The Hindu right and the politics of censorship: Three case studies of policing Hindi cinema, 1992-2002

In this article the author examines political censorship of three Hindi films made in the 1990s: "Khalnayak," "Bombay" and "War and Peace." She contends that the films, released in an era of significant political activity by right wing Hindu political parties in India, were subject to state censorship in order to placate those organizations and their nationalistic message

Between the Godfather and the Mafia: Situating right-wing interventions in the Bombay film industry (1992-2002)

Drawing primarily on trade press discourse, this article interrogates right-wing interventions in the Bombay film industry in the 1990s. It argues that there were unprecedented levels of investment by the Bharatiya Janata Party (BJP) and Shiv Sena, both material and ideological, in Hindi cinema. It examines the changing dynamics between the State and Hindi cinema leading to 'industry' status in 1998 and its implications: the influential role of Shiv Sena leader Bal Thackeray as mediator of industrial disputes; the nexus between stars and politicians; underworld film financing; the use of the cinematic apparatus and exhibition sites for right-wing propaganda and electoral campaigning, and controversies over growing instances of partisan tax exemptions and national film awards. What is also suggested is that there were industrial shifts towards corporatisation in order to reinvent the Bombay film industry as a global player for diasporic consumption and investment, assisted by BJP-led State fiscal policies, incentives and conventions

Using moving image archives

This publication, which is also a special issue of Scope: An Online Journal of Film and Media, was the outcome of a two-year long series of conferences and events attended by doctoral students, archivists, and scholars from across the United Kingdom to discuss and debate the use of archives in their interdisciplinary study of moving images. Across this collection of articles, scholars ask: how is the archive, as a repository of memory and of the past, used to construct cultural history? What can archives tell us about the formation of particular categories of identity? How can the ephemeral, like the digital, be archived