Library Catalog
Amazon cover image
Image from Amazon.com

Cut-Pieces : Celluloid Obscenity and Popular Cinema in Bangladesh / Lotte Hoek.

By: Material type: TextTextSeries: South Asia Across the DisciplinesPublisher: New York, NY : Columbia University Press, [2013]Copyright date: ©2013Description: 1 online resource (272 p.) : ‹B›B&W Illus.: ‹/B›11Content type:
Media type:
Carrier type:
ISBN:
  • 9780231162890
  • 9780231535151
Subject(s): DDC classification:
  • 306.4095492 23
LOC classification:
  • GN635.B33 H64 2014
Other classification:
  • online - DeGruyter
Online resources: Available additional physical forms:
  • Issued also in print.
Contents:
Frontmatter -- Contents -- Note on Transliteration, Translation, and Pseudonyms -- Acknowledgments -- Introduction: Before Mintu the Murderer -- 1. Writing Gaps -- 2. A Handheld Cam era Twist ed Rapidly -- 3. Actress /Character -- 4. Cutting and Splicing -- 5. Noise -- 6. Unstable Celluloid -- Conclusion -- Notes -- Bibliography -- Index -- Backmatter
Summary: Imagine watching an action film in a small-town cinema hall in Bangladesh, and in between the gun battles and fistfights a short pornographic clip appears. This is known as a cut-piece, a strip of locally made celluloid pornography surreptitiously spliced into the reels of action films in Bangladesh. Exploring the shadowy world of these clips and their place in South Asian film culture, Lotte Hoek builds a rare, detailed portrait of the production, consumption, and cinematic pleasures of stray celluloid.Hoek's innovative ethnography plots the making and reception of Mintu the Murderer (2005, pseud.), a popular, Bangladeshi B-quality action movie and fascinating embodiment of the cut-piece phenomenon. She begins with the early scriptwriting phase and concludes with multiple screenings in remote Bangladeshi cinema halls, following the cut-pieces as they appear and disappear from the film, destabilizing its form, generating controversy, and titillating audiences. Hoek's work shines an unusual light on Bangladesh's state-owned film industry and popular practices of the obscene. She also reframes conceptual approaches to South Asian cinema and film culture, drawing on media anthropology to decode the cultural contradictions of Bangladesh since the 1990s.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9780231535151

Frontmatter -- Contents -- Note on Transliteration, Translation, and Pseudonyms -- Acknowledgments -- Introduction: Before Mintu the Murderer -- 1. Writing Gaps -- 2. A Handheld Cam era Twist ed Rapidly -- 3. Actress /Character -- 4. Cutting and Splicing -- 5. Noise -- 6. Unstable Celluloid -- Conclusion -- Notes -- Bibliography -- Index -- Backmatter

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

Imagine watching an action film in a small-town cinema hall in Bangladesh, and in between the gun battles and fistfights a short pornographic clip appears. This is known as a cut-piece, a strip of locally made celluloid pornography surreptitiously spliced into the reels of action films in Bangladesh. Exploring the shadowy world of these clips and their place in South Asian film culture, Lotte Hoek builds a rare, detailed portrait of the production, consumption, and cinematic pleasures of stray celluloid.Hoek's innovative ethnography plots the making and reception of Mintu the Murderer (2005, pseud.), a popular, Bangladeshi B-quality action movie and fascinating embodiment of the cut-piece phenomenon. She begins with the early scriptwriting phase and concludes with multiple screenings in remote Bangladeshi cinema halls, following the cut-pieces as they appear and disappear from the film, destabilizing its form, generating controversy, and titillating audiences. Hoek's work shines an unusual light on Bangladesh's state-owned film industry and popular practices of the obscene. She also reframes conceptual approaches to South Asian cinema and film culture, drawing on media anthropology to decode the cultural contradictions of Bangladesh since the 1990s.

Issued also in print.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 02. Mrz 2022)