Bioscope-South Asian Screen Studies最新文献

‘One Eye for Worship and One Eye for Entertainment’: Engaging with Islam in Hyderabad’s Production Locations “一只眼崇拜，一只眼娱乐”:在海得拉巴的制作地点与伊斯兰教接触

3区文学

Bioscope-South Asian Screen Studies Pub Date : 2023-11-14 DOI: 10.1177/09749276231198037

Eda Kandiyil Ahmad Faseeh

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引用次数: 0

Film(i) Culture after Film: Lip-sync Media and the Expanded Archive of Hindi Cinema 电影(一)电影后的文化:假唱媒体和扩展的印度电影档案

3区文学

Bioscope-South Asian Screen Studies Pub Date : 2023-11-14 DOI: 10.1177/09749276231198043

Amrita Chakravarty

引用次数: 0

Documentary Form and Spectral Citizenship in Madhusree Dutta’s 7 Islands and a Metro Madhusree Dutta的7个岛屿和地铁中的纪录片形式和幽灵公民身份

IF 0.2 3区文学

Bioscope-South Asian Screen Studies Pub Date : 2023-08-09 DOI: 10.1177/09749276231174455

C. Herbert

{"title":"Documentary Form and Spectral Citizenship in Madhusree Dutta’s 7 Islands and a Metro","authors":"C. Herbert","doi":"10.1177/09749276231174455","DOIUrl":"https://doi.org/10.1177/09749276231174455","url":null,"abstract":"Despite its aesthetic experimentation, its intervention into urgent questions about citizenship and belonging in contemporary India, and its attention to the most iconic of Indian cities, Mumbai, Madhusree Dutta’s 2006 documentary film 7 Islands and a Metro—and Dutta’s work more broadly—has yet to receive the critical attention it demands. Addressing this gap, this article examines Dutta’s use of spectrality to structure her search for a documentary form that makes room for Mumbai’s marginalised subjects to narrate themselves into its representational histories and contemporary spaces. Key to Dutta’s approach is a visual dialogue between the city’s historical ghosts and its spectral citizens—those who exist in a state of dispossession and social invisibility in the present, such as women, migrant workers, casteised and Muslim subjects, and the urban poor. Through this spectral framework—a dialogue between the living and the dead, which is also an intertextual dialogue between the past and the present, the fictional and the actual—Dutta’s film probes the complexities of representation and self-representation, agency and access to story-making processes and platforms. Dutta’s formal play foregrounds the multiple ways in which the city and citizenship are mediated, represented and claimed, and the multiple ways in which spectral subjects are produced and displaced. Her aesthetic experimentation—particularly her use of spectrality and performative modes of representation—enables reflections on the ways in which spectral subjects seek to render themselves visible in the city and claim themselves as active agents and participants in the making of Mumbai.","PeriodicalId":51959,"journal":{"name":"Bioscope-South Asian Screen Studies","volume":"76 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-08-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90956486","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Book review: Elora Halim Chowdhury, Ethical Encounters: Transnational Feminism, Human Rights, and War Cinema in Bangladesh 书评:埃罗拉·哈利姆·乔杜里，《伦理遭遇:孟加拉国的跨国女权主义、人权和战争电影》

IF 0.2 3区文学

Bioscope-South Asian Screen Studies Pub Date : 2023-07-18 DOI: 10.1177/09749276231183788

Fahmidul Haq

引用次数: 0

Bigil Adicha Massu Da: Self-reflexivity and Masculinity in Bigil (2019) 《比吉尔·阿迪查·马苏·达:比吉尔的自我反思和男子气概》(2019)

IF 0.2 3区文学

Bioscope-South Asian Screen Studies Pub Date : 2023-06-01 DOI: 10.1177/09749276231175015

Meenaatchi Saverimuttu

{"title":"Bigil Adicha Massu Da: Self-reflexivity and Masculinity in Bigil (2019)","authors":"Meenaatchi Saverimuttu","doi":"10.1177/09749276231175015","DOIUrl":"https://doi.org/10.1177/09749276231175015","url":null,"abstract":"Contemporary Tamil films are largely dependent on viewers having prior knowledge of film canon, celebrities, industry happenings and social issues in the Indian state of Tamil Nadu. Taking the form of complicated chains of intertextuality, self-reflexive moments are fundamental to the ways in which Tamil film narratives, particularly the narratives of mass hero films, are constructed. The 2019 blockbuster film Bigil (Whistle), a sports film about a male coach leading an all-women soccer team, highlights the extent to which Tamil mass hero films rely on self-reflexive techniques to uphold the portrayal of specific gendered identities. This article examines the ways in which Bigil constructs contemporary Tamil masculinity through both the narrative representation of the central character Michael and the use of cinematic techniques, which privilege and celebrate the star’s (Vijay) relationship with his fans. This article conducts a close textual analysis of key sequences in the film, including song sequences, and interactions between Michael and the women soccer players. In doing so, it unpacks the ways in which the hypermasculinity of the male protagonist fundamentally diminishes the film’s supposedly empowering storyline and the ways in which contemporary Tamil films seek to capitalise on the marketability of such narratives.","PeriodicalId":51959,"journal":{"name":"Bioscope-South Asian Screen Studies","volume":"9 1","pages":"59 - 79"},"PeriodicalIF":0.2,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83620565","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Gandhi and Gandhi: Modernity, Gender and Reform in the Films of Rajesh Khanna 甘地与甘地:拉杰什·康纳电影中的现代性、性别与改革

IF 0.2 3区文学

Bioscope-South Asian Screen Studies Pub Date : 2023-06-01 DOI: 10.1177/09749276231170543

Harshit Nigam

{"title":"Gandhi and Gandhi: Modernity, Gender and Reform in the Films of Rajesh Khanna","authors":"Harshit Nigam","doi":"10.1177/09749276231170543","DOIUrl":"https://doi.org/10.1177/09749276231170543","url":null,"abstract":"Meghnad Desai fittingly described the twentieth-century India as ‘a tale of two Gandhi dynasties’ – Mahatma Gandhi and Indira Gandhi. The confluence of two Gandhi(s) – former, ideologically and latter, socio-historically – provides an opportunity to read Rajesh Khanna’s star text with an altogether distinct theoretical approach. In this article, the author attempts to read Rajesh Khanna (1942–2012), the popular and veteran Indian actor, against the politico-historical backdrop of Indira Gandhi’s leftward leanings and to reveal the possibility of the Gandhian (former) paradigm for reform and national reconciliation within the iconography and the form of his films. More specifically, the article examines Mahatma Gandhi’s framework of an alternate modernity and masculinity embedded within Rajesh Khanna’s on-screen persona. Khadi, one of the major tropes for Mahatma to critique the western models of modernity, masculinity and progress, finds a focused attention vis-à-vis the iconography of Rajesh Khanna’s star text. Rajesh Khanna’s foray into electoral politics in early 1990s, echoing the Gandhian connotations of his stardom, will also be the subject of a brief discussion in this article.","PeriodicalId":51959,"journal":{"name":"Bioscope-South Asian Screen Studies","volume":"11 1","pages":"34 - 58"},"PeriodicalIF":0.2,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73690262","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Where Adab Meets Film: Mapping Discourses on Akhlaq and Islah in the Urdu Film Journals from India (1930–1950) 阿达布与电影相遇的地方:1930-1950年印度乌尔都语电影期刊中关于阿克拉克和伊斯兰语的话语映射

IF 0.2 3区文学

Bioscope-South Asian Screen Studies Pub Date : 2023-06-01 DOI: 10.1177/09749276231172115

S. Niazi

{"title":"Where Adab Meets Film: Mapping Discourses on Akhlaq and Islah in the Urdu Film Journals from India (1930–1950)","authors":"S. Niazi","doi":"10.1177/09749276231172115","DOIUrl":"https://doi.org/10.1177/09749276231172115","url":null,"abstract":"Film journals had become part and parcel of the complex of cinema consumption and a vital source of information in the 1930s. These film journals successfully expanded the reach of cinema and created a space for thinking and engaging with cinema and cinema-related content. The film magazine not only fulfilled the needs of average cinema-goers but was also aimed at distributors, exhibitors, advertisers and potential film financiers. This article throws light on the issue of cinema’s relationship to language through the Urdu film journal. It explores how literary public spheres impinged on the cinematic and reflected the tensions and anxieties that had arisen over the question of the Hindi-Urdu language divide during the 1930s. The intersection between – and transformations of – literary and cinematic cultures effected by commercial printing produced a series of complex negotiations. Through the specific cases of the Urdu film journals Film, Shama, Star, Film Stage and Nigarkhana, I show how these journals were responding to – or how they expressed continued engagement with – notions of akhlaq (moral conduct) and islah (correction) which were central to contemporary articulations on reform and morality.","PeriodicalId":51959,"journal":{"name":"Bioscope-South Asian Screen Studies","volume":"82 1","pages":"80 - 98"},"PeriodicalIF":0.2,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89018849","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Idols and Ideologies 偶像与意识形态

IF 0.2 3区文学

Bioscope-South Asian Screen Studies Pub Date : 2023-06-01 DOI: 10.1177/09749276231186721

Ravi S. Vasudevan, Rosie Thomas, S. Srinivas, S. Siddique, Debashree Mukherjee, K. Nair, L. Hoek

{"title":"Idols and Ideologies","authors":"Ravi S. Vasudevan, Rosie Thomas, S. Srinivas, S. Siddique, Debashree Mukherjee, K. Nair, L. Hoek","doi":"10.1177/09749276231186721","DOIUrl":"https://doi.org/10.1177/09749276231186721","url":null,"abstract":"The contributions to the latest issue of BioScope place Indian cinema in the field of moral, reformist and democratic ideals, suggesting an enduring hold of a notion of the political on film journalism, spectatorship and star phenomenon. A deceased actor, who has long been celebrated as Hindi cinema’s first superstar and a heartthrob, is placed at the confluence of two differing ideologies that once sustained the Indian National Congress. An ever-green singing idol’s claim to a secular style is re-evaluated in the light of multiple marginalities that he has managed to dispense with. A genre, referred to as the ‘mass hero film’, is scrutinised for its troubling gender ideology in a region where cinema has been pivotal to mass politics. Finally, the neglected history of Urdu film journalism is recovered with an eye to vernacular print media’s insistence on its corrective role and moral vision for both filmgoers and filmmakers in colonial India. In this issue, the terms of critique have shifted—we are not reading about the political significance of cinema (Prasad, 2014; Rajadhyaksha, 2009; Srinivas, 2018), but rather the cinematic co-optation of politics in India. Among the earlier modalities of the relationship between cinema and politics is a long-standing, though not uncontested, view working through aspects of identity and focussed on the ideological links between Indian cinema and the state (Chakravarty, 1994, on national identity; also see Nisha, 2020, for mapping an oppositional ‘Bahujan gaze’). Another register in which the said relationship has been explored is through subaltern fan bhakti, which potentially partakes in collective sovereignty through star adulation (Prasad, 2009). While retaining the emphasis on idols and ideology, the featured articles suggest an altered modality involving sacrifice, reform and empowerment through which the political is promised. What is suggested here is a deliberate, imperfect yet powerful harnessing of political drives by cinema and its ancillary bodies. The issue is","PeriodicalId":51959,"journal":{"name":"Bioscope-South Asian Screen Studies","volume":"3 1","pages":"7 - 10"},"PeriodicalIF":0.2,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74956895","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Off the ‘Minor’ Tracks: K. J. Yesudas, Popular Music and Religion in Kerala “次要”曲目:k.j. Yesudas，喀拉拉邦的流行音乐和宗教

IF 0.2 3区文学

Bioscope-South Asian Screen Studies Pub Date : 2023-05-23 DOI: 10.1177/09749276231161953

Ambili Anna Markose

{"title":"Off the ‘Minor’ Tracks: K. J. Yesudas, Popular Music and Religion in Kerala","authors":"Ambili Anna Markose","doi":"10.1177/09749276231161953","DOIUrl":"https://doi.org/10.1177/09749276231161953","url":null,"abstract":"This article examines the formation of minority subjectivity in the cultural public sphere of Kerala, South India by analysing the case of a famous singer from Kerala, Kattassery Joseph Yesudas or K. J. Yesudas. The singer’s popularity is punctuated by the shifts and ruptures in the music industry in Malayalam – the standard language of the region. This analysis elucidates the historical premises wherein aesthetic judgments shape discourses of identity politics and cultural legitimacy. Therefore, it focuses on the singer’s cult image and the visual manifestations of his voice. In doing so, this article attends to the many layers of the unparalleled popularity Yesudas enjoys. This analysis explores how a specific idea of secularism is foundational in the singer’s popularity and proposes that the idea of sacrifice plays a crucial role within. Clearly, Yesudas’s colossal status is predicated on an idea of performance and this performance is embodied in a perennial sacrifice of the self. Further, the article argues that Yesudas’s popularity and the trajectory of minority politics in Kerala is crucial in the erasure of ‘other’ voices from the domain of popular music in the region.","PeriodicalId":51959,"journal":{"name":"Bioscope-South Asian Screen Studies","volume":"61 1","pages":"11 - 33"},"PeriodicalIF":0.2,"publicationDate":"2023-05-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72530025","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The Archive as Detritus: Naeem Mohaiemen’s Jole Dobe Na 作为碎片的档案:Naeem Mohaiemen的joole Dobe Na

IF 0.2 3区文学

Bioscope-South Asian Screen Studies Pub Date : 2023-05-11 DOI: 10.1177/09749276231169866

S. Chaudhuri

{"title":"The Archive as Detritus: Naeem Mohaiemen’s Jole Dobe Na","authors":"S. Chaudhuri","doi":"10.1177/09749276231169866","DOIUrl":"https://doi.org/10.1177/09749276231169866","url":null,"abstract":"Through a series of reflections on the film Jole Dobe Na (Those Who Do Not Drown, 64 minutes, 2020), directed by Naeem Mohaiemen, this essay explores the relations between archives, dust and memory. It argues that memory is constantly struggling against the proliferation of detritus that clutters the material archive as we attempt to recover or reconstitute the past. Mohaiemen’s Jole Dobe Na, a film about loss and mourning, places its protagonists in an abandoned hospital filled with disused furniture, equipment, and records, through which we pursue the thread of memory like searchers in an archive. But while Mohaiemen’s earlier, research-driven films have excavated archives for documents, photographs and film footage in order to comment on history or release unexplored historical possibilities, Jole Dobe Na appears to view the archive itself as debris, always threatening to collapse into dust as memory confronts the past as wreckage. Mohaiemen’s Tripoli Cancelled (2017) and Jole Dobe Na (2020), films set in liminal, derelict spaces (an airport and a hospital) both speak to the questions of site and space that preoccupy cinema today, especially artists’ films meant for gallery viewing. They also reflect on the archive as a ruin rather than a repository.","PeriodicalId":51959,"journal":{"name":"Bioscope-South Asian Screen Studies","volume":"12 1","pages":"99 - 109"},"PeriodicalIF":0.2,"publicationDate":"2023-05-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73947530","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0