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It is the second largest film industry in India (after Bollywood) and the state of Andhra Pradesh constitutes the single largest market for cinema in India. Srinivas' new book appears at a time when the linguistic community called the 'Telugu' is at stake, Vishalandhra (greater Andhra Pradesh) is on the verge of extinction 2 and the 1 Telugu film industry is one of the four major south Indian film industries and is located primarily in the Telugu-speaking state of Andhra Pradesh. While Indian Cinema Studies has almost always been dominated by works devoted to Bombay cinema as the national popular film industry, Srinivas' work brings relatively under-examined regional cinema(s) and its star-politicians to the fore. Srinivas' research occupies a significant position in the existing literature on South Indian cinema and politics, and his methodology distinguishes his work from that of his predecessors in the field. For more than a decade, he has published consistently on Telugu cinema, 1 including its stars, fan activities, its association with electoral politics and mass mobilization, its appropriation of East Asian martial arts cinema, and its responses to the various challenges posed by the sectarian politics ravaging Andhra Pradesh. Interests lie in star studies and popular industrial cultures. The book concludes with a discussion of the lasting legacies of NTR in the present times when film has yielded its pride of place to television, the bifurcation of Andhra Pradesh is imminent and institution of the star-politician itself appears to be on the wane. The in-depth analysis of NTR’s remarkable election campaign in the 1982-83 and revisits the “decline of Congress” thesis to draw attention to the larger transformation of electoral mobilisation with to the convergence of film, newspaper and the audio cassette on a performer who carried over his acting style from the screen to the election platform. This book examines in detail the career of Andhra Pradesh’s best known film star, Nandamuri Taraka Rama Rao (NTR) to show how Telugu cinema re-defined notions of linguistic identity and community for a non-literate public to create complex and multiple linkages between the consumption of cultural commodities and political mobilization. Tracing a fifty-year history of Telugu cinema, as a industry and cultural form, this book shows how film is directly implicated in the rise to prominence of an elite which continues to dominate parts of the country to this day and, the emergence of a new idiom of mass politics. Megastar, with its an interdisciplinary approach, will appeal to students and researchers of cultural and film studies, sociology, politics, and history, as well as general readers interested in Telugu cinema.
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CHIRANJEEVI OLD TELUGU MOVIES LIST SERIES
The book is part of the 'South Asian Cinema' series edited by Rachel Dwyer, which presents new research on past, present, and emerging cinematic trends and includes the titles Hindi Action Cinema: Industries, Narratives, Bodies (2008) and Behind the Curtain: Making Music in Mumbai's Film Studios (2009). Steering clear of formulations that have reduced a highly complex set of issues to a linear narrative, this book studies the particularities of south Indian cinema: its economics, on-screen manifestations, its consumption, and importantly, the cinema-politics association. Megastar is a book on the powerful presence of popular culture and the different ways in which our daily lives are mediated by the circulating power of film.
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The Telugu film industry exhibits particular cultural traits that relate not only to filmmaking, but also to the impact of popular culture on politics. He has been dubbed “The King of Dance” in Telugu movies and no one can question that he is the rightful and undisputed owner of this title.Įven at 61 years old at 150 Caddy, his dance moves are as fresh as ever.Located in the south Indian state of Andhra Pradesh, the Telugu film industry is the second largest in India.
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However, aside from his acting skills, what is most memorable for most of his films is his catchy musical numbers and dance skills. Over the years with Indra, Jagadeka Veerudu Athiloka Sundari, Swayam Krushi, Rudra Veena, Tagore and more – he became a star almost instantly. Chiranjeevi started his acting career in 1978 in Punadirallu.
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