LEADER 04059nam 22006975 450 001 9910838256203321 005 20230126215501.0 010 $a0-226-36173-X 024 7 $a10.7208/9780226361734 035 $a(CKB)3710000000776191 035 $a(MiAaPQ)EBC4519362 035 $a(StDuBDS)EDZ0001666152 035 $a(DE-B1597)525046 035 $a(OCoLC)1014371821 035 $a(DE-B1597)9780226361734 035 $a(EXLCZ)993710000000776191 100 $a20200424h20162016 fg 101 0 $aeng 135 $aurcnu|||||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 10$aHouse Full $eIndian Cinema and the Active Audience /$fLakshmi Srinivas 210 1$aChicago : $cUniversity of Chicago Press, $d[2016] 210 4$dİ2016 215 $a1 online resource (328 pages) 225 0 $aFieldwork Encounters and Discoveries 300 $aPreviously issued in print: 2016. 311 $a0-226-36156-X 311 $a0-226-36142-X 320 $aIncludes bibliographical references and index. 327 $tFrontmatter -- $tTable of Contents -- $tAcknowledgments -- $t1. Introduction -- $t2. Participatory Filmmaking and the Anticipation of the Audience -- $t3. Cinema Halls, Audiences, and the Importance of Place -- $t4. Audiences Negotiate Tickets and Seating -- $t5. Families, Friendship Groups, and Cinema as Social Experience -- $t6. Active Audiences and the Constitution of Film Experience -- $t7. "First Day, First Show": A Paroxysm of Cinema -- $t8. Conclusion -- $tNotes -- $tReferences -- $tIndex 330 $aIndia is the largest producer and consumer of feature films in the world, far outstripping Hollywood in the number of movies released and tickets sold every year. Cinema quite simply dominates Indian popular culture, and has for many decades exerted an influence that extends from clothing trends to music tastes to everyday conversations, which are peppered with dialogue "es. With House Full, Lakshmi Srinivas takes readers deep into the moviegoing experience in India, showing us what it's actually like to line up for a hot ticket and see a movie in a jam-packed theater with more than a thousand seats. Building her account on countless trips to the cinema and hundreds of hours of conversation with film audiences, fans, and industry insiders, Srinivas brings the moviegoing experience to life, revealing a kind of audience that, far from passively consuming the images on the screen, is actively engaged with them. People talk, shout, whistle, cheer; others sing along, mimic, or dance; at times audiences even bring some of the ritual practices of Hindu worship into the cinema, propitiating the stars onscreen with incense and camphor. The picture Srinivas paints of Indian filmgoing is immersive, fascinating, and deeply empathetic, giving us an unprecedented understanding of the audience's lived experience-an aspect of Indian film studies that has been largely overlooked. 410 0$aFieldwork encounters and discoveries. 606 $aMotion picture audiences$zIndia$zBangalore 606 $aMotion pictures$xAppreciation$zIndia$zBangalore 606 $aMotion picture theaters$zIndia$zBangalore 606 $aMotion pictures$xSocial aspects$zIndia 610 $aBangalore. 610 $acinemagoing. 610 $acollective experience. 610 $adiversities. 610 $aethnography. 610 $ahabituated audiences. 610 $amotion pictures. 610 $aparticipant observation. 610 $asocial practices. 610 $awatching films. 615 0$aMotion picture audiences 615 0$aMotion pictures$xAppreciation 615 0$aMotion picture theaters 615 0$aMotion pictures$xSocial aspects 676 $a791.430954 686 $aLC 95385$2rvk 700 $aSrinivas$b Lakshmi, $4aut$4http://id.loc.gov/vocabulary/relators/aut$01731823 801 0$bDE-B1597 801 1$bDE-B1597 906 $aBOOK 912 $a9910838256203321 996 $aHouse Full$94144946 997 $aUNINA