Pub Date : 2020-09-01DOI: 10.1080/14746689.2020.1815419
Gohar Siddiqui
ABSTRACT Of the three Khans that dominate Bombay cinema, Salman Khan enjoys fan popularity amongst Muslims in India. This adoration and identification for Khan is surprising particularly because he has been publicly decried as a Muslim since his implicit support of prime minister Narendra Modi. And yet, his films often get released on the Muslim festival of Eid to tremendous box office success. This article analyzes the intersection of fandom and stardom of Salman Khan to discuss how his stardom is a product of negotiations between the public discussions of his religious identity, interviews that seek to convey his star image as authentic, and the cinematic construction of the star as articulated through his roles. An analysis of media coverage of his films across newspapers that cross nations (India and Pakistan), languages (English, Hindi, and Urdu), and urban-rural divides, I examine the paratextual construction of him as a bhaijaan/brother that then impacts interpretation of his films within local, national, and global imaginaries. I argue that the implicit positioning of Salman Khan across the Hindu-Muslim divide becomes explicit through his roles in Ek tha Tiger (2012), Bajrangi Bhaijaan (2015), and even Sultan (2016). This article proposes that the discourse around what I call his “bhaijaanification” serves as an interruption to the fundamentalist trends within India and Bombay cinema that have become worse as a result of large-scale transnational Islamophobia since 2001, and indicates the extent of stardom’s auteurist function where it influences meanings that go beyond the cinematic and into the political.
{"title":"Bridging the communal gap: The politics of “Hindu–Muslim” Salman Bhaijaan","authors":"Gohar Siddiqui","doi":"10.1080/14746689.2020.1815419","DOIUrl":"https://doi.org/10.1080/14746689.2020.1815419","url":null,"abstract":"ABSTRACT Of the three Khans that dominate Bombay cinema, Salman Khan enjoys fan popularity amongst Muslims in India. This adoration and identification for Khan is surprising particularly because he has been publicly decried as a Muslim since his implicit support of prime minister Narendra Modi. And yet, his films often get released on the Muslim festival of Eid to tremendous box office success. This article analyzes the intersection of fandom and stardom of Salman Khan to discuss how his stardom is a product of negotiations between the public discussions of his religious identity, interviews that seek to convey his star image as authentic, and the cinematic construction of the star as articulated through his roles. An analysis of media coverage of his films across newspapers that cross nations (India and Pakistan), languages (English, Hindi, and Urdu), and urban-rural divides, I examine the paratextual construction of him as a bhaijaan/brother that then impacts interpretation of his films within local, national, and global imaginaries. I argue that the implicit positioning of Salman Khan across the Hindu-Muslim divide becomes explicit through his roles in Ek tha Tiger (2012), Bajrangi Bhaijaan (2015), and even Sultan (2016). This article proposes that the discourse around what I call his “bhaijaanification” serves as an interruption to the fundamentalist trends within India and Bombay cinema that have become worse as a result of large-scale transnational Islamophobia since 2001, and indicates the extent of stardom’s auteurist function where it influences meanings that go beyond the cinematic and into the political.","PeriodicalId":35199,"journal":{"name":"South Asian Popular Culture","volume":"18 1","pages":"201 - 215"},"PeriodicalIF":0.3,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14746689.2020.1815419","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45945647","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 : 2020-09-01DOI: 10.1080/14746689.2020.1815450
Ankita Chatterjee
ABSTRACT New Media has given an opportunity to the users to engage in networking and creation of media contents. The internet memes are a way to create, modify and add to the images online in order to provoke laughter and humour. The article has analyzed memes of Indian Prime Minister, Mr. Narendra Modi based on the themes selected for this paper. The themes selected for discussing humour in memes are Modi’s foreign trips for official purposes, his yoga postures, his meeting with foreign delegates and demonetisation that took place during his tenure. Humour in the memes is expressed by the combination of the pop and politics where still images and lines from movies and cricket are often placed with the images of Narendra Modi and his daily activities. Humour in some ways is a way to criticise the Prime Minister on his decisions and policies and therefore act as a safety valve while other memes are a way to provide laughter and engage in the shared culture of meme-making.
{"title":"Humour in Narendra Modi memes on new media","authors":"Ankita Chatterjee","doi":"10.1080/14746689.2020.1815450","DOIUrl":"https://doi.org/10.1080/14746689.2020.1815450","url":null,"abstract":"ABSTRACT New Media has given an opportunity to the users to engage in networking and creation of media contents. The internet memes are a way to create, modify and add to the images online in order to provoke laughter and humour. The article has analyzed memes of Indian Prime Minister, Mr. Narendra Modi based on the themes selected for this paper. The themes selected for discussing humour in memes are Modi’s foreign trips for official purposes, his yoga postures, his meeting with foreign delegates and demonetisation that took place during his tenure. Humour in the memes is expressed by the combination of the pop and politics where still images and lines from movies and cricket are often placed with the images of Narendra Modi and his daily activities. Humour in some ways is a way to criticise the Prime Minister on his decisions and policies and therefore act as a safety valve while other memes are a way to provide laughter and engage in the shared culture of meme-making.","PeriodicalId":35199,"journal":{"name":"South Asian Popular Culture","volume":"18 1","pages":"227 - 245"},"PeriodicalIF":0.3,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14746689.2020.1815450","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44462960","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 : 2020-09-01DOI: 10.1080/14746689.2020.1815452
P. Maurya, Nagendra Kumar
ABSTRACT Manikarnika: The Queen of Jhansi is a recently released Indian historical biopic of Rani Lakshmi Bai. Through historical re-imagining, the film renders several potential social and political issues, which are topical and timely in contemporary India. The present article attempts to examine the topicality of the film. First, it discusses how it rekindles the female heroic tradition of India, which has been overshadowed due to the patriarchal mindset and historiography. Secondly, it explores how, through cinematic liberties, issues like gauraksha, Hindutva, and patriotism have been propagated. Thirdly, it argues how by foregrounding Dalits and Muslims, the film attempts to neutralise extremist Hindu prejudices, dominant in the hyper-nationalist climate of India. The article concludes that by recreating a crucial historical epoch and a legend, the film attempts to reinstate a secular heritage of India’s heroic tradition to rekindle nationalistic and patriotic sensibility among the contemporary masses.
{"title":"Manikarnika: The Queen of Jhansi and its topicality","authors":"P. Maurya, Nagendra Kumar","doi":"10.1080/14746689.2020.1815452","DOIUrl":"https://doi.org/10.1080/14746689.2020.1815452","url":null,"abstract":"ABSTRACT Manikarnika: The Queen of Jhansi is a recently released Indian historical biopic of Rani Lakshmi Bai. Through historical re-imagining, the film renders several potential social and political issues, which are topical and timely in contemporary India. The present article attempts to examine the topicality of the film. First, it discusses how it rekindles the female heroic tradition of India, which has been overshadowed due to the patriarchal mindset and historiography. Secondly, it explores how, through cinematic liberties, issues like gauraksha, Hindutva, and patriotism have been propagated. Thirdly, it argues how by foregrounding Dalits and Muslims, the film attempts to neutralise extremist Hindu prejudices, dominant in the hyper-nationalist climate of India. The article concludes that by recreating a crucial historical epoch and a legend, the film attempts to reinstate a secular heritage of India’s heroic tradition to rekindle nationalistic and patriotic sensibility among the contemporary masses.","PeriodicalId":35199,"journal":{"name":"South Asian Popular Culture","volume":"18 1","pages":"247 - 260"},"PeriodicalIF":0.3,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14746689.2020.1815452","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45638700","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 : 2020-09-01DOI: 10.1080/14746689.2020.1815454
Srirupa Chatterjee, Shreya Rastogi
ABSTRACT This essay analyses the changing politics of beauty labour and female body image in Indian cinema. It begins by discussing how beauty, a social capital for women, is a measuring rod with which their bodies are both assessed and objectified. It claims that cinema being a visual medium demands some aesthetic capital from actors, and the beauty of leading ladies portrayed on screen often adds to the spectacle. Focusing on mainstream Bollywood films produced especially over the last two decades, this essay examines narratives upholding the beauty ideal both as a cinematic necessity and also as a plot point. Tracing developments in cinematic representations of female beauty, it then examines select postmillennial films (both mainstream Bollywood as well as regional productions) to suggest that a maturing trend in representing female bodies is emerging in Indian cinema where instead of the prettified heroine one increasingly encounters protagonists who refuse to agonize under beauty labour. Finally, it argues that owing to global debates and critical feminist interventions on female body image, a radical shift is palpable in postmillennial Indian films which showcase women who either reject or redefine the politics of beauty labour.
{"title":"The changing politics of beauty labour in Indian cinema","authors":"Srirupa Chatterjee, Shreya Rastogi","doi":"10.1080/14746689.2020.1815454","DOIUrl":"https://doi.org/10.1080/14746689.2020.1815454","url":null,"abstract":"ABSTRACT This essay analyses the changing politics of beauty labour and female body image in Indian cinema. It begins by discussing how beauty, a social capital for women, is a measuring rod with which their bodies are both assessed and objectified. It claims that cinema being a visual medium demands some aesthetic capital from actors, and the beauty of leading ladies portrayed on screen often adds to the spectacle. Focusing on mainstream Bollywood films produced especially over the last two decades, this essay examines narratives upholding the beauty ideal both as a cinematic necessity and also as a plot point. Tracing developments in cinematic representations of female beauty, it then examines select postmillennial films (both mainstream Bollywood as well as regional productions) to suggest that a maturing trend in representing female bodies is emerging in Indian cinema where instead of the prettified heroine one increasingly encounters protagonists who refuse to agonize under beauty labour. Finally, it argues that owing to global debates and critical feminist interventions on female body image, a radical shift is palpable in postmillennial Indian films which showcase women who either reject or redefine the politics of beauty labour.","PeriodicalId":35199,"journal":{"name":"South Asian Popular Culture","volume":"18 1","pages":"271 - 282"},"PeriodicalIF":0.3,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14746689.2020.1815454","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43895521","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 : 2020-09-01DOI: 10.1080/14746689.2020.1815455
Anu Kuriakose
ABSTRACT This article examines the representation of transgender identity in contemporary Malayalam Cinema through the construction of trans femininity in the two films; Aalorukkam (2018) and Njan Marykutty (2018). Malayalam cinema has started to capture trans lives for the last two decades as trans people have appeared as side characters in a number of films. These films demarcate the transformation in Kerala’s public sphere as well as in Malayalam industry. The queer and transgender visibility politics and movement in the state influenced some recent films to place trans characters in central roles. Unlike the earlier films in which trans people are marginalized, victimized, and made fun of, the two films discussed in this article try to carve the identity of Malayali trans women who struggle against all the odds of society and stamp their space in a cisheteronormative society. The article critically looks at the construction of trans femininity, their sexuality, and the spaces of their gender performance in these films which try to satiate hegemonic social constructions.
{"title":"Construction and contestation of identity and politics: Transgender people in contemporary Malayalam cinema","authors":"Anu Kuriakose","doi":"10.1080/14746689.2020.1815455","DOIUrl":"https://doi.org/10.1080/14746689.2020.1815455","url":null,"abstract":"ABSTRACT This article examines the representation of transgender identity in contemporary Malayalam Cinema through the construction of trans femininity in the two films; Aalorukkam (2018) and Njan Marykutty (2018). Malayalam cinema has started to capture trans lives for the last two decades as trans people have appeared as side characters in a number of films. These films demarcate the transformation in Kerala’s public sphere as well as in Malayalam industry. The queer and transgender visibility politics and movement in the state influenced some recent films to place trans characters in central roles. Unlike the earlier films in which trans people are marginalized, victimized, and made fun of, the two films discussed in this article try to carve the identity of Malayali trans women who struggle against all the odds of society and stamp their space in a cisheteronormative society. The article critically looks at the construction of trans femininity, their sexuality, and the spaces of their gender performance in these films which try to satiate hegemonic social constructions.","PeriodicalId":35199,"journal":{"name":"South Asian Popular Culture","volume":"18 1","pages":"283 - 289"},"PeriodicalIF":0.3,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14746689.2020.1815455","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49301519","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 : 2020-09-01DOI: 10.1080/14746689.2020.1815445
Alysha Bains, Courtney Szto
ABSTRACT Ice hockey is traditionally known as a ‘white man’s sport’; however, this is a fabricated history that has erased Black and Indigenous contributions to the game. With changing demographics in settler nations such as Canada, racialized citizens are starting to challenge who is allowed to participate and speak about traditionally white-dominated cultural practices. This study uses interview data, media analysis, and reflective vignettes to examine the work that Apna Hockey does to unsettle the whiteness of ice hockey culture in Canada by amplifying the voices and experiences of South Asian hockey participants. Apna Hockey challenges dominant stereotypes about South Asian athletes and bodies through its networking opportunities and social media platforms. We argue that, even though Apna Hockey cannot undo racism in hockey by itself, it does important work with respect to creating and taking space that has never previously been afforded to racialized participants.
{"title":"Brown skin, white ice: South Asian specific ice hockey programming in Canada","authors":"Alysha Bains, Courtney Szto","doi":"10.1080/14746689.2020.1815445","DOIUrl":"https://doi.org/10.1080/14746689.2020.1815445","url":null,"abstract":"ABSTRACT Ice hockey is traditionally known as a ‘white man’s sport’; however, this is a fabricated history that has erased Black and Indigenous contributions to the game. With changing demographics in settler nations such as Canada, racialized citizens are starting to challenge who is allowed to participate and speak about traditionally white-dominated cultural practices. This study uses interview data, media analysis, and reflective vignettes to examine the work that Apna Hockey does to unsettle the whiteness of ice hockey culture in Canada by amplifying the voices and experiences of South Asian hockey participants. Apna Hockey challenges dominant stereotypes about South Asian athletes and bodies through its networking opportunities and social media platforms. We argue that, even though Apna Hockey cannot undo racism in hockey by itself, it does important work with respect to creating and taking space that has never previously been afforded to racialized participants.","PeriodicalId":35199,"journal":{"name":"South Asian Popular Culture","volume":"18 1","pages":"181 - 199"},"PeriodicalIF":0.3,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14746689.2020.1815445","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43399502","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 : 2020-09-01DOI: 10.1080/14746689.2020.1815449
Hawon Ku
ABSTRACT This article examines the significance of the trip abroad and its limits in two women-centric popular Hindi movies, English Vinglish (2012) and Queen (2014). The two movies are similar in that the female protagonist’s trip is central to the plot, and as the female character leaves her middle-class Hindu family in India and experiences new environments and friendships in the West, she realizes and renegotiates both her own location and identity. In spite of these ventures, the female protagonist remains focused on gaining self-respect and loyal to the nation. As a result, the two women-centric popular Hindi movies remain limited in scope, assuming a shift in the Indian patriarchal system rather than challenging the framework.
{"title":"Her trip abroad: Middle-class travels and feminism in women-centric popular Hindi movies","authors":"Hawon Ku","doi":"10.1080/14746689.2020.1815449","DOIUrl":"https://doi.org/10.1080/14746689.2020.1815449","url":null,"abstract":"ABSTRACT This article examines the significance of the trip abroad and its limits in two women-centric popular Hindi movies, English Vinglish (2012) and Queen (2014). The two movies are similar in that the female protagonist’s trip is central to the plot, and as the female character leaves her middle-class Hindu family in India and experiences new environments and friendships in the West, she realizes and renegotiates both her own location and identity. In spite of these ventures, the female protagonist remains focused on gaining self-respect and loyal to the nation. As a result, the two women-centric popular Hindi movies remain limited in scope, assuming a shift in the Indian patriarchal system rather than challenging the framework.","PeriodicalId":35199,"journal":{"name":"South Asian Popular Culture","volume":"18 1","pages":"217 - 226"},"PeriodicalIF":0.3,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14746689.2020.1815449","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59873364","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 : 2020-05-03DOI: 10.1080/14746689.2020.1774135
K. Sreesanth, T. Balasaravanan
ABSTRACT Cinema exhibition houses provide the necessary settings for Indian audience to engage with cinema. Theatre and its overall practices ranging from film publicity to screening cinema helps the cinemagoers to construct the physical and spatial sense of film viewing. In India, post-release film publicity is done by exhibitors in their respective areas. The exhibitor use film posters/notices/advertisements to attract audiences to their cinema theatre. Apart from the conventional publicity mediums, at present exhibitors are using digital platforms like mobile phones and social media to reach the cinemagoers. This study explores one such attempt by a rural single screen theatre in Kannur district of Kerala to reach its audience. At a point of time when majority of nearby single screen theatres closed down due to declining audience attendance ‘Rani Talkies Vengad’ survived by adapting new ways of reaching the audience. While retaining the conventional publicity spaces and methods, this C class theatre is active on social media sites with its regular updates about the film change and show timings. This paper looks at cinema as a holistic experience and attempts to write the local film history of Vengad Rani by looking into the thick terrain of cinema that lies outside the cinematic text.
{"title":"Adapting to new media: A case study on exhibition and publicity practices of a rural single screen theatre in the digital era","authors":"K. Sreesanth, T. Balasaravanan","doi":"10.1080/14746689.2020.1774135","DOIUrl":"https://doi.org/10.1080/14746689.2020.1774135","url":null,"abstract":"ABSTRACT Cinema exhibition houses provide the necessary settings for Indian audience to engage with cinema. Theatre and its overall practices ranging from film publicity to screening cinema helps the cinemagoers to construct the physical and spatial sense of film viewing. In India, post-release film publicity is done by exhibitors in their respective areas. The exhibitor use film posters/notices/advertisements to attract audiences to their cinema theatre. Apart from the conventional publicity mediums, at present exhibitors are using digital platforms like mobile phones and social media to reach the cinemagoers. This study explores one such attempt by a rural single screen theatre in Kannur district of Kerala to reach its audience. At a point of time when majority of nearby single screen theatres closed down due to declining audience attendance ‘Rani Talkies Vengad’ survived by adapting new ways of reaching the audience. While retaining the conventional publicity spaces and methods, this C class theatre is active on social media sites with its regular updates about the film change and show timings. This paper looks at cinema as a holistic experience and attempts to write the local film history of Vengad Rani by looking into the thick terrain of cinema that lies outside the cinematic text.","PeriodicalId":35199,"journal":{"name":"South Asian Popular Culture","volume":"18 1","pages":"163 - 176"},"PeriodicalIF":0.3,"publicationDate":"2020-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/14746689.2020.1774135","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48292678","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 : 2020-05-03DOI: 10.1080/14746689.2020.1774839
Meenakshi Bharat
ABSTRACT The dual edged implications of the introduction of English literary studies notwithstanding – the presentation of a fresh cultural perspective and the complete cultural takeover of colony – the pride and fascination of the British with the works of Jane Austen has had a deep impact on cultural production in India and its diaspora. Down the years, keeping pace with changing times and backed by technological developments, the Jane Austen-facilitated coming together of the two nations and two cultures, has seen several multilingual, multicultural screen adaptations of the Austen novels for both television and the big screen: Sense and Sensibility by Tamil cinema as Kandukondain Kandukondain; Pride and Prejudice as Trishna, a serialized Hindi adaptation for Indian national television, and later, for the big screen by a British Indian in English and Hindi as the internationally acclaimed Bride and Prejudice/Balle Balle Amritsar to L.A. and more recently, Emma by mainstream Bollywood in Hindi as Aisha. The essay broaches an analysis of the nuancing that takes place in the interstices between the word and the visual art forms and of the complexities arising from this interface. The complex agenda of the adaptive engagement underlying this vibrant colloquy between two cultures, between two mediums is interesting enough, but the added dynamic of a hybrid cosmopolitanism that is sometimes gratifying and sometimes problematic, makes the study even more challenging.
摘要尽管英国文学研究的引入带来了双重影响——一种新的文化视角的呈现和对殖民地的彻底文化接管——但英国人对简·奥斯汀作品的自豪感和迷恋对印度及其侨民的文化生产产生了深刻影响。多年来，随着时代的变化，在技术发展的支持下，简·奥斯汀促成了两个国家和两种文化的融合，在电视和大屏幕上看到了奥斯汀小说的几部多语言、多文化的改编电影：泰米尔电影公司的《理智与情感》，饰演坎杜孔丹；《傲慢与偏见》（Pride and Prejudice）饰演特里什娜（Trishna），这是一部为印度国家电视台连载的印地语改编作品，后来由一名英国印度人用英语和印地语在大屏幕上扮演国际知名的新娘与偏见/阿姆利则芭蕾舞团，最近由主流宝莱坞用印地语扮演艾莎（Aisha）。本文分析了在词与视觉艺术形式之间的空隙中发生的变化，以及由此产生的复杂性。两种文化之间、两种媒介之间这种充满活力的座谈会背后的适应性参与的复杂议程已经足够有趣了，但混合世界主义的额外动力有时令人满意，有时也有问题，这使得这项研究更具挑战性。
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Pub Date : 2020-05-03DOI: 10.1080/14746689.2020.1773655
Karan Singh
ABSTRACT The performative space of svang is primarily located within a prison house of male values, perspectives and judgments. In these performances, females are often revealed through male guts, literally and metaphorically, in their androgynous transformations wherein less of a woman and more of a man, they become a specimen of collective male consciousness on the stage. One important pattern of these representations is idealization of females as mothers/sisters and their devaluation as wife/beloved, revealing a significant ideological drive towards a dualistic image construction. The play of violence in these dramatic representations becomes manifest through a representational ideology, demarcating the feminine from the masculine in a set of attributes which become instrumental in constructing an on-stage image of females as unreliable and primitive. These popular dramatic representations constitute a space which largely remains in contrast to the practical and physically active world of the rural women and imagine a fantasy land where the male imagination cuts and fits females into fixed parameters of a make-believe world. Controlled and created by male imagination, watched by a male audience and often represented by males themselves, these representational spaces produce a curious impression of a group-controlled male fantasy in which females become a victim of a concerted psychological violence. The present paper seeks to dwell on the imaginative violence which is produced by these representations on the popular performative space of North India by focusing on examples from dramatic performances of svangs on the rural stages of North Indian states of Haryana, Uttar Pradesh, Punjab and Rajasthan.
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