South Asian Popular Culture最新文献_第4页

Food for thought: India, postage stamps and banal nationalism 发人深省的是:印度、邮票和平庸的民族主义

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South Asian Popular Culture Pub Date : 2022-08-25 DOI: 10.1080/14746689.2022.2115732

Sarita K. Heer

引用次数: 1

Fusion music and fault lines in Shoaib Mansoor’s Khuda Kay Liye Shoaib Mansoor的《Khuda Kay Liye》中的融合音乐和断层线

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South Asian Popular Culture Pub Date : 2022-05-04 DOI: 10.1080/14746689.2022.2089458

S. Mehta

{"title":"Fusion music and fault lines in Shoaib Mansoor’s Khuda Kay Liye","authors":"S. Mehta","doi":"10.1080/14746689.2022.2089458","DOIUrl":"https://doi.org/10.1080/14746689.2022.2089458","url":null,"abstract":"ABSTRACT This paper argues that while fusion music in Shoaib Mansoor’s film Khuda Kay Liye (KKL) (2007) serves to reclaim Pakistan’s South Asian heritage, there are moments in KKL when non-Muslim South Asians are othered. I examine these contradictory elements in the film with respect to two songs. I first look at ‘Bulleh Nu’, an anti-casteist ‘kafi’ attributed to the seventeenth/eighteenth century Sufi poet Baba Bulleh Shah, born in present-day Pakistani Punjab. I then contrast ‘Bulleh Nu’ with the film’s problematic representation of the Sikh as a ‘villainous’ other. Subsequently I analyze ‘Neer Bharan’, a ‘bandis ki thumri’ associated with the cosmopolitan ethos of the nineteenth century kingdom of Awadh, now located in the Indian state of Uttar Pradesh. Alongside my analysis of ‘Neer Bharan’, I write about how KKL only partially distances itself from the conflation of religious and national identities in Pakistan. The minoritization of non-Muslims from the subcontinent in the film is consistent with how they are represented in certain Pakistani educational and cultural texts. Therefore the desire to embrace Pakistan’s pluralistic traditions in Khuda Kay Liye is juxtaposed with a relatively uncritical stance towards non-inclusive notions of citizenship.","PeriodicalId":35199,"journal":{"name":"South Asian Popular Culture","volume":"20 1","pages":"149 - 164"},"PeriodicalIF":0.3,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43941533","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}

引用次数: 0

Problematizing the binaries: A study on food symbolism in Bhaskar Hazarika’s Aamis 二元对立的问题：巴斯卡·哈扎里卡《阿弥斯》中的食物象征研究

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South Asian Popular Culture Pub Date : 2022-05-04 DOI: 10.1080/14746689.2022.2089462

Harsha Vincent

引用次数: 0

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South Asian Popular Culture Pub Date : 2022-05-04 DOI: 10.1080/14746689.2022.2089463

Debajit Bora

引用次数: 0

From global to neo-global: Mapping the ‘tele’-visual geography of South Asia through a transnational lens 从全球到新全球:通过跨国镜头绘制南亚的“远程”视觉地理

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South Asian Popular Culture Pub Date : 2022-05-04 DOI: 10.1080/14746689.2022.2089460

Ritika Pant

{"title":"From global to neo-global: Mapping the ‘tele’-visual geography of South Asia through a transnational lens","authors":"Ritika Pant","doi":"10.1080/14746689.2022.2089460","DOIUrl":"https://doi.org/10.1080/14746689.2022.2089460","url":null,"abstract":"ABSTRACT Globalization and transnationalism have expanded the physical territory of television and are responsible for global reshaping of media industries and cultures. In the contemporary mediascape, Indian television industry is an interesting site for excavating new transnational patterns wherein the circulation of Indian TV content extends beyond the diaspora and caters to non-diasporic audiences, especially, in South Asia and South-east Asia. The popularity of Hindi language TV soaps in Indonesia, Vietnam, Sri Lanka, etc., have aided in mapping a new ‘tele’-visual geography of popular culture that deems Western media influence as almost insignificant, if not absent. Chronicling the success of two Indian TV programmes – the story of a ‘child-bride’ Balika Vadhu (2008–16) in Vietnam and a Hindu mythological Mahabharat (2013–14) in a Muslim-populated Indonesia; this paper traces the transnational circulation of Indian TV content amongst non-diasporic markets in South-east Asia. Drawing from Daya Kishan Thussu’s notion of ‘contra-flows’ and Brian Larkin’s conception of ‘parallel modernities’, the paper argues that the success of Indian television programmes in non-West media markets diverts our attention towards new kinds of transnational media flows which I have termed ‘neo-global’ flows that operate amongst emerging centres of media production and need not be mapped against dominant Western flows.","PeriodicalId":35199,"journal":{"name":"South Asian Popular Culture","volume":"20 1","pages":"165 - 179"},"PeriodicalIF":0.3,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41980670","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}

引用次数: 0

Satyajit Ray, New Cinema, and the FFC/NFDC 萨蒂亚吉特·雷，新电影和FFC/NFDC

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South Asian Popular Culture Pub Date : 2022-05-04 DOI: 10.1080/14746689.2022.2091313

Sudha Tiwari

引用次数: 0

Fantasy, film song, and ‘non-resident media’: Dil Se’s afterlife 幻想、电影歌曲和“非居民媒体”:迪尔瑟的来世

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South Asian Popular Culture Pub Date : 2022-05-04 DOI: 10.1080/14746689.2022.2090676

Pragya Trivedi

{"title":"Fantasy, film song, and ‘non-resident media’: Dil Se’s afterlife","authors":"Pragya Trivedi","doi":"10.1080/14746689.2022.2090676","DOIUrl":"https://doi.org/10.1080/14746689.2022.2090676","url":null,"abstract":"ABSTRACT Mani Ratnam’s Dil Se (1998), 22 years after its release and its subsequent flop in the Indian box office, was included in Hollywood Insider’s ‘Master of Cinema Archive’ in 2020. Its songs appeared in surprising places, including Spike Lee’s Inside Man (2006), and in 2020, Canadian music artist Tesher’s mashup video, ‘Young Shahrukh’. Ratnam’s use of fantasy-like scenes places the film and its songs in an earlier pre-2000 genre of the song sequence. Song picturizations in pre-2000 Hindi cinema, usually filmed after the song was recorded, were called ‘situations’ and song composition often took place around them (Morcom 31). Film songs and their picturizations functioned as the forerunners of ‘non-resident’ media, a term used to designate media not intended for the audience consuming it (Athique 111). In looking at the film’s transnational movement, I attend to its songs’ imagistic qualities and interpret ‘Satrangi Re’ (The Colorful One), one of the most remarked upon songs in the film, as a translation of narrative, rather than an escape from it. The film’s intradiegetic movement during its transition from narrative to dream- like song sequences and its transnational circulation are marked by a resemblance between interiority and exteriority. In its transnational movement, the link between song and narrative weakens, but at the same time, brings forth new forms of visuality. Such visual presence, already at work in song sequences within their original narratives in pre-2000 Hindi cinema, is the first and preliminary movement of song picturization’s transnational circulation.","PeriodicalId":35199,"journal":{"name":"South Asian Popular Culture","volume":"20 1","pages":"217 - 234"},"PeriodicalIF":0.3,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41614352","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}

引用次数: 0

Aunties are voices from the sky: Re-imagining resistance in bollywood 阿姨是来自天空的声音：重新想象宝莱坞的抵抗

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South Asian Popular Culture Pub Date : 2022-05-04 DOI: 10.1080/14746689.2022.2089461

Prateek

引用次数: 1

Landless – Dir Randeep Maddoke (Dir. 2018, Punjabi with English subtitles) Landless–导演Randeep Maddoke（2018年导演，旁遮普语，英文字幕）

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South Asian Popular Culture Pub Date : 2022-05-04 DOI: 10.1080/14746689.2022.2089465

V. Kalra

{"title":"Landless – Dir Randeep Maddoke (Dir. 2018, Punjabi with English subtitles)","authors":"V. Kalra","doi":"10.1080/14746689.2022.2089465","DOIUrl":"https://doi.org/10.1080/14746689.2022.2089465","url":null,"abstract":"the of the farmer’s movement against the Indian is to be considered as an example of people power in principle and action, then the importance of the coalition of farm labourers, workers and landowners has to be recog-nised. When the kisan morcha began in November 2020, a dismissive attitude towards it highlighted the male, dominant caste leadership and questioned the possibility of a progressive politics coming out of this subject position. However, through the process of the long struggle, every issue that faces North Indian society came to the fore and the question of caste and the position of those who have no access to land, let alone the dream of ownership, was continuously highlighted from within and outside the movement. It is in that context, that the film Landless by Randeep Maddoke needs to be viewed. This is not only because Randeep himself spent a year at the Delhi borders, participating as an activist-photographer/filmmaker, but this brilliant documentary forefronts those who are at the absolute bottom of the rural labour hierarchy – landless, daily-wage earning, women. This film is an unrelentless and incisive insight into the lives of Dalit labour, predomi-nantly women, daily wage workers. They are at the bottom of the economic hierarchy, their bodies gnarled and hardened, by the harsh, rugged working conditions in which they labour. Perhaps the most powerful segment of the film juxtaposes a tractor fair in which a group of singers are entertaining the wealthy landowners, who are looking to buy farm machinery. The lewd lyrics of the singers are sequenced with the case of a young Dalit woman who is raped by Jat -boys on her way back from school. The abuse by dominant caste men and the trap of economic necessity sets the context of patriarchal exploitation, a brutal system laid bare by Maddoke’s aesthetic framing. The film takes the viewer deep into rural life, with the use of still shots that stay in the frame for what seems a long time, creating an intimacy that is shaken by the violence and hardship of the lives presented.","PeriodicalId":35199,"journal":{"name":"South Asian Popular Culture","volume":"20 1","pages":"277 - 278"},"PeriodicalIF":0.3,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49459301","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}

引用次数: 0

The new ‘new liberal Indian woman’: The glocalization of chick lit 新的“新自由主义印度女性”：女性照明的全球化

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South Asian Popular Culture Pub Date : 2022-05-04 DOI: 10.1080/14746689.2022.2090682

Srijani Ghosh

引用次数: 0