Izzat and the gaze of culture

K. Peart
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引用次数: 1

Abstract

It is the aim of this article to make visible a range of hitherto neglected factors that contribute to the representation of the South Asian woman in British film. Cultural factors such as the law of izzat remain limited in theoretical frameworks, making the subject only partially visible. South Asian cultural identity is addressed through language, music, clothing and memory; each contributing to the visibility of the South Asian female on-screen. Using the popular British Asian film by Gurinder Chadha Bhaji on the Beach (1993) to address the current visibility of the subject, the seemingly simplistic identity of the South Asian female is questioned. The presence of'narrative ruptures' contained within some of the material addressed combined with theoretical understandings of the diaspora produce a more nuanced understanding of the subject. Through postcolonial, film and cultural studies, an analysis of visibility has recognized the need to integrate cultural laws such as izzat into readings of British Asian and South Asian film. By illustrating the codes that have limited the subject's visibility, the once invisible will become visible and a new theoretical understanding gained. KEYWORDS
Izzat和文化的凝视
这篇文章的目的是让人们看到一系列迄今为止被忽视的因素,这些因素有助于英国电影中南亚女性的表现。诸如izzat法则等文化因素在理论框架中仍然受到限制,使主体仅部分可见。南亚文化认同通过语言、音乐、服装和记忆来表达;每一个都有助于南亚女性在银幕上的知名度。利用Gurinder Chadha Bhaji在海滩上的流行英国亚洲电影(1993)来解决当前主题的可见性,南亚女性看似简单的身份受到质疑。一些材料中包含的“叙事断裂”的存在,结合对散居侨民的理论理解,产生了对这一主题更细致入微的理解。通过对后殖民、电影和文化的研究,对能见度的分析已经认识到需要将文化规律(如izzat)整合到英国亚洲和南亚电影的阅读中。通过说明限制主体可见性的代码,曾经不可见的东西将变得可见,并获得新的理论理解。关键字
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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