One realises that nearly every word in the English language could find its place in the cinematic vocabulary of Amitabh Bachchan. Amitabh Lexicon is a compilation of selective words from the alphabets of the English language associated with different scenes from the actor's body of work ? scenes where he made you cry, laugh, and all shook up.

This colourful dictionary is a joyride to nostalgia for everyone who has grownup on a staple diet of Hindi films and Amitabh Bachchan (less)

Today, Bollywood produces more than 100 films a year and entertains billions of people around the globe. Indian Cinema: The Bollywood Saga documents this incredible story of Hindi films.

The book takes the reader on a chronologically-charted odyssey through each epoch of this historic and dramatic journey, examining and analyzing the benchmarks of the vibrant changes that marked each passing era - the early silent years, the excitement at the introduction of sound, the gradual seeping in of colour into film images, the fashioning of eternal classics, right up to the post millennial ‘glitzkrieg’ of mega-budget ventures balanced on the cusp of art and commerce. Few stories are as rich or as fascinating.

This book recaptures the romance of the past and the pragmatism of the present for all those who love Hindi films (less)

..

..

..

..

..

..

..

..

..

Completely revised and updated with almost 400 new entries on films and individuals, this is the most comprehensive guide to Indian Cinema ever produced, covering every film-producing region, all major languages and every facet of the industry, from individual stars and directors to production statistics, distribution, studies, genres and movements. Each film includes details of running times, cast, credits and concise critical evaluations.

With over 1700 entries, this encyclopedia spans 100 years of cinema in one of the most prolific film-producing countries in the world (less)

Unprecedented in its scope and wealth of detail, it is a must-read for all lovers of cinema. Unprecedented in its scope and wealth of detail, it is a must-read for all lovers of cinema (less)

Encyclopaedia Britannica's Encyclopaedia of Hindi Cinema looks as much at the trends and techniques of filmmaking in Mumbai as at the personalities who shaped the industry into what it is today. This encyclopaedia seeks to capture the big picture in a manner that is both informative and entertaining.

It gives a perspective on the fasinating journey of Hindi cinema from the turn of the last century when this industry took its first unsteady steps of infancy, to becoming a leader in the world of celluloid. The book brings together an array of experts, who either have first hand knowledge of the craft of filmmaking or have observeds the industry from close quarters for decades.

With that end in mind, this encyclopaedia focuses as much on the starts and directors as it does on films and movements. The book is mounded off with a comprehensive section that throws light on the work of towering individuals whose contributions to Hindi cinema in their respective areas of specialization have been second to none.

One unique section of the encyclopaedia, Milestones, is devoted entirely to interviews with legendary Hindi film personalities. The interview with Ashok Kumar was completed a few weeks before the demise of the respected actor.

This publication would have remained just a dream..

. had it not been for the active involvement from conceptualizing the project to its finalization -- of the esteemed members of the editorial board, comprising reputed Filmmakers, Gulzar and Govind Nihalani, and renowned Entertainment Journalist, Saibal Chatterjee (less)

Besides the main body, the appendices covers important information on various aspects including emphasis on the constituents or elements of Indian Cinema in terms of various sub-headings falling under the headings viz. elements of absurdity, sexy scenes, scenes of crime, idealism, pathos, comedy, symbolism and ethnographic elements.

The book excluding introduction and conclusion, covers eleven chapters and ninety three tables. It also includes various photographs as illustrative materials vividly exposing various dimensions of Indian Cinema.

The book is of immense value for all those having casual or serious interest in the study of Cinema (less)

When we handed over the first edition to the publishers in mid-1994, all those who had worked on the book were aware of the priorities of its time. Our focus was then on the history of Indian cinema, especially on its relatively less chronicled periods; the silent era, the early years of sound, the major directors, stars, writers and composers who were noted figures in their times but often forgotten by subsequent generations.

Furthermore, we tried to present as far as possible within the pages of a single book the vast panorama of the six major language industries and the nine other languages in which films are commonly made, covering not only the well known titles but also the key film-making personnel of these regions. This often called for some kind of loose system of allocating space to all language cinemas proportionate to their production scale.

Finally, we addressed the major problems presented by the archives: how to use current concerns of theory to read into surviving material in situations where the films themselves havent always survived and information is scanty, scattered and often contradictory (less)

The book excluding introduction and conclusions, covers eleven chapters and ninety three tables. It also includes various photographs as illustrative materials vividly exposing various dimensions of Indian cinema (less)

The book opens with the silent period, tracing the emergence of the genre in the mid-1920s, when women also began to feature in action roles. Then it examines the socio-economic factors responsible for the films and popularity of figures like Master Vithal, Ermeline, Fearless Nadia, Dara Singh, Amitabh Bachchan as well as other, more contemporary figures of Hindi action cinema.

Considering the social ground that shaped these films mode of action and their distinctive mise en scne, Hindi Action Cinema examines the changing economies of film production, distribution, and exhibition in Bombay over eight decades. In the process, the book raises new questions about the nature of this film genre and challenges established conceptualizations of the relationship between a film and its socio-economic context (less)

The death of Stalin in 1953 was followed by the introduction of important changes in government policy in the Soviet Union, including a relative liberalisation of leisure and culture which revealed the states resurgent interest in addressing popular tastes. The renewed import and screening of foreign entertainment films in the Soviet Union was one of the most visible outcomes of this change.

Drawing on oral history methodology and archival research in Russia, the author analyses the ways in which Soviet movie-goers, policy makers, critics and sociologists responded to, interpreted and debated Indian cinema in the Soviet Union between 1954 and the end of the eighties. Complemented by contemporary press and archival photos which capture the rapturous reception given to actors like Raj Kapoor, Nargis, Shashi Kapoor, Amitabh Bachchan and Mithun Chakraborty as well as Soviet film posters announcing films like Awara, Betaab and Chandni, this engaging book, which is also the first monograph on Indian cinema abroad among non-diasporic audiences, is a must-read not only for students and scholars of film history and cultural studies, but every such lay reader who has grown up on a regular diet of popular Indian cinema (less)

A multifarious heritage is in danger of be coming transformed in tasteless melting pot where the idea of art itself is threatened. Yet many dedicated and often unrecognized artists continue to produce new, thoughtful creations which the authors highlight.

This is the first anthology to address these issues and may others of concern to the educated Indian and foreigner.) (less)

UP (less)

His works include Another Cinema for Another Society, Eisensteins Ivan the Terrible: An analysis, and Films for an Ecology of Mind (less)