India is the largest producer and consumer of feature films in the world, far outstripping Hollywood in the number of movies released and tickets sold every year. Cinema quite simply dominates Indian popular culture, and has for many decades exerted an influence that extends from clothing trends to music tastes to everyday conversations, which are peppered with dialogue quotes.
With House Full, Lakshmi Srinivas takes readers deep into the moviegoing experience in India, showing us what it’s actually like to line up for a hot ticket and see a movie in a jam-packed theater with more than a thousand seats. Building her account on countless trips to the cinema and hundreds of hours of conversation with film audiences, fans, and industry insiders, Srinivas brings the moviegoing experience to life, revealing a kind of audience that, far from passively consuming the images on the screen, is actively engaged with them. People talk, shout, whistle, cheer; others sing along, mimic, or dance; at times audiences even bring some of the ritual practices of Hindu worship into the cinema, propitiating the stars onscreen with incense and camphor. The picture Srinivas paints of Indian filmgoing is immersive, fascinating, and deeply empathetic, giving us an unprecedented understanding of the audience’s lived experience—an aspect of Indian film studies that has been largely overlooked.
1 有用 Soo Yung 2017-04-03 11:53:32
写的实在太好太详尽太仔细了!佩服的五体投地!在ESS会上参加Author-Meet-Critics,惊讶于她朴素随意的穿着打扮和她谦虚的态度,直到回头看完她的书,更被细致入微的观察和语言描述给打动。第二章谈电影制作方如何任性地修改和创新剧本,现场收集观众的反馈;第三章谈影院在城市的空间分布和排名;第四章全章在谈如何买票;第五章谈观影作为一个社交活动经历;第六章谈观众如何建构观影体验,向荧幕投掷各式... 写的实在太好太详尽太仔细了!佩服的五体投地!在ESS会上参加Author-Meet-Critics,惊讶于她朴素随意的穿着打扮和她谦虚的态度,直到回头看完她的书,更被细致入微的观察和语言描述给打动。第二章谈电影制作方如何任性地修改和创新剧本,现场收集观众的反馈;第三章谈影院在城市的空间分布和排名;第四章全章在谈如何买票;第五章谈观影作为一个社交活动经历;第六章谈观众如何建构观影体验,向荧幕投掷各式各样的东西;第七章谈电影粉丝活动。全书超越西方视角对于active audience, reception, collective act, fluidty, spectatorship重构太有意思了!意犹未尽!由于民族志笔记实在太详尽而无法总结的一本书 Chris (展开)