ABSTRACT
In this Handbook of Indian Cinemas we have sought to cast the net as widely as possible in the sense that we have tried to cover a broad range of topics related to Indian cinema as a significant cultural practice, and include the views and assessments of a broad range of authors-film scholars, film critics, media personnel-who are able to approach the topic from a plurality of angles. We felt that this was a much-needed move; at the same time we were aware of the risks we ran in the possible forfeiture of a sense of uniformity of approach and quality. The book certainly gains from our preferred pluralistic approach, although we recognize that it might lead to a certain unevenness. On balance, we feel firmly that it is the right approach.
