International Conference
Dependence/Independence:
Indian cinemas
November, 13-14th 2013
INHA (salle Vasari) 2, rue Vivienne 75002 Paris
En avril 2013, l’Inde a fêté le 100e anniversaire de ses cinémas. Il faut dès à présent insister sur ce pluriel pour un monde occidental qui a été trop prompt à cacher la diversité des industries indiennes derrière celle, hégémonique, de Mumbai et du « cinéma populaire indien ». Ce colloque international s’intéressera à toutes ces industries régionales et linguistiques, pour s’attacher à la diversité des courants et des styles qui façonnent toute la production indienne.
In April 2013, India celebrated 100 years of (its) cinemas. This plural needs to be stressed, especially because of the western world tendancy to hide the diversity of indian industries behind the sole Mumbai’s Bollywood popular cinema. This international symposium will look at all of the different trends and styles which caracterize each industry set in a particular region, with a particular language.
The concepts of « dependence » and « independence » should allow a vision of links and tensions between these cinemas. Evidently those words appeal to India History, from muslim invasions to Gandhi and Nehru struggle for the Independence of the Union (1947). They also resonate with economy and industry (from studio production to independent creation ; the evolution of distribution). Besides, introducing the originality of the research group Les Cinémas indiens, the history of film forms is marked by rules (the so-called formula film), migrations, revivals, shifts, hybridisations… At this point reappears the Bollywood spectrum, monumental then monolithic, which presents itself as a role model, most of the time at the expense of singularities (regional and/or formal). As such, we can do nothing but question its own independence towards the West.
Comité scientifique
- Amandine D’Azevedo (ATER, Université Sorbonne Nouvelle – Paris 3)
- Térésa Faucon (Maître de conférences, Université Sorbonne Nouvelle – Paris 3)
- Shoba Ghosh (Professor & Head, Department of English, University of Mumbai)
- Jitka de Préval (Doctorante, IRCAV, Université Sorbonne Nouvelle – Paris 3)
- Charles Tesson (Maître de conférences, Université Sorbonne Nouvelle – Paris 3)
- Vidya Vencatesan, (Professor & Head, Department of French, University of Mumbai)
Mercredi 13 novembre
9h Accueil et inscriptions
9h15 Discours d’introduction, Laurent Creton, (IRCAV/Sorbonne Nouvelle – Paris 3)
Les cinémas indiens : des industries dans le prisme de l’Histoire
9h30 Charles Tesson (Université Sorbonne Nouvelle – Paris 3) Dépendance/Indépendance du cinéma bengali, entre la Grande-Bretagne et Bollywood
10h Salma Siddique (Université de Westminster – Londres) Partition and the Shorey Comedies
10h30 Pause
10h45 Clélia Clini (Université John Cabot – Rome) British by Right, Punjabi by Heart! Contested notions of dependence and independence in Punjabi Films
11h15 Anuradha Kanniganti (INALCO – Paris) Le cinéma de l’Inde du Sud : la question des convergences et la prégnance du local
11h45 Discussion
Modes de production et émergences de formes alternatives
14h00 Györgyi Vajdovich (Université Eötvös Loránd – Budapest) Artistic tendencies emerging inside mainstream Bollywood cinema
14h30 Monia Acciari (Université de Swansea) Delhi Belly: a Manifesto or a Scam? Debating the challenges of a newly-flanged Indian wave.
15h Discussion avec Kristian Feigelson (Université Sorbonne Nouvelle – Paris 3)
15h30 Denis Vidal (IRD-URMIS – Paris Diderot) Christmas Pudding, harengs saurs, propagande impériale et propagande nazie L’émergence d’un cinéma documentaire officiel entre l’Empire britannique et l’Inde indépendante
16h Némesis Srour (CEIAS-EHESS – Paris) Indépendants de l’industrie de Mumbai ? Expression formelle, modes de financements et circuits de distribution alternatifs du cinéma hindi dans les années 2000.
16h30 Discussion
17h-19h Silke Schmickl (Lowave éditions)
Mickaël Robert-Gonçalves (Université Sorbonne Nouvelle – Paris 3/Lowave) La création vidéo en Inde (quelle production/quel public ?) Projection de films
Jeudi 14 novembre
Questions de formes : chorégraphiques, sonores, photographiques et théâtrales
9h00 Laurent Guido (Université de Lausanne) Montrer/Monter la danse(use) dans les cinémas indiens : entre normes et spécificités
9h30 Térésa Faucon (Université Sorbonne Nouvelle – Paris 3) Danser sur les tessons : Pakeezah, Sholay, Pournami (dépendance/indépendance de la séquence dansée à partir de l’analyse d’un motif)
10h00 Budhaditya Chattopadhyay (Université de Copenhague) Sonified Cinema: a study in the emergence of sound in Indian cinema
10h45 Pause
11h00 Amandine D’Azevedo (Université Sorbonne Nouvelle – Paris 3) Images photographiques dans le cinéma hindi contemporain Dhobi Ghat et Ship of Theseus
11h30 Jitka de Préval (Université Sorbonne Nouvelle – Paris 3) Théâtre /cinéma (Aag, Raj Kapoor)
12h00 Discussion
Indigenous engagements
14h Introductory remarks : Vidya Vencatesan (Université de Mumbai)
14h15 Sanjit Narwekar (Université de Mumbai) Evolution of the Lavni in Marathi Cinema
14h45 Shoba Gosh (Université de Mumbai) Sexualities at the Cinematic Fringes: The Case of the Malayalam Sex-film
15h15 Sonali Pattnaik (Université de Mumbai) The Crossing of Boundaries in Omkara
15h45 Discussion
Le cinéma d’animation indépendant indien
16h15 Marie Pruvost-Delaspre (Université Sorbonne Nouvelle – Paris 3) De la sous-traitance à la revendication d’une production nationale pour le cinéma d’animation : présentation du projet financé par le Labex ICCA
16h45 invitée : Gitanjali Rao
Projection des films de la réalisatrice
Colloque bilingue (français/anglais) organisé par l’Université Sorbonne Nouvelle – Paris 3 (avec le soutien du Conseil scientifique, de l’Institut de recherche sur le cinéma
et l’audiovisuel-IRCAV-EA 185 et du Labex ICCA) en collaboration avec l’Université de Mumbai.
Call for papers
International Conference
Université Sorbonne nouvelle-Paris 3
IRCAV – Indian Cinemas
Dependence/Independence : Indian cinemas
November, 13-14th 2013 – INHA-Paris
In April 2013, India will celebrate 100 years of (its) cinemas. This plural needs to be stressed, especially because of the western world tendancy to hide the diversity of indian industries behind the sole Mumbai’s Bollywood popular cinema. This international symposium will look at all of the different trends and styles which caracterize each industry set in a particular region, with a particular language.
The concepts of « dependance » and « independance » should allow a vision of links and tensions between these cinemas. Evidently those words appeal to India History, from muslim invasions to Gandhi and Nehru struggle for the Independance of the Union (1947). They also resonate with economy and industry (from studio production to independant creation ; the evolution of distribution). Besides, introducing the originality of the research group Les Cinémas indiens (Indian Cinemas), the history of film forms is marked by rules (the so-called formula films), migrations, revivals, shifts, hybridisations… At this point reappears the Bollywood spectrum, monumental then monolithic, which presents itself as a role model, most of the time at the expense of singularities (regional and/or formal). As such, we can do nothing but question its own independence towards the West.
We’re expecting contributors to articulate the multiplicity of these aspects with aesthetic, historic, economic, sociocultural and technical analysis. A formal analysis, an historical period, a regional industry or even a single film will allow us to explore this dialectical question of dependence/independence.
Here are some examples :
- The « independence » of song-and-dance sequence within the global movie’s structure.
- Numerous film versions between regional industries.
- Analysis of the generation of independent filmmakers standing out from mainstream industry with a more realistic mise en scène and new ways to produce their films.
- From subcontracting to the claim of a national production in animated cinema.
- Enslavement or emancipation of televisual production and video games from popular film.
- Or a masterpiece as Pyaasa, often studied as a historico-political object, but which can also enlighten the studios’ aesthetics and the American shadow over aesthetic (Chaplin and Capra…)
Proposals (2500 characters) must be submitted for May 31, 2013, with a small biography and personal bibliography at this address : lescinemasindiens@univ-paris3.fr
Presentations will be 30mn, in French or in English.
Les Cinémas Indiens 