By Vikrant Kishore, Amit Sarwal, Parichay Patra (eds.)
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Additional info for Bollywood and Its Other(s): Towards New Configurations
They include Farida Mehta, Kamal Swaroop, Anup Singh, Paresh Kamdar, Rajat Kapur, Ashmakhi Acharya and Nandan Kudhiadhy. References Anonymous. (1983) Interview of Amol Palekar, June 12. Anonymous. (1979) ‘Duvidha Bores’, Free Press Journal, 22 July, 9. Bombay Cinema’s Aesthetic Other 37 Arthuso, R. & Guimarães, V. br/english/198/, accessed on 13 March 2014. Bhaumik, K. pdf, accessed on 13 March 2014. Biswas, M. com/doc/33220837/MoinakBiswas-New-Cinephilia, accessed on 13 March 2014. Burnett, C.
Html, accessed on 13 March 2014. ——. (2002) ‘The Ornamentation of Nicole Kidman (Eyes Wide Shut) and Mita Vashisht (Kasba): A Sketch’, Senses of Cinema, 23, http://sensesofcinema. com/2002/23/ornament/, accessed on 13 March 2014. Kapur, G. (2000) When Was Modernism: Essays on Contemporary Cultural Practice in India (New Delhi: Tulika Books). Kaul, M. (1989) ‘No Way to Treat “Siddheshwari Devi”’, Interview by K. p. ——. (1983) ‘Towards a Cinematic Object’, in A. Vasudev and P. Lenglet (eds), Indian Cinema Superbazaar (New Delhi: Vikas Publishing), 126–32.
The ‘I’ intends, and the world occurs. The ‘I’ does not presuppose the ‘think’ here; it is the intentionality that presupposes the subject. Much in the vein of Kant, the ‘apriori’ intentionality posits the subject at a paradoxical juncture with the other(s). The paradox is basically the question regarding whether the subject intends or is merely a pawn in the hands of a supreme power; if it intends then to which extent does this intentionality have any pattern of achieving a cogent goal? Self, Other and Bollywood 21 In other words, where is the demarcation between the individual being and a holistic, all-connecting Being?