{"title":"Rebellion from Outside the Margins: Representation of de-notified tribe and Questions of Identity in Fandry (2013)","authors":"Rutuja K. Deshmukh","doi":"10.1080/14746689.2023.2175475","DOIUrl":"https://doi.org/10.1080/14746689.2023.2175475","url":null,"abstract":"ABSTRACT Fandry (2013) is the first feature film written and directed by Nagraj Manjule. The film received a national award for the best debut director and several accolades in national and international film festivals. This paper offers introductory remarks on the representation of the de-notified tribe- Kaikadi in the film Fandry (2013). It starts with the observation about the social location of de-notified tribes and stigmatization around these communities and how Fandry as a film becomes a vehicle of resistance and formation of defiant identity. I also offer a critical reading of contemporary scholarship on Fandry, which overlooks the de-notified tribe identity and appropriates the struggle in the film with the larger Dalit struggle and caste issues. While the Dalit framework forms the background of the film, I argue that Manjule, through his film Fandry, is asserting personhood by bringing in lived experiences in his cinematic narrative.","PeriodicalId":35199,"journal":{"name":"South Asian Popular Culture","volume":"21 1","pages":"57 - 75"},"PeriodicalIF":0.3,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48874235","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Negotiating the exigencies of nationalism: Tipu Sultan in Pakistani cinema","authors":"Sameer Ahmed","doi":"10.1080/14746689.2022.2127216","DOIUrl":"https://doi.org/10.1080/14746689.2022.2127216","url":null,"abstract":"","PeriodicalId":35199,"journal":{"name":"South Asian Popular Culture","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44085426","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Shero worship: Female stardom in Tamil cinema","authors":"Amrutha Kunapulli","doi":"10.1080/14746689.2022.2133765","DOIUrl":"https://doi.org/10.1080/14746689.2022.2133765","url":null,"abstract":"ABSTRACT Post-millennial Tamil cinema has seen a marked increase in casting women as protagonists or in pivotal roles. In a historically patriarchal industry that rests on an almost sycophantic male star system, this proliferation of women characters has proven significant in expanding the possibilities of female stardom. In turn, the potential of women stars and women’s narratives participates in and showcases the broader globalising impulses of Tamil cinema in the twenty-first century. This paper focusses on two actors – Jyothika and Nayanthara – who have been instrumental in bringing to the fore a new figure in Tamil cinema, i.e. the ‘lady (super)star’. This paper theorises their rise to stardom as a set of complex negotiations between their personal and professional lives while navigating and resetting the boundaries of the ‘good Tamil woman’.","PeriodicalId":35199,"journal":{"name":"South Asian Popular Culture","volume":"21 1","pages":"123 - 137"},"PeriodicalIF":0.3,"publicationDate":"2022-10-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43803301","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Collective sounds: Pa. Ranjith’s cinema, Gaana, and fusion music","authors":"D. Leonard","doi":"10.1080/14746689.2022.2115738","DOIUrl":"https://doi.org/10.1080/14746689.2022.2115738","url":null,"abstract":"ABSTRACT This article studies the Tamil film director Pa. Ranjith as a phenomenon and evaluates the sensorial signification of his experiments with performance and music (Aadalum-Paadalum) in the filmic medium. Foregrounding the music band that Ranjith initiated, ‘The Casteless Collective’ – inspired by the 20th century anti-caste Tamil intellectual Iyothee Thass – which features Gaana (Tamil music form mainly performed by Dalits in urban slums), hip-hop, and fusions of world music; I discuss the debates on music and caste as well as analyze the song-performances in his films Attakathi (Cardboard Knife), Madras, Kabali, Kaala, and Sarpatta Parambarai (The Sarpatta Clan), which I suggest, re-script anti-caste sensibilities in popular culture. This article demonstrates that Ranjith’s interventions not only expose inscriptions of caste but also creatively stage acts of a collective against caste, which is a casteless becoming.","PeriodicalId":35199,"journal":{"name":"South Asian Popular Culture","volume":"21 1","pages":"105 - 122"},"PeriodicalIF":0.3,"publicationDate":"2022-09-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49224567","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Familial unfamiliarity: Reading family spaces in New Generation Malayalam cinema","authors":"Mohammed Shafeeq, Zeenath Mohamed Kunhi","doi":"10.1080/14746689.2022.2115717","DOIUrl":"https://doi.org/10.1080/14746689.2022.2115717","url":null,"abstract":"ABSTRACT Spatiality and the spatial turn in cultural studies and media theory have critically influenced academic dialogues and the analysis of texts in contemporary discourses. In this context, the paper attempts to apply the discourse of spatiality to read into the family spaces in the New Generation Malayalam film narratives, holding the view that diegetic spaces in these films, directly and indirectly, attempt at foregrounding and subverting the normalisation of reproductive heteronormativity which had resulted in the gendered storytelling practices. To engage critically with the category of diegetic spatiality, two representational New Generation Malayalam films, Bangalore Days(2014) and Kumbalangi Nights(2019) are explored.","PeriodicalId":35199,"journal":{"name":"South Asian Popular Culture","volume":"20 1","pages":"321 - 330"},"PeriodicalIF":0.3,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43002546","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A case of Holy cow: religion, politics and culture in assamese feature film Goru","authors":"Debajyoti Biswas","doi":"10.1080/14746689.2022.2115700","DOIUrl":"https://doi.org/10.1080/14746689.2022.2115700","url":null,"abstract":"ABSTRACT The bovine has been the cause of conflict in the Indian sub-continent for the past few centuries owing to religious and cultural sentiments associated with it. This apparent irreconcilable conflict is localised in the binary of religious mannerism espoused by the religious groups in northern India, which is known as India’s cow belt. Such contradictions have caused bitter riots and conflicts resulting in social unrest in mainland India with spiralling effects spilling over to other regions. Although this issue has become a determiner in controlling electoral politics in some Indian states that affected the rise in Hindutva politics, in the case of Assam both cow-politics and Hindutva sentiments have had little effect. This paper proposes to examine this hypothesis by analysing Himanshu Prasad Das’ Assamese feature film Goru (2021) through the lens of cultural nationalism. A study of the film within the framework of Assamese popular culture shall help us understand the implication behind the rejection of Hindutva ideology in this peripheral region. The primary focus of this paper is to read how cow politics and Hindutva have failed to make inroads in Assam’s composite culture despite Bharatiya Janata Party’s thumping victory in Assembly polls in 2016.","PeriodicalId":35199,"journal":{"name":"South Asian Popular Culture","volume":"20 1","pages":"287 - 302"},"PeriodicalIF":0.3,"publicationDate":"2022-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48389214","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Sex and sensibility: The homographic stardom of Ranveer Singh","authors":"R. Sen","doi":"10.1080/14746689.2022.2115702","DOIUrl":"https://doi.org/10.1080/14746689.2022.2115702","url":null,"abstract":"ABSTRACT This essay examines the stardom of Ranveer Singh in the light of Queer Theory. In the last decade, Ranveer Singh has established himself as the superstar of the Bombay film industry. Not only has he acted in a range of challenging films, thereby proving his versatility as an actor, his quirky sense of clothing and style, as well as his eccentric personality and over the top public gestures, have been subject to endless public conversations and debates. In this essay, I argue, that Ranveer Singh’s aesthetics – both, on-screen and off-screen – mirror an aesthetics of queerness that militate against the normative expectations of a male star in the Bombay film industry. The characters that he plays on screen, his fashion, as well as his public conduct, together, are responsible for the construction of such an aesthetic. Rather than using ‘queer theory’ to examine the stardom of Ranveer Singh, this essay will look for ways in which Singh’s aesthetics allow the spectators to read queerness in non-identitarian ways. Singh’s body of works and his body-as-text repeatedly sabotage normative heterosexual tendencies, thereby, revealing that queerness need not always flow out of LGBTQ marked bodies.","PeriodicalId":35199,"journal":{"name":"South Asian Popular Culture","volume":"20 1","pages":"303 - 319"},"PeriodicalIF":0.3,"publicationDate":"2022-08-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48148967","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Real life fiction: genre and truth claims in popular call centre narratives","authors":"A. Guttman","doi":"10.1080/14746689.2022.2115741","DOIUrl":"https://doi.org/10.1080/14746689.2022.2115741","url":null,"abstract":"ABSTRACT Chetan Bhagat’s blockbuster, was the first popular novel about business process outsourcing work – but not the last. Since 2007, several new authors, including Vikrant Shukla, Shruti Saxena, Anish Trivedi, Brinda Narayan and Makhudar Yadav have all launched careers in fiction writing by employing call centre narratives, and drawing specifically on their corporate work experience. Much like popular compilations of ‘true’ stories by Sudhindra Mokhasi, these ostensibly fictional texts perform a variety of functions: instructing prospective call centre employees on the industry, breaking down negative perceptions of call centre work and entertaining the reader with tales of youthful hijinks. Perhaps most importantly, however, popular texts interpolate a growing Indian middle class who wishes to consume the products of the west without either leaving South Asia or conceding any cultural loss, absence or inferiority. In so doing, popular call centre texts reconfigure narratives of globalization for domestic use, which may be why these novels and anthologies have gained far more popularity than the prevalence of business process outsourcing work alone would suggest.","PeriodicalId":35199,"journal":{"name":"South Asian Popular Culture","volume":"20 1","pages":"349 - 362"},"PeriodicalIF":0.3,"publicationDate":"2022-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43172386","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Reframing female bodies in Sri Lankan cinema: 28 and Asandhimitta revisited","authors":"Kanchanakesi Warnapala","doi":"10.1080/14746689.2022.2115722","DOIUrl":"https://doi.org/10.1080/14746689.2022.2115722","url":null,"abstract":"ABSTRACT The paper provides a comparative reading of the female protagonists in two Sri Lankan films, focusing on how the female body becomes a contentious site of gendered violence, subject to state and male surveillance and containment. Through a close analysis of Prasanna Jayakody’s 28 (2014) and Asoka Handagama’s Asandhimitta (2019), this paper attempts to reveal how Sri Lankan cinema violently reconfigures the female body as a site of negotiation for articulation of victimhood and desire and becomes a potential space for the inscription of feminist issues.","PeriodicalId":35199,"journal":{"name":"South Asian Popular Culture","volume":"21 1","pages":"77 - 88"},"PeriodicalIF":0.3,"publicationDate":"2022-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46209641","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Traversing boundaries: Contemporary Hindi cinema at international film festivals","authors":"A. Viswamohan, Sanchari Basu Chaudhuri","doi":"10.1080/14746689.2022.2115736","DOIUrl":"https://doi.org/10.1080/14746689.2022.2115736","url":null,"abstract":"ABSTRACT The paper investigates the symbiotic relationship between international film festivals and contemporary Hindi cinema. The years post 2010 have witnessed an increase in showcasing of Hindi cinema at international film festivals. Unlike earlier Indian cinema that has been celebrated at global platforms, the Hindi cinema under discussion situates itself at a juncture between the commercial and the art. In fact, a number of mainstream filmmakers who attempt unconventional themes, are exploring international film festivals as suitable avenues to reach a larger audience and to forge newer alliances. The primary theoretical framework of this research will draw upon Marijke‘s proposition that film festivals are ‘sites of cultural legitimisation’ (77); along with, as an entry point, Pierre Bourdieu’s understanding of the festival space as an active site for the generation of economic and cultural capital. In addition, the study also investigates how Hindi filmmakers use this platform to market cinema and reach an international audience. This paper attempts to evaluate the above dynamics through the prism of three representative cinematic texts: Masaan (Dir. Ghaywan), Newton (Dir. Masurkar) and Gully Boy (Dir. Akhtar).","PeriodicalId":35199,"journal":{"name":"South Asian Popular Culture","volume":"21 1","pages":"89 - 103"},"PeriodicalIF":0.3,"publicationDate":"2022-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48985109","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}