Journal of Indian Cinema

Vol. 1. Iss. 10.

Film Critics Circle of India

Society, cinema, & the critic

Anirban Lahiri | Oct 15

The critic tries to look at the ideology – its origin, cycles, products, reformation…

… This year’s edition of the Jio MAMI Mumbai Film Festival with Star would be attended by an increased number of cineastes. What do they expect from the package of films? Are they critics, victims or perpetrators? What do most of them choose to be?

Mumbai is the film city. Mumbai means Bollywood to many Indians. Bollywood means struggle for most insiders. Struggle for what? To make another boy-meets-girl or Don-blasts-the-world flick? Talvar (2015) is a satisfactorily high point of functional creativity for most industry insiders here. Nobody is addressing our, their, contemporary existence. Is there any check on how the narration styles of Bollywood, and of other Indian cinemas, changed over the last fifteen years?

Did anything change at all? A change in production codes and logistics may not result in big changes to a film, and its reception.

What does the audience want? Is the audience a homogeneous one? What do different audiences want? Why do they want that? Who refurbishes demands in their mind?

What is the role of the critic today?

read ESSAY


A brief history of Konkani cinema

Gautam Kaul | Oct 15

Locating the International Film Festival of India in Goa had one uncharted effect. It created an interest in the search for the roots of Konkani Cinema. Stray efforts were now made by film enthusiasts to find out the past of Konkani Cinema, its related roots, and the people who crowded it or represented the area in other language cinemas in the country.


A pale, placid take on female empowerment

S Viswanath | Oct 15

Women centric films, in the garb of empowerment, have become the new normal in Bollywood lately. Focusing on issues that women negotiate in today’s times, these films seek to provide a new ideological template by which they seek audiences’ indulgence in the dramaturgy they unspool through their women protagonists.

Taking incidents from real life, and providing fictionalised construct to them, more so, to burnish them with enough visual “oomph” to woo the gullible and not so “literate” cinema audiences, these film makers are doing grave injustice to women folk.



Journal of Indian Cinema

Vol. 1. Iss. 01–15.


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