Sources for passages cited, in sections identified below:

The 1970s: The phrase "the last breath of Gandhian politics" comes from Virdi (1993)

Bengali Cinema's Minimal and Modern Designs: The phrase "depth effect", the idea of "reduction", and the reference to minimalism in the title of this poster, come from colleague Bhaskar Sarkar (Film and Media Studies, University of California, Santa Barbara) in personal correspondence on September 9, 2024. I am grateful to Prof. Sarkar for sharing thoughts on the Satyajit Ray publicity materials with me. The information about Moholy-Nagy's work comes from Campany (2008). My grateful thanks also to Barshana Titir, graduate student in the History department, University of Washington, Seattle, for observing that the patterns on the Bengali commercial brochures, evoke Alpana or auspicious rice-flour patterns.

Designing Publicity for the Masala Film: the phrase "an item in every reel" by director Manmohan Desai, comes from Haham (2006).

The Festival Documents: The quote by Jagdish Parikh, chairman of the FFC, on parallel cinema, closing out this poster, is from Tiwari (2024).

Several other works were extremely helpful in preparing the text for this exhibition. Dwyer and Patel (2002) offer a useful historical overview of Indian film publicity and its design aesthetic, including the references to Gothic iconography. Majumdar (2021), Tiwari (2024), and Rajadhyaksha (1985; and 2009) offer valuable accounts of the institutions that shaped film culture in the 1970s: the growth of film societies, the establishment of governmental institutions such as the Film Finance Corporation, the politics of film taste and reception at film festivals, the "cult status" of Indian art films, and the relations between these institutions, broader cultural debates around cinema, and the political climate in South Asia in that decade. Devraj et al (2010, 2011) offer detailed accounts of designers of publicity such as Diwarakar Karkare (referenced in the discussion of masala films' publicity). Radhakrishnan's work (2021) is the most detailed conceptual mapping of the construction of regional cinema as a category. Finally, Prof. Anuja Jain shared her thoughts on organizing a similar exhibition at Wesleyan, and Prof. Rajinder Dudrah helped me pin down dates for the flyers referenced in the "Indian cinema in the world" section.

Research, writing, images selected, and analysis of artifacts, for the physical exhibition and for the online version, were undertaken by Sudhir Mahadevan, Associate Professor, Comparative History of Ideas, with a joint appointment in Cinema and Media Studies.

Works Consulted or Cited

“Afro-Asian and Latin American films depict struggle of down-trodden”, The Times of India, Jan 5, 1977, p. 9.

“La Cinémathèque”, Le Monde, October 18, 1968, « Des Loisirs » p. II.

“More nations interested in Indian films”. Jan 3, 1977, The Times of India, p. 9.

“Old “Bobby” print telecast to foil Janata rally”. October 27, 1977, The Times of India, p.13.

Barnouw, E., & Krishnaswamy, S. (1963). Indian film. Columbia University Press.

Bhaskar, I., & Allen, R. (2009). Islamicate Cultures of Bombay Cinema. Tulika Books.

Blamey, D., D’Souza, R., & Dickey, S. (2005). Living Pictures: Perspectives on the Film Poster in India. Open Editions.

Campany, D. (2008). Photography and Cinema (1st ed.). Reaktion Books Ltd.

Dadi, I. (2022). Lahore Cinema: Between Realism and Fable. University of Washington Press.

Devraj, R., Bouman, E., & Duncan, P. (2010). The Art of Bollywood. Taschen.

Dewan, D., Devraj, R., Jain, K., & McCarter, A. (2011). Bollywood Cinema Showcards: Indian Film Art from the 1950s to the 1980s: Showcards from The Hartwick Collection. Royal Ontario Museum Press.

Dewan, D., Royal Ontario Museum., Zotova, O., & Royal Ontario Museum. (2012). Embellished Reality: Indian Painted Photographs: Towards a Transcultural History of Photography. Royal Ontario Museum Press.

Dwyer, R., & Patel, D. (2002). Cinema India: The Visual Culture of Hindi Film. Rutgers University Press.

Gooptu, S. (2011). Bengali Cinema: “an Other Nation.” Routledge.

Haham, C. (2006). Enchantment of the Mind: Manmohan Desai’s films. Roli Books.

Iyer, U. (2020). Dancing Women: Choreographing Corporeal Histories of Hindi cinema. Oxford University Press.

Lutgendorf, P. (2003). Jai Santoshi Maa Revisited. In: Plate, S.B. (eds) Representing Religion in World Cinema. Palgrave Macmillan, New York. 19-42.

Majumdar, R. (2021). Art Cinema and India’s Forgotten Futures: Film and History in the Postcolony. Columbia University Press.

Mazumdar, R. (2007). Bombay Cinema: an Archive of the City. University of Minnesota Press.

Mokkil, N. (2018). Queer Encounters: Film Festivals and the Sensual Circuits of European Cinema in India. Studies in European Cinema, 15(1), 85–100.

Pillai, S. E. (2012). “The 1970s Tamil cinema and the post-classical turn”. South Asian Popular Culture, 10(1), 77–89.

Prasad, M. M. (1998). Ideology of the Hindi film: A Historical Construction. Oxford University Press.

Radhakrishnan, R. (2021). “Region/Regional Cinema”. BioScope South Asian Screen Studies, 12(1–2), 162–165.

Rajadhyaksha, A. (1985). “The Tenth International Film Festival of India: Scattered reflections around an event.” Screen (London), 26(3–4), 147–151.

Rajadhyaksha, A., & Willemen, P., & National Film Archive of India. (1994). Encyclopedia of Indian cinema. British Film Institute.

Rajadhyaksha, A. (2009). Indian Cinema in the Time of Celluloid: from Bollywood to the Emergency. Indiana University Press.

Sarkar, B. (2009). Mourning the Nation: Indian Cinema in the Wake of Partition. Duke University Press.

Sen, J. (1995). The art of Satyajit Ray = Śilpī Satyajit̲ Rāẏa. Oxford Bookstore Gallery.

Sen, J., & Ray, S. (2012). Looking Beyond: Graphics of Satyajit Ray. Roli Books.

Siddique, S. (2023). Evacuee Cinema: Bombay and Lahore in Partition Transit, 1940-1960 (1st ed.). Cambridge University Press.

Thomas, R. (1985). “Indian Cinema: Pleasures and Popularity”. Screen (London), 26(3–4), 116–131.

Tiwari, S. (2024). The State and New Cinema in Contemporary India: 1960-1997. Routledge.

Vasudevan, R. (2011). The Melodramatic public: Film Form and Spectatorship in Indian cinema. Palgrave Macmillan.

Virdi, J. (1993). The "fiction" of film and "fact" of politics. Jump Cut, no. 38, June 1993, pp. 26-32.

https://www.ejumpcut.org/archive/onlinessays/JC38folder/Deewar.html