Dilwale Dulhania Le Jayenge和消费主义乌托邦

Q2 Arts and Humanities
A. Chatterjee
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引用次数: 0

摘要

摘要26年前,阿迪亚·乔普拉的电影《迪尔瓦勒·杜哈妮娅·勒贾恩格》(1995)以一个充满冒险色彩的浪漫情节,在流散和种族背景、全球品牌定位和体现传统价值观的移民印度人的背景下,再现了印度和全球印度侨民的新自由主义浪漫幻想。本文通过新自由主义消费文化的棱镜,回顾了这部电影作为印度中产阶级主体性指标的媒体场景,说明了它是如何将欲望商品化为一种全球效用的。它将消费主义父权制作为性别赋权的主题,以及代表个人自由的父权制和企业逻辑。我的评估与印度经济自由化的历史有关,表明这部电影的材料无意识地隐喻了到90年代末批准和实现的资本流入指数之间的赤字。虽然DDLJ颁布了外籍印度人虚拟遣返的承诺,但其性别平等和现代公民身份的承诺与占主导地位的社会结构和消费主义意识形态相结合,最终将解放人格化为全球资本的消费主体。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Dilwale Dulhania Le Jayenge and the Consumerist Utopia
ABSTRACT Twenty-six years ago, Aditya Chopra’s film Dilwale Dulhania Le Jayenge (1995) biblicized the neoliberal romantic fantasies of India and the global Indian diaspora with an adventurous romantic plot, against the backdrop of diasporic and ethnic settings, global brand placements and émigré Indians embodying traditional values. Reviewing the film’s mediascapes as an index of India’s middle-class subjectivity through the prism of neoliberal consumer culture, this paper illustrates how it merchandized desire as a global utility. It anchored a consumerist patriarchy as a motif of gender empowerment and the patriarchal and corporate logic of representing individual liberty. My assessment correlates to the history of India’s economic liberalization, suggesting that the film’s material unconscious allegorizes the deficit between approved and realized indexes of capital inflows by the end of the ‘90s. While DDLJ promulgated the promise of a virtual repatriation of expatriate Indians, its promise of gender equality and modern citizenship dwelled in collaboration with dominant social structures and consumerist ideologies that would, ultimately, personify emancipation as consuming subjects of global capital.
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来源期刊
History of Retailing and Consumption
History of Retailing and Consumption Arts and Humanities-History
CiteScore
0.50
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3
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