
Do not use an Oxford Academic personal account. When on the society site, please use the credentials provided by that society.If you see ‘Sign in through society site’ in the sign in pane within a journal: Many societies offer single sign-on between the society website and Oxford Academic. Society member access to a journal is achieved in one of the following ways: If you cannot sign in, please contact your librarian. If your institution is not listed or you cannot sign in to your institution’s website, please contact your librarian or administrator.Įnter your library card number to sign in. Following successful sign in, you will be returned to Oxford Academic.When on the institution site, please use the credentials provided by your institution.Select your institution from the list provided, which will take you to your institution's website to sign in.Click Sign in through your institution.Shibboleth / Open Athens technology is used to provide single sign-on between your institution’s website and Oxford Academic. This authentication occurs automatically, and it is not possible to sign out of an IP authenticated account.Ĭhoose this option to get remote access when outside your institution. Typically, access is provided across an institutional network to a range of IP addresses. If you are a member of an institution with an active account, you may be able to access content in one of the following ways: Get help with access Institutional accessĪccess to content on Oxford Academic is often provided through institutional subscriptions and purchases. To support this argument, the chapters explores two important periods in the history of popular film, and turns to a number of recent films to gleam how they have modified the song-and-dance's relation to couple-formation. This aesthetic reform, as the chapter argues, conjugates the couple-form whereby the song-and-dance sequence is no longer as ubiquitous as it once was. Banished from the screen since the 1930s, the kiss seems to be making a re-appearance. Just as Jamal and Latika's lips freeze in a brief screen kiss, the screen cuts to the credits, where a Bollywood-style song-and-dance number takes over-symbolizing how this kiss feels and what it means for the long-separated sweethearts. In Danny Boyle's film Slumdog Millionaire, however, this aesthetic code was revised in the sense that it is the kiss, rather than the song and dance, that performed the act of couple-formation. Hindi cinema's aesthetic code often makes use of the song sequence to function as an engine of couple-formation.
