日常故事:“新”印度的人民档案和农村

Q1 Arts and Humanities

Studies in South Asian Film and Media Pub Date : 2016-04-01 DOI:10.1386/SAFM.7.1-2.71_1

R. Srinivasan

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引用次数: 1

摘要

本文是印度农村人民档案馆的一个案例研究，这是一个由记者P. Sainath创建的多媒体数字档案馆，于2014年12月在网上首次亮相。PARI以照片、视频、访谈、音频文件和文章为特色，试图照亮生活在印度农村的8.33亿人的生活。文章聚焦于“故事”的叙事形式和“日常”的普遍性时间性，并问道:“PARI的农村印度与它表面上属于的“新”印度之间的关系是什么?”PARI的文本和视觉媒介是如何共同作用以产生农村作为一个区域的?本文探讨了后殖民理论与“新”印度时期文化生产研究的相关性，同时认为PARI一方面提供了一个双面的描述，即农村作为印度城市历史上根深蒂固的他者，另一方面作为新自由主义想象的关键外部。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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Everyday stories: The people’s archive and the rural in ‘new’ India

This article is a case study of the People’s Archive of Rural India, a multimedia digital archive founded by journalist P. Sainath, which debuted online in December 2014. PARI features photographs, videos, interviews, audio files and articles that seek to illuminate the lives of the over 833 million people who live in rural India. Focusing on the narrative form of the ‘story’ and the universalizing temporality of the ‘everyday’, the article asks, ‘What is the relationship between PARI’s rural India and the “New” India to which it ostensibly belongs? How do PARI’s textual and visual mediations work together to produce the rural as a region?’. The article explores the relevance of postcolonial theory for the study of cultural production in the time of ‘New’ India, while arguing that PARI offers a Janus-faced depiction of the rural as urban India’s historically entrenched Other, on the one hand, and as a critical outside to the neo-liberal imagination, on the other.

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来源期刊

Studies in South Asian Film and Media Arts and Humanities-Visual Arts and Performing Arts

CiteScore

0.70

自引率

0.00%

发文量