Pub Date : 2023-05-04DOI: 10.1080/14746689.2023.2232181
Somak Biswas, Rohit K. Dasgupta, Churnjeet Mahn
ABSTRACT Across South Asia and the world, new authoritarianisms in the last two decades have reignited old fault lines around sexuality. This introduction examines how different states, laws and communities have engaged with queer rights discourse with a range of outcomes. It argues that despite a spate of recent progressive legislations, there is no direct correlation between LGBTQI+ rights and liberal governance in South Asia. Framing contributions that take up different iterations of queer rights and authoritarianism in South Asia and its diaspora, the article outlines how LGBTQI+ actors’ negotiation of authoritarian regimes has produced fragile coalitions and new transnational formations.
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Pub Date : 2023-05-04DOI: 10.1080/14746689.2023.2232179
Sruthi B Guptha, Sandhya V
ABSTRACT Udalaazham (Body Deep), the 2018 Malayalam film directed by Unnikrishnan Avala, intrigues into the precarious dimensions of gender liminality in unprecedented ways by being the first film to discuss the life of a gender-liminal belonging to a tribal (Paniya) community in Kerala. The paper engages in a close reading and analysis of the film-text Udalaazham by placing it in juxtaposition to figurations of transgender subjectivities in contemporary Malayalam films, with an aim to contest the acclaimed progressive disposition of these mainstream representations. It employs the framework of intersectionality to focus on the protagonist Gulikan’s lived experiences enmeshed within the structures of tribal caste, ethnicity and gender characterized by multiple interlocking dimensions of precarity. His body, identity and desires are open to threat, violence, mutilations and perpetual questioning due to lack of socio-cultural capital and support network. The relevance of this film is in opening up the discussions on caste and liminal gender identity and thereby urging the dire need to re-write the formula of identity politics in the region and its popular culture. Reading Udalaazham in this context provides a more liberating yet disturbing space to discuss the regressive operations of identity categories and their limitations in conceptualizing regional queer identities in India.
{"title":"Contesting the mainstream transwoman figurations: The question of caste and precarity in Udalaazham","authors":"Sruthi B Guptha, Sandhya V","doi":"10.1080/14746689.2023.2232179","DOIUrl":"https://doi.org/10.1080/14746689.2023.2232179","url":null,"abstract":"ABSTRACT Udalaazham (Body Deep), the 2018 Malayalam film directed by Unnikrishnan Avala, intrigues into the precarious dimensions of gender liminality in unprecedented ways by being the first film to discuss the life of a gender-liminal belonging to a tribal (Paniya) community in Kerala. The paper engages in a close reading and analysis of the film-text Udalaazham by placing it in juxtaposition to figurations of transgender subjectivities in contemporary Malayalam films, with an aim to contest the acclaimed progressive disposition of these mainstream representations. It employs the framework of intersectionality to focus on the protagonist Gulikan’s lived experiences enmeshed within the structures of tribal caste, ethnicity and gender characterized by multiple interlocking dimensions of precarity. His body, identity and desires are open to threat, violence, mutilations and perpetual questioning due to lack of socio-cultural capital and support network. The relevance of this film is in opening up the discussions on caste and liminal gender identity and thereby urging the dire need to re-write the formula of identity politics in the region and its popular culture. Reading Udalaazham in this context provides a more liberating yet disturbing space to discuss the regressive operations of identity categories and their limitations in conceptualizing regional queer identities in India.","PeriodicalId":35199,"journal":{"name":"South Asian Popular Culture","volume":"21 1","pages":"189 - 204"},"PeriodicalIF":0.3,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48537198","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-04DOI: 10.1080/14746689.2023.2212256
Shermal Wijewardene
ABSTRACT This paper explores the representation of queer men’s unequal sexual citizenship in Sri Lanka in a Sri Lankan Anglophone play, focusing on its problematisation of an ambiguous ‘sodomy’ prohibition. I examine The One Who Loves You So (2019), a text in which the illegality of queer men’s offline and online intimacies is paradoxically depicted as both affirmed and open to interpretation. The textual analysis is contextualised by the Sri Lankan state’s consistent history of equivocating on who or what the country’s ‘sodomy laws’ criminalise, particularly when facing international human rights pressure. The state’s equivocation is surprisingly overlooked or dismissed as strategy in most current scholarship and activism: the trend is to think in terms of a hard state stance and a categorical criminalisation. The play lays the ground to grapple with the work done by equivocation, for instance in insidiously regulating same-sex intimacy and marking the conditional status of queer sexual citizenship in Sri Lanka. I plead for attention to the play’s intersectional approach, in particular how queer privilege/disprivilege mediates gradations of empowerment and disempowerment in an uncertain legal situation. The essay argues for moving beyond the idea of strategic evasiveness to recognising a state politics of equivocation on decriminalisation.
{"title":"“It’s illegal but it’s not, like, really illegal”: Sri Lanka’s ‘sodomy laws’, the politics of equivocation, and queer men’s sexual citizenship in The One Who Loves You So","authors":"Shermal Wijewardene","doi":"10.1080/14746689.2023.2212256","DOIUrl":"https://doi.org/10.1080/14746689.2023.2212256","url":null,"abstract":"ABSTRACT This paper explores the representation of queer men’s unequal sexual citizenship in Sri Lanka in a Sri Lankan Anglophone play, focusing on its problematisation of an ambiguous ‘sodomy’ prohibition. I examine The One Who Loves You So (2019), a text in which the illegality of queer men’s offline and online intimacies is paradoxically depicted as both affirmed and open to interpretation. The textual analysis is contextualised by the Sri Lankan state’s consistent history of equivocating on who or what the country’s ‘sodomy laws’ criminalise, particularly when facing international human rights pressure. The state’s equivocation is surprisingly overlooked or dismissed as strategy in most current scholarship and activism: the trend is to think in terms of a hard state stance and a categorical criminalisation. The play lays the ground to grapple with the work done by equivocation, for instance in insidiously regulating same-sex intimacy and marking the conditional status of queer sexual citizenship in Sri Lanka. I plead for attention to the play’s intersectional approach, in particular how queer privilege/disprivilege mediates gradations of empowerment and disempowerment in an uncertain legal situation. The essay argues for moving beyond the idea of strategic evasiveness to recognising a state politics of equivocation on decriminalisation.","PeriodicalId":35199,"journal":{"name":"South Asian Popular Culture","volume":"21 1","pages":"171 - 188"},"PeriodicalIF":0.3,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47145335","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-04DOI: 10.1080/14746689.2023.2232180
Brian A. Horton
ABSTRACT With a particular focus on zines produced in Bombay from the 1990s to 2000s, this essay draws on and thinks with the masala that flavored the pages of three prominent Bombay queer zines: Bombay Dost, Scripts and Gaysi Zine. Through close readings of specific volumes, I demonstrate that zines constitute not only an overlooked archive of queer and trans cultures in India but have also been crucial to facilitating ‘queer sociality’ (Rodríguez 2011) between the sheets of the zine’s pages and in the worlds through which its copies might travel. I develop the concept of masala-with a queer accent (Khubchandani 2020)-to reflect its usage and meaning in queer spaces to reference sex, messiness, gossip and at times unruliness and nonresectable behavior. Extending its potential, I suggest that masala names not only a genre of content that is erotically charged or gossip-laden but is perhaps itself an analytic or technique by which queer subjects make political claims and forge community.
{"title":"Between the sheets: The queer sociality of Bombay zines","authors":"Brian A. Horton","doi":"10.1080/14746689.2023.2232180","DOIUrl":"https://doi.org/10.1080/14746689.2023.2232180","url":null,"abstract":"ABSTRACT With a particular focus on zines produced in Bombay from the 1990s to 2000s, this essay draws on and thinks with the masala that flavored the pages of three prominent Bombay queer zines: Bombay Dost, Scripts and Gaysi Zine. Through close readings of specific volumes, I demonstrate that zines constitute not only an overlooked archive of queer and trans cultures in India but have also been crucial to facilitating ‘queer sociality’ (Rodríguez 2011) between the sheets of the zine’s pages and in the worlds through which its copies might travel. I develop the concept of masala-with a queer accent (Khubchandani 2020)-to reflect its usage and meaning in queer spaces to reference sex, messiness, gossip and at times unruliness and nonresectable behavior. Extending its potential, I suggest that masala names not only a genre of content that is erotically charged or gossip-laden but is perhaps itself an analytic or technique by which queer subjects make political claims and forge community.","PeriodicalId":35199,"journal":{"name":"South Asian Popular Culture","volume":"21 1","pages":"205 - 221"},"PeriodicalIF":0.3,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47155394","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-04DOI: 10.1080/14746689.2023.2232172
S. Emmanuel, P. Arasu
ABSTRACT This working note is centred on snippets of the journey of two Sri Lankan queer couples as they negotiate the normative authoritarian regime of Sri Lankan state and society. Through the authors’ reflections, based on their involvement as activists in these couples’ lives, the paper points out to the distance between dominant discourses in state, society and even among elite queer spaces in the country and the needs of ordinary queer folks in dire situations. It suggests possible paths from which to imagine taking forward the struggle towards decriminalization, freedom, dignity and respect for the LGBTQIA+ community. It shows that these paths have a lot to learn from as well as contribute to, moments and the future impact of the mass mobilization for change in Sri Lanka in 2022 and the repression of the same that the people of Sri Lanka are currently living through.
{"title":"“Attempting to commit offences”: Protectionism, surveillance and moral policing of queer women in Sri Lanka","authors":"S. Emmanuel, P. Arasu","doi":"10.1080/14746689.2023.2232172","DOIUrl":"https://doi.org/10.1080/14746689.2023.2232172","url":null,"abstract":"ABSTRACT This working note is centred on snippets of the journey of two Sri Lankan queer couples as they negotiate the normative authoritarian regime of Sri Lankan state and society. Through the authors’ reflections, based on their involvement as activists in these couples’ lives, the paper points out to the distance between dominant discourses in state, society and even among elite queer spaces in the country and the needs of ordinary queer folks in dire situations. It suggests possible paths from which to imagine taking forward the struggle towards decriminalization, freedom, dignity and respect for the LGBTQIA+ community. It shows that these paths have a lot to learn from as well as contribute to, moments and the future impact of the mass mobilization for change in Sri Lanka in 2022 and the repression of the same that the people of Sri Lanka are currently living through.","PeriodicalId":35199,"journal":{"name":"South Asian Popular Culture","volume":"21 1","pages":"155 - 170"},"PeriodicalIF":0.3,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45613383","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/14746689.2023.2173848
Falu Bakrania
ABSTRACT The last several years has seen an incredible rise in the visibility of right wing South Asian American politicians. This essay examines the unprecedented media battle waged by and against one such figure, Ajit Pai, the Trump-appointed Chair of the Federal Communications Commission who led a charge to repeal net neutrality. This battle, which took place through promotional videos that Pai produced and a racist meme-driven backlash, is a rich archive for exploring the shifting racial constructions of the ‘model minority’ in neoliberal times. It reveals new ways in which the ‘model minority’ is performing race and in turn being racialized. It thereby extends our understanding of how model minority discourse works as a strategy of state governance and of disciplining people of color. Pai enacts what I call ‘model minority cool’, a subject position that insidiously deploys race: while it performs ‘cool’ to identify as a person of color who experiences racism, it perpetuates white supremacy. In turn, the backlash against Pai reveals that the model minority is now fungible with the intersecting, abject categories of terrorist, fag, and Black, extending the disciplining reach of model minority ideology.
{"title":"The mediated life of (Ajit) Pai: Disciplining ‘model minorities’ in neoliberal times","authors":"Falu Bakrania","doi":"10.1080/14746689.2023.2173848","DOIUrl":"https://doi.org/10.1080/14746689.2023.2173848","url":null,"abstract":"ABSTRACT The last several years has seen an incredible rise in the visibility of right wing South Asian American politicians. This essay examines the unprecedented media battle waged by and against one such figure, Ajit Pai, the Trump-appointed Chair of the Federal Communications Commission who led a charge to repeal net neutrality. This battle, which took place through promotional videos that Pai produced and a racist meme-driven backlash, is a rich archive for exploring the shifting racial constructions of the ‘model minority’ in neoliberal times. It reveals new ways in which the ‘model minority’ is performing race and in turn being racialized. It thereby extends our understanding of how model minority discourse works as a strategy of state governance and of disciplining people of color. Pai enacts what I call ‘model minority cool’, a subject position that insidiously deploys race: while it performs ‘cool’ to identify as a person of color who experiences racism, it perpetuates white supremacy. In turn, the backlash against Pai reveals that the model minority is now fungible with the intersecting, abject categories of terrorist, fag, and Black, extending the disciplining reach of model minority ideology.","PeriodicalId":35199,"journal":{"name":"South Asian Popular Culture","volume":"21 1","pages":"1 - 24"},"PeriodicalIF":0.3,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43556962","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/14746689.2023.2174289
R. Rizwan
ABSTRACT In Pakistani cinema or Lollywood, the Pashtun subject is pejoratively represented as either the noble savage, the violent Islamist, the vengeful patriarch, the paedophile, or the simple-minded buffoon. Such representations are grounded in colonial discourse and in post-9/11 national and transnational political discourse, which is then inflected by historical legacies of Punjabi majoritarianism. Cinematic renditions play a critical role in depicting Pashtun subjectivities as excluded from the imagined community of the nation and the national body politic and re-affirm the hegemony of certain identities at the expense of other minoritarian identities. In this paper, I will focus on three popular contemporary Pakistani films – Khuda kay Liye (2007), Jawani Phir Nahi Aani (2015), and Karachi Se Lahore (2015) – in order to argue for the co-option of the national cinematic apparatus to construct a Pashtun/Punjabi binary where Punjabi identity functions as a placeholder for Pakistani national identity and the Pashtun is strategically expunged from the national imaginary as a balm to the nation’s extant anxieties relating to the presence of local and global terrorism in the region, the centre’s inability to consolidate a collective cultural and national identity and the persistence of ethnic inequality in Pakistan.
在巴基斯坦电影或洛莱坞，普什图人被贬斥为高贵的野蛮人、暴力的伊斯兰主义者、复仇的族长、恋童癖者或头脑简单的小丑。这种表述基于殖民话语和后9/11国家和跨国政治话语，然后被旁遮普多数主义的历史遗产所影响。电影在描绘普什图人的主体性方面发挥了至关重要的作用，普什图人被排除在想象中的国家共同体和国家政治体之外，并以牺牲其他少数民族身份为代价，重新肯定了某些身份的霸权。在本文中，我将重点关注三部流行的当代巴基斯坦电影- Khuda kay Liye (2007)， Jawani Phir Nahi Aani (2015)，以及《卡拉奇拉合尔》(2015)——为了论证国家电影机构的共同选择，以构建普什图/旁遮普二元结构，其中旁遮普身份作为巴基斯坦民族身份的占位符，普什图人被战略性地从国家想象中抹去，作为该国现存的与该地区本地和全球恐怖主义存在有关的焦虑的一种安慰。该中心无力巩固集体文化和民族认同，以及巴基斯坦持续存在的种族不平等。
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Pub Date : 2023-01-02DOI: 10.1080/14746689.2023.2172842
S. Shekhar
Indian cinema has always tried to emulate the stylish superheroes of the west like Spiderman, Batman, and various characters of marvel comics which take the audiences to space, time travel, glossy VFX, and unbelievable stunts. As a country, India has not tapped into the rich written content specific to India, which can translate into beautiful cinematic stories. While Indians look at the west to quench the superhero appetite, such as Spiderman, Ironman, Superman, Batman, etc., India still is at the infant stage to establish one’s superhero industry in the same genre. However, a film released on Netflix during the 2021 Christmas eve in Mollywood (Malayalam film industry based in the south Indian state of Kerala) was different and left the viewers spellbound globally. Minnal Murali directed by Joseph, made the charts of the most viewed films in four countries, India, Oman, Qatar, and the United Arab Emirates, two days after its debut. It was among the top ten greatest non-English movies on Netflix worldwide (TNM). The film revolves around two persons who are hit by lightning simultaneously and get superpowers. The duo can also run with Minnal (lightning) speed. One uses the superpower for good other for evil. Indian culture is one of the world’s oldest and dates back to civilizations as ancient as 4500 years ago. Indian women mostly wear Sarees (long rectangular cloth). The traditional attire of men, particularly in south India, is Dhoti or Mundu (cloth knotted around the waist) and a loose shirt stretching to the knee length.Indian cinema is rooted in Indian culture. The narratives of ancient epics such as Mahabharata and Ramayan have influenced Indian cinemas.The direction of such influences includes side stories, backstories, and stories within a story. There is a long cultural tradition of using music and dance to tell mythology, culture, and fairy tales in Indian cinemas. Genre and styles of Indian films fall into masala movies (which portrays action, drama, love, melodrama), parallel movies (art movies), multilingual movies, and pan India movies that are released simultaneously in many Indian languages. Many Indian films like Pazhassi Raja, Baahubali, Lagaan, PK, etc., have previously depicted Indian culture. Minnal Murali’s message to society and its relation to Indian culture is worth citing. While most superhero movies often lose their identities to mimic the west’s character, Minnal Murali stays deep-rooted in Indian culture and its original story. Based in rural Kerala in the 1990s, the film depicts the protagonist and adversary performing action scenes. The superhero chases the villain in Mundu, slippers, and masks made from cotton
印度电影一直试图模仿西方时尚的超级英雄，比如蜘蛛侠、蝙蝠侠和漫威漫画中的各种角色，这些角色把观众带到太空、时间旅行、华丽的视觉特效和令人难以置信的特技。作为一个国家，印度还没有挖掘到印度特有的丰富的文字内容，这些内容可以转化为美丽的电影故事。虽然印度人把目光投向西方，以满足他们对超级英雄的胃口，比如蜘蛛侠、钢铁侠、超人、蝙蝠侠等，但印度在建立自己的同类型超级英雄产业方面仍处于初级阶段。然而，Netflix在2021年圣诞节前夕在印度南部喀拉拉邦的摩莱坞(Malayalam film industry)上映的一部电影却与众不同，让全球观众都为之着迷。约瑟夫导演的《米纳尔·穆拉利》在上映两天后就登上了印度、阿曼、卡塔尔、阿拉伯联合酋长国等4个国家的观影榜。它是Netflix全球十大最佳非英语电影之一(TNM)。影片围绕着两个同时被闪电击中并获得超能力的人展开。两人也能以闪电般的速度奔跑。一个用超能力做好事，另一个用超能力做坏事。印度文化是世界上最古老的文化之一，可以追溯到4500年前的文明。印度妇女大多穿纱丽(长方形长布)。男人的传统服装，特别是在印度南部，是Dhoti或Mundu(在腰部打结的布)和一件宽松的衬衫，一直延伸到膝盖。印度电影植根于印度文化。《摩诃婆罗多》和《罗摩衍》等古代史诗的叙事影响了印度电影。这些影响的方向包括支线故事、背景故事和故事中的故事。在印度电影院，用音乐和舞蹈来讲述神话、文化和童话有着悠久的文化传统。印度电影的类型和风格分为masala电影(描绘动作，戏剧，爱情，情节剧)，平行电影(艺术电影)，多语言电影和以多种印度语言同时发行的泛印度电影。许多印度电影，如paazhassi Raja, Baahubali, Lagaan, PK等，以前都描绘过印度文化。米纳尔·穆拉利向社会传达的信息及其与印度文化的关系值得引用。虽然大多数超级英雄电影经常为了模仿西方角色而失去自己的身份，但《米纳尔·穆拉利》却深深扎根于印度文化和原著故事。这部电影以20世纪90年代喀拉拉邦的农村为背景，讲述了主角和对手表演动作场面的故事。这位超级英雄穿着拖鞋和棉制面具追逐蒙杜的反派
{"title":"A superhero in Indian style and culture: Minnal Murali goes global","authors":"S. Shekhar","doi":"10.1080/14746689.2023.2172842","DOIUrl":"https://doi.org/10.1080/14746689.2023.2172842","url":null,"abstract":"Indian cinema has always tried to emulate the stylish superheroes of the west like Spiderman, Batman, and various characters of marvel comics which take the audiences to space, time travel, glossy VFX, and unbelievable stunts. As a country, India has not tapped into the rich written content specific to India, which can translate into beautiful cinematic stories. While Indians look at the west to quench the superhero appetite, such as Spiderman, Ironman, Superman, Batman, etc., India still is at the infant stage to establish one’s superhero industry in the same genre. However, a film released on Netflix during the 2021 Christmas eve in Mollywood (Malayalam film industry based in the south Indian state of Kerala) was different and left the viewers spellbound globally. Minnal Murali directed by Joseph, made the charts of the most viewed films in four countries, India, Oman, Qatar, and the United Arab Emirates, two days after its debut. It was among the top ten greatest non-English movies on Netflix worldwide (TNM). The film revolves around two persons who are hit by lightning simultaneously and get superpowers. The duo can also run with Minnal (lightning) speed. One uses the superpower for good other for evil. Indian culture is one of the world’s oldest and dates back to civilizations as ancient as 4500 years ago. Indian women mostly wear Sarees (long rectangular cloth). The traditional attire of men, particularly in south India, is Dhoti or Mundu (cloth knotted around the waist) and a loose shirt stretching to the knee length.Indian cinema is rooted in Indian culture. The narratives of ancient epics such as Mahabharata and Ramayan have influenced Indian cinemas.The direction of such influences includes side stories, backstories, and stories within a story. There is a long cultural tradition of using music and dance to tell mythology, culture, and fairy tales in Indian cinemas. Genre and styles of Indian films fall into masala movies (which portrays action, drama, love, melodrama), parallel movies (art movies), multilingual movies, and pan India movies that are released simultaneously in many Indian languages. Many Indian films like Pazhassi Raja, Baahubali, Lagaan, PK, etc., have previously depicted Indian culture. Minnal Murali’s message to society and its relation to Indian culture is worth citing. While most superhero movies often lose their identities to mimic the west’s character, Minnal Murali stays deep-rooted in Indian culture and its original story. Based in rural Kerala in the 1990s, the film depicts the protagonist and adversary performing action scenes. The superhero chases the villain in Mundu, slippers, and masks made from cotton","PeriodicalId":35199,"journal":{"name":"South Asian Popular Culture","volume":"21 1","pages":"143 - 146"},"PeriodicalIF":0.3,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44594933","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/14746689.2023.2171312
M. Gangahar, Pranav Kapil
ABSTRACT Punjab, when viewed through the lens of culture, presents a multifaceted and multi-dimensional cohesion. Within the frame of a cultural phenomenon, Punjab appears to be many Punjabs at once, a geographical, a political, an online, a feudal, and a diasporic Punjab. All of these many phizogs appear to be in continuous dialogue, negotiating for the supremacy of one structure. The paper aims to examine these kaleidoscopic patterns of a changing Punjab through the negotiations occurring within the cultural phenomenon of Sidhu Moose Wala as a singer, painting a picture of an evolving Punjab that persists along spatial, temporal, and cultural axes.
{"title":"Negotiations within a cultural phenomenon: Sidhu Moose Wala and a changing Punjab","authors":"M. Gangahar, Pranav Kapil","doi":"10.1080/14746689.2023.2171312","DOIUrl":"https://doi.org/10.1080/14746689.2023.2171312","url":null,"abstract":"ABSTRACT Punjab, when viewed through the lens of culture, presents a multifaceted and multi-dimensional cohesion. Within the frame of a cultural phenomenon, Punjab appears to be many Punjabs at once, a geographical, a political, an online, a feudal, and a diasporic Punjab. All of these many phizogs appear to be in continuous dialogue, negotiating for the supremacy of one structure. The paper aims to examine these kaleidoscopic patterns of a changing Punjab through the negotiations occurring within the cultural phenomenon of Sidhu Moose Wala as a singer, painting a picture of an evolving Punjab that persists along spatial, temporal, and cultural axes.","PeriodicalId":35199,"journal":{"name":"South Asian Popular Culture","volume":"21 1","pages":"41 - 55"},"PeriodicalIF":0.3,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44417866","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/14746689.2023.2172848
Eva Sharma, Isha Malhotra
ABSTRACT The study examines the Bollywood movie, Mimi, to unravel the systemic and structural exploitation of surrogates in the transnational commercial gestational surrogacy (TCGS) markets in India. The movie unpacks TCGS as a site of neoliberal eugenics and state-led biopolitics where the privileged white intended bioconsumers commission bodies of less-privileged women of the Global South. The complex hierarchical power relationship between the wealthy intended parents and the surrogates is explored through a framework of biopolitics to indicate the monetisation of surrogate life within the capitalist governmentality that treats bodies as commodities.
{"title":"The biopolitics of transnational commercial gestational surrogacy in Mimi (2021)","authors":"Eva Sharma, Isha Malhotra","doi":"10.1080/14746689.2023.2172848","DOIUrl":"https://doi.org/10.1080/14746689.2023.2172848","url":null,"abstract":"ABSTRACT The study examines the Bollywood movie, Mimi, to unravel the systemic and structural exploitation of surrogates in the transnational commercial gestational surrogacy (TCGS) markets in India. The movie unpacks TCGS as a site of neoliberal eugenics and state-led biopolitics where the privileged white intended bioconsumers commission bodies of less-privileged women of the Global South. The complex hierarchical power relationship between the wealthy intended parents and the surrogates is explored through a framework of biopolitics to indicate the monetisation of surrogate life within the capitalist governmentality that treats bodies as commodities.","PeriodicalId":35199,"journal":{"name":"South Asian Popular Culture","volume":"21 1","pages":"139 - 142"},"PeriodicalIF":0.3,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43412819","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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