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dc.contributor.advisorRice, Tom
dc.contributor.advisorYechury, Akhila
dc.contributor.authorMagazine, Aakshi
dc.coverage.spatial257 p.en_US
dc.date.accessioned2020-06-03T08:47:33Z
dc.date.available2020-06-03T08:47:33Z
dc.date.issued2020-07-27
dc.identifier.urihttp://hdl.handle.net/10023/20040
dc.description.abstractThe thesis argues that the film songs in the 1950s, often termed the ‘golden era’ of films and film music, function as an integral narrative device of the cinema’s engagement with the national discourse and with socio-political issues. The songs do this by being a site of ambivalence and struggle rather than resolution. In this way, they engage with the ideological contradictions of the nationalist discourse and the newly-independent Indian nation-state. These are the contradictions of the transition towards modernity -- the tussle between tradition and modernization, Indian identity and westernization, home and the world – which were a part of the anti-colonial nationalist discourse, and continued to be pre-occupations for the policy makers of the newly independent nation-state. These contradictions have been written about in scholarship, both in Film Studies (Prasad 1998; Sarkar 2009; Majumdar 2009; Rajadhyaksha 2009; Vasudevan 2011) as well as from a Political Studies perspective (Chatterjee 1993; Parekh 1991; Kaviraj 2010). However, in the context of 1950s Bombay based Hindi cinema, the significant role of the song sequences in negotiating with these tensions has not been studied in detail; in fact the songs have not been recognised as playing a role in this equation, existing instead on the periphery of theoretical arguments on the film form. The original contribution of the thesis is to examine the significant role of the song in this equation.en_US
dc.description.sponsorship"This work was supported by the University of St Andrews (St Leonard’s College Scholarship), School of Philosophical, Anthropological and Film Studies and the Charles Wallace India Trust (Doctoral Grant towards completion of thesis)." -- Fundingen
dc.language.isoenen_US
dc.publisherUniversity of St Andrews
dc.rightsCreative Commons Attribution-NonCommercial-NoDerivatives 4.0 International*
dc.rights.urihttp://creativecommons.org/licenses/by-nc-nd/4.0/*
dc.subjectFilm studiesen_US
dc.subjectHindi film songen_US
dc.subject1950s Bombay cinemaen_US
dc.subjectIndian cinemaen_US
dc.subjectIndian nationalismen_US
dc.subject.lccML2075.M2
dc.subject.lcshMotion picture music--India--Bombay--History and criticismen
dc.subject.lcshPopular music--India--History and criticismen
dc.subject.lcshSongs, Hindi--History and criticismen
dc.subject.lcshNationalism--India--History--20th centuryen
dc.subject.lcshIndia--Politics and government--1947-en
dc.titleThe 1950s Hindi film song : between transgression and memoryen_US
dc.typeThesisen_US
dc.contributor.sponsorUniversity of St Andrews. St Leonard's College Scholarshipen_US
dc.contributor.sponsorUniversity of St Andrews. School of Philosophical, Anthropological and Film Studiesen_US
dc.contributor.sponsorCharles Wallace India Trusten_US
dc.type.qualificationlevelDoctoralen_US
dc.type.qualificationnamePhD Doctor of Philosophyen_US
dc.publisher.institutionThe University of St Andrewsen_US
dc.rights.embargodate2025-04-16
dc.rights.embargoreasonThesis restricted in accordance with University regulations. Print and electronic copy restricted until 16th April 2025en
dc.identifier.doihttps://doi.org/10.17630/10023-20040


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