Review of: Re-Focus: The Films of Shyam Benegal, Sneha Kar Chaudhuri and Ramit Samaddar (Eds) (2022) Edinburgh: Edinburgh University Press, 255 pp., ISBN 978-1-47445-286-1, h/bk, £90
{"title":"Re-Focus: The Films of Shyam Benegal, Sneha Kar Chaudhuri and Ramit Samaddar (Eds) (2022)","authors":"S. Dutta","doi":"10.1386/safm_00058_5","DOIUrl":"https://doi.org/10.1386/safm_00058_5","url":null,"abstract":"Review of: Re-Focus: The Films of Shyam Benegal, Sneha Kar Chaudhuri and Ramit Samaddar (Eds) (2022)\u0000 Edinburgh: Edinburgh University Press, 255 pp.,\u0000 ISBN 978-1-47445-286-1, h/bk, £90","PeriodicalId":38659,"journal":{"name":"Studies in South Asian Film and Media","volume":"16 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74812857","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: DigiNaka: Subaltern Politics and Digital Media in Post-Capitalist India, Anjali Monteiro, K. P. Jayasankar and Amit S. Rai (Eds) (2020) Hyderabad: Orient Black Swan, 276 pp., ISBN 978-9-35287-906-9, p/bk, ₹695
回顾:DigiNaka:后资本主义印度的次等政治和数字媒体，Anjali Monteiro, k.p. Jayasankar和Amit S. Rai(编辑)(2020)海得拉巴:东方黑天鹅，276页，ISBN 978-9-35287-906-9, p/bk，₹695
{"title":"DigiNaka: Subaltern Politics and Digital Media in Post-Capitalist India, Anjali Monteiro, K. P. Jayasankar and Amit S. Rai (Eds) (2020)","authors":"Soni Wadhwa","doi":"10.1386/safm_00057_5","DOIUrl":"https://doi.org/10.1386/safm_00057_5","url":null,"abstract":"Review of: DigiNaka: Subaltern Politics and Digital Media in Post-Capitalist India, Anjali Monteiro, K. P. Jayasankar and Amit S. Rai (Eds) (2020)\u0000 Hyderabad: Orient Black Swan, 276 pp.,\u0000 ISBN 978-9-35287-906-9, p/bk, ₹695","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":"74804395","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 the narratives of migration in the films Eeb Allay Oo! and Gamak Ghar which also incidentally speak to a moment in India during the pandemic when the precarious lives of migrants working in the informal sector took centre stage in the public discourse. While Eeb Allay Oo! follows the life of a migrant unable to find suitable work till he is recruited as a monkey repeller in central Delhi, Gamak Ghar introspects the idea of home in the filmmaker’s own village near Darbhanga in Bihar when various family members leave it to work and live elsewhere. The article addresses these films through an interdisciplinary lens of migration studies and cinema studies and as alternative to the mainstream commercial cinema of the country in terms of aesthetics and the circular journeys of the filmmakers themselves.
{"title":"Nowhere to belong: Migration narratives in Eeb Allay Oo! (2019) and Gamak Ghar (2019)","authors":"Harmanpreet Kaur","doi":"10.1386/safm_00053_1","DOIUrl":"https://doi.org/10.1386/safm_00053_1","url":null,"abstract":"This article analyses the narratives of migration in the films Eeb Allay Oo! and Gamak Ghar which also incidentally speak to a moment in India during the pandemic when the precarious lives of migrants working in the informal sector took centre stage in the public discourse. While Eeb Allay Oo! follows the life of a migrant unable to find suitable work till he is recruited as a monkey repeller in central Delhi, Gamak Ghar introspects the idea of home in the filmmaker’s own village near Darbhanga in Bihar when various family members leave it to work and live elsewhere. The article addresses these films through an interdisciplinary lens of migration studies and cinema studies and as alternative to the mainstream commercial cinema of the country in terms of aesthetics and the circular journeys of the filmmakers themselves.","PeriodicalId":38659,"journal":{"name":"Studies in South Asian Film and Media","volume":"28 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74015366","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: Industrial Networks and Cinemas of India: Shooting Stars, Shifting Geographies and Multiplying Media, Monika Mehta and Madhuja Mukherjee (2021) London and New York: Routledge, 275 pp., ISBN 978-0-42932-602-8, e-book, £39.99
{"title":"Industrial Networks and Cinemas of India: Shooting Stars, Shifting Geographies and Multiplying Media, Monika Mehta and Madhuja Mukherjee (2021)","authors":"Dattatreya Ghosh","doi":"10.1386/safm_00062_5","DOIUrl":"https://doi.org/10.1386/safm_00062_5","url":null,"abstract":"Review of: Industrial Networks and Cinemas of India: Shooting Stars, Shifting Geographies and Multiplying Media, Monika Mehta and Madhuja Mukherjee (2021)\u0000 London and New York: Routledge, 275 pp.,\u0000 ISBN 978-0-42932-602-8, e-book, £39.99","PeriodicalId":38659,"journal":{"name":"Studies in South Asian Film and Media","volume":"28 11","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72546795","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}
Shrayana Bhattacharya’s book Desperately Seeking Shah Rukh: India’s Lonely Young Women and the Search for Intimacy and Independence is about women in contemporary India, how their gendered existence is shaped by patriarchal structures of exclusion and censure, and how women often use fandom (for Shah Rukh Khan) to build communities of solidarity and togetherness. This review article uses the book’s analysis to move the discussion of stardom beyond the star’s romantic appeal to women, to contextualize Shah Rukh Khan’s appeal in the broader milieu of precarity, alienation and heightened misogyny produced by neoliberalism. Ironically, the very culture that is responsible for the misery of women, has also created an unstable public that is putting real, violent limits to the phenomenon of stardom itself.
{"title":"Desperately seeking answers to the future of stardom in the age of neoliberalism","authors":"Soumik Pal","doi":"10.1386/safm_00064_4","DOIUrl":"https://doi.org/10.1386/safm_00064_4","url":null,"abstract":"Shrayana Bhattacharya’s book Desperately Seeking Shah Rukh: India’s Lonely Young Women and the Search for Intimacy and Independence is about women in contemporary India, how their gendered existence is shaped by patriarchal structures of exclusion and censure, and how women often use fandom (for Shah Rukh Khan) to build communities of solidarity and togetherness. This review article uses the book’s analysis to move the discussion of stardom beyond the star’s romantic appeal to women, to contextualize Shah Rukh Khan’s appeal in the broader milieu of precarity, alienation and heightened misogyny produced by neoliberalism. Ironically, the very culture that is responsible for the misery of women, has also created an unstable public that is putting real, violent limits to the phenomenon of stardom itself.","PeriodicalId":38659,"journal":{"name":"Studies in South Asian Film and Media","volume":"24 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88501079","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 how a Bangladeshi documentary film Bishkanta (The Poison Thorn) () directed by a feminist and cultural activist Farzana Boby negotiates the gendered war narrative of Bangladesh and how the film is being used as an enabling platform for the Birangonas (‘war-raped women’) to express their long-time endured suffering and outrage. The Liberation War of Bangladesh (1971) is amongst the most represented themes in Bangladeshi media culture. However, feminist scholars have been critical about the gender blindness of the depictions, with women’s experiences encoded only as victims. Hence, a documentary demanding recognition of women’s contributions and enabling space for women to speak about their losses, pains and grievance is an exception. By analysing the narrative techniques (i.e. plot, perspective, language and frames) this article shows how Bishkanta represents the stories of female rape survivors and make a claim for gender justice. Our findings suggest, despite Boby’s good intentions, Bishkanta has been reproducing the mainstream victimhood narrative ascribed to these women and occasionally reinscribing the gendered ideology of Liberation War in the mainstream nationalist discourse.
{"title":"Subverting war narrative in the purview of gender justice: Analysing Bishkanta (2015): A Liberation War documentary from Bangladesh","authors":"A. Bulbul, Shyamika Jayasundara-Smits","doi":"10.1386/safm_00054_1","DOIUrl":"https://doi.org/10.1386/safm_00054_1","url":null,"abstract":"This article analyses how a Bangladeshi documentary film Bishkanta (The Poison Thorn) () directed by a feminist and cultural activist Farzana Boby negotiates the gendered war narrative of Bangladesh and how the film is being used as an enabling platform for the Birangonas (‘war-raped women’) to express their long-time endured suffering and outrage. The Liberation War of Bangladesh (1971) is amongst the most represented themes in Bangladeshi media culture. However, feminist scholars have been critical about the gender blindness of the depictions, with women’s experiences encoded only as victims. Hence, a documentary demanding recognition of women’s contributions and enabling space for women to speak about their losses, pains and grievance is an exception. By analysing the narrative techniques (i.e. plot, perspective, language and frames) this article shows how Bishkanta represents the stories of female rape survivors and make a claim for gender justice. Our findings suggest, despite Boby’s good intentions, Bishkanta has been reproducing the mainstream victimhood narrative ascribed to these women and occasionally reinscribing the gendered ideology of Liberation War in the mainstream nationalist discourse.","PeriodicalId":38659,"journal":{"name":"Studies in South Asian Film and Media","volume":"48 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86809609","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: Art Cinema and India’s Forgotten Futures: Film and History in the Postcolony, Rochona Majumdar (2021) New York: Columbia University Press, 320 pp., ISBN 978-0-23120-105-6, p/bk, $35
{"title":"Art Cinema and India’s Forgotten Futures: Film and History in the Postcolony, Rochona Majumdar (2021)","authors":"Swikrita Dowerah","doi":"10.1386/safm_00063_5","DOIUrl":"https://doi.org/10.1386/safm_00063_5","url":null,"abstract":"Review of: Art Cinema and India’s Forgotten Futures: Film and History in the Postcolony, Rochona Majumdar (2021)\u0000 New York: Columbia University Press, 320 pp.,\u0000 ISBN 978-0-23120-105-6, p/bk, $35","PeriodicalId":38659,"journal":{"name":"Studies in South Asian Film and Media","volume":"9 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88729324","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}
{"title":"The Cinema of Satyajit Ray, Bhaskar Chattopadhyay (2021)","authors":"S. Pal","doi":"10.1386/safm_00059_5","DOIUrl":"https://doi.org/10.1386/safm_00059_5","url":null,"abstract":"Review of: The Cinema of Satyajit Ray, Bhaskar Chattopadhyay (2021)\u0000 Chennai: Westland Publications Private Limited, 315 pp.,\u0000 ISBN 978-9-39123-424-9, p/bk, ₹449","PeriodicalId":38659,"journal":{"name":"Studies in South Asian Film and Media","volume":"20 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82589052","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 explores how feminism is practised and communicated on digital platforms. Feminism in India and Khabar Lahariya are two online platforms studied with interviews of respondents to understand how the online spaces are used for knowledge sharing that take feminist perspective. New media opened up spaces for people to communicate from any part of the world, create media content and circulate it. Visibility, privacy, accessibility and risks are negotiated by the reporters and content creators to produce alternative cultural production from an intersectional feminist standpoint.
{"title":"Understanding feminism on online platforms: Exploration and analysis of two online platforms","authors":"Ankita Chatterjee","doi":"10.1386/safm_00056_1","DOIUrl":"https://doi.org/10.1386/safm_00056_1","url":null,"abstract":"This article explores how feminism is practised and communicated on digital platforms. Feminism in India and Khabar Lahariya are two online platforms studied with interviews of respondents to understand how the online spaces are used for knowledge sharing that take feminist perspective. New media opened up spaces for people to communicate from any part of the world, create media content and circulate it. Visibility, privacy, accessibility and risks are negotiated by the reporters and content creators to produce alternative cultural production from an intersectional feminist standpoint.","PeriodicalId":38659,"journal":{"name":"Studies in South Asian Film and Media","volume":"57 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89986984","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}
What is implied by the absence of signifiers of identity in film? Analysing the forms of concealment and dissembling in the 2008 film Firaaq as an example, this article inquires into performance and pretence in both film and real life.
{"title":"Absences and erasures: Re-viewing Firaaq","authors":"Clare M. Wilkinson","doi":"10.1386/safm_00065_4","DOIUrl":"https://doi.org/10.1386/safm_00065_4","url":null,"abstract":"What is implied by the absence of signifiers of identity in film? Analysing the forms of concealment and dissembling in the 2008 film Firaaq as an example, this article inquires into performance and pretence in both film and real life.","PeriodicalId":38659,"journal":{"name":"Studies in South Asian Film and Media","volume":"21 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89589373","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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