Review of: Bombay Hustle: Making Movies in a Colonial City, Debashree Mukherjee (2020)New York: Columbia University Press, 443 pp.,ISBN 978-0-23119-618-5, p/bk, 699
{"title":"Bombay Hustle: Making Movies in a Colonial City, Debashree Mukherjee (2020)","authors":"Hrishikesh Arvikar","doi":"10.1386/SAFM_00033_5","DOIUrl":"https://doi.org/10.1386/SAFM_00033_5","url":null,"abstract":"Review of: Bombay Hustle: Making Movies in a Colonial City, Debashree Mukherjee (2020)New York: Columbia University Press, 443 pp.,ISBN 978-0-23119-618-5, p/bk, 699","PeriodicalId":38659,"journal":{"name":"Studies in South Asian Film and Media","volume":"11 1","pages":"261-266"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42678387","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 short speculative text explores the relationship between the corporeality of a screenwriter and the materiality of a physical space, including its imaginary losses and effects on women’s creative collaborations. In this text, I draw from the information that Begum Para and Protima Dasgupta were spending a lot of time together in Bombay, living under the same roof, when their creative partnership blossomed and gave the industry a production house, a director-producer, a screen star and more than a few films. Although this text takes the form of creative writing, it is based on historical and archival research.
{"title":"Para and Protima: A tête-à-tête1","authors":"Anubha Yadav","doi":"10.1386/SAFM_00031_1","DOIUrl":"https://doi.org/10.1386/SAFM_00031_1","url":null,"abstract":"This short speculative text explores the relationship between the corporeality of a screenwriter and the materiality of a physical space, including its imaginary losses and effects on women’s creative collaborations. In this text, I draw from the information that Begum Para and\u0000 Protima Dasgupta were spending a lot of time together in Bombay, living under the same roof, when their creative partnership blossomed and gave the industry a production house, a director-producer, a screen star and more than a few films. Although this text takes the form of creative writing,\u0000 it is based on historical and archival research.","PeriodicalId":38659,"journal":{"name":"Studies in South Asian Film and Media","volume":"11 1","pages":"245-250"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46342806","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}
Labour discourses in the film industry are often couched in the language of ‘welfare’ and an effort to maintain harmony among different filmmaking sectors. But such arrangements do not proffer equal participation or bargaining rights to everyone in the industry. Focusing on the Malayalam language film industry based in Kerala, this article examines how the film industry’s apprenticeship and unpaid labour arrangements affect below-the-line labour and less influential job profiles on a film set. In corollary, I also explore how labour and bargaining rights are conceptualized differently by film organizations based on their ideological positions. Using a mixed-methods approach, including media ethnography and interviews with members of different trade guilds who form part of Malayalam cinema’s professional, technical and service sectors, I demonstrate how structural inequalities in the film industry are overlooked while the cine-worker’s agency is co-opted by a neoliberal system that masquerades as welfare.
{"title":"Cinema and the mask of capital: Labour debates in the Malayalam film industry","authors":"D. S. Mini","doi":"10.1386/SAFM_00027_1","DOIUrl":"https://doi.org/10.1386/SAFM_00027_1","url":null,"abstract":"Labour discourses in the film industry are often couched in the language of ‘welfare’ and an effort to maintain harmony among different filmmaking sectors. But such arrangements do not proffer equal participation or bargaining rights to everyone in the industry. Focusing\u0000 on the Malayalam language film industry based in Kerala, this article examines how the film industry’s apprenticeship and unpaid labour arrangements affect below-the-line labour and less influential job profiles on a film set. In corollary, I also explore how labour and bargaining rights\u0000 are conceptualized differently by film organizations based on their ideological positions. Using a mixed-methods approach, including media ethnography and interviews with members of different trade guilds who form part of Malayalam cinema’s professional, technical and service sectors,\u0000 I demonstrate how structural inequalities in the film industry are overlooked while the cine-worker’s agency is co-opted by a neoliberal system that masquerades as welfare.","PeriodicalId":38659,"journal":{"name":"Studies in South Asian Film and Media","volume":"11 1","pages":"173-189"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44011377","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}
Although Indian cinema studies as a discipline has long been involved in various theoretical elaborations of film production, not until recently has it engaged with the question of the gendered nature of film work. In this piece, I attempt to develop a framework centred around the politics of labour to provide a useful case to highlight how thoughtful engagement with these categories provides immense value for both contemporary film scholarship and feminist histories of media. In trying to situate Women in Cinema Collective, the first collective of women film workers to be formed in India, in the larger history of labour politics and women workers collectives of the recent past, I try to disaggregate a larger episteme of women’s work that emerges across the flexible labour economies of the neo-liberal present. Through examining the Women in Cinema Collective’s social media campaigns, advocacy work, petitioning and legal counselling, I argue that Women in Cinema Collective emerges as a tenuous collective whose work moves across the porous boundaries of a new social movement, workers collective and an autonomous women’s group.
{"title":"The gendered film worker: Women in cinema collective, intimate publics and the politics of labour","authors":"Bindu Menon Mannil","doi":"10.1386/SAFM_00028_1","DOIUrl":"https://doi.org/10.1386/SAFM_00028_1","url":null,"abstract":"Although Indian cinema studies as a discipline has long been involved in various theoretical elaborations of film production, not until recently has it engaged with the question of the gendered nature of film work. In this piece, I attempt to develop a framework centred around the politics\u0000 of labour to provide a useful case to highlight how thoughtful engagement with these categories provides immense value for both contemporary film scholarship and feminist histories of media. In trying to situate Women in Cinema Collective, the first collective of women film workers to be formed\u0000 in India, in the larger history of labour politics and women workers collectives of the recent past, I try to disaggregate a larger episteme of women’s work that emerges across the flexible labour economies of the neo-liberal present. Through examining the Women in Cinema Collective’s\u0000 social media campaigns, advocacy work, petitioning and legal counselling, I argue that Women in Cinema Collective emerges as a tenuous collective whose work moves across the porous boundaries of a new social movement, workers collective and an autonomous women’s group.","PeriodicalId":38659,"journal":{"name":"Studies in South Asian Film and Media","volume":"11 1","pages":"191-207"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43326720","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}
Jau Mi Cinemat? written by Shanta Apte (1916‐64), a prominent singer‐actress with a career spanning nearly three decades in the Marathi film industry, has only recently come to the critical attention of film scholars. A translation of the book will be a valued addition to the archive of film and gender studies. With a view to making a beginning in that direction, this piece contextualizes the book followed by a translation of two of its chapters.
{"title":"Shanta Apte’s Jau Mi Cinemat?","authors":"Aarti Wani","doi":"10.1386/SAFM_00032_1","DOIUrl":"https://doi.org/10.1386/SAFM_00032_1","url":null,"abstract":"Jau Mi Cinemat? written by Shanta Apte (1916‐64), a prominent singer‐actress with a career spanning nearly three decades in the Marathi film industry, has only recently come to the critical attention of film scholars. A translation of the book will be a valued addition\u0000 to the archive of film and gender studies. With a view to making a beginning in that direction, this piece contextualizes the book followed by a translation of two of its chapters.","PeriodicalId":38659,"journal":{"name":"Studies in South Asian Film and Media","volume":"11 1","pages":"251-260"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43748483","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":"Women at work: The cultural and creative industries","authors":"R. Sawhney","doi":"10.1386/SAFM_00026_2","DOIUrl":"https://doi.org/10.1386/SAFM_00026_2","url":null,"abstract":"","PeriodicalId":38659,"journal":{"name":"Studies in South Asian Film and Media","volume":"11 1","pages":"167-172"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45587013","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 is connected to my project concerning the Indian film industry, questions of work and women’s labour; and, this interview-based article grows from my ongoing audio-visual documentary work tentatively titled The Shadow and The Arc Light. It enables me to reflect upon my previous book project, and takes shape in the light of contemporary feminist historiography. Suhasini Mulay began her career as an actor with Bhuvan Shome (Mrinal Sen 1969), and thereafter, shifted to filmmaking and obtained technical training from McGill University, Montreal. Upon her homecoming she initially worked with the International Film Festival of India, and later assisted Satyajit Ray (for Jana Aranya [1975]) and Mrinal Sen (for Mrigayaa [1976]). While Mulay has made documentaries, and also acted in Bhavni Bhavai (Ketan Mehta 1980), she eventually resumed full-time acting in 1999. As narrated by her, she endured hierarchical, gendered and precarious work conditions, which inform us about the arduous production milieu. Through such conversations, I propose gender as a lens for studying film history, and underscore filmmaking as labour; as well, analyse the nature of filmic work. I aspire to demonstrate how women involved in various capacities, negotiate networks of media forms and capital, and persist perilously.
这篇文章与我关于印度电影业、工作和妇女劳动问题的项目有关；这篇以采访为基础的文章源于我正在进行的视听纪录片作品，暂定名为《阴影与弧光》。它使我能够反思我以前的图书项目，并在当代女权主义史学的背景下形成。Suhasini Mulay的演员生涯始于Bhuvan Shome（Mrinal Sen 1969），之后转向电影制作，并在蒙特利尔麦吉尔大学接受了技术培训。回国后，她最初在印度国际电影节工作，后来协助萨蒂亚吉特·雷（为贾娜·阿拉尼亚[1975]拍摄）和姆里纳尔·森（为姆里加亚[1976]拍摄）。虽然穆莱制作了纪录片，还出演了《Bhavni Bhavai》（凯坦·梅塔，1980年），但她最终在1999年恢复了全职表演。正如她所讲述的那样，她忍受着等级森严、性别歧视和不稳定的工作条件，这让我们了解到艰苦的生产环境。通过这样的对话，我提出将性别作为研究电影史的镜头，并强调电影制作是劳动；并分析了电影作品的本质。我渴望展示女性如何以各种身份参与，谈判媒体形式和资本网络，并危险地坚持下去。
{"title":"Speaking with Suhasini Mulay: A short story about a long strife","authors":"Madhuja Mukherjee","doi":"10.1386/SAFM_00030_7","DOIUrl":"https://doi.org/10.1386/SAFM_00030_7","url":null,"abstract":"This article is connected to my project concerning the Indian film industry, questions of work and women’s labour; and, this interview-based article grows from my ongoing audio-visual documentary work tentatively titled The Shadow and The Arc Light. It enables me to reflect upon\u0000 my previous book project, and takes shape in the light of contemporary feminist historiography. Suhasini Mulay began her career as an actor with Bhuvan Shome (Mrinal Sen 1969), and thereafter, shifted to filmmaking and obtained technical training from McGill University, Montreal. Upon\u0000 her homecoming she initially worked with the International Film Festival of India, and later assisted Satyajit Ray (for Jana Aranya [1975]) and Mrinal Sen (for Mrigayaa [1976]). While Mulay has made documentaries, and also acted in Bhavni Bhavai (Ketan Mehta 1980), she\u0000 eventually resumed full-time acting in 1999. As narrated by her, she endured hierarchical, gendered and precarious work conditions, which inform us about the arduous production milieu. Through such conversations, I propose gender as a lens for studying film history, and underscore filmmaking\u0000 as labour; as well, analyse the nature of filmic work. I aspire to demonstrate how women involved in various capacities, negotiate networks of media forms and capital, and persist perilously.","PeriodicalId":38659,"journal":{"name":"Studies in South Asian Film and Media","volume":"11 1","pages":"225-243"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45027481","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":"Editorial","authors":"N. Chandra","doi":"10.1386/safm_00015_2","DOIUrl":"https://doi.org/10.1386/safm_00015_2","url":null,"abstract":"","PeriodicalId":38659,"journal":{"name":"Studies in South Asian Film and Media","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42188145","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}
Stand-up comedy has emerged as an immensely resonant youth-oriented pop-cultural form within the Indian landscape. This article studies the form and content of stand-up comedy to foreground its implicit banality. By analysing the subtleties of this banality, we argue that contemporary stand-up comedy has the capacity to produce a peculiar kind of enjoyment. The moment of laughter and the consequent enjoyment instills a sense of fleeting thought. This unintended contemplation, coupled with banality, has the potential to produce an enjoyment and a cultural form that can possibly resist complete appropriation.
{"title":"Laughing matters: Stand-up comedy and enjoyment in the age of late capitalism","authors":"Sakshi Dogra, Shweta Khilnani","doi":"10.1386/safm_00024_1","DOIUrl":"https://doi.org/10.1386/safm_00024_1","url":null,"abstract":"Stand-up comedy has emerged as an immensely resonant youth-oriented pop-cultural form within the Indian landscape. This article studies the form and content of stand-up comedy to foreground its implicit banality. By analysing the subtleties of this banality, we argue that contemporary stand-up comedy has the capacity to produce a peculiar kind of enjoyment. The moment of laughter and the consequent enjoyment instills a sense of fleeting thought. This unintended contemplation, coupled with banality, has the potential to produce an enjoyment and a cultural form that can possibly resist complete appropriation.","PeriodicalId":38659,"journal":{"name":"Studies in South Asian Film and Media","volume":"11 1","pages":"133-146"},"PeriodicalIF":0.0,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44041642","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}
Weaving personal history into a reflection on the escalation of communal politics and rhetoric under the leadership of Prime Minister Narendra Modi, this article foregrounds the importance of childhood as a concept that can illuminate the nature of Hindutva fascism – its particular appeal to the adult followers of this ideology and the consequences for children. Briefly, while childhood is increasingly denied and taken away from Muslim children, Hindutva followers are forming into an infantile public utterly supplicant in its devotion to authoritarian figures. Against the Hindutva project and its infantile public is the memory of Partition and the anti-colonial dreams of an egalitarian, socialist society – a history remembered by adults for the sake of children.
{"title":"Between the lost childhoods of our parents and the infantile public of the Hindu Rashtra: A personal take","authors":"Jyotsna Kapur","doi":"10.1386/safm_00017_1","DOIUrl":"https://doi.org/10.1386/safm_00017_1","url":null,"abstract":"Weaving personal history into a reflection on the escalation of communal politics and rhetoric under the leadership of Prime Minister Narendra Modi, this article foregrounds the importance of childhood as a concept that can illuminate the nature of Hindutva fascism – its particular appeal to the adult followers of this ideology and the consequences for children. Briefly, while childhood is increasingly denied and taken away from Muslim children, Hindutva followers are forming into an infantile public utterly supplicant in its devotion to authoritarian figures. Against the Hindutva project and its infantile public is the memory of Partition and the anti-colonial dreams of an egalitarian, socialist society – a history remembered by adults for the sake of children.","PeriodicalId":38659,"journal":{"name":"Studies in South Asian Film and Media","volume":"11 1","pages":"27-40"},"PeriodicalIF":0.0,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43518010","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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