India - Bangalore |
Motion pictures - Appreciation - India - Bangalore |
Motion picture theaters - India - Bangalore |
Motion pictures - Social aspects - India |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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Previously issued in print: 2016. |
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Nota di bibliografia |
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Includes bibliographical references and index. |
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Nota di contenuto |
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Frontmatter -- Table of Contents -- Acknowledgments -- 1. Introduction -- 2. Participatory Filmmaking and the Anticipation of the Audience -- 3. Cinema Halls, Audiences, and the Importance of Place -- 4. Audiences Negotiate Tickets and Seating -- 5. Families, Friendship Groups, and Cinema as Social Experience -- 6. Active Audiences and the Constitution of Film Experience -- 7. "First Day, First Show": A Paroxysm of Cinema -- 8. Conclusion -- Notes -- References -- Index |
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Sommario/riassunto |
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India is the largest producer and consumer of feature films in the world, far outstripping Hollywood in the number of movies released and tickets sold every year. Cinema quite simply dominates Indian popular culture, and has for many decades exerted an influence that extends from clothing trends to music tastes to everyday conversations, which are peppered with dialogue "es. With House Full, Lakshmi Srinivas takes readers deep into the moviegoing experience in India, showing us what it's actually like to line up for a hot ticket and see a movie in a jam-packed theater with more than a thousand seats. Building her account on countless trips to the cinema and hundreds of hours of conversation with film audiences, fans, and industry insiders, |
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Srinivas brings the moviegoing experience to life, revealing a kind of audience that, far from passively consuming the images on the screen, is actively engaged with them. People talk, shout, whistle, cheer; others sing along, mimic, or dance; at times audiences even bring some of the ritual practices of Hindu worship into the cinema, propitiating the stars onscreen with incense and camphor. The picture Srinivas paints of Indian filmgoing is immersive, fascinating, and deeply empathetic, giving us an unprecedented understanding of the audience's lived experience-an aspect of Indian film studies that has been largely overlooked. |
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