By Sudha Rajagopalan

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Additional info for A Taste for Indian films Negotiating cultural boundaries in post-Stalinist Soviet society

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Jesse M. Savage (Stanford: Stanford University Press, 1997), 8-9. 23 the 'fallacy of intemalism. ' This center undertook ethnographic research and engaged real viewers, who were observed and interviewed in actual viewing situations. A pioneer among these scholars was David Morley, who published his fmdings based on observations of a television audience. Morley reiterated the polysemy of the language of a book or a film; a text was capable of carrying mUltiple meanings. Although he emphasized viewers' individual readings, he considered the overriding influential factor in audience readings to be class.

These scholars argued that studies of audiences all too often marginalized the element of 'pleasure' . ). This hardly meant that they did not know why they enjoyed these films. ' In this regard, Ernst Bloch's concept of hope-landscapes to explain the escapist appeal of Hollywood cinema is of particular importance. Here, hope referred to a vision of a better world and life and represented the utopian aspect of classical cinema. " Thus, while classical cinema of the melodramatic or science fiction kind was not inherently utopian, its Dobrenko, The Making oj the State Reader.

Movie going: A glimpse of the outside world Movie going, moreover, was a means for many to become acquainted with societies beyond Soviet borders. 24 Respondents used phrases such as "broadening horizons" (rs. 25), "knowing about life in other countries" (rs. 26), and "getting acquainted with foreign life" (rs. 2), to describe their enjoyment of the movies in the fIfties. " The cinema's capacity to reveal other worlds to moviegoers in the Soviet Union remained the most common answer about the appeal of movie going in the sixties.

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A Taste for Indian films Negotiating cultural boundaries in post-Stalinist Soviet society by Sudha Rajagopalan

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