South Asian Popular Culture最新文献_第9页

Bridging the communal gap: The politics of “Hindu–Muslim” Salman Bhaijaan 弥合公共鸿沟:“印度教-穆斯林”萨尔曼·巴贾的政治

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South Asian Popular Culture Pub Date : 2020-09-01 DOI: 10.1080/14746689.2020.1815419

Gohar Siddiqui

{"title":"Bridging the communal gap: The politics of “Hindu–Muslim” Salman Bhaijaan","authors":"Gohar Siddiqui","doi":"10.1080/14746689.2020.1815419","DOIUrl":"https://doi.org/10.1080/14746689.2020.1815419","url":null,"abstract":"ABSTRACT Of the three Khans that dominate Bombay cinema, Salman Khan enjoys fan popularity amongst Muslims in India. This adoration and identification for Khan is surprising particularly because he has been publicly decried as a Muslim since his implicit support of prime minister Narendra Modi. And yet, his films often get released on the Muslim festival of Eid to tremendous box office success. This article analyzes the intersection of fandom and stardom of Salman Khan to discuss how his stardom is a product of negotiations between the public discussions of his religious identity, interviews that seek to convey his star image as authentic, and the cinematic construction of the star as articulated through his roles. An analysis of media coverage of his films across newspapers that cross nations (India and Pakistan), languages (English, Hindi, and Urdu), and urban-rural divides, I examine the paratextual construction of him as a bhaijaan/brother that then impacts interpretation of his films within local, national, and global imaginaries. I argue that the implicit positioning of Salman Khan across the Hindu-Muslim divide becomes explicit through his roles in Ek tha Tiger (2012), Bajrangi Bhaijaan (2015), and even Sultan (2016). This article proposes that the discourse around what I call his “bhaijaanification” serves as an interruption to the fundamentalist trends within India and Bombay cinema that have become worse as a result of large-scale transnational Islamophobia since 2001, and indicates the extent of stardom’s auteurist function where it influences meanings that go beyond the cinematic and into the political.","PeriodicalId":35199,"journal":{"name":"South Asian Popular Culture","volume":"18 1","pages":"201 - 215"},"PeriodicalIF":0.3,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14746689.2020.1815419","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45945647","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: 1

Humour in Narendra Modi memes on new media 新媒体上纳伦德拉·莫迪表情包中的幽默

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South Asian Popular Culture Pub Date : 2020-09-01 DOI: 10.1080/14746689.2020.1815450

Ankita Chatterjee

引用次数: 1

Manikarnika: The Queen of Jhansi and its topicality 玛尼卡尼卡：简西女王及其话题性

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South Asian Popular Culture Pub Date : 2020-09-01 DOI: 10.1080/14746689.2020.1815452

P. Maurya, Nagendra Kumar

引用次数: 2

The changing politics of beauty labour in Indian cinema 印度电影中不断变化的美容劳动政治

IF 0.3

South Asian Popular Culture Pub Date : 2020-09-01 DOI: 10.1080/14746689.2020.1815454

Srirupa Chatterjee, Shreya Rastogi

{"title":"The changing politics of beauty labour in Indian cinema","authors":"Srirupa Chatterjee, Shreya Rastogi","doi":"10.1080/14746689.2020.1815454","DOIUrl":"https://doi.org/10.1080/14746689.2020.1815454","url":null,"abstract":"ABSTRACT This essay analyses the changing politics of beauty labour and female body image in Indian cinema. It begins by discussing how beauty, a social capital for women, is a measuring rod with which their bodies are both assessed and objectified. It claims that cinema being a visual medium demands some aesthetic capital from actors, and the beauty of leading ladies portrayed on screen often adds to the spectacle. Focusing on mainstream Bollywood films produced especially over the last two decades, this essay examines narratives upholding the beauty ideal both as a cinematic necessity and also as a plot point. Tracing developments in cinematic representations of female beauty, it then examines select postmillennial films (both mainstream Bollywood as well as regional productions) to suggest that a maturing trend in representing female bodies is emerging in Indian cinema where instead of the prettified heroine one increasingly encounters protagonists who refuse to agonize under beauty labour. Finally, it argues that owing to global debates and critical feminist interventions on female body image, a radical shift is palpable in postmillennial Indian films which showcase women who either reject or redefine the politics of beauty labour.","PeriodicalId":35199,"journal":{"name":"South Asian Popular Culture","volume":"18 1","pages":"271 - 282"},"PeriodicalIF":0.3,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14746689.2020.1815454","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43895521","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: 1

Construction and contestation of identity and politics: Transgender people in contemporary Malayalam cinema 身份与政治的建构与争夺：当代马拉雅拉姆电影中的跨性别者

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South Asian Popular Culture Pub Date : 2020-09-01 DOI: 10.1080/14746689.2020.1815455

Anu Kuriakose

引用次数: 3

Brown skin, white ice: South Asian specific ice hockey programming in Canada 棕色皮肤，白色的冰:南亚特定的冰球节目在加拿大

IF 0.3

South Asian Popular Culture Pub Date : 2020-09-01 DOI: 10.1080/14746689.2020.1815445

Alysha Bains, Courtney Szto

引用次数: 6

Her trip abroad: Middle-class travels and feminism in women-centric popular Hindi movies 她的海外旅行:中产阶级旅行和以女性为中心的流行印度电影中的女权主义

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South Asian Popular Culture Pub Date : 2020-09-01 DOI: 10.1080/14746689.2020.1815449

Hawon Ku

引用次数: 1

Adapting to new media: A case study on exhibition and publicity practices of a rural single screen theatre in the digital era 适应新媒体：数字时代农村单屏剧场的展示与宣传实践个案研究

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South Asian Popular Culture Pub Date : 2020-05-03 DOI: 10.1080/14746689.2020.1774135

K. Sreesanth, T. Balasaravanan

{"title":"Adapting to new media: A case study on exhibition and publicity practices of a rural single screen theatre in the digital era","authors":"K. Sreesanth, T. Balasaravanan","doi":"10.1080/14746689.2020.1774135","DOIUrl":"https://doi.org/10.1080/14746689.2020.1774135","url":null,"abstract":"ABSTRACT Cinema exhibition houses provide the necessary settings for Indian audience to engage with cinema. Theatre and its overall practices ranging from film publicity to screening cinema helps the cinemagoers to construct the physical and spatial sense of film viewing. In India, post-release film publicity is done by exhibitors in their respective areas. The exhibitor use film posters/notices/advertisements to attract audiences to their cinema theatre. Apart from the conventional publicity mediums, at present exhibitors are using digital platforms like mobile phones and social media to reach the cinemagoers. This study explores one such attempt by a rural single screen theatre in Kannur district of Kerala to reach its audience. At a point of time when majority of nearby single screen theatres closed down due to declining audience attendance ‘Rani Talkies Vengad’ survived by adapting new ways of reaching the audience. While retaining the conventional publicity spaces and methods, this C class theatre is active on social media sites with its regular updates about the film change and show timings. This paper looks at cinema as a holistic experience and attempts to write the local film history of Vengad Rani by looking into the thick terrain of cinema that lies outside the cinematic text.","PeriodicalId":35199,"journal":{"name":"South Asian Popular Culture","volume":"18 1","pages":"163 - 176"},"PeriodicalIF":0.3,"publicationDate":"2020-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14746689.2020.1774135","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48292678","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

Going global: Filmic appropriation of Jane Austen in India 走向全球:简·奥斯汀在印度的电影改编

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South Asian Popular Culture Pub Date : 2020-05-03 DOI: 10.1080/14746689.2020.1774839

Meenakshi Bharat

{"title":"Going global: Filmic appropriation of Jane Austen in India","authors":"Meenakshi Bharat","doi":"10.1080/14746689.2020.1774839","DOIUrl":"https://doi.org/10.1080/14746689.2020.1774839","url":null,"abstract":"ABSTRACT The dual edged implications of the introduction of English literary studies notwithstanding – the presentation of a fresh cultural perspective and the complete cultural takeover of colony – the pride and fascination of the British with the works of Jane Austen has had a deep impact on cultural production in India and its diaspora. Down the years, keeping pace with changing times and backed by technological developments, the Jane Austen-facilitated coming together of the two nations and two cultures, has seen several multilingual, multicultural screen adaptations of the Austen novels for both television and the big screen: Sense and Sensibility by Tamil cinema as Kandukondain Kandukondain; Pride and Prejudice as Trishna, a serialized Hindi adaptation for Indian national television, and later, for the big screen by a British Indian in English and Hindi as the internationally acclaimed Bride and Prejudice/Balle Balle Amritsar to L.A. and more recently, Emma by mainstream Bollywood in Hindi as Aisha. The essay broaches an analysis of the nuancing that takes place in the interstices between the word and the visual art forms and of the complexities arising from this interface. The complex agenda of the adaptive engagement underlying this vibrant colloquy between two cultures, between two mediums is interesting enough, but the added dynamic of a hybrid cosmopolitanism that is sometimes gratifying and sometimes problematic, makes the study even more challenging.","PeriodicalId":35199,"journal":{"name":"South Asian Popular Culture","volume":"18 1","pages":"109 - 121"},"PeriodicalIF":0.3,"publicationDate":"2020-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14746689.2020.1774839","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49161476","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: 1

Images, fantasy and violence: Woman in North Indian performance tradition svang 形象、幻想与暴力:北印度表演传统中的女性

IF 0.3

South Asian Popular Culture Pub Date : 2020-05-03 DOI: 10.1080/14746689.2020.1773655

Karan Singh

{"title":"Images, fantasy and violence: Woman in North Indian performance tradition svang","authors":"Karan Singh","doi":"10.1080/14746689.2020.1773655","DOIUrl":"https://doi.org/10.1080/14746689.2020.1773655","url":null,"abstract":"ABSTRACT The performative space of svang is primarily located within a prison house of male values, perspectives and judgments. In these performances, females are often revealed through male guts, literally and metaphorically, in their androgynous transformations wherein less of a woman and more of a man, they become a specimen of collective male consciousness on the stage. One important pattern of these representations is idealization of females as mothers/sisters and their devaluation as wife/beloved, revealing a significant ideological drive towards a dualistic image construction. The play of violence in these dramatic representations becomes manifest through a representational ideology, demarcating the feminine from the masculine in a set of attributes which become instrumental in constructing an on-stage image of females as unreliable and primitive. These popular dramatic representations constitute a space which largely remains in contrast to the practical and physically active world of the rural women and imagine a fantasy land where the male imagination cuts and fits females into fixed parameters of a make-believe world. Controlled and created by male imagination, watched by a male audience and often represented by males themselves, these representational spaces produce a curious impression of a group-controlled male fantasy in which females become a victim of a concerted psychological violence. The present paper seeks to dwell on the imaginative violence which is produced by these representations on the popular performative space of North India by focusing on examples from dramatic performances of svangs on the rural stages of North Indian states of Haryana, Uttar Pradesh, Punjab and Rajasthan.","PeriodicalId":35199,"journal":{"name":"South Asian Popular Culture","volume":"18 1","pages":"123 - 137"},"PeriodicalIF":0.3,"publicationDate":"2020-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14746689.2020.1773655","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41692469","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