A Study of Internet Film Genre in Indian Context

Realism is an art movement, end eavouring to create an illusion of reality in any medium. The movement heralded in cinema in Post Second World War Italy, was the flag bearer of similar movements across the world, like the parallel cinema movement in India. With passage of time, the cinema that was on fringes of mainstream with the likes of Satyajit Ray and Ritwik Ghatak and Mrinal Sen, came to the foray with the likes of Madhur Bhandarkar, Anurag Kashyap and Vishal Bhardwaj. Today, as cinema in India is moving away from the big screen to the smaller screen in the living room and micro screens on smart phones, Internet has emerged not only a platform, but it is also replacing the need of a film theatre or measuring box office collections and has even become the media for publicity and marketing of films.

References

1 .Baudrillard, J. (1994). Simulacra and simulation. University of Michigan press.
2. Bazin, A. (2004). What is cinema? (Vol. 2). Univ of California Press.
3. Blumberg, R., & Hughes, P. (1997, February). Visual realism and interactivity for the Internet. In Compcon'97. Proceedings, IEEE (pp. 269-273). IEEE.
4. Bondanella, Peter. La Strada, Rutgers Films in Print Series. Rutgers University Press: 1987, page 3-4. ISBN 0-8135-1236-0.
5. Brown, W. (2016). Non-Cinema: digital, ethics, multitude.Film-Philosophy, 20(1), 104-130.Chicago
6. Busselle, R. W. (2003). Television realism measures: The influence of program salience on global judgments. Communication Research Reports, 20(4), 367-375.
7. Cunningham, S. D., & Silver, J. (2012). On-line film distribution: Its history and global complexion. In Digital Disruption: Cinema Moves Online (pp. 33-66). St Andrews Film Studies, University of St Andrews.
8. Dancyger, K. 2014, The technique of film and video editing. ISBN 97802408713974
9. Habermas, J., Lennox, S., & Lennox, F. (1974). The public sphere: An encyclopedia article (1964). New German Critique, (3), 49-55.
10. Hanson, M. (2004). The end of celluloid: film futures in the digital age. RotoVision.
11. Hargittai, E., &Walejko, G. (2008). The participation divide: Content creation and sharing in the digital age. Information, Community and Society, 11(2), 239-256.
12. Kunze, P. C. (2017). Flickers of Film: Nostalgia in the Time of Digital Cinema by Jason Sperb. The Velvet Light Trap, 79(1), 131-132.
13. Maule, R. (2017). Digital Platforms and Feminist Film Discourse: Women’s Cinema 2.0. Springer.
14. Norte, R. Z., & Favela, C. V. (2015). BRAZILIAN CINEMA NOVO. Pop Culture in Latin America and the Caribbean, 116.
15. Ray, S. (1994). Our films, their films. Hyperion Books.
16. Rees, Al. 2011. Book, http://services.iriap.frins.org:8080/browse/RCA-260
Jiadi Yao A History of Experimental Film and Video BFI Palgrave/Macmillan, London. ISBN 978-1-84457-436-0
17. Rich, B. R. (2014). Film, Digitality, and Cultural Divides. FILM QUART, 68(1), 5–8.
18. Roberts, Alan (December 2002). "The Film Look: It's Not Just Jerky Motion" (PDF). BBC Research & Development.
19. Ruberto, L. E., & Wilson, K. M. (2017). Italian Neorealism. A Companion to Italian Cinema, 139–156.
20. Slide, A. (2018). Magnificent Obsession: The Outrageous History of Film Buffs, Collectors, Scholars, and Fanatics. Univ. Press of Mississippi.
21. Stam, R. (2017). Film theory: an introduction. John Wiley & Sons.
22. Tryon, C. (2009). Reinventing cinema: Movies in the age of media convergence. Rutgers University Press, Chicago.
23. Verhoeven, D. (2006). "Film and video" in S. Cunningham and G. Turner (ed.) Media and Communications in Australia, Allen and Unwin, Sydney, Australia, pp. 154–174.

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Ms. Sonali Srivastav, Dr. Shikha Rai . (2018). A Study of Internet Film Genre in Indian Context. International Journal of Communication Development , 9(2), 26-34.

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[1] 1 .Baudrillard, J. (1994). Simulacra and simulation. University of Michigan press.

[2] 2. Bazin, A. (2004). What is cinema? (Vol. 2). Univ of California Press.

[3] 3. Blumberg, R., & Hughes, P. (1997, February). Visual realism and interactivity for the Internet. In Compcon'97. Proceedings, IEEE (pp. 269-273). IEEE.

[4] 4. Bondanella, Peter. La Strada, Rutgers Films in Print Series. Rutgers University Press: 1987, page 3-4. ISBN 0-8135-1236-0.

[5] 5. Brown, W. (2016). Non-Cinema: digital, ethics, multitude.Film-Philosophy, 20(1), 104-130.Chicago

[6] 6. Busselle, R. W. (2003). Television realism measures: The influence of program salience on global judgments. Communication Research Reports, 20(4), 367-375.

[7] 7. Cunningham, S. D., & Silver, J. (2012). On-line film distribution: Its history and global complexion. In Digital Disruption: Cinema Moves Online (pp. 33-66). St Andrews Film Studies, University of St Andrews.

[8] 8. Dancyger, K. 2014, The technique of film and video editing. ISBN 97802408713974

[9] 9. Habermas, J., Lennox, S., & Lennox, F. (1974). The public sphere: An encyclopedia article (1964). New German Critique, (3), 49-55.

[10] 10. Hanson, M. (2004). The end of celluloid: film futures in the digital age. RotoVision.

[11] 11. Hargittai, E., &Walejko, G. (2008). The participation divide: Content creation and sharing in the digital age. Information, Community and Society, 11(2), 239-256.

[12] 12. Kunze, P. C. (2017). Flickers of Film: Nostalgia in the Time of Digital Cinema by Jason Sperb. The Velvet Light Trap, 79(1), 131-132.

[13] 13. Maule, R. (2017). Digital Platforms and Feminist Film Discourse: Women’s Cinema 2.0. Springer.

[14] 14. Norte, R. Z., & Favela, C. V. (2015). BRAZILIAN CINEMA NOVO. Pop Culture in Latin America and the Caribbean, 116.

[15] 15. Ray, S. (1994). Our films, their films. Hyperion Books.

[16] 16. Rees, Al. 2011. Book, http://services.iriap.frins.org:8080/browse/RCA-260

[17] Jiadi Yao A History of Experimental Film and Video BFI Palgrave/Macmillan, London. ISBN 978-1-84457-436-0

[18] 17. Rich, B. R. (2014). Film, Digitality, and Cultural Divides. FILM QUART, 68(1), 5–8.

[19] 18. Roberts, Alan (December 2002). "The Film Look: It's Not Just Jerky Motion" (PDF). BBC Research & Development.

[20] 19. Ruberto, L. E., & Wilson, K. M. (2017). Italian Neorealism. A Companion to Italian Cinema, 139–156.

[21] 20. Slide, A. (2018). Magnificent Obsession: The Outrageous History of Film Buffs, Collectors, Scholars, and Fanatics. Univ. Press of Mississippi.

[22] 21. Stam, R. (2017). Film theory: an introduction. John Wiley & Sons.

[23] 22. Tryon, C. (2009). Reinventing cinema: Movies in the age of media convergence. Rutgers University Press, Chicago.

[24] 23. Verhoeven, D. (2006). "Film and video" in S. Cunningham and G. Turner (ed.) Media and Communications in Australia, Allen and Unwin, Sydney, Australia, pp. 154–174.