Dr. Lalitha Gopalan   
Fulbright-Nehru Project Title: "Long, Short, Lost: Experimental Film and Video in India"
Field of Study: Study of India
Home Institution in US: University of Texas, Austin, TX
Host Institution in India: Jamia Millia Islamia, Delhi  
Start date/Month in India: March 2014
Duration of grant: Nine months

Brief Bio:
Dr. Lalitha Gopalan is an associate professor in the Department of Radio-Television-Film and affiliate faculty in the Department of Asian Studies and South Asia Institute at University of Texas (UT), Austin. Her research and teaching interests are in the areas of film theory, feminist film theory, contemporary world cinemas, Indian cinema, genre films, and experimental film and video. She received her BA in economics from Madras Christian College, MA in sociology from Delhi School of Economics, and MA in anthropology and PhD in comparative literature from University of Rochester in New York. Prior to her arrival at UT Austin in Fall 2007, she taught at Georgetown University for fourteen years.

Dr. Gopalan currently serves on the editorial boards of Camera Obscura: Feminism, Culture, and Media Studies and Film Quarterly. She has served on several film festival juries and is currently on the advisory board of 3rd I Film Festival, San Francisco. She recently co-curated the film series Cruel Cinema: New Directions in Tamil Film, which showed at the Berkeley Art Museum and Pacific Film Archive, BAMcinématek, Northwest Film Forum and Yerba Buena Center for the Arts.

Her current book project explores various experimental film and video practices in India. She is the author of Cinema of Interruptions: Action Genres in Contemporary Indian Cinema (London: BFI Publishing, 2002) and Bombay (London: BFI Modern Classics, 2005), and editor of Cinema of India (London: Wallflower Press, 2010).

Dr. Gopalan's Fulbright project contends that a study of artisanal film, video, and digital productions, with a particular emphasis on the period after independence, offers a critical evaluation of the relationship between moving images and the public sphere, long overdue in the scholarship on Indian cinemas. Central to the concerns of Dr. Gopalan's project is to highlight the importance of collections, both permanent and temporary. In addition to locating alternative sites of collections and nascent archives that house lost and orphaned works, the project is committed to recording the history of experimental film practices in a variety of format for the past two decades.