This panel invites papers, which tackle various aspects of sound in Indian cinema and examines sound technologies, histories, and cultures. Beyond the analysis of songs in Indian films, the panel seeks papers that study uses of sound in diverse contexts as well as its varied modes of reception.
Writings on the sound in Indian cinema have by and large dealt with the social history of the music industry, circulation of music, structures of compositions etc. Regula Qureshi (1986), and Bhaskar Chandavarkar, Ashok Ranade (1980) et al, have done considerable work on Hindi film music. In addition to this, Peter Manuel (1993), more recently Gregory Booth (2008), Sangita Gopal and Sujata Moorti (2008), and others have written about the industrial meaning and reception of film music. Moreover, Anna Morcom (2007), largely borrowing from Alison Arnold (1988) writes about the structures of film music. However, what remain somewhat unaddressed within this context are the thorough evaluation of sound cultures and the histories of Indian film music.
While the 'Journal of Moving Image' (2007) addressed the question of cultures and practices of sound in India, this panel invites papers, which tackle various aspects of sound in cinema, examine issues of technologies, its multifaceted history, the major breakthroughs in the Indian context, its connections with the mass media (like Radio or even gramophone), as well as the deployment of sound in narrative cinemas, popular perceptions and memory of sound and music. Beyond the analysis of 'song and dance' in films, this panel includes papers that study sound and music from diverse linguistic and industrial contexts as well as their varied modes of reception in India and outside. Papers that present primary research to problematize existing histories shall be encouraged.