Published 2014
“…For this purpose, it focuses on the chhooimooi girls of the black and white (B&W) cinema from Qaidi (The Prisoner)
(1962) and Paristan (The Fairy Land) (1968), as opposed to modern exhibitionist
"rain dancers" who reveal their bodies and join terrifying villains and vulgar
comedians to make "the trio to get-real-culture" in the coloured Sher-e-Lahore
(2001) and Choorrian (
Bangles) (2001). The study finds that the attitude of the
Central Board of Film Censors (CBFC) towards exhibiting films like Chingari
(Vigor) (1964) and Sher-e-Lahore (2001) was puritanical earlier and progressive
later. …”
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