Widowhood and Motherhood in Cinematic Imagination in the Historical Context

Jyoti Atwal
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Abstract

This article engages with the question of how Hindi cinema sought to synergize and imagine the nation, community and land in independent India as the embodiment of widowhood. I suggest that this process of embodiment was the culmination of a long historical-political process. The focus of this chapter is a 1957 Hindi film by Mehboob Khan named Mother India. The film stands out as a powerful emotional drama. On the one hand, this film marked continuity with the Indian literature, painting, theatre and cinema of the colonial period,1 on the other, Mother India influenced the culture of a new Indian nation after 1947. Within a decade after India attained independence from Britain, the Indian cinema became an undisputed site where the cultural engineering of a new nation could be enacted.2
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历史语境下电影想象中的寡妇与母性
本文探讨的问题是,印度电影如何将独立印度的国家、社区和土地作为寡妇的化身,寻求协同和想象。我认为这个具体化的过程是一个漫长的历史-政治过程的顶点。本章的重点是1957年由Mehboob Khan拍摄的一部名为《印度母亲》的印地语电影。这部电影作为一部强烈的情感剧而引人注目。一方面,这部电影标志着与殖民时期的印度文学、绘画、戏剧和电影的延续,1另一方面,印度母亲影响了1947年后新印度民族的文化。在印度从英国独立后的十年内,印度电影院成为了一个无可争议的场所,一个新国家的文化工程可以在这里实施
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