Re-Visioning Caste in Indian Cinema

Akshaya Kumar
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引用次数: 1

Abstract

Abstract:Adding nuance to the accusation of sustained caste blindness against Indian cinema, this article situates Nagraj Manjule's Marathi blockbuster Sairat (2016) within the trajectories of Marathi cinema, and vis-à-vis the historical traffic between the Hindi film industry and its southern counterparts. The article grapples with sociological and formal valences of realism and melodrama, which co-constitute Sairat, so as to argue that the re-visioning must address the "invisible" embeddedness of caste in universalized abstractions; or more appropriately, in its (mis)translations away from the "limiting" particularity of caste politics to be subsumed under more universally legible aesthetic of social justice.
重新审视印度电影中的种姓
摘要:本文将纳格拉吉·曼居勒的马拉地大片《Sairat》(2016)置于马拉地电影的发展轨迹中,并考察了-à-vis印度电影产业与南方电影产业之间的历史交通。本文探讨了现实主义和情节剧的社会学和形式价值,它们共同构成了Sairat,从而认为重新设想必须解决种姓在普遍抽象中的“无形”嵌入;或者更恰当地说,在它的(错误的)翻译中,远离种姓政治的“限制性”特殊性,被纳入更普遍可读的社会正义美学。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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