`INDEX`

Aadmi (1958), 178n32
Aag (1967), 169n30
Aankh ka nasha (Intoxication for the eyes), 81–82
Aashiq (Lover, 1968), 169n30
Abbas, Khwaja Ahmad, 22, 30, 37, 38
“Ab kyā dekheṉ rāh tumhārī” (Still waiting for your return; song in Jago Hua Savera), 47
ableism, 124–27
Academy Awards (US), 87
Aci Trezza (Sicilian village), 41–42, 44
advertising, 25, 107, 129, 137, 149, 163; employment in, 27, 157; film posters, 18, 24, 75fig., 76, 107, 115fig., 116, 130fig., 131, 139, 140, 200n22
“Ā’e gā ṣanam jab naz̤areṉ mileṉ gī tab nah jāne kyā ho gā” (When my lover arrives and our eyes meet, who knows what will happen next?; song in Susraal), 123, 123fig.
aesthetics, xi, 5–6, 15–16, 107–8; binaries and, 86–87; documentary, 28, 38, 43, 45; immersive, 42–44, 47, 76, 87, 181n88; neorealist, 39–40, 42; New Cinema, 156–57, 164; realist, 38–39, 160; in television serials, 152–53; theatrical conventions, 104, 107, 123, 136
Afaqi, Ali Sufyan, 105
affect, x, xi, 120, 136, 151–52, 167n13; film song and, 7, 24, 49, 60, 87, 94, 185n22; language and, 52, 102; melodrama and, 68–69; memory and, 28, 103; Partition and, 17; popular politics and, 111–13, 161, 164
Afghan War (1978–92), 143
Afzal-Khan, Fawzia, 166n10
Ahmad, Ali Nobil, 150, 163, 201n39
Ahmad, Ashfaq, 119
Ahmad, Farid, 5
Ahmad, Nabi, 71
Ahmad, Shaikh Riaz. See Shahid, Riaz
Ahmed, Ishtiaq, 1–2, 169n19
Ahmed, Wahiduddin Ziauddin (W. Z.), 2–4, 40, 168n8,14, 175n1, 194n3
Aina (Mirror, 1977), 182n116
Ajab Khan (1961), 105
Ajmeri, Nazir, 3, 105
Akaler Sandhaney (In search of famine, 1980), 180n79
Akbar, Emperor, 19
Akhtar, Hamid, 183n119
Akhtar, Jamil, 105, 106, 194n5
Alam Ara (1931), 9
Albela (Stylish, 1951), 85–86, 191n108
Ali, Kamran Asdar, ix, x, 109, 127, 166n10, 167nn12–13, 171n67, 197n50
Ali, Naushad, 185n27, 189n82, 191n107
Ali, Sadiq, 186n49
Ali, Tariq Omar, 177n19
Allauddin, 120, 131
All-India Progressive Writers’ Association (PWA), xii, 22, 36, 53, 113
All India Radio (AIR), 18, 57, 59, 65, 184n20
All Pakistan Progressive Writers Association, 35
alternative cinema, 29, 104, 113, 119, 128, 164, 200n30
Amanat, Agha Hasan, 7, 190n94
American cinema: realism in, 40–41. See also Hollywood
Amrohi, Kamal, 95
Anand, Chetan, 22
Anand, Jagdish Chand (J. C.), 3, 17
Anand, Mulk Raj, 65, 67
Anand, Shaina, 193n130
Anarkali (mythical figure), 19–20, 56–57, 184n13
Anarkali film versions, 19, 71, 183n2, 184n13
Anarkali play (1922), 56, 70–71, 183n2
Andaleeb (1969), 5
Anderson, Benedict, 200n20
Anjaria, Ulka, 179n53
Anjum, Pervez, 129, 136
“Ānkh se ānkh milā le” (Let your eyes meet mine; song in Intezar), 86
Anmol Ghadi (Precious watch, 1946), 23, 192n120
Anokhi (Singular, 1956), 30
anti-colonialism, xii, 61–69, 139, 186n48
anti-imperialist films, 105–6, 110, 111, 131
Anwar, Khurshid, xii, 2, 4, 9, 55–69, 172n87, 186n49, 186n51, 188n68, 189n82, 189n88; Bombay years, 60–61, 184n20, 185n27; compositions with flute and violin, 185n22; early years, 57–60, 183n7, 184nn8–9, 184n20, 186n52; Faiz and, 155; film song and, 9; on gender roles, 100–101; Hamraz, 119; lyric romanticism and, 55; Partition and, 17, 23; photograph of, 57fig.; political activism, 4, 61–69, 187n53, 187nn64–65; Roshan and, 184n17; Taj and, 183n6, 184n13. See also Ghoonghat (The veil, 1962); Intezar (The awaiting, 1956)
Anwar, Naseer, 87
Apu Trilogy, 38
Ara, Shamim, 69
Arabian Nights themes, 21
archives, 24–28, 142–43, 175n123, 175n125
Arora, Prakash, 38, 116
art cinema, 29, 40, 113, 148, 164
Asif, K., 19, 184n13
Asiya (1960), 175n1, 181n88
Askari, Muhammad Hasan, 173n107
assemblage, 148, 199n10; Zinda Bhaag and, 159, 163–64
Atif, Yaqub “Bulbula,” 159
Attre, Rashid, 194n10
Aujla, Harjap Singh, 23, 59, 60, 184n20
Aurat (Woman, 1940), 37
Aur Bhi Gham Hein, 11
authoritarian rule, 10–11, 13–14, 113
‘avāmī adākār (people’s actor), 120. See also Allauddin
‘avāmī shā‘ir (people’s poet), 171n67. See also Jalib, Habib
avant-garde cinema, 28, 109, 112, 147, 164; film song and, 7; in India, 154–55; melodrama and, 159–63. See also parallel cinema, Indian
Ayaz (1960), 58
Ayub Khan era (1958–69): authoritarianism, vii, 10–11, 13–14, 113, 115; cultural politics, xi, 10–18, 35–36, 109, 142, 171n67; economy, 170n52; modernization, vii, 5; resistance against, 106, 142, 196n43
Azad, Chandrashekhar, 185n39
Aziz, Ashraf, 9, 61
Azmi, Kaifi, 22

Bachchan, Amitabh, 26
Badnam (Disgraced, 1966), 105, 106, 119, 129–41, 130fig., 132–33fig., 138–40fig.
Badshahi Mosque, 120
Baji (Sister, 1963), 81
Baksh, Rahim, 66
Bandopadhyay, Manik, 29, 176n3
Bangladesh, 11, 52, 181n87; independence, 113, 142; national archives, 24
Bano, Iqbal, 48, 161, 202n54
Baran, Timir, 30, 48, 138, 176n8, 181n94
“Baṛe be-muravvat haiṉ yeh ḥusn wāle” (The exquisite beloved is uncaring; song in Badnam), 137–38, 138–39fig.
Barsaat Ki Raat (A night of the rainy season, 1960), 184n17
Barthes, Roland, 45
Barua, P. C., 30, 100–101
Bashir, Ahmad, 14, 129, 194n3
bazaar public sphere, 112–13
Bazin, André, 41–43, 178n46
Beaster-Jones, Jayson, 166n9, 175n120, 189n80, 192n120
Bedari (1957), 17
Bedi, Rajinder Singh, 22
Begum, Naseem, 87
Begum, Shamshad, 189n79
Behan Bhai (Brother and sister, 1968), 169n30
Benegal, Shyam, 154, 155
Bengal: folk music in, 48; Hindi-Urdu films in, 53. See also bhatiali songs; East Bengal; West Bengal
Bengal Famine (1943), 37
Bengali language: denigration of, 113; in films, vii, 8, 45, 51–54, 107, 160, 175n1, 181n88; in Jago Hua Savera, 182n107; after Partition, 183n118
Beqarar (Restless, 1950), 3
B-genres, 21–22
Bhaduri, Tripti. See Mitra, Tripti
Bhakti, 7
Bharosa (Trust, 1958), 106
Bharucha, Rustom, 37
bhatiali songs, 47–48, 50, 181n90, 182n96
Bhatkhande, Pandit Vishnu Narayan, 65, 186n49
Bhattacharya, Bijon, 37
Bhattacharya, Deebo, 138–39
Bhatti Gate (in Lahore), 1
Bhaumik, Kaushik, 113
Bhojpuri, 48, 50, 93
“Bhor hū’ī ghar āo maṉjhī” (It’s dawn, return home boatman; song in Jago Hua Savera), 47
Bhutto, Zulfiqar Ali, 6, 142, 201n32
The Bicycle Thief (1948), 38, 40, 178n42
BioScope: South Asian Screen Studies (journal), viii, 199n18
Bismil, Ram Prasad, 63
Biswas, Hemanga, 181n90
Biswas, Moinak, 37, 38–39, 165n4, 177n15, 179n58
The Blood of Hussain (1980), 30, 155, 200n32
“Bohat be ābrū ho kar tere kuche say hum nikle” (We departed from your street in disgrace; song in Badnam), 139–40, 140fig.
Bol (Speak, 2011), 151
Bollywood: genres, 156; globalization of, 26; indie films and, 201n36; music in, 189n79; Pakistani New Cinema and, 147, 156–57, 163. See also Bombay cinema; Indian cinema
Bombay cinema: aesthetics, 108; Anwar and, 60–61; film song, 9; Lahore cinema and, viii, x–xi, 1–2, 15–18, 60–61, 71, 172n92, 195n21; “Lahore effect” and, viii, 18–20, 23, 26–28, 164; languages and, 8–9, 53; leftist politics in, 104, 113–14; memory and, 26; musical conventions, 136; Parsi theater and, 7; realism in, 39; scholarship on, vii–ix; singers in, 191n102; social realism and, 193n1; Urdu and, ix–x; use of term, 165n7; Western music in, 79. See also Bollywood; Indian cinema
Booth, Gregory, 9, 61, 76–78, 185n27, 188n79, 189n86, 189n91, 191n104
Boot Polish (1954), 116
bourgeois liberal values, 11, 142, 161; domesticity, 90–92, 102
Bukhari, Jafar, 106, 188nn68–69
Bukhari, Patras, 59
Bukhari, Z. A., 68
Buzdil (The coward, 1969), 169n30

Calcutta: Bengali culture in, 183n118; film production in, x, 1–2, 53–54, 167n12
Cannes Film Festival, 31, 179n56
Censor Board, 11, 14, 109, 123
censorship, 150, 169n32, 200n32, 201n39
“Chan chan chan merī pāyal kī dhun” (My ankle bracelets sing chan chan chan; song in Ghoonghat), 94, 95fig.
Chanda (1962), 182n116
“Chānd hanse duniyā base royay merā piyār” (The moon smiles, the world flourishes, but only my love weeps; song in Intezar), 77
characterization, x, 10, 18, 69, 127–28
charba films, 15–16, 172n84. See also plagiarism
Chatterjee, Saibal, 176n8
Chatterjee, Sarat Chandra, 101
Chatterji, Shanti Kumar, 30
Chawla, Juhi, 17
Chingari (Spark, 1964), 58, 69, 102
Chinnamul (The uprooted, 1950), 37
Chittoprasad, 45
Christians, 197n47
Chughtai, Abdur Rahman, 91–92
Chughtai, Arif Rahman, 191n115
Chughtai, Ismat, 22
“cinema-effects,” 18, 172n93. See also “Lahore effect”
cinematic immersion, 42–44, 47, 76, 87, 181n88
cinematic techniques, 5, 152–55
circular motifs, 140–41
class divides, 71, 79, 93, 105–6, 108–10, 121, 135, 141, 143–46, 148–52, 157. See also elite; middle-class viewers; poverty
classical music. See Indian classical music
Clerk (1960), 11, 105, 114–20, 141, 153, 162, 194n4, 194n9, 197n53; publicity poster, 115fig.
Cold War, 10–11, 13; cyclical time and, 45; realist cinema and, 40
colonialism: affective burden of, 68. See also anti-colonialism
color film, xii, 5–6, 29, 31, 34, 48–50, 104, 154, 160
commercial cinema: aesthetics of, 39; conventions of, 151; East-West divide, 56; genres and techniques, 5; government control and, 12, 14; influence of, 28; leftist politics in, 104, 113; musical forms in, 78; nationalism in, 20–21, 39–40; recursivity and reflexivity in, 164; scholarship on, viii–ix
communal strife, 23, 52, 103, 168n8
communism, 67–68, 187n64
Communist Party of Italy, 41
Communist Party of Pakistan, 35
consumerism, 157
conventional forms, 152–53, 155
Cooper, Sarah, 38
Cooper, Timothy, 24
corporate sponsorship, 156–57
Correa, Micky, 189n85
courtship, 117, 120–28, 195n21
Cuban music, 73, 85. See also Latin American music
cultural awareness, 195n21
cultural politics, 10–18, 35–36, 109, 142, 171n67
cultural studies, ix, 109
cyclical time, 38; humanism and, 44–46

Damodaran, Sumangala, 47–48, 181n90
dancing, 73fig., 79, 84fig., 138–39fig., 162fig.; in chains, 111–12; Latin, 85–86. See also mujra (dance song); song-and-dance sequence
darshan (beholding the deity), 94, 95fig.
Das, Nandita, 151
Dasi (The maid, 1944), 2
Dass, Manishita, 20, 22, 39, 86, 114, 180n79, 193n1
dāstān, 21, 158
dastanic films, 22, 105
“Dastoor” (Constitution, 1962), 14
Dave, Ram Narayan, 71, 184n13
“death foretold” tales, 158–59
Decade of Reformation (1957–66), 4
“Deewana yeh parwana” (This intoxicated moth; song in Albela), 86
Dehlavi, Jamil, 30, 155, 200n32
“Dekheṉge” (To witness; song in Zinda Bhaag), 161–62, 162fig.
Deleuze, Gilles, 41, 148
Department of Film and Publications, 12
Dervi, Danish, 11
De Sica, Vittorio, 38, 40, 178n42
detective film genre, 26, 97–99
Devanagari script, 95, 96fig., 102
Devar Bhabi (Brother-in-law and sister-in-law, 1967), 5
Devasundaram, Ashvin, 156, 201n33, 201n36
Devdas films, 30, 91, 101
devotional poetry, 7
Dhaka: Bengali films from, 175n1, 181n88; film industry personnel, 182n116; films from, vii, x, 5, 26, 45, 53, 107, 143, 167n12, 182n116; language in, 52–53
Dharti Ke Lal (Children of the earth, 1946), 30, 37, 176n11
Dhoop Aur Saey (1968), 119
dialects, 37, 41, 144, 146, 182n107
disability, 124–27
distribution networks, viii, 2–3, 16–18, 36, 150, 156, 163–64, 173n93; local, 50, 104; restrictions on Indian films, 16, 54, 176n13
Do Aansoo (Two tears, 1952), 3
Do Bigha Zamin (Two Acres of Land, 1953), 179n48
documentary aesthetic, 28, 38, 43, 45
Door Hey Sukh Ka Gaon (Faraway village of peace), 200n32
Dosheeza (Damsel, 1962), 105
“Dosheeza” (Mohammad), 191n113
doubling trope, 17, 69, 83, 95, 98–99
D’Souza, Sebastian, 77–78, 81, 185n27, 189n86–87, 191n104
“Duets with Dialogues” (radio program), 59–60
dunky, 143, 159, 163, 164. See also labor migration; migration
Dupatta (Scarf, 1952), 3
Dutt, B. K., 62
Dutt, Guru, 3, 26, 39
Dwyer, Rachel, 168n8

East Bengal, xii, 47–48, 51, 53–54, 113, 177n19, 181n88
Eastern Film (magazine), 5, 6fig.
Eastern Film Studios, 5, 129
East Pakistan: filmmakers, 15; Indian films shown in, 4; language in, 52; political instability in, 11, 113, 142; relations with West Pakistan, 15, 44–46, 54, 113; river life in, 44–46. See also Bangladesh
East-West divide, 56, 70; musical styles and, 70–86
education, 118–19, 134–35, 140, 149
Ehtesham, 182n116
“Ei poth jodi na sesh hoye” (What if this road never ends; song in Saptapadi), 160, 202n48
Elaan (Proclamation, 1948), 22
Elam, J. Daniel, 63, 187n67
elite: cultural values of, 11, 142, 183n118; decadence among, 21; Jameson on elite cultural forms, 109; language, x; neighborhoods in Badnam, 137; social groups, 149, 151, 161–62; versus popular culture, 22, 109–10, 112–13, 142; views on commercial cinema, 20, 22. See also high culture; nonelite neighborhoods
emotive affect, 151. See also affect; melodrama
English-language theater, 8
epic oral folktales, 158. See also Hir-Ranjha story; Laila-Majnun tale
Europe: film festivals, 36; films produced in, 39; migration to, 144, 159–60; nationalist movements in, 61. See also Italian neorealism
Evernew Studios, 3, 27
everyday life, portrayals of. See realism
exoticism, 41, 44, 46, 54
experimental cinema, vii, ix; conventions of, 152; in India, 154–55; Jago Hua Savera as, 46, 52, 54; leftists and, 183n119; lineage of, 155–56; New Cinema and, 147–48; realism and, 34, 38. See also parallel cinema, Indian
exploitation, 140; leftist progressive writers on, 52, 54, 105; realist depictions of, 40–42, 44–46, 50, 114; of rural poor, xii–xiii, 29, 33; sexual, 105–6, 110, 118, 131–35, 200n26; of workers, 78, 114–19, 140, 193n1

fable, vii–ix, xi, xiii, 20, 104, 112; Intezar and, 85–87; “Lahore effect,” 151; realism and, ix, xiii, 145, 147–48, 164; Zinda Bhaag and, 144–45, 145fig., 158–63. See also “Lahore effect”
Faiz, Faiz Ahmed: All-India Progressive Writers’ Association and, xii, 13, 36; Anwar and, 58, 65, 67, 186n49, 187n64; Chughtai and, 91; dissidents and, 196n43; Ghoonghat and, 192n119; high cultural forms and, 22, 112; Jago Hua Savera and, 29–30, 47–50, 52, 176n8, 176n12, 182nn98–99; poems and lyrics by, xv, 15, 105, 155, 161, 175n128, 183n119, 196n43, 202nn54–55; politics and, 13, 35, 67–68; Qaiser and, 194n10; Shahid and, 106, 119, 194n10
family film (gharelū), 167n13
The Family of Man (exhibition), 45
Fankar (Artist, 1956), 30
fantasy, vii, 122–24; genre, 21–22; realism and, 28, 112, 159; social melodramatic film and, 7, 24; song sequences, 159–61. See also fable
Farangi (The European, 1964), 105–6, 183n119, 194n10
Fazli, Sibtain, 2–4, 168nn13–14, 175n120
femininity, 153, 192n124. See also gender
Fernandez, Cynthia Alexander. See Neelo (actor)
film festivals, 31, 36, 37, 39, 179n56, 200n30
filmi, 50
Filmindia (magazine), 21–22, 168n8
Films Division, 155
film song, 7–10; affect and, 7, 24, 49, 60, 87, 94, 185n22; in Bombay cinema, 61; circulation of, 18; conventions of, 161; high culture and, 31; in Intezar, 70; in Jago Hua Savera, 47–50; lullabies, 136–37; melodrama and, 69; modernity and, 69; musical instruments and, 185n22; narrative and, 154; neorealism and, 29; popularity of, 14; in Susraal, 121–25; in Zinda Bhaag, 154. See also bhatiali songs; ghazal (lyric poem); gīt; kaifī; playback singing; qawwali; song-and-dance sequence
fishing villages, 31–33, 41–44
flashbacks, 158
folk culture: documentation of, 142; of East Bengal, 181n88; epic oral folktales, 158; music, 47–48, 50, 78; theater, 7
Folk Music of Pakistan (Smithsonian, 1951), 48
Footpath (1953), 179n48
form: aesthetic problems of, xi; genre and, 153; in New Cinema, 147–48. See also aesthetics
Foucault, Michel, 13
funding, 156–58

Gandhi, Indira, 187n52
Gandhi, Mahatma, 62
Gaur, Meenu, xiii, 27, 128, 142, 144, 154, 158, 160–61, 198n5, 199n6, 201n42
Gazdar, Mushtaq, 4, 11, 12, 17, 20, 34, 107, 108–9, 134, 166n8, 168nn13–14, 168n18, 169n30, 169n32, 172n87, 177n13, 178n32, 194n4, 196n26, 197n58
gender, x; Gothic films and, 192n124; modernity and, 97, 100–101; in television serials, 152. See also femininity; homosocial bonds; marriage; masculinity; patriarchy; women
gender-based violence, 198n5
genres, 21–22, 26, 141, 156; formal properties of, 153; politics and, 113. See also specific genres
Ghalib, Mirza, 139
gharana (hereditary musical lineage), 68, 162
Gharnata, 194n10
“Ghar se chiṭṭhī ā’ī” (A letter from home has arrived; song in Clerk), 116
Ghatak, Ritwik, 154
ghazal (lyric poem), 58, 82, 92–93, 139, 191n117, 202n54; singers, 48, 87, 106, 110, 112, 161
Ghaznavi, Shatir, 2
Ghoonghat (The veil, 1962), 17, 58, 69, 87–103; analysis of, 99–101; lyrics in, 183n119; as Partition allegory, 101–3; plot summary, 88–99; songs in, 93–94, 192n119; stills from, 90fig., 95–96fig., 98fig.
Ghosh, Nemai, 37
Ghouri, Qadir, 194n3
Gibran, Khalil, 107
Gidwani, Moti, 184n13
gīt, 10, 93
globalization, 142–43
global neorealism, ix, 177n14
Global South: film production in, 104. See also Indian cinema; Pakistani cinema; South Asian cinema
Goan musicians, 76–79, 189n91
goddess figures, 94, 95fig., 97, 98
Golden Era (1956–66), 4, 143, 150
Gopalan, Lalitha, 200n23
Gorija, Yasin, 5, 99, 119, 166n10, 169n30, 172n84
Gothic suspense films, 69, 87–99, 192n124, 192n128
Government College, 57, 59, 66, 67
Guattari, Félix, 148
guest workers, 143
Gujarati theater, 7–8
Gul, Agha A. G., 3
Gul, Aijaz, 119, 194n10, 196n27, 197n53
Gulnar (1953), 71, 188nn78–79
Gulzar (poet), 17

Haaland, Torunn, 42, 50–51
Hagen, Jean, 80
Haider, Master Ghulam, 9, 71, 188–89nn78–79
Haider Ali (1978), 105
Hall, Stuart, 110, 113
Hamari Zaban (Our language, 1955), 52, 182n112
Hamraz (The confidant, 1967), 58, 69, 119
Hanif, Mohammad, 155, 161
Hansen, Kathryn, 8, 82, 170n40, 190n94, 191n106
Harvard Advisory Group, 170n64
Hasnain, S. F., 22
Hassan, Mehdi, 87, 106, 110, 112
Hassan, Mohammad, 30
hatke (quirky) films, 156
Haveli (Mansion, 1964), 58, 194n10
Hayles, N. Katherine, 148
Hazar dastan (Shahid), 106
Heer Ranjha (1970), 56, 58
high culture, ix, 22, 109, 112. See also elite
Hindavi, 93
Hindi films: Bombay cinema and, 1, 8–9, 16, 53; genres, 26; Lahore cinema and, x, 173n101
Hindi plays, 7
Hindi songs, 9–10, 94, 185n27, 189n86, 189n91, 190n93, 198n77
Hindi/Urdu divide, 23, 52
Hindi-Urdu films, x, 1, 8–9, 16, 23, 52–53
Hindu mythology, 28, 38, 101–3
Hindus, in Pakistani cinema, 197n47
Hindustani, x, 1, 53
Hindustani classical music, 68–69. See also Indian classical music
Hindustan Republican Association (HRA), 61, 63
Hindustan Socialist Republican Association (HSRA), 61–65, 186n40, 187n53
Hir-Ranjha story, 158, 201n44
history, vii, 1. See also archives; Ayub Khan era (1958–69); Lahore cinema; memory; Pakistan
Hoek, Lotte, ix, 47, 53, 167n12, 181n87
Hollywood: Bombay cinema and, 16; conventions of, vii, 151, 156, 173n101; musicals, 70, 80, 82, 189n83; Oscars, 31, 87; Pakistani New Cinema and, 156–57, 163; realism, 37, 38. See also American cinema
Homeric epics, 42
homosocial bonds, 125–28, 143, 162
horror films, 26, 151. See also Gothic suspense films
humanism, 42, 44–47
Humayun (1945), 188n79
Husain, Abdullah, 13

Imroze (newspaper), 35, 59, 65, 67
Indar Sabha (film, 1931), 8
Indar Sabha (opera), 7
independent filmmakers, 156, 201n36
India: national archives, 24, 175n123; nationalism, 23
Indian cinema: awards, 179n56; budgets, 157; independent, 201n36; neorealism in, 29–31; parallel cinema, 29, 54, 144, 146–48, 151, 154–56; regulation of films shown in Pakistan, 3–4, 16, 54, 149, 151, 176n13. See also Bollywood; Bombay cinema
Indian Civil Service (ICS), 59
Indian classical music, 68–87, 184nn8–9, 184n20, 190n93
Indian Mutiny (1857), 20
Indian National Congress, 62, 187n52
Indian parallel cinema, 29, 54, 144, 146–48, 151, 154–56
Indian People’s Theatre Association (IPTA), 22, 30, 36–37, 39, 45, 181n94, 193n1; folk music and, 47–48, 50; leftist politics and, 113–14
India-Pakistan War (1965), 12, 142
infrastructures: in Pakistani film industry, vii, 5, 11–12, 26–27, 46, 150, 151; New Cinema and, 156–58; realism and, 41. See also theaters, cinema
International Film Festival, 37
Inter Services Public Relations (ISPR), 157
intertextuality, 146, 153, 160
Intezar (The awaiting, 1956), 17, 56, 58, 69, 70–87, 183n6; characters and performance, 76–85; fable and, 85–87; modernity and, 102; plot summary, 71–76; publicity poster, 75fig.; stills from, 73–74fig., 83–84fig.
Iqbal, S., 200n22
Irish Republican Army, 61, 68
Ishq Par Zor Nahin (Love cannot be coerced, 1963), 119
Islam, Nazrul, 182n116
Islamization, 26
Italian neorealism, ix, 29, 31, 37–38, 154–55, 177n14; form and style in, 40–44; language and, 50–51
“item number” songs, 49, 154

“Jaal agitation” (1952), 3–4, 177n13
“Jā apnī ḥasratoṉ par ānsū bahā ke so jā” (Shed tears for your thwarted desires and fall sleep; song in Susraal), 124–25
Jabbar, Mehreen, 151
Jago Hua Savera (A new day dawns, 1959), xii, 11, 27–36, 119, 138; awards, 31, 87; cyclical time in, 38; distribution, 167n14; as experimental, 54; humanism and, 29, 42, 44–47, 50, 54; international version, 34; language in, 50–55, 182n107; local authenticity and, 41–44; on location, 181n85; narrative, 176n3; neorealism in, 29, 34–36, 42–44, 50, 54–55, 104, 144, 155; plot summary, 31–33; production team, 29–30; progressive cultural politics and, 175n1; reception, 35–36, 54; social film genre and, 49–50; songs, 47–50; stills from, 32fig., 34–35fig., 43fig.; style, 29, 34–35, 108; themes in, 29, 104, 143
Jagriti (1954), 17
Jahangir, Emperor, 19, 183n2
Jain, Kajri, 199n10
Jalib, Habib, xii, 13–16, 22, 106, 110–12, 171n68, 171n71, 171n73, 171n76, 196n36, 196n43, 202n55; “Dastoor,” 196n43
Jameson, Fredric, 109, 134
Jasimuddin, 48
Jaswantlal, Nandlal, 184n13
“Javānī kī rāteṉ javānī ke din” (Days and nights of youthful passion; song in Intezar), 73fig.
Jawab (Question, 1942), 100–101
Jehan, Noor, 9; in Anmol Ghadi, 189n80, 192n120; Anwar and, 56, 58, 61, 69, 71; Bombay cinema and, 2, 190n101; in Ghoonghat, 87; in Intezar, 69, 80–81; Lahore cinema and, 2, 71, 168n13, 174n120; Mangeshkar and, 80–81, 190n102; in Nai Kiran, 12; in Susraal, 124
Jhoomer (The jeweled forehead pendant, 1959), 58, 69, 70
Jhumke (film, 1946), 129
“Jhumke” (story, Manto), 129, 134
Jibon Theke Neya (Glimpses from life, 1970), 15, 175n1
Jog Biyog (1970), 30

Kabir, Alamgir, 42, 51, 54, 107–9, 129, 136, 141, 166n8, 181n87, 182n116, 193n3, 195n21, 197n51
kaifī, 138
Kaiser, Shahidullah, 13
Kanpuri, Zakhmi, 5, 119, 132, 166n10, 188n78, 194n9
Kapoor, Raj, 26, 38, 39
Karachi: audiences, 200n30; film industry personnel, 182n116; films from, vii, x, 5, 26, 52–53, 107, 129, 143, 144, 167n12; Western music in, 76–77
Kara Film Festival, 200n30
Kardar, Abdul Rashid, 1, 23, 29, 53, 60
Kardar, Akhtar Jung (A. J.), 176n2, 176n12; director of Door Hey Sukh Ka Gaon, 200n32; director of Jago Hua Savera, xii, 11, 29–30, 143; Faiz and, 48, 176n12; Jago Hua Savera’s lost song sequence and, 49; A. R. Kardar and, 53, 60
Kartar Singh, 11
Kashmiri, Agha Hashr, 8, 16, 57, 81–82, 191n106
Kaul, Mani, 154
Kausar, Asghar Ali, 183n7
Khalid, Leila, 106
Khamosh Pani (Silent waters, 2003), 155, 157
Khamosh Raho (Remain silent, 1964), 105, 106
Khan, Faseeh Bari, 119
Khan, Mehboob, 22, 23, 26, 37, 192n120
Khan, Nasir, 17
Khan, Nusrat Fateh Ali, 162
Khan, Omar, 151
Khan, Rahat Fateh Ali, 162
Khan, Shah Rukh, 26
Khan, Ustad Ashiq Ali, 184n8
Khan, Ustad Bade Ghulam Ali, 58, 68, 184n8, 190n95
Khan, Ustad Ghulam Haider, 64–65, 67
Khan, Ustad Tawakkal Hussain, 58, 184nn8–9
Khan, Ustad Waheed, 184n8
Khan, Yahya, 113
Khandan (Family, 1942), 2, 22, 71, 184n13
Khanum, Zubeida, 56
Khazanchi (The treasurer, 1941), 2
Khuda Kay Liye (In the name of God, 2007), 151, 157
Koel (Nightingale, 1959), 56, 58, 69–71, 80, 82, 86–87
Krishna, 7
Kumar, Amar, 38
Kumar, Dilip, 17, 178n32
Kumar, Rattan, 6fig., 17, 115fig., 116
Kumar, Santosh, 72, 88
“Kuṛī yes ai” (This girl is yes!; song in Zinda Bhaag), 159–60, 160fig.
“Kyūṉ jagāte ho mere sīne meṉ armānoṉ ko” (Why do you awaken desires in my breast?; song in Clerk), 117

labor exploitation, xii–xiii, 29, 33, 78, 114–19, 140, 193n1
labor migration, 143–45, 147, 159–61
Lahiri, Madhumita, 53
Lahore: nostalgic conceptions of, 145–46; Walled City, 106, 120–22, 127
Lahore cinema: Bombay cinema and, viii, x–xi, 1–2, 15–18, 60–61, 71, 172n92, 195n21; “Lahore effect,” xiii, 18–20, 23, 26–28, 61, 104, 112, 148, 151, 163–64, 173n101; languages in, ix–x, 53; in the long sixties (1956–69), vii, x–xiii, 4–7, 143, 150; before 1947, 1–2; post-1947, 2–7; post-1971, 6–7, 150–51; size of, 193n3. See also aesthetics; language
Lahore Conspiracy Case, 62
“Lahore effect,” xiii, 18–20, 23, 26–28, 61, 104, 112, 148, 151, 163–64, 173n101
Laila-Majnun tale, 97, 158
Lakhnavi, Behzad, 59–60
Lakhnavi culture, 188n78
Lakhon Mein Aik (One in a million, 1967), 11, 129
Lal, Deewan Sardari, 2
language: aesthetic problems of, xi; affect and, 52, 102; artifice and, 29; dialects, 37, 41, 144, 146, 182n107; subalternity and, 50–55; vernacular, 52. See also Punjabi language; Sindhi; Urdu
Lashari, Bilal, 151, 157
Lassally, Walter, 30, 31, 46, 49, 178n20
Latif, Shaheed, 22, 23
Latin American music, 73fig., 77, 85, 191n107
legendary stories, 21. See also Anarkali (mythical figure); dāstān; Oriental tales; qiṣṣa genre
Lévi-Strauss, Claude, 127
liberal values. See bourgeois liberal values
Life (magazine), 45
literary domain, 13–14; neorealism and, 39–40; Urdu, 142, 167n12
literary journals, 58, 104, 106
local cultural forms, 142, 144
Lok Virsa, 142
long sixties (1956–69), vii–xii, 3–4, 142–43, 149, 163; Anwar and, 61, 63, 69; Ayub Khan era and, 10, 14, 108; cinema and, viii, xii, 16, 22, 24–26, 61, 114, 141; Jago Hua Savera and, 29; Jalib and, 13; Kabir and, 108; leftist culture and, 104, 113; literature and, 14; rising film production during, 3fig., 5, 104
The Loves of a Mughal Prince (1928), 184n13
Luckhnavi, Shams, 189n79
Lucknow, 7
Ludhanvi, Sahir, 22
Lunn, David, 53
Luqman, 40, 178n32
lyric, vii, x, 137. See also film song; poetry; specific films and songs

Maa Baap (Mother and father, 1967), 105
Maclean, Kama, 186n40, 187n53, 187n67
magical effects, 8
Mahal (The mansion, 1949), 95, 191n102
Majumdar, Neepa, 39, 165n4, 179n56, 190nn96–97, 191n102
Malani, Nalini, 155
Malik, Aisha, 199n18
Malik, Younis, 154
Mangeshkar, Lata, 80–81, 185n27, 190n102
Mansoor, Shoaib, 151
Manto, Saadat Hasan, xiii, 2, 16, 22, 106, 168n8, 168n13, 174n117, 197n64; “Jhumke,” 129, 134, 198n71
Marathi, 8
marginalization, 38. See also poverty
marriage, 17, 120–35, 141
Marxism, 45, 61, 67–69, 187n64
masculinity, 100–101, 148, 149, 154, 192n128, 198n5
Masoom (Innocent, 1942), 22
Matteela Films, 144
Maula Jatt (1979), 154
Meera Bai (1947), 168n8
Mehboob Productions, 188n79
mehfil style, 190n101
melodrama, ix, 7, 15, 55; affect and, 68–69; in Anwar’s films, 69; avant-garde cinema and, 159–63; conventions of, 135, 140; in mainstream Pakistani cinema, 34; modernity and, 109–10; social films and, 105, 109, 111, 114, 148; songs and, 9, 154. See also social films
memory, xi, xiii, 19, 101–3; affect and, 28, 103; archives and, 24–28, 143; cultural amnesia, 86, 142–44
Mera Ghar Mere Jannat (My home is my heaven, 1968), 169n30
“Meray dil ki ghadi kare tick tick tick” (The clock of my heart beats tick tick tick; song in Albela), 85
middle-class viewers, 108–9, 149–52, 195n21
migration, 143–45, 147, 159–61. See also dunky
Mir, Farina, 201n44
Mir, Raza, 11, 129
Miranda, Carmen, 85, 191n108
Mirza, Diljeet, 119
Mirza, Humayun, 105
misidentification trope, 69, 99. See also doubling trope
Mitra, Naresh, 101
Mitra, Tripti, 30, 48, 176n11
modernity and modernization, 5, 23–24; accelerating temporality, x, 5, 9, 71, 78, 134; cinematic Gothic and, 94; Cold War humanism and, 45–46; commercial film and, x, 108–9; corruption and, 70; female body and, 86; gender roles and, 97, 100–101; Partition allegories and, 101–3; popular music and, 78; top-down processes, 142
Moffat, Chris, 64, 103, 185n28, 186n42
Mohaiemen, Naeem, 51
Mohammad, Ghulam, 168n13, 191n113
Moin, Haseena, 199n18
Montpellier, Eliot, 199n18
morality, 34, 85, 108, 118, 120, 129; contemporary Pakistani films and, 146, 154, 158, 164; East-West opposition, 69–70, 76, 84, 172n79; in Gothic films, 192; heredity and, 141; neoliberalism and, 144; neorealism and, 41; playback singing and, 80–81; in television serials, 152–53
Morcom, Anna, 9–10, 50, 79, 136, 166n9, 190n93, 198n77
Moscow Film Festival, 31
mother figure, 114, 117, 153
Mufti, Aamir, 52, 175n128
Mughal-e-Azam (1960), 19, 183n2, 184n13
Mughal historical films, 56
mujra (dance song), 48–49, 137–38, 138fig., 139fig.
Mujtaba, Hasan, 162
Mukherjee, Debashree, 165n3, 167n3, 174n117
Mukherjee, Hiren, 176n11
Mukherjee, Madhuja, 165n3, 191n78
Mukh o Mukhosh (The face and the mask, 1956), 181n88
Multanikar, Surayia, 138
multiplex theaters, 150, 151, 157
musicals, 7, 70. See also social films
musical scores, 136–37, 188n79. See also film song
musical styles: East-West opposition, 70–76. See also Indian classical music; Western music
music directors, 1–2, 9, 22, 60, 138, 184n17. See also Anwar, Khurshid; Baran, Timir; Bhattacharya, Deebo; D’Souza, Sebastian; Haider, Master Ghulam; Shankar-Jaikishan
Muslims, 147, 173n106; filmmaking and, 20–21
“Muslim social” film, viii, xi, 21–22, 173n107, 174n119. See also social films
mythology, 18–20, 98. See also Anarkali (mythical figure)

Nabanna (New harvest, 1944), 37
Nabi, Farjad, xiii, 27, 128, 142, 144, 158, 198n5
Nabila, 136
Nagin (Serpent, 1959), 5, 105, 194n10
Nagrath, Roshan Lal, 184n17
Nai Kiran (A new ray of light, 1960), 12
Nairang-i-Khayal (journal), 58
Najma (1943), 22
Na Maloom Afraad (Unidentified people, 2014), 151
Naqvi, Najam, 183n119
Naqvi, Tanvir, 56, 105, 168n13, 194n6, 194n10; Anwar and, 58, 71; lyrics for Anmol Ghadi, 175n120, 192n120; lyrics for Ghoonghat, 93, 192n119; Taj and, 71
Narayan, Hari, 134, 197n67, 198n71
narrative, vii; aesthetic problems of, xi; form, 164; genre and, 153; humanist, 29; in New Cinema, 147–48; originality and plagiarism, 4, 15–17, 108, 172n85, 195n21; premodern genres and, 158; progressive, 29; temporal structures of, 5; tropes, x, 70
Nasir, Agha, 48–49
national cinema, 19–20, 173n101; realism and, 39
nationalism, xii, 20–24, 56, 102. See also anti-colonialism; revolutionary movements
National Press Trust, 13
Natyashastra, 7
Naujawan Bharat Sabha (NJBS), 61, 66
Nawaz, Shah, 30, 168n13
Nayyar, O. P., 191n107
Nayyar, Sharif, 119, 194n3
Nazir, Musarrat, 114, 115fig.
Neelam Pari (The sapphire fairy, 1952), 58, 60
Neela Parbat (The blue mountain, 1969), 129
Neelo (actor), 6fig., 92, 111, 113, 134
Neend (Sleep, 1959), 11, 105, 106
neoliberalism, 142–50, 157, 163
neorealism, ix, 29, 144, 180n62; global, 30–31; Indian cinema and, 179n58; language and, 144
New Cinema, 27, 143, 150, 163; censorship and, 201n39; commercial success of, 151; patronage of, 155–58; realism in, 147; television serials and, 152
News Pictorial, 12
newsreels, 12
Niazi, Naheed, 56, 87
Nigar film awards, 5
Nishant (Night’s end, 1975), 155
nonelite neighborhoods, 120–21, 128, 137, 143–44

“O jāne wāle re, ṭhero zarā ruk jā’o” (Pause a bit, don’t leave yet; song in Intezar), 74
oral performing traditions, vii, 7, 158
Oriental tales, 21, 26, 158

Padamsee, Akbar, 155
Padma nadir majhi (The boatman on the river Padma, Bandopadhyay), 29, 176n3
Pagdandi (The path, 1947), 60, 71, 183n6, 184n13
Pakistan: cultural politics in the long sixties (1956–69), 10–18, 35–36, 108–9, 142; economy, 24, 149, 170n52, 170n64; neoliberalism in, 142–50, 157, 163; tensions between India and, 54; in twenty-first century, 142–49; United States alliance, 10–11, 13, 35, 45–46, 142–43. See also Ayub Khan era (1958–69); East Pakistan; Pakistani cinema; West Pakistan
Pakistan Film Magazine, 175n125
Pakistan Film Producers Association, 119
Pakistani cinema: archives, 24–28, 143; films released between 1947 and 1980, 3fig.; government control over, 11–12; industry personnel, viii–xii, 2, 17, 23, 29–30, 53, 138–39, 182n116; overview of, 1–24; scholarship on, viii–ix, 166n8. See also art cinema; avant-garde cinema; Ayub Khan era (1958–69); censorship; commercial cinema; Dhaka; experimental cinema; Karachi; Lahore cinema; New Cinema
Pakistan Institute for the Study of Film Art, 200n30
Pakistan Quarterly (journal), 44, 46, 48, 51
Pakistan Television Corporation, 48, 111, 119, 129
Pakistan Writers’ Guild (PWG), 13
Palestinian resistance, 110–12, 197n47
Pancholi, Dalsukh M., 2, 22
Pancholi Studios, 2, 71
“Pānī dā bulbulā” (Bubble of water; song in Zinda Bhaag), 159
Paracha, Nadeem, 200n26
parallel cinema, Indian, 29, 54, 144, 146–48, 151, 154–56
Parsi theater, 7–8, 16, 57
Partition allegories, 17, 69, 87, 95–96, 98, 101–3
Partition of 1947, 20–24; affect and, 17; Anwar’s films and, 60; cinema and, 81; communal strife and, 23, 52; cultural separatism and, 79; Hindi-Urdu divide, 52; plagiarism and, 17; trauma of, 56, 95–96
Parvez, Amjad, 93, 184n9
Parvez, Aslam, 154, 200n26
Parwana (The moth, 1947), 23, 60
Pasha, Anwar Kamal, 2, 3, 105, 172n87, 184n13, 193n3
Pashto films, vii, 142, 150
Patel, Baburao, 101, 168n8
Pathan diaspora, 16
Pather Panchali (Song of the little road, 1955), 30, 38–39, 42
Patras, Khurram, 199n6
patriarchy, 100, 102, 156, 163
Peer, Rafi, 59
people’s actor (‘avāmī adākār), 120. See also Allauddin
people’s poet (‘avāmī shā‘ir), 171n67. See also Jalib, Habib
performance, 76–85
performance genre, 158–59
Pervaiz, Masood, 56, 58, 87, 105, 119, 172n87, 183n119, 193n3
plagiarism, 4, 15–17, 108, 172n85, 195n21. See also charba films
playback singing, 79–81, 124, 189n79, 190n100
poetry: by Khurshid Anwar, 58; film song and, 7; male bonding in, 127; Urdu, xii, 16, 22, 63. See also Faiz, Faiz Ahmed; Gaur, Meenu; Ghalib, Mirza; Hanif, Mohammad; Jalib, Habib; Mujtaba, Hasan; Nabi, Farjad; Naqvi, Tanvir; Saif, Saifuddin; Shair, Himayat Ali; Shifai, Qateel
politics: affect and, 111–13, 161, 164. See also Ayub Khan era (1958–69); revolutionary movements
popular culture, ix, 22, 164; criticality and, 109; elite culture and, 112; leftist politics and, 110–14. See also commercial cinema
popular music, 10, 78, 189n91
Posley, Asha, 2
posters: film, 18, 24, 75fig., 76, 107, 115fig., 116, 130fig., 131, 139, 140, 200n22; political, 63
poverty, 33, 38, 135, 197n53; as resource for filmmakers, 41
Prakrit, 51
Pran (actor), 154
press censorship, 13
product placement, 156–57
progressive/leftist politics, 35, 63, 139; humanism and, 44–47; in Lahore cinema, 54; modernization and, 45, 108–9; popular culture and, 110; repression of, 35; social films and, 104–14; writers and poets, vii, xii–xiii, 22, 52, 63, 104, 174n117, 175n1. See also Marxism; Qaiser, Khalil; Shahid, Riaz
Progressive Papers, 13, 35, 170n63
propaganda, 12, 17
prostitution, 113, 129, 134, 137, 139, 141
provincial cultural forms, 142
public sphere: bazaar as, 112–13; cinematic, vii, ix–xii, 20, 27, 164; mediatized, 27, 200n20
Punjab: film industry and, 1; performative cultures of, 158–59
Punjabi diaspora, 16
Punjabi language, vii, 1, 6–7, 107, 142–45, 150, 201n42
Punjabiyat, 202n47
Purbi, 48, 50, 93, 192n119

Qaidi (Prisoner, 1941), 22
Qaidi (Prisoner, 1962), 183n119
Qaiser, Khalil, xii, 5, 11, 40, 54, 68, 105–6, 110, 115fig., 120, 131, 155, 175n1, 194nn3–4; Clerk, 114, 194n9; politics, 194n10
Qasmi, Ahmad Nadeem, 13
Qatil (Murderer, 1955), 3
qawwali, 116, 131, 139, 140fig., 162–63, 184n17
Qismat (Fate, 1956), 105, 119
Qismat Ke Her Pher (The twists of fate, 1931), 1
qiṣṣa genre, 21, 158–59
Qureshi, Nabeel, 151

Raat Chali Hai Jhoom Ke (The intoxicated night, 2002), 155
Rabe, Nate, 166n10, 196n39, 197n49
Radio Ceylon, 18
Radio Pakistan, 65, 68
Rahguzar, 11
Rahi, Younus, 114
Rahman, Khan Ataur, 30, 175n1
“Rāhoṉ meṉ ṭhārī maiṉ naz̤areṉ jamā’e” (With my gaze affixed on the road; song in Ghoonghat), 93
Raihan, Zahir, 5, 13, 15, 29–30, 175n1, 176nn4–5
Rajadhyaksha, Ashish: on “cinema-effects,” 18, 172n93; on the “Lahore effect,” viii, xv, 18–19, 23, 61, 104, 112, 164; on midcentury cinema, viii, xi, 16, 23, 173n101. See also “Lahore effect”
Raj Kapoor dynasty, 17
Rajput, A. B., 44, 46
Raju, Zakir Hossain, 45, 180n80, 181n88
Rakhshi (dancer), 49
Ramchand Pakistani (2008), 151, 157–58
Ramchandra, C., 85, 185n27, 191n107
Rancière, Jacques, 186n42
“Raqṣ zanjīr pahan kar bhī kiyā jātā hai” (You can dance even in fetters; song in Zerqa), 110–12
Rashid, Noon Meer, 58
Rawalpindi Conspiracy Case, 35
Ray, Satyajit, 30, 37, 38–39, 42, 50, 154, 180n67, 200n30
Raz (The secret, 1959), 105
realism, vii; aesthetics, 38–39, 160; in American cinema, 40–41; audience and, 176n3; fable and, ix, xiii, 145, 147–48, 164; fantasy and, 28; ideologies and, 179n53; Kabir on, 195n21; national cinema and, 39; portrayals of everyday life, xii–xiii, 31–34, 38, 40–44, 87, 105, 114, 128, 145; romanticism and, 104; social melodramatic films and, 7, 105; television serials and, 153
Reel Pakistan: A Screen Studies Forum (online journal), 199n18
reflexivity, xi, 146–48, 157, 160, 161, 163–64
Rehman, I. A., 71, 86
Rehman, Nasreen, x, 166n10
reincarnation, 69, 93, 95, 102
religious fundamentalism, 147
religious minorities, 113
remakes, 16, 19, 164
Renoir, Jean, 37–38, 44
Report of the Film Fact Finding Committee (Govt. of Pakistan), 11–12, 171n78, 172n79
revolutionary movements, 20, 45; film song and, 161. See also anti-colonialism
The River (1951), 37–38, 44, 178n46
“River Life in East Pakistan” (Rajput), 44
Riwaaj (Custom, 1965), 119
Rizvi, Shaukat Hussain, 2, 4, 23, 71, 168nn13–14, 175n120, 184n13
romanticism, 56, 58; in Anwar’s films, 69; colonialism and, 68; music and, 60, 81; Partition allegories and, 102–3
Roohi (1954), 3, 168n18
Roy, Bimal, 22, 38, 101, 179n48
Roy, Rahul, 199n5
rural life, 161; in Jago Hua Savera, 31–33

Saheli (Female friend, 1960), 127–28
Saif, Saifuddin, 11, 105
Saigal, Kundan Lal, 61
Salam e Mohabbat (Salutations of love, 1971), 58
Salim (later, Emperor Jahangir), 19
Sangam (Confluence, 1964), 5
Saptapadi (1961), 160
Sarfraz, Khwaja, 151
Sarhad (Border, 1966), 58
Sarhadi, Zia, 11, 17, 22, 38, 129, 175n1, 179n48
Sarkar, Bhaskar, 69, 102, 172n91, 188n75
sarqa films, 15. See also charba films; plagiarism
Sarwar, Ayub, 178n32
“Sāvan kī ghanghor ghatā’eṉ” (Cloudy breezes of the rainy season; song in Intezar), 84, 84fig.
Sawaal (The question, 1966), 105
Schendel, Willem van, 48, 54, 183n118
Sen, Aparna, 154
Sen, Biswarup, 10, 78
Sen, Meheli, 69, 94, 190n100, 192n124, 192n128
Sen, Mrinal, 154, 180n79
serious cinema, 54–55; neorealist, 39–40
serpent film genre, 5, 18, 26, 105, 173n94
sexual exploitation, 118, 131–35, 200n26
sexuality, 49, 195n21
Shah, Naseeruddin, 144, 155
Shahab, Qudratullah, 12–13, 170n63
Shahabnama (Shahab), 12–13
Shaheed (Martyr, 1962), 105–6, 131, 139, 183n119, 194n10
Shaheed Minar, 52
Shahid, Riaz, xii; censorship and, 109, 196n27; color films, 5; Faiz and, 155; Hazar dastan (novel), 106; Jalib and, 15; leftist politics, 105–7, 110–11, 131, 175n1, 194n4; marriage, 111, 113; politics, 40, 54, 68, 194n10; writing style, 107, 121, 135–36. See also Badnam (Disgraced, 1966); Clerk (1960); Susraal (The in-laws’ home, 1962); Zerqa (1969)
Shah of Iran, 111
Shair, Himayat Ali, 105, 194n6
Shaitnol (village on Meghna River), 31–33, 36, 42, 43fig.
Shalimar Recording Company, 24
Shankar, Uday, 181n94
Shankar-Jaikishan, 185n27, 191n104, 191n107
Shehzad, Iqbal, xii–xiii, 105, 106, 129
Sherani, Akhtar, 58
Shifai, Qateel, 2, 56, 58, 71, 105, 188n78
Shikwa (Complaint, 1963), 105
“Shīshoṉ kā masīḥa ko’ī nahīṉ” (The shattered glass has no savior; song in Jago Hua Savera), 48–50, 182n98
Shope, Bradley, 85, 166n9, 191nn107–8
Shorey studio owners, 2
Shuja, Hakim Ahmed, 2
Siaposh, Baba Alam, 2
Siddique, Salma, ix, x, 24, 175n123
Siddiqui, Shaukat, 13
silent films, vii, 1, 8, 57, 80, 101
Simon Commission, 65
Sindhi: disaspora, 16; films, vii, 16; oral folktales, 28, 158
Singh, Bhagat, xii, 61–69, 185n28, 185n39, 187n67; afterlife of, 63–64, 103, 186n40; Anwar and, 67–69, 187n53, 187n64; iconology of, 63, 185n28,39; trial of, 20, 61–62, 66–67
Singin’ in the Rain (1952), 80–81, 83, 189n83
social films: affect and, 167n13; in Bombay cinema, 193n1; courtship rituals in, 117; decline in, 150; film song and, 7–10; Ghoonghat as, 99; influence of, 28; leftist politics and, 104–14; modernization and, 141; “Muslim social,” viii, xi, 21–22, 173n107, 174n119; national cinema and, 20–24; theater and, 82. See also melodrama
social hierarchies, 104, 125
social issues, 40; inequality, 104, 108–9, 160–61, 179n53; in New Cinema, 164; state funding and, 157–58
“So jā so jā dard bhare dil ab to so jā” (O mournful heart, sleep at last!; song in Clerk), 117
song. See film song
song-and-dance sequence, xii, 5, 18, 22, 69, 111–12; in Badnam, 137–39; in Clerk, 116–17; “item number,” 49, 154; in Jago Hua Savera, 31, 34, 48–50; in Susraal, 122–23. See also dancing; film song; mujra (dance song)
sound films: languages and, 8–9; live settings, 170n44; songs in, 9–10; Urdu and, 1. See also film song; language
South Asian cinema, 18, 28; neorealism (after 1952), 30–31, 38–40; realism in (before 1952), 36–38; scholarship on, vii–ix. See also Bombay cinema; Indian cinema; Lahore cinema; Pakistani cinema
Soviet Union, 11
special effects, 8
spectral figures, 87–90, 93–97, 102–3
stardom, 2, 18; in Bombay cinema, 80–81; female body and, 86; in Lahore Urdu cinema, 4–5
Steichen, Edward, 45
Steimatsky, Noa, 42, 180nn71–72
stereotypical works, 108, 163, 195n21, 197n47. See also typage
Stop Genocide (1971), 30
“studio Social,” 37, 38
stunt films, 21
style. See aesthetics
subalternity, 128, 143, 147, 151; language and, 50–55; in Punjabi films, 144; vernacular cinema and, 150
Sufi traditions, 7, 28, 148, 162, 202n47
Suhag Ka Daan (1936), 188n78
Sukh Ka Sapna (Distant dream, 1962), 119, 183n119
Suleman, S., 194n3
Sultana, Nayyar, 88, 90fig., 95–96fig.
Sumar, Sabiha, 155
Sunderason, Sanjukta, 47, 182n107
suspense films, Gothic, 69, 87–99, 192n124, 192n128
Susraal (The in-laws’ home, 1962), 106, 107, 111, 119–28, 122–23fig., 126fig., 143–44, 160, 198n1; neorealism in, 144; themes in, 143
Swami (1941), 184n13
Swarg Ki Sidhi (1935), 183n6, 188n78

Taj, Syed Imtiaz Ali: author of Anarkali play, 19, 56–57, 183n2; dialogue writer for Intezar, 70, 82, 86; involvement in cinema, 2, 56, 71, 87, 183n6, 184n13, 188n78; as a literary figure, 57; as a playwright, 16, 70; producer of Anwar’s first radio play, 59. See also Anarkali play (1922)
Talish, Agha, 91
Tamil, 8
Tanvir, Kuhu, 25
Tariq, Hassan, 5, 11, 40, 105, 106, 194n3, 194n5
Taseer, Anjum, 36
technological changes, 5–6; digital, 27, 150; videocassette recorders (VCR), 26, 149. See also color film; sound films
television serials, 25, 27, 147, 150, 152–54, 163, 199n18
Teri Yaad (1948), 188n78
La Terra Trema (The earth trembles, 1948), 37, 41–42, 44, 50–51, 180n67, 180nn71–72
terrorism, 147
theater: Anwar and, 59; colonial-era, vii; within film, 76, 80, 82, 84; Gujarati, 7–8; Parsi, 7–8, 16, 57; playback singing, 79–81. See also Indian People’s Theatre Association (IPTA)
theaters, cinema, 149–51, 157
theatrical conventions, 104, 107, 123, 136
theatricality, 8, 37, 42
themes: genre and, 153; transformations in, 6
Thomas, Rosie, 158, 165n3, 174n108, 201n45
traditional societies, 44–46
transnational media, 144–45
Triumph of the Will (1935), 12
typage, viii, x, 18, 104, 105, 107–9, 200n26; refusal of, 120, 128. See also stereotypical works

United States: Pakistan’s alliance with, 10–11, 13, 35, 45–46, 142–43. See also Hollywood
Urdu: Bengali and, 51–52; idioms and metaphors in, 106–7; linguistic conception of, ix–x; poetry and writing in, xii, 16, 22, 63; politics and, 113; scholarship on Bombay cinema and, 166n11; songs in Jago Hua Savera, 48
Urdu films: archive and memory, 24–28, 142–43; from Bombay, 1, 8–9, 17; decline in number of, 150; in Dhaka, 53; from Lahore, 3–7; New Cinema, 151; restrictions on, 26. See also social films
Urdu literary production, 142, 167n12
Urdu plays, 7–8, 16
Usman, Javed, 64, 100–101, 184n8

var genre, 158
Vasudevan, Ravi, vii–viii, xi, 21–23, 174n119
Vaz, Antonio, 185n27
VCR (videocassette recorder), 26, 149
Verga, Giovanni, 42
vernacular cinema, 150
vernacular cultural forms, 142
Vertigo (1958), 99
Visconti, Luchino, 37, 41–42, 44, 50–51, 180n71

Waar (Strike, 2013), 151, 157
Waheed, Sarah, 95
Walled City (Lahore), 106, 120–22, 127
Wani, Aarti, 109, 165n3, 166n11, 193n1, 196n31
West Bengal, 54, 180n79, 182n107
Western music, 70–86, 190n93, 191n107, 198n77
West Pakistan: Bombay films and, 17; cinematic style in, 107, 141; film industry personnel, 138–39; Indian films shown in, 3–4; language in, 52; relations with East Pakistan, 15, 44–46, 54, 113
women: employment, 116–18; marriage and, 127–28; self-presentation, 91–92; sexual exploitation of, 105–6, 110, 118, 131–35, 200n26; sexuality, 49, 195n21; social roles, 97, 100; status of, 134. See also gender; marriage

Yadav, K. C., 185n28
Yashpal, 186n48
Yeh Aman (1971), 109, 194n10
The Yes Men, 201n38
Yusuf, S. M., 17, 127, 193n3

Zaidi, Hasan, 155
Zaidi, S. A., 170n52
Zamindar (Landlord, 1942), 184n13
Zamindar, Vazira, 24
Zavattini, Cesare, 40–43, 180n62
Zehr-e Ishq (Poison of love, 1958), 56, 58, 70, 87, 102, 183n6, 188n73, 188n78
Zerqa (1969), 5, 15, 105–7, 110–11, 113, 194n10, 197n47
Zia-ul-Haq, Muhammad, 26, 150
Zibahkhana (Slaughterhouse, 2007), 151
Zinda Bhaag (Run for life, 2013): assemblage form, 159–60, 163–64; awards and, 87; casting, 199n6; cinematic lineages and, 141, 155; cinematic techniques, 152–55; class issues in, 128, 143–44, 151; as fable, 158–63; funding for, 198n5, 201n42; infrastructure and, 157; “Lahore effect” and, xiii, 27, 164; neoliberalism and, 144–49; publicity poster, 200n22; realism, 159, 164; song-and-dance sequences, 159–63; stills from, 145–46fig., 160fig., 162fig.; television serials and, 152–53
Zinda Laash (The living corpse, 1967), 151
Zorba the Greek (1965), 30
Zutshi, Mohini and Shyama, 186n52

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