Pub Date : 2023-05-19DOI: 10.1080/08949468.2023.2203299
Addamms Mututa
Cross-disciplinary studies have come to define twenty-first-century academia. In the process, the question of methodology and its transferal across disciplines raises important concerns abour processes of knowledge generation. The discussions in Reframing Africa? Reflections on Modernity and the Moving Image are generally anchored on “art as research” in respect to the Reframing Africa project—the foundation of this book. It considers the impermanence of the “work of re-viewing and recreating Africa” (2), and the position of African cinemas as archives of this process; and consequently collocates colonial media archives (archives of empire) and those of the African filmmakers (2). This is a sneakpreview of some of the book’s provocations in this subject. In Chapter 1: The Reframing Africa Audio-Visual Project, Cynthia Kros, Reece Auguiste and Pervaiz Khan discuss the significance of cinema in promoting the idea of Africa; its historicity and connection with the colonial project. From a critique of negative discourse on Africa within colonial archives, the authors deny Africa’s nonconditional consumption of colonial tropes. Instead they amplify instances of “critical intervention in research, scholarship and interpretation of colonial cinema in the broader trajectory of African cinema studies” (4). Further, this chapter offers provocative discussions on the urgency and necessity to attend to Africa’s archive and its instabilities, namely: unavailability within the continent or “in an accelerated process of disintegration” (4), truncated pre-colonial history, disunity, fragmentation, and impurity of such histories. The broad discursive space opened up by these instabilities is central to the book’s broad conceptual framework: “centred on the ontology of the African archive, its complicated histories of representation, its multifarious epistemic frames and its materiality as an object of research and critical inquiry that is connected to contemporary debates about African cinemas, emerging cultural practices in the visual arts, social movements in Africa and the African diaspora” (10). In Chapter 2: Cinema, Imperial Conquest, Modernity, the editors draw from South Africa’s cinema texts to reflect on “cinema’s relationship to imperial conquest and its complicity in European constructions of Africa and related
{"title":"Reframing Africa?","authors":"Addamms Mututa","doi":"10.1080/08949468.2023.2203299","DOIUrl":"https://doi.org/10.1080/08949468.2023.2203299","url":null,"abstract":"Cross-disciplinary studies have come to define twenty-first-century academia. In the process, the question of methodology and its transferal across disciplines raises important concerns abour processes of knowledge generation. The discussions in Reframing Africa? Reflections on Modernity and the Moving Image are generally anchored on “art as research” in respect to the Reframing Africa project—the foundation of this book. It considers the impermanence of the “work of re-viewing and recreating Africa” (2), and the position of African cinemas as archives of this process; and consequently collocates colonial media archives (archives of empire) and those of the African filmmakers (2). This is a sneakpreview of some of the book’s provocations in this subject. In Chapter 1: The Reframing Africa Audio-Visual Project, Cynthia Kros, Reece Auguiste and Pervaiz Khan discuss the significance of cinema in promoting the idea of Africa; its historicity and connection with the colonial project. From a critique of negative discourse on Africa within colonial archives, the authors deny Africa’s nonconditional consumption of colonial tropes. Instead they amplify instances of “critical intervention in research, scholarship and interpretation of colonial cinema in the broader trajectory of African cinema studies” (4). Further, this chapter offers provocative discussions on the urgency and necessity to attend to Africa’s archive and its instabilities, namely: unavailability within the continent or “in an accelerated process of disintegration” (4), truncated pre-colonial history, disunity, fragmentation, and impurity of such histories. The broad discursive space opened up by these instabilities is central to the book’s broad conceptual framework: “centred on the ontology of the African archive, its complicated histories of representation, its multifarious epistemic frames and its materiality as an object of research and critical inquiry that is connected to contemporary debates about African cinemas, emerging cultural practices in the visual arts, social movements in Africa and the African diaspora” (10). In Chapter 2: Cinema, Imperial Conquest, Modernity, the editors draw from South Africa’s cinema texts to reflect on “cinema’s relationship to imperial conquest and its complicity in European constructions of Africa and related","PeriodicalId":44055,"journal":{"name":"Visual Anthropology","volume":"36 1","pages":"296 - 300"},"PeriodicalIF":0.2,"publicationDate":"2023-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43131912","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 : 2023-03-15DOI: 10.1080/08949468.2023.2195343
Goutam Karmakar, Payel Pal
Indian Hindi language sports drama films centered on cricket function as performative documentaries depicting the lives, accomplishments, and trajectories of cricketers playing for the India men’s national cricket team, also known as Team India or the Men in Blue. These films, as cultural artifacts, are embedded in the establishment of a homogeneous episteme that consistently fails to offer alternatives to unsustainable development and pluralism of knowledge. Their persistent renditions of hegemonic masculinity and the gendered structure of cricket shape the politics of representation, positioning women of all classes, castes, and ethnicities as “others” in the sphere of mediated sport. In this regard, the Indian Hindi-language biographical sports drama film Shabaash Mithu (2022), directed by Srijit Mukherji and streaming on Netflix, serves as the first feasible approach to display the inspirational and empowering journey of Mithali Dorai Raj, the former Test and ODI (One Day International) captain of the India women’s national cricket team. In this paper, we argue that delinking and unlearning the dominant episteme associated with the representation of cricket in Indian Hindi films brings forth an episteme that can make the cultural representations comprehensive. In doing so, we analyze the multifaceted visual epistemic representations and establish that Mithali Raj and her team not only experience the subjugations of epistemic hegemony but also delink those and make their episteme visible in layered ways.
{"title":"Delinking “The Gentleman’s Game”: Visual Epistemic Representations in the Film Shabaash Mithu","authors":"Goutam Karmakar, Payel Pal","doi":"10.1080/08949468.2023.2195343","DOIUrl":"https://doi.org/10.1080/08949468.2023.2195343","url":null,"abstract":"Indian Hindi language sports drama films centered on cricket function as performative documentaries depicting the lives, accomplishments, and trajectories of cricketers playing for the India men’s national cricket team, also known as Team India or the Men in Blue. These films, as cultural artifacts, are embedded in the establishment of a homogeneous episteme that consistently fails to offer alternatives to unsustainable development and pluralism of knowledge. Their persistent renditions of hegemonic masculinity and the gendered structure of cricket shape the politics of representation, positioning women of all classes, castes, and ethnicities as “others” in the sphere of mediated sport. In this regard, the Indian Hindi-language biographical sports drama film Shabaash Mithu (2022), directed by Srijit Mukherji and streaming on Netflix, serves as the first feasible approach to display the inspirational and empowering journey of Mithali Dorai Raj, the former Test and ODI (One Day International) captain of the India women’s national cricket team. In this paper, we argue that delinking and unlearning the dominant episteme associated with the representation of cricket in Indian Hindi films brings forth an episteme that can make the cultural representations comprehensive. In doing so, we analyze the multifaceted visual epistemic representations and establish that Mithali Raj and her team not only experience the subjugations of epistemic hegemony but also delink those and make their episteme visible in layered ways.","PeriodicalId":44055,"journal":{"name":"Visual Anthropology","volume":"36 1","pages":"142 - 174"},"PeriodicalIF":0.2,"publicationDate":"2023-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47786968","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 : 2023-03-15DOI: 10.1080/08949468.2023.2195340
A. Piette
The author presents drawings made on the blackboard in front of his students at the university. This article aims to show the heuristic value of drawing in view of a human-oriented anthropology, i.e. focused on a human being, as detached as possible from other humans, situations or contexts. The drawings aim to illustrate the differences between ethnography and what he calls volumography, which focuses on the human being as a VoB. Throughout the article, the author discusses the notions of separation, perspective, and relation. In asking who is really describing this or that person in the spectrum of sciences, the author proposes that this task falls to existential anthropology.
{"title":"Ethnography and Volumography: Drawings of Theory on the Blackboard","authors":"A. Piette","doi":"10.1080/08949468.2023.2195340","DOIUrl":"https://doi.org/10.1080/08949468.2023.2195340","url":null,"abstract":"The author presents drawings made on the blackboard in front of his students at the university. This article aims to show the heuristic value of drawing in view of a human-oriented anthropology, i.e. focused on a human being, as detached as possible from other humans, situations or contexts. The drawings aim to illustrate the differences between ethnography and what he calls volumography, which focuses on the human being as a VoB. Throughout the article, the author discusses the notions of separation, perspective, and relation. In asking who is really describing this or that person in the spectrum of sciences, the author proposes that this task falls to existential anthropology.","PeriodicalId":44055,"journal":{"name":"Visual Anthropology","volume":"36 1","pages":"95 - 116"},"PeriodicalIF":0.2,"publicationDate":"2023-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48195434","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 : 2023-03-15DOI: 10.1080/08949468.2023.2195342
S. Sooraj, K. Krishna, Ajit Mishra
The Sabarimala Temple in the South Indian state of Kerala garnered national and global attention following violent protests against the Indian Supreme Court’s verdict in September 2018, allowing the entry of women of menstruating age to the temple. By studying popular Malayalam films released over the years, this article examines how beliefs around Sabarimala are intrinsically linked to the notion of the male householder, while simultaneously marginalizing women’s religiosity. We first delineate the influence of the film Swami Ayyappan (1975) in establishing the role of the deity Ayyappa in the welfare of hetero-patriarchal families in Kerala. The second section studies how the film Chinthavishtayaya Shyamala (1998) problematizes the centrality of the male householder in Kerala after liberalization and the way that the Sabarimala pilgrimage is used within the narrative to reinstate the patriarchal male. The following section examines the film The Great Indian Kitchen (2021) against the backdrop of the Sabarimala protests and developments in gender regimes in Kerala post-2000. Poised at the intersections of gender and religion, we argue that this film unravels the subtle forms of everyday gender discrimination and the undesirability of patriarchal masculinity in contemporary Kerala. It concludes by discussing briefly a few other recent Malayalam films, like Malikappuram (2022), released after the women’s temple-entry protests, to show their treatment of the Sabarimala issue and the politics of gender therein.
{"title":"The Male Householder and the Hypermasculine Deity: Malayalam-Language Films Based on the Sabarimala Temple in Kerala","authors":"S. Sooraj, K. Krishna, Ajit Mishra","doi":"10.1080/08949468.2023.2195342","DOIUrl":"https://doi.org/10.1080/08949468.2023.2195342","url":null,"abstract":"The Sabarimala Temple in the South Indian state of Kerala garnered national and global attention following violent protests against the Indian Supreme Court’s verdict in September 2018, allowing the entry of women of menstruating age to the temple. By studying popular Malayalam films released over the years, this article examines how beliefs around Sabarimala are intrinsically linked to the notion of the male householder, while simultaneously marginalizing women’s religiosity. We first delineate the influence of the film Swami Ayyappan (1975) in establishing the role of the deity Ayyappa in the welfare of hetero-patriarchal families in Kerala. The second section studies how the film Chinthavishtayaya Shyamala (1998) problematizes the centrality of the male householder in Kerala after liberalization and the way that the Sabarimala pilgrimage is used within the narrative to reinstate the patriarchal male. The following section examines the film The Great Indian Kitchen (2021) against the backdrop of the Sabarimala protests and developments in gender regimes in Kerala post-2000. Poised at the intersections of gender and religion, we argue that this film unravels the subtle forms of everyday gender discrimination and the undesirability of patriarchal masculinity in contemporary Kerala. It concludes by discussing briefly a few other recent Malayalam films, like Malikappuram (2022), released after the women’s temple-entry protests, to show their treatment of the Sabarimala issue and the politics of gender therein.","PeriodicalId":44055,"journal":{"name":"Visual Anthropology","volume":"36 1","pages":"117 - 141"},"PeriodicalIF":0.2,"publicationDate":"2023-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46122092","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 : 2023-03-15DOI: 10.1080/08949468.2023.2195344
Z. Halimi
Photography records “the cultural inventory” not only of material culture but also of relationships between people. As John Collier Jr. wrote, “the photographic inventory can record not only the range of artifacts in a home but also their relationship to each other, the style of their placement in space, all the aspects that define and express the way in which people use and order their space and possessions” (Collier, John, Jr., and Malcolm Collier. 1986. Visual Anthropology, Photography as a Research Method. Albuquerque, NM: University of New Mexico Press, 45). In this paper the family photography practices among Albanian families in Kosovo will be discussed. The paper will focus on the practices about (a) what they do with photography, (b) what it offers them, (c) how they treat it, (d) how attitudes toward photography have changed through generations, (e) how family photography presents the Kosovar family, (f) intergenerational connection, power and the idea of an ideal family, and so on. I analyze the differences between generations in family photographic practices from 1950 till 2014, and will look into the importance that photography has for family continuity and communion, based on stories collected about the deportation of families and their separation during the 1999 war in Kosovo. How did Albanian people try to hide family photos during that war, and how did their photos survive during it? How are people linked through family photography? What is compensated through photographs?
{"title":"Photographic Practices among Albanian Families in Kosovo","authors":"Z. Halimi","doi":"10.1080/08949468.2023.2195344","DOIUrl":"https://doi.org/10.1080/08949468.2023.2195344","url":null,"abstract":"Photography records “the cultural inventory” not only of material culture but also of relationships between people. As John Collier Jr. wrote, “the photographic inventory can record not only the range of artifacts in a home but also their relationship to each other, the style of their placement in space, all the aspects that define and express the way in which people use and order their space and possessions” (Collier, John, Jr., and Malcolm Collier. 1986. Visual Anthropology, Photography as a Research Method. Albuquerque, NM: University of New Mexico Press, 45). In this paper the family photography practices among Albanian families in Kosovo will be discussed. The paper will focus on the practices about (a) what they do with photography, (b) what it offers them, (c) how they treat it, (d) how attitudes toward photography have changed through generations, (e) how family photography presents the Kosovar family, (f) intergenerational connection, power and the idea of an ideal family, and so on. I analyze the differences between generations in family photographic practices from 1950 till 2014, and will look into the importance that photography has for family continuity and communion, based on stories collected about the deportation of families and their separation during the 1999 war in Kosovo. How did Albanian people try to hide family photos during that war, and how did their photos survive during it? How are people linked through family photography? What is compensated through photographs?","PeriodicalId":44055,"journal":{"name":"Visual Anthropology","volume":"36 1","pages":"175 - 190"},"PeriodicalIF":0.2,"publicationDate":"2023-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46699721","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 : 2023-03-15DOI: 10.1080/08949468.2023.2195345
A. Mututa
” of self-denigration (5). He proposes local epistemologies and a pluriversal approach to knowledge production as baselines for decoding decolonization within Global South universities. Read together with intersectional-ity, decolonization means stopping regarding Africa as a repository of raw
{"title":"Making Sense of Research","authors":"A. Mututa","doi":"10.1080/08949468.2023.2195345","DOIUrl":"https://doi.org/10.1080/08949468.2023.2195345","url":null,"abstract":"” of self-denigration (5). He proposes local epistemologies and a pluriversal approach to knowledge production as baselines for decoding decolonization within Global South universities. Read together with intersectional-ity, decolonization means stopping regarding Africa as a repository of raw","PeriodicalId":44055,"journal":{"name":"Visual Anthropology","volume":"36 1","pages":"191 - 199"},"PeriodicalIF":0.2,"publicationDate":"2023-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41492514","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 : 2023-01-01DOI: 10.1080/08949468.2023.2168958
O. Suleimanova, M. Fomina, Natalia A. Chekmaeva
This article focuses on the small-format multimodal text “embedded” in Quick Response (QR) codes on Moscow’s historical buildings, which aims to reveal what means this city uses to translate the national legacy to the awareness of the general public via QR codes. Despite their continuing proliferation and omnipresence in all city domains the information power and mind-framing potential of QR codes have not received a comprehensive analysis yet. This article covers the application range, metadata layout, and typology of QR coded objects, going on to a structural analysis of the multimodal texts—which combine audial, visual and verbal codes—using a multidisciplinary approach.
{"title":"QR Codes on Moscow Sites: Invisible Visibility, or Keeping Pace with the Changes?","authors":"O. Suleimanova, M. Fomina, Natalia A. Chekmaeva","doi":"10.1080/08949468.2023.2168958","DOIUrl":"https://doi.org/10.1080/08949468.2023.2168958","url":null,"abstract":"This article focuses on the small-format multimodal text “embedded” in Quick Response (QR) codes on Moscow’s historical buildings, which aims to reveal what means this city uses to translate the national legacy to the awareness of the general public via QR codes. Despite their continuing proliferation and omnipresence in all city domains the information power and mind-framing potential of QR codes have not received a comprehensive analysis yet. This article covers the application range, metadata layout, and typology of QR coded objects, going on to a structural analysis of the multimodal texts—which combine audial, visual and verbal codes—using a multidisciplinary approach.","PeriodicalId":44055,"journal":{"name":"Visual Anthropology","volume":"36 1","pages":"23 - 37"},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48883951","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 : 2023-01-01DOI: 10.1080/08949468.2023.2168957
O. Suleimanova, Daria D. Kholodova
This paper compares the principles of naming métro stations in Moscow and Paris. The database covers 234 Moscow and 305 Paris métro station names. We analyze the station names along different axes. In the case of Moscow, the development of the métro is referred to the periodization of socio-economic national development. This makes it possible to distinguish naming principles and build their hierarchy in each period. In the case of Paris, the chronological principle of the analysis appears less relevant: stations used to be given names relating to the names of surrounding urban spaces at the time of a station’s construction. Initial analysis thus takes city geography into account. For both the Moscow and Paris métros attention is then paid to the etymology of station names. Several thematic groupings of names are found: station names following a geographical principle (naming after a village that used to be located around the place), after a street (or square, park, boulevard, etc.), or an institution near the station; names referring to historical figures (war heroes, politicians, writers, key social groups, etc.) or events, as well as names alluding to national values. Changes in métro station names are of particular interest as they appear to reflect shifts in the country’s political environment. In Moscow, the trend to commemorate the country’s revolutionary past in the long run gave way to geographical naming. In Paris, the opposite trend appears to be emerging, as the initial geographical naming principle seems to be replaced by a more ideological one.
{"title":"Visual and Verbal Semiotics in the Moscow-vs.-Paris Métro","authors":"O. Suleimanova, Daria D. Kholodova","doi":"10.1080/08949468.2023.2168957","DOIUrl":"https://doi.org/10.1080/08949468.2023.2168957","url":null,"abstract":"This paper compares the principles of naming métro stations in Moscow and Paris. The database covers 234 Moscow and 305 Paris métro station names. We analyze the station names along different axes. In the case of Moscow, the development of the métro is referred to the periodization of socio-economic national development. This makes it possible to distinguish naming principles and build their hierarchy in each period. In the case of Paris, the chronological principle of the analysis appears less relevant: stations used to be given names relating to the names of surrounding urban spaces at the time of a station’s construction. Initial analysis thus takes city geography into account. For both the Moscow and Paris métros attention is then paid to the etymology of station names. Several thematic groupings of names are found: station names following a geographical principle (naming after a village that used to be located around the place), after a street (or square, park, boulevard, etc.), or an institution near the station; names referring to historical figures (war heroes, politicians, writers, key social groups, etc.) or events, as well as names alluding to national values. Changes in métro station names are of particular interest as they appear to reflect shifts in the country’s political environment. In Moscow, the trend to commemorate the country’s revolutionary past in the long run gave way to geographical naming. In Paris, the opposite trend appears to be emerging, as the initial geographical naming principle seems to be replaced by a more ideological one.","PeriodicalId":44055,"journal":{"name":"Visual Anthropology","volume":"36 1","pages":"3 - 22"},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46193722","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 : 2023-01-01DOI: 10.1080/08949468.2022.2129258
P. Jain, Shikha Sharma
India is widely known as the biggest producer of films, now globally known with the portmanteau “Bollywood.” India also grabs the media attention for another reason—climate change. In 2015, The New York Times published an op-ed with a cartoon showing India as the proverbial “elephant” blocking the progress at the Paris Climate Change Conference. With the staggering number of films India produces and the steady increase in climate change-related disasters that India faces, the critics embraced the film Kadvi Hawa (literally, Dark Wind or Bitter Wind, 2017) as the “pioneering” film raising the critical issue of climate change. However, the issues raised in the movie were amply dealt with in several other Indian films in the last several decades. This article is a survey of Indian films that have shown or dealt with nature, environment, or climate starting from the 1940s till the present time.
{"title":"“Children of the Soil” to “Dark Wind”: Nature, Environment and Climate in Indian Films","authors":"P. Jain, Shikha Sharma","doi":"10.1080/08949468.2022.2129258","DOIUrl":"https://doi.org/10.1080/08949468.2022.2129258","url":null,"abstract":"India is widely known as the biggest producer of films, now globally known with the portmanteau “Bollywood.” India also grabs the media attention for another reason—climate change. In 2015, The New York Times published an op-ed with a cartoon showing India as the proverbial “elephant” blocking the progress at the Paris Climate Change Conference. With the staggering number of films India produces and the steady increase in climate change-related disasters that India faces, the critics embraced the film Kadvi Hawa (literally, Dark Wind or Bitter Wind, 2017) as the “pioneering” film raising the critical issue of climate change. However, the issues raised in the movie were amply dealt with in several other Indian films in the last several decades. This article is a survey of Indian films that have shown or dealt with nature, environment, or climate starting from the 1940s till the present time.","PeriodicalId":44055,"journal":{"name":"Visual Anthropology","volume":"36 1","pages":"69 - 79"},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49501986","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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