Hum Aapke Hain Koun..!
Hum Aapke Hain Koun..! (English: Who am I to You..!) also known by the initialism HAHK, is a 1994 Indian musical romantic-comedy film, written and directed by Sooraj Barjatya, and produced by Rajshri Productions. Starring Madhuri Dixit and Salman Khan, it celebrates the Indian wedding traditions by relating the story of a married couple and the relationship between their families; a story about sacrificing ones love for ones family. It is an adaptation of the studio's own Bhojpuri film Nadiya Ke Paar (1982).
|Hum Aapke Hain Koun..!|
Theatrical release poster
|Directed by||Sooraj Barjatya|
|Produced by||Ajit Kumar Barjatya
Kamal Kumar Barjatya
|Written by||Sooraj Barjatya|
|Edited by||Mukhtar Ahmed|
|Distributed by||Rajshri Productions|
|Box office||est.₹1.35 billion|
Earning over ₹1.35 billion (equivalent to ₹6.3 billion or US$97 million in 2017) worldwide, Hum Aapke Hain Koun..! became the highest-grossing Bollywood film. It contributed to a change in the Indian film industry, with new methods of distribution and a turn towards less violent stories. It was the first Hindi film to gross over ₹1 billion, and when adjusted for inflation, is the highest grossing Hindi film of the 1990s and also still one of the highest-earning Bollywood films ever. Box Office India described it as "the biggest blockbuster of the modern era." The film was also dubbed into the Telugu language and released with the title Premalayam. The 14-song soundtrack, an unusually large number, is also one of the most popular in Bollywood history, with popular singer Lata Mangeshkar lending her voice for 11 of the 14 songs in the film.
Hum Aapke Hain Koun..! won five Filmfare Awards, including Best Film, Best Director, and Best Actress, as well as winning the National Film Award for Best Popular Film Providing Wholesome Entertainment. It made a lasting impact on wedding celebrations in India, which often include songs and games from the film.
Prem (Salman Khan) lost his parents at an early age. He lives with his elder brother Rajesh (Mohnish Bahl) and uncle Kailashnath (Alok Nath). Rajesh manages the family business and his family is on the look-out for a suitable bride for him. Professor Siddharth Chaudhary (Anupam Kher) and Mrs. Chaudhary (Reema Lagoo) have two daughters, Pooja (Renuka Shahane) and Nisha (Madhuri Dixit). The Chaudhary couple and Kailashnath are old friends who meet again after several years. They arrange a marriage between Rajesh and Pooja. From their first meeting, Nisha and Prem start bickering lightheartedly with each other, and the fun and mischief continues throughout Pooja and Rajesh's wedding.
Prem has an amicable relationship with his warm-hearted sister-in-law. In time, Pooja and Rajesh discover that they are expecting a child. Professor and Mrs. Chaudhary were unable to come to Kailashnath's house for the ceremony marking the impending arrival of the baby. They send Nisha instead, who is present at the birth. Meanwhile, Nisha and Prem fall in love with each other, but keep it a secret. Professor and Mrs. Chaudhary come over to Kailashnath's house to celebrate the birth of their grandchild. When the time comes to part, their hosts are dejected, especially Prem. He and Nisha promise each other that they will soon reunite for ever.
Pooja is invited to stay at her parents' house, and Prem takes her there. When they arrive, Pooja learns that Prem and Nisha are in love, and gives Nisha a necklace as a token, promising to get them married. Shortly afterwards, Pooja accidentally slips and falls down the stairs, and dies from a head injury. Everybody is shattered by the tragedy.
Nisha takes good care of her sister's son. Hence, her parents and Kailashnath feel that Nisha will be a great mother to the baby. They decide to have Nisha marry Rajesh. Nisha overhears her parents talking about her marrying into Kailashnath's family and thinks that they are discussing her marriage to Prem, to which she agrees. Later, at a pre-nuptial ceremony, she finds out that she is actually going to marry Rajesh.
Prem and Nisha vow to sacrifice their love for Rajesh and the baby. Moments before the wedding, Nisha asks Prem's dog Tuffy to give Prem the necklace that Pooja had given her, along with a letter. Tuffy exits Nisha's room and instead of taking the letter to Prem, delivers it to Rajesh. Rajesh reads the letter and realizes that Prem and Nisha love each other. Subsequently, he halts the wedding and confronts both Nisha and Prem. In the end, Nisha and Prem marry each other with the consent of their families. The film's title Hum Aapke Hain Koun..! appears and then rephrases to Hum Aapke Hain..! (English: I am yours!).
- Madhuri Dixit as Nisha
- Salman Khan as Prem Nath
- Mohnish Bahl as Rajesh Nath
- Renuka Shahane as Pooja
- Anupam Kher as Prof. Siddharth Choudhury
- Reema Lagoo as Mrs. Choudhury
- Alok Nath as Kailash Nath
- Bindu as Bhagwanti a.k.a. Mami
- Ajit Vachani as Professor a.k.a. Mama
- Satish Shah as Doctor
- Himani Shivpuri as Razia (Doctor's wife)
- Sahila Chadha as Rita
- Dilip Joshi as Bhola Prasad
- Laxmikant Berde as Lalloo Prasad
- Priya Arun as Chameli
- Redo as Tuffy the dog
Director/writer Sooraj Barjatya devoted one year and nine months to the screenplay of Hum Aapke Hain Koun..!. He spent the first five months trying to write another Maine Pyar Kiya, but then started over after his father Rajkumar Barjatya suggested that he rework one of the family company Rajshri Productions earlier offerings. Hum Aapke Hain Koun..! then became a loose adaptation of their 1982 production Nadiya Ke Paar. Barjatya used musical numbers to avoid treating some situations in a cliché manner, which resulted in so many songs that there were complaints during initial screenings of the film concerning its length and number of songs. Barjayta's grandfather, company founder Tarachand Barjatya, loved the song "Dhiktana" so much that the film was nearly given that title.
Barjatya later told India Abroad, "My attempt in this movie has been to reexpose the cinema-going public to the quintessential family life ... not to make people feel that they have come to see a movie, but make them feel as if they have come to visit a big joint family that is preparing for a wedding". The story was constructed differently than what was popular at the time. There were no villains, violence, or battles between good and evil. From conception to finished product, the film took four years. Madhuri Dixit was paid a salary of ₹27,540,000 for playing the role of Nisha. Aamir Khan was initially offered the role of Prem, but he declined the offer due to being dissatisfied with the script. It then went to Salman Khan, helping him to become a superstar.
The producers/distributors exercised a higher than normal level of control over their work. There was a limited release, a new form of television publicity, safeguards against video piracy, and a delay in the releasing of video tapes.
|Hum Aapke Hain Koun..!|
|Soundtrack album by Raamlaxman|
|Released||30 July 1994|
|Genre||Hindi film soundtrack|
|Label||Zee Music Company|
|Singles from Hum Aapke Hain Koun..! soundtrack|
The soundtrack for Hum Aapke Hain Koun..! was composed by Raamlaxman (original name Vijay Patil) who had earlier given music for Rajshri's Maine Pyar Kiya, with lyrics penned by Ravinder Rawal and Dev Kohli. It was produced under the Sa Re Ga Ma label which at that time was known as HMV (short for His Master's Voice) and featured veteran playback singers such as Lata Mangeshkar, S. P. Balasubrahmanyam, Kumar Sanu, Udit Narayan, Shailendra Singh and Sharda Sinha. Raamlaxman had about 50 sessions with the director Barjatya during scripting. The finished soundtrack included an unusually large number of songs at 14 (15 if we count the sad version of the song Mujhse Juda Hokar which appears in the movie but not on the Music Album), plus the song "Hasta Hua Noorani Chehra" (from the film Parasmani), that was used when the characters play a game. The track "Didi Tera Devar Deewana" is said to be inspired by Ustad Nusrat Fateh Ali Khan's song "Saare Nabian". That song became one of the most popular film songs ever, and was on the charts for over a year. The soundtrack was very successful upon release, becoming the best selling Bollywood soundtrack of the year, and one of the top four sellers of the 1990s, with 10 million units sold. It was ranked the number 29 all-time best Hindi soundtrack by Planet Bollywood.
|1.||"Maye Ni Maye"||Dev Kohli||Lata Mangeshkar||4:21|
|2.||"Didi Tera Devar Deewana"||Dev Kohli||Lata Mangeshkar, S. P. Balasubrahmanyam||8:05|
|3.||"Mausam Ka Jaadu"||Ravinder Rawal||Lata Mangeshkar, S. P. Balasubrahmanyam||5:03|
|4.||"Chocolate Lime Juice"||Dev Kohli||Lata Mangeshkar||4:27|
|5.||"Joote Do, Paise Lo"||Ravinder Rawal||Lata Mangeshkar, S. P. Balasubrahmanyam||4:36|
|6.||"Pehla Pehla Pyar"||Dev Kohli||S. P. Balasubrahmanyam||4:25|
|7.||"Dhiktana (Part 1)"||Ravinder Rawal||S. P. Balasubrahmanyam||5:20|
|8.||"Babul"||Ravinder Rawal||Sharda Sinha||3:44|
|9.||"Mujhse Juda Hokar"||Dev Kohli||Lata Mangeshkar, S. P. Balasubrahmanyam||6:02|
|10.||"Samdhi Samdhan"||Ravinder Rawal||Lata Mangeshkar, Kumar Sanu||5:51|
|11.||"Hum Aapke Hain Koun"||Dev Kohli||Lata Mangeshkar, S. P. Balasubrahmanyam||4:00|
|12.||"Wah Wah Ramji"||Ravinder Rawal||Lata Mangeshkar, S. P. Balasubrahmanyam||4:15|
|13.||"Lo Chali Main"||Ravinder Rawal||Lata Mangeshkar||2:53|
|14.||"Dhiktana (Part 2)"||Ravinder Rawal||Lata Mangeshkar, S. P. Balasubrahmanyam, Udit Narayan, Shailender Singh||8:07|
Hum Aapke Hain Koun..! premiered at Liberty Cinema in southern Mumbai on 5 August 1994; it eventually ran there for over 100 weeks. The film initially saw a very limited release, also showing at the Regal and Eros theatres, with only 26 prints total. Eventually it started to appear in many more theatres. When initial viewers complained about the film's length, 2 of the 14 song sequences were removed. These were later restored when film goers were found to enjoy all of the songs. Early reviewers of Hum Aapke Hain Koun..! predicted that it would be a huge flop; hence the industry was stunned when it went on to become the most successful film of all time up to that point.
Hum Aapke Hain Koun..! is one of the biggest grossers ever in the history of Hindi cinema, and is said to have changed film business forever in the country. Made on a budget of around ₹42.5 million (US$650,000), it went on to collect ₹1.23 billion (US$19 million) in India and ₹1.35 billion (US$21 million) worldwide. It was the first Hindi film to gross over ₹1 billion. Adjusted for inflation, the film has grossed over ₹3.1 billion (US$47 million) at the domestic box office. Box Office India gave it the verdict "All Time Blockbuster", and described it as "the biggest blockbuster of the modern era." Much of the success was due to repeat business. For example, painter M. F. Husain was reported to have seen the film over 60 times. Adjusted for inflation, Hum Aapke Hain Kaun is believed to be among the top five highest grossing Hindi films. Its adjusted gross is approximately ₹3.09 billion (US$47 million).
Redo, an Indian Spitz, received favourable recognition as Tuffy the dog. He was included in the "Best pets in Hindi films" list compiled by Daily News and Analysis. After the film, Redo was reportedly adopted by actress Madhuri Dixit.
Hum Aapke Hain Koun..! won the National Film Award for Best Popular Film Providing Wholesome Entertainment. The film was nominated for 12 Filmfare Awards, Including Best Film, Best Director, and Best Actress. The film went on to win five awards making it one of the biggest winners of the year. Lata Mangeshkar, who sang more than 10 songs in the movie, had long retired from accepting awards, but the public demand for the song "Didi Tera Devar Deewana" was such that she received the Filmfare Special Award that year.
|National Film Awards||Best Popular Film Providing Wholesome Entertainment.||Sooraj Barjatya||Won|
|Best Choreography||Jay Borade||Won|
|Filmfare Awards||Best Film||Sooraj Barjatya||Won|
|Best Director||Sooraj Barjatya||Won|
|Best Actress||Madhuri Dixit||Won|
|Best Screenplay||Sooraj Barjatya||Won|
|Special Award||Lata Mangeshkar||Won|
|Best Actor||Salman Khan||Nominated|
|Best Supporting Actor||Mohnish Behl||Nominated|
|Best Supporting Actress||Reema Lagoo||Nominated|
|Best Supporting Actress||Renuka Shahane||Nominated|
|Best Performance in a Comic Role||Laxmikant Berde||Nominated|
|Best Music Director||Raamlaxman||Nominated|
|Best Lyricist||Dev Kohli||Nominated|
|Best Male Playback Singer||S.P. Balasubramaniam||Nominated|
|Screen Awards||Best Film||Sooraj Barjatya||Won|
|Best Director||Sooraj Barjatya||Won|
|Best Actress||Madhuri Dixit||Won|
|Best Female Playback||Lata Mangeshkar||Won|
|Best Screenplay||Sooraj Barjatya||Won|
|Best Editing||Mukhtar Ahmed||Won|
Author Kovid Gupta classified Hum Aapke Hain Koun..! as a film that bridges the gap between traditionalism and modernity. He discussed the songs of the films in particular, and the "manifestation of romance under the acceptance and blessings of the family, in specific, the elder sister-in-law". Patricia Uberoi called the film a family film in two ways; it is about family relationships, and it is suitable for the entire family to watch. She said that the film is not about the two leads, but about the family, an ideal family. Tejaswini Ganti has called the film a "paean to filial duty" for how the children are willing to sacrifice their love for the good of their families. The family relationships are also noted for being different from the normal cinematic families of the time due to their mutual civility. Rediff.com noted that "Though the film was initially dismissed as a wedding video, its success indicated that post-liberalisation, Indian audiences still clung to the comfort of the familiar." Jigna Desai said that the film's popularity was due to interactions of the families around the traditional folk wedding practices. In his study on the response to the film, academic Vamsee Juluri concluded that the celebration of the family is HAHK's "most useful contribution to history".
Legacy and influenceEdit
Hum Aapke Hain Koun..! is credited as being a defining moment in Hindi cinema's box office history, and the beginning of a revolution in the Indian film distribution system. When it was released, cinema was in decline in India due to improved cable television, home video, and film piracy. The film was originally released in only a small number of theatres that agreed to upgrade their facilities. Due to widespread demand for the film, many other theatres upgraded in order to get the film. Although ticket prices were raised, the upgraded theatres brought people back who had been lost to television. Also, the film's lack of vulgarity was a sign to middle-class family patrons that they could return to the theatre. This film, in addition to the following year's Dilwale Dulhania Le Jayenge, contributed to an increase in Indian cinema attendance of 40% in just two years.
The film was so successful that it literally gave the term blockbuster new meaning in India. Box Office India said, "Hum Aapke Hain Koun..! [...] took business for films released afterwards to another level. To put into perspective how business changed [...] before Hum Aapke Hain Koun..! an all India share of 10 crore for a big film was regarded as blockbuster business but after Hum Aapke Hain Koun..! the blockbuster business figure went to 20 crore."[b]
Hum Aapke Hain Koun..! influenced many subsequent Hindi films. The film was also a trendsetter for glamorous family dramas and NRI-related films, and started Bollywood's "big-fat-wedding-film" trend. In 1998 a theatre company in London, where the film had played for a year, staged a production based on the film titled Fourteen Songs, Two Weddings and a Funeral. Planet Bollywood has noted that no wedding is complete without some songs from this film, and it has been used as a script to design wedding plans. For years afterwards, women wanted to wear a purple sari like the one worn by Madhuri Dixit in the song "Didi Tera Devar Deewana".
Filmmaker Karan Johar named it as the one film that changed his life. He said, "After seeing Hum Aapke Hain Koun..! I realized Indian cinema is about values, tradition, subtlety, romance. There is so much soul in it. [...] I decided to go ahead and be a filmmaker only after watching this film." Hum Aapke Hain Koun..! belongs to a small collection of films, including Kismet (1943), Mother India (1957), Mughal-e-Azam (1960) and Sholay (1975), which are repeatedly watched throughout India and are viewed as definitive Hindi films with cultural significance.
- It could also be 185 or 196 minutes, depending on the version.
- ₹20 crore (US$3.1 million) at today's exchange rate
- "Hum Aapke Hain Koun! (1994)". British Board of Film Classification. Archived from the original on 14 August 2013. Retrieved 22 April 2013.
- Bamzai, Kaveree (7 July 2003). "Sooraj Barjatya: Bollywood's most profitable filmmaker steps out of the comfort zone". India Today. Archived from the original on 2 December 2013. Retrieved 12 February 2014.
- "Top Worldwide Grossers ALL TIME: 37 Films Hit 100 Crore". Box Office India. Archived from the original on 22 July 2013. Retrieved 20 December 2012.
- Ganti 2013, p. 98.
- "Bahubali 2 Is The Biggest Hindi Blockbuster This Century".
- "Premalayam's Unbeatable Record". CineGoer. Archived from the original on 22 February 2014. Retrieved 17 January 2014.
- Bhattacharya, Roshmila (25 February 2014). "Didi Tera Devar Deewana- A song for every season". The Times of India. Retrieved 3 March 2014.
- Stringer 2013, p. 263.
- "Cinema's Biggest Hit Touches Indian Soul". India Abroad. 20 January 1995. Archived from the original on 10 June 2014. Retrieved 25 November 2013. – via Highbeam (subscription required)
- Lutgendorf, Philip. "Hum Aapke Hain Koun..!". South Asian Studies Program, University of Iowa. Archived from the original on 4 May 2013. Retrieved 26 December 2013.
- "Hum Aapke Hain Koun @ 20: Lesser Known Facts". The Times of India. 23 October 2015. Archived from the original on 12 February 2015. Retrieved 23 October 2015.
- "5 Blockbuster films rejected by Aamir Khan - Eastern Eye". Eastern Eye. 2017-12-22. Retrieved 2018-02-25.
- Ganti 2012, pp. 287–288.
- Morcom 2007, p. 217.
- "Hum Aapke Hain Koun (Original Motion Picture Soundtrack)". iTunes. Archived from the original on 21 December 2014. Retrieved 25 October 2014.
- Kamra, Diksha (16 September 2010). "Folk inspiration for Munni Badnaam". The Times of India. Retrieved 16 September 2010.
- "Music Hits 1990-1999 (Figures in Units)". Box Office India. Archived from the original on 15 February 2008. Retrieved 9 May 2012.
- Lall, Randy. "100 Greatest Bollywood Soundtracks Ever — Part 3". Planet Bollywood. Archived from the original on 27 December 2013. Retrieved 24 December 2013.
- Banerjee, Soumyadipta (13 March 2013). "Ranveer-Sona starrer to debut at SoBo single screen". Mumbai Mirror. Archived from the original on 2 December 2013. Retrieved 14 May 2013.
- Ramnath, Nandini (20 April 2013). "Mumbai Multiplex | Liberty cinema is scripting a new ending". Livemint. Archived from the original on 3 December 2013. Retrieved 14 May 2013.
- Sharma, Sanjukta (13 August 2011). "Cinema | Mumbai ka king kaun?". Livemint. Archived from the original on 2 December 2013. Retrieved 14 May 2013.
- Chopra, Anupama (15 June 1998). "Publicity budgets shoot up as producers, stars discover magic of slick promos". India Today. Archived from the original on 3 December 2013. Retrieved 12 February 2014.
- "Top Lifetime Grossers 1990-1999 (Figures in Ind Rs)". Box Office India. Archived from the original on 15 January 2013. Retrieved 20 December 2012.
- Reddy, T. Krithika (10 August 2014). "Twenty years on..." The Hindu. Retrieved 28 August 2014.
- Ganti 2013, p. 134.
- "The Biggest Blockbusters Ever In Hindi Cinema". Box Office India. Archived from the original on 30 June 2013. Retrieved 28 April 2013.
- "The 100 Crore Worldwide Grossers: 34 Films Since 1994". Box Office India. Archived from the original on 25 April 2012. Retrieved 19 December 2011.
- "All Time Earners Inflation Adjusted (Figures in Ind Rs)". Box Office India. Archived from the original on 15 January 2013. Retrieved 20 December 2012.
- "The Biggest Blockbusters Ever In Hindi Cinema". Box Office India. Archived from the original on 26 October 2013. Retrieved 4 October 2012.
- "Top Lifetime Inflation Adjusted Grossers Worldwide". BoxOffice India. Archived from the original on 4 December 2013. Retrieved 5 March 2011.
- Krishna, R. "Best pets in Hindi films". Daily News and Analysis. Archived from the original on 4 December 2013. Retrieved 20 December 2012.
- Chintamani, Gautam (24 February 2012). "Animal Kingdom". Hindustan Times. Archived from the original on 13 March 2014. Retrieved 23 February 2014.
- "42nd National Film Awards" (pdf). Directorate of Film Festivals. Archived (PDF) from the original on 3 March 2016. Retrieved 22 April 2013.
- "Filmfare Nominees And Winners" (PDF). The Times Group. pp. 88–90. Archived (PDF) from the original on 19 October 2015. Retrieved 12 January 2017.
- "Filmfare Awards 1995". Awardsandshows.com. Archived from the original on 21 March 2016. Retrieved 12 January 2017.
- "Filmfare Special Award". Rediff.com. Archived from the original on 15 August 2013. Retrieved 22 April 2013.
- "8th Annual Star Screen Weekly Awards". Screen India. Archived from the original on 16 January 2002. Retrieved 29 May 2016.
- "Best Screenplay Writer". India Times. Archived from the original on 29 April 2014. Retrieved 25 February 2014.
- "Brand Development in Indian Cinema: A Fusion of Traditionalism and Modernity". International Journal of Global Management. February 2011. Archived from the original on 27 September 2016. Retrieved 4 August 2016.
- Uberoi 2008, pp. 172-173.
- Ganti 2013, pp. 130-131.
- "The 10 BIGGEST Blockbusters in Hindi Cinema". Rediff.com. 2 May 2013. Archived from the original on 4 May 2013. Retrieved 4 January 2013.
- Desai 2003, p. 206.
- Juluri 1999, pp. 231-248.
- Chatterjee, Saibal (17 January 1996). "Back Top The Movies". Outlook India. Archived from the original on 23 January 2011. Retrieved 4 March 2014.
- Soumita Sengupta, Shabdita Shrivastav (10 November 2012). "We Are Family". Box Office India. Archived from the original on 4 October 2013. Retrieved 25 November 2013.
- Ahuja, Nitin (9 March 2013). "Return Of The Native". Box Office India. Archived from the original on 2 December 2013. Retrieved 25 November 2013.
- "Review: Theatre". The Independent. 16 November 1998. Retrieved 25 November 2013. – via Highbeam (subscription required)
- Doswami, Seema (7 April 2012). "Movie Magic". Hindustan Times. Archived from the original on 21 March 2014. Retrieved 4 March 2014.
- Masand, Rajeev. "The dream merchants: Barjatya & Johar". rajeevmasand.com. Archived from the original on 4 October 2013. Retrieved 20 December 2012.
- Mishra 2002, p. 66; Morcom 2007, pp. 139–144.
- Desai, Jigna (2003). Beyond Bollywood: The Cultural Politics of South Asian Diasporic Film. Routledge. ISBN 978-1-135-88720-9.
- Ganti, Tejaswini (2012). Producing Bollywood: Inside the Contemporary Hindi Film Industry. Duke University Press. ISBN 0-8223-5213-3.
- Ganti, Tejaswini (2013). Bollywood: A Guidebook to Popular Hindi Cinema. Routledge. ISBN 978-1-136-84929-9.
- Juluri, Vamsee (1999). "Global weds local: the reception of Hum Aapke Hain Koun". European Journal of Cultural Studies. European Journal of Cultural Studies. 2 (2): 231–248. doi:10.1177/136754949900200205.
- Mishra, Vijay (2002). Bollywood Cinema: Temples of Desire. Routledge. ISBN 978-0-415-93015-4.
- Morcom, Anna (2007). Hindi film songs and the cinema. Ashgate Publishing, Ltd. ISBN 978-0-7546-5198-7.
- Stringer, Julian (2013). Movie Blockbusters. Routledge. ISBN 978-1-136-40821-2.
- Uberoi, Patricia (2008). "Imagining the family". In Dudrah, Rajinder; Desai, Jigna. The Bollywood Reader. McGraw-Hill International. ISBN 978-0-335-22212-4.
- Official site at Rajshri Productions
- Hum Aapke Hain Koun..! on IMDb
- Hum Aapke Hain Koun..! in the British Film Institute's "Explore film..." database
- Hum Aapke Hain Koun..! at AllMovie
- Hum Aapke Hain Koun..! at Rotten Tomatoes
- Hum Aapke Hain Koun..! at Bollywood Hungama
- Hum Aapke Hain Koun..!: An Example of the Coding of Emotions in Contemporary Hindi Mainstream Film Projections Issue 2 editorial by Alexandra Schneider
- The Families Of Hindi Cinema: A Socio-Historical Approach To Film Studies Framework Issue 42 editorial by Valentina Vitali