{"title":"‘The gendered film worker: Women in cinema collective, intimate publics and the politics of labour’","authors":"","doi":"10.1386/safm_00052_7","DOIUrl":"https://doi.org/10.1386/safm_00052_7","url":null,"abstract":"","PeriodicalId":38659,"journal":{"name":"Studies in South Asian Film and Media","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41964144","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":"Unruly Cinema: History, Politics and Bollywood, Rini Bhattacharya Mehta (2020)","authors":"P. Sharma","doi":"10.1386/safm_00048_5","DOIUrl":"https://doi.org/10.1386/safm_00048_5","url":null,"abstract":"Review of: Unruly Cinema: History, Politics and Bollywood, Rini Bhattacharya Mehta (2020)Urbana, IL: University of Illinois Press, 248 pp.,ISBN 978-0-25208-499-7, h/bk $25","PeriodicalId":38659,"journal":{"name":"Studies in South Asian Film and Media","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42777519","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":"Memories of darkness: Art against anti-democracy in A Long Way Home, Luc Schaedler, China, Go Between Films (2018)","authors":"N. Sathe","doi":"10.1386/safm_00051_5","DOIUrl":"https://doi.org/10.1386/safm_00051_5","url":null,"abstract":"","PeriodicalId":38659,"journal":{"name":"Studies in South Asian Film and Media","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42618071","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}
Stuart Hall’s seminal article ‘Encoding, decoding’, while discussing the hegemonic-dominant mode of televisual communication in which the receiver decodes the message ‘straight’, describes it as a ‘transparent’ scenario, referring to the smooth symmetry between the two ends of the encoding and the decoding. By the early 1990s, when private satellite television channels started transmission in India, their operations hinged around a notion of transparency which is entirely different from the sense of ‘straight communication’ which Hall was referring to when he used the term. Calling it ‘process transparency’, I try to show in this article that the private satellite television identified ‘simulating the effect of revealing the encoding process’ as key in producing a spectatorial address distinct from how the state broadcast institution had come to address the viewers. Through a performative revelation of the coding process, which in turn can produce an alluring effect of immediacy, the aesthetics of process transparency promises a higher fidelity in representation. The first part of this article discusses the case of Asianet, the Malayalam satellite channel which, when it started its telecast in 1993 as one of the first private satellite television channels in India, attempted to institute a new set of professional codes that were meant to produce the effect of revealing the internal processes of representation/mediation. The article later explores the larger implications of this route to transparency and immediacy, by identifying and discussing a set of aesthetic registers deployed in news programmes in contemporary television across the world.
{"title":"Contemporary television and the concept of transparency","authors":"Jenson Joseph","doi":"10.1386/safm_00045_1","DOIUrl":"https://doi.org/10.1386/safm_00045_1","url":null,"abstract":"Stuart Hall’s seminal article ‘Encoding, decoding’, while discussing the hegemonic-dominant mode of televisual communication in which the receiver decodes the message ‘straight’, describes it as a ‘transparent’ scenario, referring to the smooth\u0000 symmetry between the two ends of the encoding and the decoding. By the early 1990s, when private satellite television channels started transmission in India, their operations hinged around a notion of transparency which is entirely different from the sense of ‘straight communication’\u0000 which Hall was referring to when he used the term. Calling it ‘process transparency’, I try to show in this article that the private satellite television identified ‘simulating the effect of revealing the encoding process’ as key in producing a spectatorial address\u0000 distinct from how the state broadcast institution had come to address the viewers. Through a performative revelation of the coding process, which in turn can produce an alluring effect of immediacy, the aesthetics of process transparency promises a higher fidelity in representation. The first\u0000 part of this article discusses the case of Asianet, the Malayalam satellite channel which, when it started its telecast in 1993 as one of the first private satellite television channels in India, attempted to institute a new set of professional codes that were meant to produce the effect of\u0000 revealing the internal processes of representation/mediation. The article later explores the larger implications of this route to transparency and immediacy, by identifying and discussing a set of aesthetic registers deployed in news programmes in contemporary television across the world.","PeriodicalId":38659,"journal":{"name":"Studies in South Asian Film and Media","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48052868","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":"Modernism by Other Means: The Films of Amit Dutta, Srikanth Srinivasan (2020)","authors":"Harmanpreet Kaur","doi":"10.1386/safm_00049_5","DOIUrl":"https://doi.org/10.1386/safm_00049_5","url":null,"abstract":"Review of: Modernism by Other Means: The Films of Amit Dutta, Srikanth Srinivasan (2020)New Delhi: Lightcube, 214 pp.,ISBN 978-8-19472-900-6, h/bk 399","PeriodicalId":38659,"journal":{"name":"Studies in South Asian Film and Media","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48986054","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 shows how India’s popular Hindi cinema markets celebrity actors to promote films where they only appear in supporting roles. Focusing on promotional images of Shah Rukh Khan and Aishwarya Rai Bachchan from two 2016 Bollywood releases, we consider how ‘studio actions’ build on existing celebrity profiles to entice audiences to films. The combined promotion of these stars’ on- and off-screen personas and their ability to transcend Hindi cinema affords them a base of fans that increases their celebrity status across India, its diasporas and globally. As a marketing strategy, the ‘studio actions’ approach has its antecedents in Hollywood and is clearly aimed at increasing box office revenues. The highly visible inclusion of Khan and Rai on promotional materials creates a ‘buzz’ that reminds audiences of the star’s past successes and hints at the promise of seeing them again for an extended screen time.
{"title":"Activating Bollywood buzz: Promoting Indian film superstars in supporting roles","authors":"P. Pugsley, Saira Ali","doi":"10.1386/safm_00046_1","DOIUrl":"https://doi.org/10.1386/safm_00046_1","url":null,"abstract":"This article shows how India’s popular Hindi cinema markets celebrity actors to promote films where they only appear in supporting roles. Focusing on promotional images of Shah Rukh Khan and Aishwarya Rai Bachchan from two 2016 Bollywood releases, we consider how ‘studio\u0000 actions’ build on existing celebrity profiles to entice audiences to films. The combined promotion of these stars’ on- and off-screen personas and their ability to transcend Hindi cinema affords them a base of fans that increases their celebrity status across India, its diasporas\u0000 and globally. As a marketing strategy, the ‘studio actions’ approach has its antecedents in Hollywood and is clearly aimed at increasing box office revenues. The highly visible inclusion of Khan and Rai on promotional materials creates a ‘buzz’ that reminds audiences\u0000 of the star’s past successes and hints at the promise of seeing them again for an extended screen time.","PeriodicalId":38659,"journal":{"name":"Studies in South Asian Film and Media","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44212560","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 looks at the film No Smoking (2007), as an example of a ‘Kafkaesque’ piece of art which, though a commercial failure, attempts an ingenious critique of the absurdity of the neoliberal order (and impending fascism). The article examines how the film explores the promises (and their non-fulfilment) of urban space and technology, surveillance, censorship, the rise of right-wing populism, and the negotiations of identity in the irrational neoliberal order.
{"title":"Tracing the Kafkaesque in neoliberal India: No Smoking (2007)","authors":"Soumik Pal","doi":"10.1386/safm_00047_1","DOIUrl":"https://doi.org/10.1386/safm_00047_1","url":null,"abstract":"This article looks at the film No Smoking (2007), as an example of a ‘Kafkaesque’ piece of art which, though a commercial failure, attempts an ingenious critique of the absurdity of the neoliberal order (and impending fascism). The article examines how the film explores\u0000 the promises (and their non-fulfilment) of urban space and technology, surveillance, censorship, the rise of right-wing populism, and the negotiations of identity in the irrational neoliberal order.","PeriodicalId":38659,"journal":{"name":"Studies in South Asian Film and Media","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42190225","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":"Bollywood’s New Woman: Liberalization, Liberation, and Contested Bodies, Megha Anwar and Anupama Arora (2021)","authors":"Pritha Chakrabarti","doi":"10.1386/safm_00050_5","DOIUrl":"https://doi.org/10.1386/safm_00050_5","url":null,"abstract":"Review of: Bollywood’s New Woman: Liberalization, Liberation, and Contested Bodies, Megha Anwar and Anupama Arora (2021)New Brunswick, Camden, Newark, NJ and London: Rutgers University Press, 213 pp.,ISBN 978-1-97881-444-8, p/bk $34.95","PeriodicalId":38659,"journal":{"name":"Studies in South Asian Film and Media","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45022188","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 Bhooter Bhabisyat, a Bengali political horror satire, as a counter-narrative to Bengali cinema’s monocultural bhodrolok branding. The article argues that Bhooter Bhabisyat is radical in its refusal to follow hegemonic homogenizing musical styles classified into genres such as folk, popular, traditional and modern, which tend to be ethnocentric and class based with serious value judgments about the superiority of certain musical forms over others. Instead, Bhooter Bhabisyat uses a variety of distinct Bengali musical traditions to problematize the historic role of capitalist media that work to homogenize and popularize the dominant culture of the ruling classes. The hybrid songs of the film disrupt a sense of homogeneous bhodrolok class position that Bengali cinema has historically sustained. Through the strategies of musical pastiche, Bhooter Bhabisyat offers a meta-historic narrative about Bengali cinema, which makes possible a critical investigation of the cultural discourses and historical narratives that are discursively embedded within the history of filmic production, circulation and consumption. If film histories are produced by repressing differences between social groups and constructing universal identification, then foregrounding film songs as decolonial storytelling methods that reemphasize local voices and subject matters can lead to an effort to read history from below. The vulgar representation of time as a precise and homogeneous continuum has […] diluted the Marxist concept of history. (Giorgio Agamben) The history of all hitherto existing society is the history of class struggles. (Karl Marx)
{"title":"Singing-in-between spaces: Bhooter Bhabisyat and the music transcending class conflict","authors":"Dhrubaa Mukherjee","doi":"10.1386/SAFM_00034_1","DOIUrl":"https://doi.org/10.1386/SAFM_00034_1","url":null,"abstract":"This article analyses Bhooter Bhabisyat, a Bengali political horror satire, as a counter-narrative to Bengali cinema’s monocultural bhodrolok branding. The article argues that Bhooter Bhabisyat is radical in its refusal to follow hegemonic homogenizing musical styles classified into genres such as folk, popular, traditional and modern, which tend to be ethnocentric and class based with serious value judgments about the superiority of certain musical forms over others. Instead, Bhooter Bhabisyat uses a variety of distinct Bengali musical traditions to problematize the historic role of capitalist media that work to homogenize and popularize the dominant culture of the ruling classes. The hybrid songs of the film disrupt a sense of homogeneous bhodrolok class position that Bengali cinema has historically sustained. Through the strategies of musical pastiche, Bhooter Bhabisyat offers a meta-historic narrative about Bengali cinema, which makes possible a critical investigation of the cultural discourses and historical narratives that are discursively embedded within the history of filmic production, circulation and consumption. If film histories are produced by repressing differences between social groups and constructing universal identification, then foregrounding film songs as decolonial storytelling methods that reemphasize local voices and subject matters can lead to an effort to read history from below.\u0000\u0000The vulgar representation of time as a precise\u0000and homogeneous continuum has […] diluted the\u0000Marxist concept of history.\u0000(Giorgio Agamben)\u0000\u0000\u0000The history of all hitherto existing society is the\u0000history of class struggles.\u0000(Karl Marx)\u0000\u0000","PeriodicalId":38659,"journal":{"name":"Studies in South Asian Film and Media","volume":"12 1","pages":"3-17"},"PeriodicalIF":0.0,"publicationDate":"2021-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42994174","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: Radiant Infrastructures: Media, Environment, and Cultures of Uncertainty, Rahul Mukherjee (2020) Durham, NC: Duke University Press, 288 pp., ISBN 978-1-4780-0806-4, p/bk, $26.95
{"title":"Radiant Infrastructures: Media, Environment, and Cultures of Uncertainty, Rahul Mukherjee (2020)","authors":"Yandong Li","doi":"10.1386/SAFM_00040_5","DOIUrl":"https://doi.org/10.1386/SAFM_00040_5","url":null,"abstract":"Review of: Radiant Infrastructures: Media, Environment, and Cultures of Uncertainty, Rahul Mukherjee (2020)\u0000Durham, NC: Duke University Press, 288 pp.,\u0000ISBN 978-1-4780-0806-4, p/bk, $26.95","PeriodicalId":38659,"journal":{"name":"Studies in South Asian Film and Media","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47346308","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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