Review of: South Asian Gothic: Haunted Cultures, Histories and Media, Katarzyna Ancuta and Deimantas Valančiūnas (eds) (2021) Cardiff: University of Wales Press, 284 pp., ISBN 978-1-78683-800-1, h/bk, £70.00
评论》:南哥特式东亚:Haunted译本史》(英语)Cultures,祝媒体实验室,卡塔Ancuta早安史实的Deimantas Valanči nasa做ū(eds)(此图截止到2021)Cardiff:一伙·威尔士出版社,284超越自我。,ISBN 978-1-78683-800-1, h / bk工作,英镑70.00
{"title":"South Asian Gothic: Haunted Cultures, Histories and Media, Katarzyna Ancuta and Deimantas Valančiūnas (eds) (2021)","authors":"Sanjay K. Bissoyi","doi":"10.1386/safm_00073_5","DOIUrl":"https://doi.org/10.1386/safm_00073_5","url":null,"abstract":"Review of: South Asian Gothic: Haunted Cultures, Histories and Media, Katarzyna Ancuta and Deimantas Valančiūnas (eds) (2021)\u0000 Cardiff: University of Wales Press, 284 pp.,\u0000 ISBN 978-1-78683-800-1, h/bk, £70.00","PeriodicalId":38659,"journal":{"name":"Studies in South Asian Film and Media","volume":"60 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83758461","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}
The term ‘technostalgia’ refers to a range of admittedly quirky and often collectible devices that frequently hit the market, promising customers the experience of past technology in the present. Using this marketing trend as a starting point, this article attempts to trace ‘other’ technostalgias in their plurality elsewhere in order to plump the philosophical dimensions of the concept. Upon unpacking the underlying structure of technostalgia (in terms of subject–object relations, as social practice, etc.), we may relocate the technological subject within the global–local horizon and rethink the social history of technology as a history of becoming-obsolete – i.e. a history of what we may do (or not do) with the fate of ‘becoming-obsolete’ other than being subjected to it. To this effect, the article describes the structure of technostalgia not once but thrice and from three different vantage points: the first being the most evident and ‘first’ market version of technostalgia, the second being technostalgia as contemporary art practice in the form of hand-drawn or graphic non-fiction narratives, and the third being technostalgia as a historical ‘incident’ of sorts related to the advent of photography against the colonial context.
{"title":"Forms of technostalgia: Understanding cultures of the obsolete","authors":"P. Rajendran","doi":"10.1386/safm_00070_1","DOIUrl":"https://doi.org/10.1386/safm_00070_1","url":null,"abstract":"The term ‘technostalgia’ refers to a range of admittedly quirky and often collectible devices that frequently hit the market, promising customers the experience of past technology in the present. Using this marketing trend as a starting point, this article attempts to trace ‘other’ technostalgias in their plurality elsewhere in order to plump the philosophical dimensions of the concept. Upon unpacking the underlying structure of technostalgia (in terms of subject–object relations, as social practice, etc.), we may relocate the technological subject within the global–local horizon and rethink the social history of technology as a history of becoming-obsolete – i.e. a history of what we may do (or not do) with the fate of ‘becoming-obsolete’ other than being subjected to it. To this effect, the article describes the structure of technostalgia not once but thrice and from three different vantage points: the first being the most evident and ‘first’ market version of technostalgia, the second being technostalgia as contemporary art practice in the form of hand-drawn or graphic non-fiction narratives, and the third being technostalgia as a historical ‘incident’ of sorts related to the advent of photography against the colonial context.","PeriodicalId":38659,"journal":{"name":"Studies in South Asian Film and Media","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88612129","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}
This is a field note from my research project that aims to study the practice of playing film music on the commuter buses operated by private owners in Kannur district of Kerala. The practice became prevalent during the early 2000s with the advent of compact discs and portable music libraries of film songs in MP3 format, despite the prohibiting passenger buses from playing music or videos during daily commutes. This field note proposes that the practice of playing the songs becomes part of an aural network that places itself through its (mere) presence as something not to be consciously attentive to and be affected by.
{"title":"Film music and the mediation of everyday aurality in private buses: Field notes from Kannur, Kerala","authors":"B. Shahal","doi":"10.1386/safm_00072_1","DOIUrl":"https://doi.org/10.1386/safm_00072_1","url":null,"abstract":"This is a field note from my research project that aims to study the practice of playing film music on the commuter buses operated by private owners in Kannur district of Kerala. The practice became prevalent during the early 2000s with the advent of compact discs and portable music libraries of film songs in MP3 format, despite the prohibiting passenger buses from playing music or videos during daily commutes. This field note proposes that the practice of playing the songs becomes part of an aural network that places itself through its (mere) presence as something not to be consciously attentive to and be affected by.","PeriodicalId":38659,"journal":{"name":"Studies in South Asian Film and Media","volume":"5 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90162094","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}
This article analyses YouTube channels of two Muslim women from Kerala – Silu Talks Salha and Zehera & Samseer – which have created a virtual space of sorority among Muslim women users of internet and smartphones, by way of a discourse of contemporary modernity embedded in the everyday domestic space. I engage critically with the ways in which these channels generate a discourse of entrepreneurial identity in negotiating with one’s lived realities. This discourse simultaneously makes appeal to be dutiful to conventional domestic roles, while being innovative and enterprising in them. Such modes of self-expression, which platforms such as YouTube enable, present conceptual challenges with regard to the categories of the individual and community. Arguing that the videos on these channels complicate the figure of the ‘conventional Muslim woman’ through their constant invocations of modernism and entrepreneurialism, this article illustrates how they produce an Islamic ‘mother community’ virtually. I show how these channels transform into a public yet intimate space, providing an online platform for Muslim women from Kerala to be seen and heard.
{"title":"Refashioning Muslim femininity: YouTube as the facilitator of entrepreneurial motherhood","authors":"Shabana M.","doi":"10.1386/safm_00067_1","DOIUrl":"https://doi.org/10.1386/safm_00067_1","url":null,"abstract":"This article analyses YouTube channels of two Muslim women from Kerala – Silu Talks Salha and Zehera & Samseer – which have created a virtual space of sorority among Muslim women users of internet and smartphones, by way of a discourse of contemporary modernity embedded in the everyday domestic space. I engage critically with the ways in which these channels generate a discourse of entrepreneurial identity in negotiating with one’s lived realities. This discourse simultaneously makes appeal to be dutiful to conventional domestic roles, while being innovative and enterprising in them. Such modes of self-expression, which platforms such as YouTube enable, present conceptual challenges with regard to the categories of the individual and community. Arguing that the videos on these channels complicate the figure of the ‘conventional Muslim woman’ through their constant invocations of modernism and entrepreneurialism, this article illustrates how they produce an Islamic ‘mother community’ virtually. I show how these channels transform into a public yet intimate space, providing an online platform for Muslim women from Kerala to be seen and heard.","PeriodicalId":38659,"journal":{"name":"Studies in South Asian Film and Media","volume":"70 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86250510","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}
This article traces two interrelated strands of documentary film aesthetics in India that have steadily developed since the early 2000s. One concerns the presiding influence of personal narratives and subjectivity, manifesting in diverse thematic interrogations. The other relates to the increased tendencies of working with the cinematographic tropes and idioms of fictional storytelling. These directions, evolving over distinctive historical circumstances, have significantly revised the generic assumptions of the documentary. Two films feature centrally in this discussion, Payal Kapadia’s A Night of Knowing Nothing and Shaunak Sen’s All that Breathes. Both uniquely explore the personal and fictional registers of working with the genre. While Kapadia intimately thinks through the reigning political crises in India, Sen devises inventive means to visualize the graded, interrelated layers of ecological catastrophe in the world’s most polluted capital city. A critical review of these films seeks to understand the emerging narratorial, formal and technical logic informing the hybrid nature of contemporary documentaries and their intersecting issues.
{"title":"The personal and the fictional: Aesthetic mediation in the Indian documentary","authors":"Santasil Mallik","doi":"10.1386/safm_00069_1","DOIUrl":"https://doi.org/10.1386/safm_00069_1","url":null,"abstract":"This article traces two interrelated strands of documentary film aesthetics in India that have steadily developed since the early 2000s. One concerns the presiding influence of personal narratives and subjectivity, manifesting in diverse thematic interrogations. The other relates to the increased tendencies of working with the cinematographic tropes and idioms of fictional storytelling. These directions, evolving over distinctive historical circumstances, have significantly revised the generic assumptions of the documentary. Two films feature centrally in this discussion, Payal Kapadia’s A Night of Knowing Nothing and Shaunak Sen’s All that Breathes. Both uniquely explore the personal and fictional registers of working with the genre. While Kapadia intimately thinks through the reigning political crises in India, Sen devises inventive means to visualize the graded, interrelated layers of ecological catastrophe in the world’s most polluted capital city. A critical review of these films seeks to understand the emerging narratorial, formal and technical logic informing the hybrid nature of contemporary documentaries and their intersecting issues.","PeriodicalId":38659,"journal":{"name":"Studies in South Asian Film and Media","volume":"22 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90579875","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}
Data is often read as an algorithmic object, a bot and a tool for interpreting media markets. While speculative box-office figures have been conventionally used to make sense of industry trends, data analytics has emerged as a new tool. Films are increasingly seen as value-accruing enterprises and neoliberal markets define them from the singular logic of content. As a result, much like any other neoliberal product, a film has to be further divisible into other monetizable traits and entities that add to the long chain of value, helping in prolonging its shelf life. Moreover, the audience has increasingly migrated towards individual device-based screenings as opposed to theatrical viewing, making it possible to monetize their viewing activities and trace them as dividuals. Storytelling becomes about beats, as data becomes a tool for reifying the speculative financial framework for the film industry. This article attempts to map the changing contours of Hindi film industry by examining how data is appropriated to make projections about the future and interpret trends and preferences.
{"title":"Data prophesies and soothsaying: Gatekeeping in the era of platform media","authors":"A. Rastogi","doi":"10.1386/safm_00071_1","DOIUrl":"https://doi.org/10.1386/safm_00071_1","url":null,"abstract":"Data is often read as an algorithmic object, a bot and a tool for interpreting media markets. While speculative box-office figures have been conventionally used to make sense of industry trends, data analytics has emerged as a new tool. Films are increasingly seen as value-accruing enterprises and neoliberal markets define them from the singular logic of content. As a result, much like any other neoliberal product, a film has to be further divisible into other monetizable traits and entities that add to the long chain of value, helping in prolonging its shelf life. Moreover, the audience has increasingly migrated towards individual device-based screenings as opposed to theatrical viewing, making it possible to monetize their viewing activities and trace them as dividuals. Storytelling becomes about beats, as data becomes a tool for reifying the speculative financial framework for the film industry. This article attempts to map the changing contours of Hindi film industry by examining how data is appropriated to make projections about the future and interpret trends and preferences.","PeriodicalId":38659,"journal":{"name":"Studies in South Asian Film and Media","volume":"59 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86040818","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}
In this article, I attempt to understand the global K-pop fandom among young women, from the perspective of non-metropolitan locations like the state of Kerala in southern India. I examine the ‘sub-visible’ nature of K-pop fandom and situate it in relation to existing discourses surrounding visibility in youth subcultures and fan cultures, both in India and the West. I argue that the key to understanding this fandom is in the cultural process of feminization that it produces – a feminization of male K-pop idols through the ‘free labour’ (to use a concept by Tiziana Terranova) that K-pop fans engage in on digital spaces – labour that has the structure of work and the function of enjoyment and enthusiasm. Drawing on existing discourses on the ‘feminine’, I analyse the peculiar mode of feminization in K-pop fandom as a response to the precarity and vulnerability experienced by young people in the contemporary world.
{"title":"K-pop fandom as ‘sub-visible culture’: Digital work and enjoyment in the precarious present","authors":"A. Nandakumar","doi":"10.1386/safm_00068_1","DOIUrl":"https://doi.org/10.1386/safm_00068_1","url":null,"abstract":"In this article, I attempt to understand the global K-pop fandom among young women, from the perspective of non-metropolitan locations like the state of Kerala in southern India. I examine the ‘sub-visible’ nature of K-pop fandom and situate it in relation to existing discourses surrounding visibility in youth subcultures and fan cultures, both in India and the West. I argue that the key to understanding this fandom is in the cultural process of feminization that it produces – a feminization of male K-pop idols through the ‘free labour’ (to use a concept by Tiziana Terranova) that K-pop fans engage in on digital spaces – labour that has the structure of work and the function of enjoyment and enthusiasm. Drawing on existing discourses on the ‘feminine’, I analyse the peculiar mode of feminization in K-pop fandom as a response to the precarity and vulnerability experienced by young people in the contemporary world.","PeriodicalId":38659,"journal":{"name":"Studies in South Asian Film and Media","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80573151","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}
1970s Hindi formula films have been described within Hindi film scholarship as melodramatic, and masochistic fantasies, the latter in terms of the hero’s desire to return to a pre-Oedipal state. In my analysis of Muqaddar Ka Sikandar (1978), the biggest hit of the year, I focus on its staging of scenes of fantasy and dream-like episodes and its foregrounding of childhood episodes involving father substitutes, primary figures I argue in the staging. By examining the film’s psychical–spatial terrain, I also consider the figure of the rival and villain, played by Amjad Khan, and I argue that Khan’s villainy reworks scenes of staged enmity with the hero into reconciliation. I conclude with some observations on the contemporary circulation of formula films on YouTube, where the films and their songs remain remarkably popular and generate a large archive of likes, views and comments, and user-generated content.
在印度电影学界，20世纪70年代的印度模式电影被描述为情节剧和受虐幻想，后者是指主人公渴望回到俄狄浦斯之前的状态。在我对1978年最受欢迎的《穆卡达尔·卡·西坎达尔》(Muqaddar Ka Sikandar, 1978)的分析中，我把重点放在了它对幻想场景和梦幻情节的演绎上，以及它对涉及父亲替身的童年情节的突出表现上，我认为这是演绎中的主要人物。通过研究电影的心理空间地形，我也考虑了阿姆贾德·汗(Amjad Khan)扮演的对手和恶棍的形象，我认为，汗的恶棍将与英雄上演的敌意场景重新制作成和解。最后，我对YouTube上的公式电影的当代流通进行了一些观察，这些电影和它们的歌曲仍然非常受欢迎，并产生了大量的喜欢、观看和评论，以及用户生成的内容。
{"title":"A daydream and a nightmare in Muqaddar Ka Sikandar: Formulas, fantasies and 1970s action Hindi cinema","authors":"Pragya Trivedi","doi":"10.1386/safm_00055_1","DOIUrl":"https://doi.org/10.1386/safm_00055_1","url":null,"abstract":"1970s Hindi formula films have been described within Hindi film scholarship as melodramatic, and masochistic fantasies, the latter in terms of the hero’s desire to return to a pre-Oedipal state. In my analysis of Muqaddar Ka Sikandar (1978), the biggest hit of the year, I focus on its staging of scenes of fantasy and dream-like episodes and its foregrounding of childhood episodes involving father substitutes, primary figures I argue in the staging. By examining the film’s psychical–spatial terrain, I also consider the figure of the rival and villain, played by Amjad Khan, and I argue that Khan’s villainy reworks scenes of staged enmity with the hero into reconciliation. I conclude with some observations on the contemporary circulation of formula films on YouTube, where the films and their songs remain remarkably popular and generate a large archive of likes, views and comments, and user-generated content.","PeriodicalId":38659,"journal":{"name":"Studies in South Asian Film and Media","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72678589","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}
Review of: Regional Language Television in India: Profiles and Perspectives, Mira K. Desai (2021) London and New York: Routledge, 320 pp., ISBN 978-0-42927-042-0, h/bk, £96
{"title":"Regional Language Television in India: Profiles and Perspectives, Mira K. Desai (2021)","authors":"R. Jaggi, S. Patankar","doi":"10.1386/safm_00061_5","DOIUrl":"https://doi.org/10.1386/safm_00061_5","url":null,"abstract":"Review of: Regional Language Television in India: Profiles and Perspectives, Mira K. Desai (2021)\u0000 London and New York: Routledge, 320 pp.,\u0000 ISBN 978-0-42927-042-0, h/bk, £96","PeriodicalId":38659,"journal":{"name":"Studies in South Asian Film and Media","volume":"11 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72961943","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}
Review of: Bombay Cinema’s Islamicate Histories, Ira Bhaskar and Richard Allen (Eds) (2022) Hyderabad: Orient BlackSwan, 424 pp., ISBN 978-9-35442-257-7, p/bk, ₹2295
{"title":"Bombay Cinema’s Islamicate Histories, Ira Bhaskar and Richard Allen (Eds) (2022)","authors":"Soni Wadhwa","doi":"10.1386/safm_00060_5","DOIUrl":"https://doi.org/10.1386/safm_00060_5","url":null,"abstract":"Review of: Bombay Cinema’s Islamicate Histories, Ira Bhaskar and Richard Allen (Eds) (2022)\u0000 Hyderabad: Orient BlackSwan, 424 pp.,\u0000 ISBN 978-9-35442-257-7, p/bk, ₹2295","PeriodicalId":38659,"journal":{"name":"Studies in South Asian Film and Media","volume":"67 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84067359","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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