{"title":"The Popular","authors":"A. Basu","doi":"10.1177/09749276211026158","DOIUrl":"https://doi.org/10.1177/09749276211026158","url":null,"abstract":"The article analyzes the phenomenon of digital bodility in the context of popular culture. In par- ticular, in the aspect of digital body existence in the space of MMORPG. The relevance is due to the apparent inadequacy of the traditional morphology of bodility, which implies the existence of a physi- cal and social body, as well as a transformation of communication strategies, including language practices, which are strongly influenced by the gaming industry. However, if we are talking about the ap- pearance of a new type of bodility that fundamentally changes the whole morphology of the phenomenon, then, automatically, we raise another problem implicit in this phenomenon: these are the mechanisms of self - identification. The purpose of the work is to analyze the phenomenon of the MMORPG, the features of social communication and the specifics of self - identification in the virtual space. Modern foreign studies related to the digital body and the problems of interaction in the virtual world are, as a rule, of an applied nature, and they focus specifically on communication, rather than bodility. So, N. Dachenow, E. Nickell and R.J.Mour were very productively engaged in the study of communication strategies in the MMORPG Star Wars universe. A similar problem was solved by M. Griffits, M. Davis and D. Chapell, who were among the first to point out that it was the possibility of communication in the MMORPG that was the most attractive for u s ers. V. Chen and G. Dach went further and turned to the analysis of the influence on the user of the immersion process in virtual reali- ty, so they came close to the problem of the digital body itself functioning. We point out the need to consider the problem of the digital body functioning in the context of increasing activity of minority cultures. Today, it can be unequivocally asserted that the importance of minority subcultural movements will increase. We are already witnessing a process in which subcul- tural movements are not simply massively entering the forefront of cultural life, but are increasingly asserting their rights to determine the cultural mainstream.","PeriodicalId":51959,"journal":{"name":"Bioscope-South Asian Screen Studies","volume":"22 1","pages":"144 - 147"},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78105925","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}
{"title":"Design","authors":"Ranjani Mazumdar","doi":"10.1177/09749276211028971","DOIUrl":"https://doi.org/10.1177/09749276211028971","url":null,"abstract":"Cinematic design is a strangely slippery term that can include a range of activities linked to the imagination of screen space, the style of film publicity, the choice of costumes and the architectural layout of the theatre where the movies have traditionally been housed. It is, however, in the mise-en-scene where design has played the most significant and enduring role in creating an atmospheric sense of space. If the imagination of this cinematic space was once driven primarily by temporary structures built in studios, over a period of time a hybrid form has emerged that combines the physical texture of sets with the use of actual locations and virtual spaces generated through special effects (Bergfelder et al., 2007). Set design requires a large labour-intensive workforce that is managed by figures who are interchangeably referred to as art directors, production designers, set designers, set decorators, etc. (Bergfelder et al., 2007; Izquierdo Tobias, 2016). Most production designers have been assigned these different titles at some point in their career since the work involves extensive knowledge of props, objects, fabric, colour, décor and architecture. It is this confusion about the specific nature of the skills required that has resulted in the marginal status accorded to production design as a legitimate site of enquiry in film studies (Bergfelder et. al., 2007; Ramirez, 2014; Izquierdo Tobias, 2016). In recent years, however, we have seen an increase in the academic engagement with set design, and while this is still sparse, some interesting and provocative methodological approaches have clearly emerged. Charles and Mirella Jona Affron have argued that the movie set and the role of the art director are crucial for an understanding of the industrial and narrative pressures at work in cinema. In their formulation, décor plays a significant role in the dispersion of narrative meaning and is arranged primarily through various levels of ‘design intensity’ (Affron & Affron, 1995). Charles Tashiro (1997), on the other hand, believes that sets and objects are independent forces that may even run counter to the narrative or operate in excess of it. A somewhat similar line of thinking can be traced in the collaboratively authored work of Tim Bergfelder, Sue Harris and Sarah Street, where the performative and stylistic force of set design is highlighted to challenge the primacy accorded to the director in the history of cinema (Bergfelder et al., 2007). The recent revival of phenomenological approaches and architectural concerns has also played a significant role in shifting the obsession with the gaze in film theory to a sensuous and haptic engagement with the texture of the mise-en-scene (Albrecht, 2000; Bruno, 2002; Ramirez, 2004; Vidler, 1993). All these debates have brought to the fore the place of the","PeriodicalId":51959,"journal":{"name":"Bioscope-South Asian Screen Studies","volume":"1 1","pages":"57 - 60"},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73642349","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}
{"title":"Space","authors":"Priya Jaikumar","doi":"10.1177/09749276211026086","DOIUrl":"https://doi.org/10.1177/09749276211026086","url":null,"abstract":". The complexity measure under consideration is SPACE ⇥ REVERSALS for Turing machines that are able to branch both existentially and universally. We show that, for any function h ( n ) between log log n and log n , ⇧ 1 SPACE ⇥ REVERSALS( h ( n )) is separated from ⌃ 1 SPACE ⇥ REVERSALS( h ( n )) as well as from co ⌃ 1 SPACE ⇥ REVERSALS( h ( n )), for middle , accept , and weak modes of this complexity measure. This also separates determinism from the higher levels of the alternating hierarchy. For “well-behaved” functions h ( n ) between log log n and log n , almost all of the above separations can be obtained by using unary witness languages. In addition, the construction of separating languages contributes to the research on minimal resource requirements for computational devices capable of recognizing nonregular languages. For any (arbitrarily slow growing) unbounded monotone recursive function f ( n ), a nonregular unary language is presented that can be accepted by a middle ⇧ 1 alternating Turing machine in s ( n ) space and i ( n ) input head reversals, with s ( n ) · i ( n ) 2 O (log log n · f ( n )). Thus, there is no exponential gap for the optimal lower bound on the product s ( n ) · i ( n ) between unary and general nonregular language acceptance—in sharp contrast with the one-way case.","PeriodicalId":51959,"journal":{"name":"Bioscope-South Asian Screen Studies","volume":"4 1","pages":"182 - 184"},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73715920","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}
{"title":"DIY Media in South Asia","authors":"A. Rai","doi":"10.1177/09749276211026061","DOIUrl":"https://doi.org/10.1177/09749276211026061","url":null,"abstract":"Do-it-yourself (DIY) media in South Asia requires a renewed understanding of the relations between postcolonial politics and sensorimotor ecologies (sensoria of force, sense and value). DIY media brings out the ‘informal’, or ‘jugaad’ (ad hoc workarounds) conditions of communication today; these conditions include the political economy of an accelerating media sensoria and the value chains of globalised infrastructures, themselves in flux. The importance of DIY media production and circulation, as social syntheses of ‘glocal’ piracy value chains and jugaad practices, is highlighted by three tendencies of platform media ecologies. The first tendency of DIY media practice highlights the ‘autonomy’ of subaltern politics, as the formalised infrastructures (e.g., value and supply chains) of globalised intellectual property regimes, norms of digital and creative work, conscious attention and habituated ‘contemplation’, ‘creative/cultural/knowledge industries’ organisation are put under erasure through its distracted agencies and self-organised networks (DeLanda, 2013; Guha, 1983; Manuel, 1993; Neves & Sarkar, 2017; Sundaram, 2015). Consider a quasi-heroic and often masculinist figure that has emerged as a kind of composite case study of DIY media from my fieldwork in media ecologies in India (Rai, 2009, 2019): the lifeworld of a Dalit mobile phone repair plus digital media distributor in, say Madanpur Khader Extension in east Delhi (where I have conducted fieldwork): the acquired skill sets of the tinkerer and the technical infrastructures of a constantly transforming network of technoanimist circulation and pragmatic repurposing, themselves tied to the gendered forms of Dalit social reproduction of the home and commodity labour power, mutate across resonating series of technological interfaces, information, style, language and desire (Simondon, 2017). Thus, DIY media point to a radical political economy when, with Mukherjee and Singh (2017), we ask ‘what happens when (studies of) technocultural networks overlap with marginalized regions (subaltern studies) ... [w]hat happens when relatively marginal communities ... are studied as part of “political societies,” not necessarily in the theoretical vocabulary of negotiating welfare benefits, but as active prosumers and innovators of contemporary media technologies?’ (Chattopadhyay & Sarkar, 2005; Mukherjee & Singh, 2017, p. 135). These informal prosumer networks, feedbacked in real time unlike the serial assembly line, have both digital (platform-based and measurable) and analogue (stochastic but probabilistic affects) parameters of change. This tendency also underscores the","PeriodicalId":51959,"journal":{"name":"Bioscope-South Asian Screen Studies","volume":"37 1","pages":"64 - 67"},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79059682","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}
{"title":"Sound","authors":"I. Bhattacharya","doi":"10.1177/09749276211026057","DOIUrl":"https://doi.org/10.1177/09749276211026057","url":null,"abstract":"The gradual shift from analogue to digital sound throughout the 1990s is arguably the most significant historical event in South Asia film industries since the talkies arrived in 1931. The diffusion of digital sound technology, the increased exposure of South Asian sound practitioners to the globalised mediascape, and sound recordist Resul Pookutty’s 2009 Academy Award for the British film Slumdog Millionaire (2008) cumulatively secured the place of film sound practice as a key function in Indian film production. In Bollywood at least, sound is no longer the poor relation. Recent film credits demonstrate a new assertiveness among Indian sound practitioners: from the late 1990s onwards, Bollywood and regional sound recordists, editors and re-recording engineers began calling themselves ‘sound designers’ to highlight their role as creative workers, not just technicians. Whereas in Hollywood the ‘sound designer’ credit is used sparingly, mostly for supervising sound editors or sound effects creators (Whittington, 2007), India’s recent blossoming of ‘sound designers’ is symptomatic of a long and distinctive history of sound practices across South Asia. As Booth’s (2008) and Ganti’s (2012) ethnographies of Bollywood film production describe, practices and workplace ideologies across the Indian film industries have traditionally differed from normative Euro-American conventions. Key academic debates on sound in Indian cinema have explored asynchronism (the disparity between what is seen and what is heard), drawing often on Michel Chion’s (1999) influential concept of the acousmatic (Majumdar, 2001; Thomas, 2011). Discussion also focuses on the persistence of songs (Skillman, 1986), the dominance of background music (Morcom, 2001), and the relative disregard of atmospheric sounds and diegetic effects in comparison to Euro-American practices (Chattopadhyay, 2015). Indian film practitioners’ concerns date back to 1931; Ardeshir Irani, Alam Ara’s (1931) director, describes picking up the bare rudiments of sound recording from the American sound technician who arrived to assemble the new recording equipment (Garga, 1980). Highlighting the difficulties he faced, Irani reminisced,","PeriodicalId":51959,"journal":{"name":"Bioscope-South Asian Screen Studies","volume":"85 1","pages":"178 - 181"},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87035075","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}
{"title":"Film Music","authors":"Shikha Jhingan","doi":"10.1177/09749276211026091","DOIUrl":"https://doi.org/10.1177/09749276211026091","url":null,"abstract":"Studies of music in South Asian cinemas are dominated by discussions of popular film songs, their lyrics, vocal style, visual coding, placement in film narratives and their afterlives in diverse media formats. Moving away from the song-driven approach, this keyword is an attempt to expand the definition of film music by following its aural trace amidst shifting media technologies and listening practices. The aural force of film music carries an affective charge in excess of the verbal and has created a forcefield of intertextual memory that was not recognised by academics until very recently. Here, I focus on commercial Bombay cinema that has dominated popular music of the subcontinent and is the site of my own research. The overt presence of music in films as song has been framed as a continuation of the idiom of musical dramas that drew on classical raga-based melodies. Further, the predilection of audiences to hum film songs with an ‘easy’, ‘repetitive’ musical structure was linked to their affinity to communal folk music (Beeman, 1980). Interestingly, it was the dispersal of film music into other intermedial forms such as printed chapbooks and song booklets that nudged listeners to sing the lyrics and ignore the instrumental sections. The radio stepped in to keep listeners connected to these non-verbal musical sections of a film song. Highlighting the tensions and divergences between verbal and non-verbal as being critical to performing arts, Ashok Da. Ranade (2006) has drawn attention to the aesthetic principles that bring auditory and visual elements together in film music. Introductory non-verbal sections of film songs and background scores perform the work of effecting these divergences. Another vexed question for both composers and film-makers has been to establish a hierarchy of sources for film music. Satyajit Ray found Indian classical music unsuitable for background scores as it ‘lacked a dramatic narrative tradition’ (Robinson, 1989). Noticing how the Jatra companies in Bengal drew from a curious mix of both Indian and western instruments, Ray tried to bring in a similar experimental approach. Missionaries of the colonial period, military bands, jazz clubs in Calcutta, Bombay and Lahore, gramophone records and the exhibition of Hollywood films had introduced Indian listeners to Western classical and popular music genres. These influences made their way into films. In the 1950s Bombay, working in an industrial context, music directors like Naushad Ali expressed a similar concern as Ray. They felt that Indian instruments such as the sitar, sarod or the flute fell short in expressing violence or","PeriodicalId":51959,"journal":{"name":"Bioscope-South Asian Screen Studies","volume":"6 1","pages":"91 - 94"},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84856193","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}
{"title":"Queer","authors":"Shohini Ghosh","doi":"10.1177/09749276211028975","DOIUrl":"https://doi.org/10.1177/09749276211028975","url":null,"abstract":"When on 6 September 2018, the Supreme Court finally decriminalised homosexuality after a series of contradictory verdicts, the Indian judiciary caught up with the queering of the Indian public. The road to victory was paved not by rights activism alone but queer activism’s spectacular success in raising and sustaining public consciousness through creating spaces for cultural, social and intellectual engagement. This included an incrementally proliferating culture of queer films. The post-liberalisation mediascape of the 1990s radically transformed the cultural practices of the urban middle classes in India. The new sounds and images that flowed into people’s homes through satellite TV channels triggered moral panics while inaugurating an efflorescence of sexual speech. Newscasts, talk shows and a variety of TV shows, some featuring unmistakably queer characters, challenged conventional family values and heteronormativity (Ghosh, 2000b). The two decades on the cusp of the new millennium saw a number of films that featured gender non-conforming primary protagonists. The 1990s also saw the first self-identified queer films from Riyad Wadia, which included the most audacious BOMgAY (1996) and later Summer in My Veins (1999), a confessional ‘coming out’ documentary by Nishit Saran. Lauren Berlant (2000) has suggested that intimacy relies heavily on the shifting registers of unspoken ambivalence. To this end Deepa Mehta’s film Fire (1996), about the lesbian relationship between two sisters-in-law living in Delhi, has played a significant role in reconfiguring our understanding of how cinematic narratives might work. The film released across India in November 1998; two weeks later Hindu Right groups in Bombay and Delhi carried out violent protests alleging that the film promoted ‘perversion’ and endangered the institution of marriage and procreation. The mob violence was countered by peaceful protests from groups and individuals who defended the human rights of queer people and the right to free speech and expression (Ghosh, 2010). Inaugurating post-independent India’s first public debate on homosexuality, Fire validated a subcultural ‘looking’ strategy by blurring the lines between female homosociality and female homosexuality. Gayatri Gopinath observes that one woman massaging the other’s feet at a family picnic transforms ‘a daily female homosocial activity into an intensely homoerotic one’ (2005, p. 153). Queer subcultures had long read the promise and possibility of the erotic in the homosocial. With Fire this subcultural interpretative reading strategy imploded into the public domain thereby inviting what Patricia White (1999, pp. 194–215) calls ‘retrospectatorship’ – the throwing open of older texts to newer readings. The queer reading may also turn out to be more than","PeriodicalId":51959,"journal":{"name":"Bioscope-South Asian Screen Studies","volume":"12 1","pages":"154 - 157"},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78197127","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}
{"title":"Dubbing","authors":"Tejaswini Ganti","doi":"10.1177/09749276211026066","DOIUrl":"https://doi.org/10.1177/09749276211026066","url":null,"abstract":"While scholarship on dubbing, which has been overwhelmingly Eurocentric, has primarily focused on dubbing as a form of audiovisual translation (Abend-David, 2014; Bosseaux, 2015; Buffagni & Garzelli, 2013; Chaume, 2012; Cintas & Anderman, 2008; Ferrari, 2011; Pavesi et al., 2015), dubbing encompasses much more than translation in South Asian media industries. Dubbing, in fact, is a central industrial practice that is critical to understanding the diverse aesthetic and political ideologies, labour arrangements and production practices of South Asian film and media forms in their linguistic multiplicity (Chattopadhyay, 2015; Hoek, 2009; Mohaiemen, 2016; Srinivas, 2003; Srinivas et al., 2018). Here, I focus on mainstream film industries where dubbing is not regarded as a problem or ‘loss’ (Gambier, 2012) but is rather a widespread, well-known and creative practice to manage risk, adapt to uncertainty and reach the widest audiences. By decoupling actors’ voices from their bodies, dubbing is a form of risk management and comparative advantage that allows media producers in South Asia to incorporate a diverse range of individuals into the media-making process who, for one reason or another, may not have been considered suitable (Hoek, 2009). While dubbing can be seen as an adaptive and enabling practice, it also reinforces certain aesthetic, gender and social hierarchies. The three main modes of dubbing within mainstream media industries are the substitution of a singer’s voice for an actor’s – commonly referred to as ‘playback singing’; the re-recording of dialogue by actors after principal photography and editing has taken place, which is called ‘ADR’ or automated dialogue replacement in Western contexts but is referred to as ‘dubbing’ in South Asian contexts; and the replacement of the film, television or web series’ dialogues with translated ones, which is the more conventional understanding of dubbing across the world. When the technique of ‘playback singing’ – recording a song in advance and having the actor lip-synch the lyrics – became standard practice from 1935 onward (Rajadhyaksha & Willemen, 1999, p. 20), it revolutionised film production in the subcontinent. Actors and actresses no longer needed to be able to sing; the visualisation of song sequences was liberated from having to record the song simultaneously with the picture; and the release of the film’s soundtrack prior to its opening provided a ready form of publicity. Playback singing quickly became an accepted practice, giving rise to","PeriodicalId":51959,"journal":{"name":"Bioscope-South Asian Screen Studies","volume":"51 1","pages":"75 - 78"},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73065139","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}
{"title":"Art Cinema","authors":"Aparna Frank","doi":"10.1177/09749276211026077","DOIUrl":"https://doi.org/10.1177/09749276211026077","url":null,"abstract":"Art cinema represents what art historian George Kubler would term as a ‘connected’ global series that responds to the specific problem of popular cinema’s commercialisation and formulisation of film (Kubler, 1962). Alongside modernist and avant-garde film practices, art cinema has epitomised an internal critique of popular film genres by privileging realism and subjective expression in cinematic narration. In Indian cinema, such a critique has consistently been identified with the cinema of Satyajit Ray, but one could trace the advocacy for film as art to figures like Manik Lal Tandon who, in The International Photographer in 1934, denounced the adamantine clasp of song-and-dance routines and called for a film aesthetic built around montage. In the literature of film festivals, art cinema is unambiguously associated with the production of films of ‘quality’ (Confédération Internationale, n.d.). Even though that adjective recalls with potent irony Francois Truffaut’s vitriolic manifesto against the screenwriter’s tradition of ‘well-made’, ‘quality’ films, it signifies for the Indian film historian the language used by the Film Finance Corporation (FFC, set up in 1960 and later became the National Film Development Corporation or NFDC) and other journalistic opinions in the 1960s to champion the films of the Indian New Wave (also known as ‘parallel’ or ‘new’ cinema) that were considered superior to commercial fare by virtue of their style (neorealism and artistic experiments) and politics (a ‘humanist’ approach). These ‘quality’ films by Satyajit Ray and the FFC-backed films of the New Wave generation not only won national film awards but they also represented Indian cinema’s auteurist and realist practice in international film festivals, a practice that had indeed been informed and even influenced by a transnational phalanx of auteurs such as Jean Renoir, Vittorio De Sica, Akira Kurosawa, Federico Fellini, and Michelangelo Antonioni. Consequently, in terms of film reception, the term ‘art film’ came, contradictorily, to signify for the Indian film-going public either an elitist work that failed to speak to the common man or an aesthetic but critically poised vehicle that addressed issues such as caste, gender and communal conflicts. This double perception of art cinema as both obscure and articulative rather curiously reflects the cultural prestige","PeriodicalId":51959,"journal":{"name":"Bioscope-South Asian Screen Studies","volume":"40 1","pages":"23 - 26"},"PeriodicalIF":0.2,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89028616","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}
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