Filmographie
1933, Lal-e-Yaman, Homi Wadia, production Wadia Movietone.
1955, Hoor-e-Arab, Prem Narayan Arora, production All India Pictures.
1955, Teerandaz, H.S. Rawail, production Talwar Films.
1955, Ruksana, R. C. Talwar, production Talwar Films.
1983, Chor Police, Amjad Khan, production Cinema International.
1986, Naam, Mahesh Bhatt, production Aryan Films.
1997, Lahoo ki do rang, Mehul Kumar, production A.G. Films.
2005, Chetna – The Excitement, Partho Ghosh, production Intra Infotech Ltd.
2007, Welcome, Anees Bazmee, production A. A. Nadiadwala.
2007, Naqaab, Abbas-Mastan, production Tips Films.
2014, Happy New Year, Farah Khan, production Red Chillies Entertainment.
2015, Welcome Back, Anees Bazmee, production A. A. Nadiadwala.
Bibliographie
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Assaf Laure & Camelin Sylvaine (eds.), 2017, « Shopping malls : l’avènement de la modernité ? », Ateliers d’anthropologie, n° 44 [en ligne] https://journals.openedition.org/ateliers/10362.
Bahout Joseph, 2006, « Dubaï-Beyrouth : l’ombre et son double », Esprit, no 11, p. 76-85.
Bhacker M. Redha, 2009, « The cultural unity of the Gulf and the Indian Ocean: A longue durée historical perspective » in Lawrence G. Potter (ed.), The Persian Gulf in history, New York, Palgrave-Macmillan.
Bhaskar Ira & Allen Richard (eds.), 2009, Islamicate Cultures of Bombay Cinema, New Delhi, Tulika Books.
Bhaumik Kaushik, , 2001, The Emergence of the Bombay Film Industry (1913–1936), Oxford, University of Oxford.
Booth G. D., 2007, « Musicking the other: Orientalism in the hindi cinema », in Martin M. Clayton & Z. Bennett (eds.), Music and Orientalism in the British Empire, 1780s–1940s: Portrayal of the East, Aldershot, Ashgate.
Brown Judith Margaret, 2006, Global South Asians: Introducing the modern diaspora, Cambridge/New York/Melbourne, Cambridge University Press.
Bruslé Tristan, 2012, « What kind of place is this? », South Asia Multidisciplinary Academic Journal, no 6.
Bruslé Tristan & Varrel Aurélie, 2012, « Introduction. Places on the move: South Asian migrations through a spatial lens », South Asia Multidisciplinary Academic Journal, no 6.
Chambers Claire & Herbert Caroline (eds.), 2015, Imagining Muslims in South Asia and the diaspora: Secularism, religion, representations, London/New York, Routledge.
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D’Azevedo Amandine, 2014, Cinéma indien, mythes anciens, mythes modernes : résurgences, motifs esthétiques et mutations des mythes dans le film populaire hindi contemporain, Thèse de doctorat en Études cinématographiques et audiovisuelles, Paris 3 Sorbonne Nouvelle, Paris.
D’Azevedo Amandine, 2018, Mythes, films, bazar : formes transversales des cinémas indiens, Milan/Paris, Mimesis.
Dudrah Rajinder Kumar, 2012, Bollywood Travels: Culture, Diaspora and Border Crossings In Popular Hindi Cinema, Londres/New York, Routledge.
Filmfare, Vol. 3, No. 17, 20 août 1954.
Filmfare, Vol. 4, No. 10, 13 mai 1955.
Fuccaro Nelida, 2001, « Visions of the city: Urban studies on the Gulf », Middle East Studies Association Bulletin, vol. 35, no 2, p. 175‑187.
Gaikwad Rahi, 2017, « Mughals are a lost chapter in the state board’s textbooks », Mumbai Mirror, 7 août, https://mumbaimirror.indiatimes.com/mumbai/cover-story/mughals-are-a-lost-chapter-in-the-state-boards-textbooks/articleshow/59948525.cms.
Ganti Tejaswini, 2015, « The politics of commemorating the Indian cinema centenary », South Asian Popular Culture, 2 janvier 2015, vol. 13, no 1, p. 81‑84.
Ganti Tejaswini, 2012, Producing Bollywood: Inside the contemporary Hindi film industry, Durham NC, Duke University Press.
Ganti Tejaswini, 2004, Bollywood: a Guidebook to Popular Hindi Cinema, New York/Londres, Routledge.
Ganti Tejaswini, 1998, « Centenary commemorations or centenary contestations? Celebrating a hundred years of cinema in Bombay », Visual Anthropology, vol. 11, no 4, p. 399‑419.
Gayer Laurent & Jaffrelot Christophe (eds.), 2012, Muslims in Indian cities: Trajectories of marginalisation, New York, Columbia University Press.
Grimaud Emmanuel, 2003, Bollywood Film Studio : ou comment les films se font à Bombay, Paris, CNRS.
Haider Syed, 2014, « ‘Shooting Muslims: Looking at Muslims in Bollywood through a postcolonial lens », in Geoffrey P. Nash, Kathleen Kerr-Koch & Sarah Elizabeth Hackett (eds.), Postcolonialism and Islam: Theory, Literature, Culture, Society and Film, Londres/New York, Routledge, p. 208‑215.
High Level Committee, 2000, « The Gulf Region » in The Indian Diaspora, New Delhi, Ministry of External Affairs, Chapitre 3.
Jaffrelot Christophe, 2008, New Delhi et le monde : une puissance émergente entre realpolitik et soft power, Paris, Autrement.
Jaffrelot Christophe, 2006, L’Inde contemporaine de 1950 à nos jours, Nouv. éd., Paris, Fayard-CERI.
Jonas S. (dir.), 1994, Espaces et sociétés : revue critique internationale de l’aménagement, de l’architecture et de l’urbanisation, Paris, Ed. Anthropos.
Kapiszewski Andrzej, 2006, Arab Versus Asian Migrant Workers in the GCC Countries, Beyrouth, ONU.
Kennedy Philip F. & Warner Marina (eds.), 2013, Scheherazade’s Children: Global Encounters with the Arabian Nights, New York, New York University Press.
Lavergne Marc, 2003, « Golfe arabo-persique : un système migratoire de plus en plus tourné vers l’Asie », Revue européenne des migrations internationales, vol. 19, no 3, p. 229‑241.
Leeuwen Richard Louis Anton (van), 2007, The Thousand and One Nights: Space, Travel and Transformation, Londres, Routledge.
Mannoni L., 2016, La machine cinéma : de Méliès à la 3D [exposition, Paris, Cinémathèque française, 5 octobre 2016–29 janvier 2017], Paris, Cinémathèque française.
Mathijs Ernest & Sexton Jamie, 2011, « Transnationalism and orientalism » in Cult Cinema: An Introduction, Malden MA, Wiley-Blackwell, p. 120‑130.
Mazumdar R., 2011, « Aviation, tourism and dreaming in 1960s Bombay cinema », BioScope South Asian Screen Studies, Vol. 2, No. 2, p. 129‑155.
Mermier Franck, 2016, Regards sur l’édition dans le monde arabe, Paris, Karthala.
Nashef H. A. M., « Barbaric space: Portrayal of Arab lands in Hollywood films », in Walid El Hamamsy & Mounira Soliman (eds.), Popular Culture in the Middle East and North Africa: A Postcolonial Outlook, New York, Routledge, 2013.
Newbould Chris, 2014, « How the UAE is helping Bollywood boom », The National, 7 mai 2014.
Nair, Sangeetha, 2013, « Shah Rukh Khan enjoyed shooting for “Happy New Year” in Dubai », Times of India, 14 septembre, https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/Shah-Rukh-Khan-enjoyed-shooting-for-Happy-New-Year-in-Dubai/articleshow/22580678.cms.
Pouillon François & Vatin Jean-Claude (eds.), 2011, Après l’orientalisme : l’Orient créé par l’Orient, Paris, IISMM-Karthala.
Thomas, Rosie, 2013, Bombay before Bollywood: Film City Fantasies, Albany NY, Suny Press.
Tanvir Kuhu, 2013, « Pirate histories: Rethinking the Indian film archive », BioScope: South Asian Screen Studies, vol. 4, no 2, p. 115‑136.
Treverton Gregory F., Matthies Carl, Cunningham Karla J., Goulka Jeremiah, Ridgeway Greg & Wong Anny, 2009, Film Piracy, Organized Crime, and Terrorism, [s.l.], RAND Corporation.
TRT World, 2017, « “Padmavati, India’s biggest controversy », YouTube, 22 novembre, https://www.youtube.com/watch?v=QUHAkvA-0OE.
Ward R. E., 1992, India’s pro-Arab Policy: A Study in Continuity, New York, Londres, Praeger.
Zaidi S. Hussain, 2012, Dongri to Dubai, New Delhi, Roli Books.
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