Ali Khan and Ali Nobil Ahmad (Eds), Cinema and Society: Film and Social Change in Pakistan. Karachi: Oxford University Press, 2016, US$105 (Hardback), ISBN 978-0-19-940222-9
Get full access to this article
View all access options for this article.
References
1.
AhmadA.N. (2016). Explorations into Pakistani cinema: Introduction. Screen, 57(4), 468–479.
2.
AhmadA.N. & KhanA. (2014). Special issue: Pakistani cinema. Bioscope, 5(2).
3.
ElsaesserT. (2011). What is left of the cinematic apparatus, or why we should retain (and return to) it. Semiotic Inquiry, 31(1–2–3), 33–44.
4.
JonesK. (2003). Eyes wide shut: David Thomson’s fear of a movie planet, or the thin line between cinephilia and cinephobia. Film Comment, 39(1), 32–37.
5.
LutgendorfP. (2006). Is there an Indian way of filmmaking?International Journal of Hindu Studies, 10(3), 227–256.
6.
PrasadM.M. (1998). Ideology of the Hindi film: A historical construction. Delhi: Oxford University Press.
7.
PritchettF. (1992). The romance tradition in Urdu: Adventures from the Dastan-e-Amir Hamza. India International Centre Quarterly, 19(3), 27–47. Retrieved from http://www.jstor.org/stable/23002268
8.
SrinivasS.V. (1999). Gandhian nationalism and melodrama in the 30s Telugu cinema. Journal of the Moving Image 1. Retrieved from http://jmionline.org/article/gandhian_nationalism_and_melodrama_in_the_30s_telugu_cinema
9.
The Punjab Control of Goondas Ordinance (1959). Retrieved from http://punjablaws.gov.pk/laws/112.html#_ftn3
10.
VasudevanR. (1993). Shifting codes, dissolving identities: The Hindi social film of the 1950s as popular culture. Journal of Arts and Ideas, 23(4), 51–85. Retrieved from http://cscs.res.in/dataarchive/textfiles/textfile.2008-07-24.4221025400/file
11.
VasudevanR. (2010). The melodramatic public: Film form and spectatorship in Indian cinema. Ranikhet: Permanent Black.