Pub Date : 2022-09-06DOI: 10.1080/01296612.2022.2118827
Danilo Araña Arao
Easy to estimate, not so easy to define. If we define “youth” as those aged 15 to 24 years old, then there are about 1.2 billion of them or 16 percent of the global population in 2019 (United Nations, n.d.). According to the United Nations Department of Economic and Social Affairs (2019), the largest number is in Central and Southern Asia (361 million) and Eastern and South-Eastern Asia (307 million). The youth population could be higher because of the flexibility in determining who is young. UNESCO (n.d.) acknowledges that “being young can vary substantially across the world, between countries and regions, [making ‘youth’] often a fluid and changing category” (Welcome to the UNESCO Youth Programme section, para. 3). This explains why there are countries that consider as part of the youth those up to the ages of 29 or 35 (Advocates for Youth, n.d.). In 1995, the United Nations General Assembly adopted the World Programme of Action for Youth (WPAY) which “provides a policy framework and practical guidelines for national action and international support to improve the situation of young people.” (United Nations Department of Economic & Social Affairs, 2010, pp. i–ii). Its 15 youth priority areas are education; employment; hunger and poverty; health, environment; drug abuse; juvenile delinquency; leisure-time activities; girls and young women; full and effective participation of youth in the life of society and in decision-making; globalization; information and communications technology; HIV/AIDS; armed conflict; and intergenerational issues (United Nations Department of Economic & Social Affairs, 2010, pp. 13–59). To address these priority areas, the three proposals for action are strengthening families, empowering young women, and strengthening intergenerational solidarity (United Nations Department of Economic & Social Affairs, 2010, pp. 59–61). While there are conscious efforts to look after the youth, the initiatives should be sustained and expanded based on in-depth research. In this context, the state of the global youth has become the subject of numerous studies (Cuzzocrea et al., 2021; Kelly & Kamp, 2015; Swartz et al., 2021). The same is true for the Asian youth (Naafs & Skelton, 2020). Much as studies on the youth already exist, there is still a need to address emerging youth-related trends and patterns, including those that involve the media.
{"title":"Framing the young","authors":"Danilo Araña Arao","doi":"10.1080/01296612.2022.2118827","DOIUrl":"https://doi.org/10.1080/01296612.2022.2118827","url":null,"abstract":"Easy to estimate, not so easy to define. If we define “youth” as those aged 15 to 24 years old, then there are about 1.2 billion of them or 16 percent of the global population in 2019 (United Nations, n.d.). According to the United Nations Department of Economic and Social Affairs (2019), the largest number is in Central and Southern Asia (361 million) and Eastern and South-Eastern Asia (307 million). The youth population could be higher because of the flexibility in determining who is young. UNESCO (n.d.) acknowledges that “being young can vary substantially across the world, between countries and regions, [making ‘youth’] often a fluid and changing category” (Welcome to the UNESCO Youth Programme section, para. 3). This explains why there are countries that consider as part of the youth those up to the ages of 29 or 35 (Advocates for Youth, n.d.). In 1995, the United Nations General Assembly adopted the World Programme of Action for Youth (WPAY) which “provides a policy framework and practical guidelines for national action and international support to improve the situation of young people.” (United Nations Department of Economic & Social Affairs, 2010, pp. i–ii). Its 15 youth priority areas are education; employment; hunger and poverty; health, environment; drug abuse; juvenile delinquency; leisure-time activities; girls and young women; full and effective participation of youth in the life of society and in decision-making; globalization; information and communications technology; HIV/AIDS; armed conflict; and intergenerational issues (United Nations Department of Economic & Social Affairs, 2010, pp. 13–59). To address these priority areas, the three proposals for action are strengthening families, empowering young women, and strengthening intergenerational solidarity (United Nations Department of Economic & Social Affairs, 2010, pp. 59–61). While there are conscious efforts to look after the youth, the initiatives should be sustained and expanded based on in-depth research. In this context, the state of the global youth has become the subject of numerous studies (Cuzzocrea et al., 2021; Kelly & Kamp, 2015; Swartz et al., 2021). The same is true for the Asian youth (Naafs & Skelton, 2020). Much as studies on the youth already exist, there is still a need to address emerging youth-related trends and patterns, including those that involve the media.","PeriodicalId":53411,"journal":{"name":"Media Asia","volume":"49 1","pages":"285 - 287"},"PeriodicalIF":0.0,"publicationDate":"2022-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41326103","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 : 2022-09-06DOI: 10.1080/01296612.2022.2116535
Rachel E. Riggs, Samer Melhem, Carolina P. Perez, Camden Smith, Narissra Maria Punyanunt-Carter
Abstract Asian portrayals in the media can affect viewers’ beliefs about Asians in real life. Based on questionnaire responses from 429 undergraduate students, this study sought to examine college students’ perceptions of Asians on television. Participants were asked to identify television programs with Asian characters and to think about their perceptions regarding these programs. Findings from this study uncovered that college students’ perceptions of Asian representation in television media do indeed affect the way they perceive Asian Americans, further reinforcing stereotypical message perception and evaluations of Asians. These findings suggest that television can affect the way college students view reality regarding Asians.
{"title":"Understanding American college students’ perceptions of Asians on television","authors":"Rachel E. Riggs, Samer Melhem, Carolina P. Perez, Camden Smith, Narissra Maria Punyanunt-Carter","doi":"10.1080/01296612.2022.2116535","DOIUrl":"https://doi.org/10.1080/01296612.2022.2116535","url":null,"abstract":"Abstract Asian portrayals in the media can affect viewers’ beliefs about Asians in real life. Based on questionnaire responses from 429 undergraduate students, this study sought to examine college students’ perceptions of Asians on television. Participants were asked to identify television programs with Asian characters and to think about their perceptions regarding these programs. Findings from this study uncovered that college students’ perceptions of Asian representation in television media do indeed affect the way they perceive Asian Americans, further reinforcing stereotypical message perception and evaluations of Asians. These findings suggest that television can affect the way college students view reality regarding Asians.","PeriodicalId":53411,"journal":{"name":"Media Asia","volume":"50 1","pages":"97 - 109"},"PeriodicalIF":0.0,"publicationDate":"2022-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44067357","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 : 2022-09-06DOI: 10.1080/01296612.2022.2116536
Argha Basu, P. Tripathi
Jayeshbhai Jordaar directed by Thakkar (2022) is a worthy intervention around a nebulous but significant concern of female feticide and female infanticide in India. It becomes important as it highlights the nuances of intersectionality within what can be called a global narrative on women’s issues. The exclusivity of sex-selective feticide and infanticide in India makes it evident to introduce separate critical mediations for each narrative. The overturning of the landmark judgment of the 1973 Roe vs Wade case by the US Supreme Court in June 2022 has once again ignited the abortion debate and the question around reproductive rights visa-vis women’s rights globally. According to The Week (2022), 24 countries globally reject abortion even if it involves a risk to a woman’s life or health. Like several women’s issues, even abortion has a customized narrative available. While in most parts of the world, the issue of abortion revolves around reproductive justice and the exercising of a woman’s bodily agency. In the context of India, the situation became complicated with the emergence of sex-selective abortion (or the practice of terminating a pregnancy based upon the predicted sex of the infant). Before 1971, abortion was illegal in India but with the introduction of the Medical Termination of Pregnancy (MTP) Act 1971 and the MTP Amendment Act 2021, women found a newer space to negotiate within the discourse of pregnancy and childbirth. But this space got compromised with the introduction of sex determination of the fetus and selective abortion which compelled the government to introduce the Pre-Conception and Pre-Natal Diagnostic Techniques Act 1994, and its amendment in 2003 (where the ultrasound technology was brought into consideration) to reduce coerced abortions and eventually eliminate the chances of arriving at a skewed gender ratio in the future. Jayeshbhai Jordaar exploits the lacuna and impotence of this legal scope in India as sex-selective abortion still happens. Jayeshbhai Jordaar is set in the fictional land of Pravingadh (Gujarat, India) which can be interpreted as a symptomatic reflection of most of the semi-urban Indian cities. The film focuses on the struggles of Jayesh Patel (played by Ranveer Singh) and his wife Mudra Patel (played by Shalini Pandey) against the age-old tradition of son
{"title":"Sex-selective abortion and media: review of the film Jayeshbhai Jordaar (2022)","authors":"Argha Basu, P. Tripathi","doi":"10.1080/01296612.2022.2116536","DOIUrl":"https://doi.org/10.1080/01296612.2022.2116536","url":null,"abstract":"Jayeshbhai Jordaar directed by Thakkar (2022) is a worthy intervention around a nebulous but significant concern of female feticide and female infanticide in India. It becomes important as it highlights the nuances of intersectionality within what can be called a global narrative on women’s issues. The exclusivity of sex-selective feticide and infanticide in India makes it evident to introduce separate critical mediations for each narrative. The overturning of the landmark judgment of the 1973 Roe vs Wade case by the US Supreme Court in June 2022 has once again ignited the abortion debate and the question around reproductive rights visa-vis women’s rights globally. According to The Week (2022), 24 countries globally reject abortion even if it involves a risk to a woman’s life or health. Like several women’s issues, even abortion has a customized narrative available. While in most parts of the world, the issue of abortion revolves around reproductive justice and the exercising of a woman’s bodily agency. In the context of India, the situation became complicated with the emergence of sex-selective abortion (or the practice of terminating a pregnancy based upon the predicted sex of the infant). Before 1971, abortion was illegal in India but with the introduction of the Medical Termination of Pregnancy (MTP) Act 1971 and the MTP Amendment Act 2021, women found a newer space to negotiate within the discourse of pregnancy and childbirth. But this space got compromised with the introduction of sex determination of the fetus and selective abortion which compelled the government to introduce the Pre-Conception and Pre-Natal Diagnostic Techniques Act 1994, and its amendment in 2003 (where the ultrasound technology was brought into consideration) to reduce coerced abortions and eventually eliminate the chances of arriving at a skewed gender ratio in the future. Jayeshbhai Jordaar exploits the lacuna and impotence of this legal scope in India as sex-selective abortion still happens. Jayeshbhai Jordaar is set in the fictional land of Pravingadh (Gujarat, India) which can be interpreted as a symptomatic reflection of most of the semi-urban Indian cities. The film focuses on the struggles of Jayesh Patel (played by Ranveer Singh) and his wife Mudra Patel (played by Shalini Pandey) against the age-old tradition of son","PeriodicalId":53411,"journal":{"name":"Media Asia","volume":"50 1","pages":"313 - 316"},"PeriodicalIF":0.0,"publicationDate":"2022-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47677651","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 : 2022-09-06DOI: 10.1080/01296612.2022.2117012
Fathima Thasneem A
Abstract This paper attempts to make a critical analysis of the influence of Korean and Chinese dramas on university students in India, especially in the backdrop of the COVID-19 lockdown. Considering the current trend of an increasing surge in drama consumption among GenZ, the research attempts to identify both positive and adverse effects of the soaps on different aspects of their lives. The study is premised on a mixed-method online survey, the data of which is analyzed using the Percentage Analysis method and interpreted based on the Mood-Cue Approach in Cognitive Film Theory proposed by Greg M. Smith. Subsequently, the researcher establishes that the lockdown period has provided great opportunities for the young generation of students to explore a wide variety of Korean and Chinese content. And if the factors leading to the adverse effects on the youth are judiciously controlled, these soaps can contribute a lot to the self-betterment of university students in India.
{"title":"Influence of Korean and Chinese dramas on Indian university students in the context of COVID-19 lockdown","authors":"Fathima Thasneem A","doi":"10.1080/01296612.2022.2117012","DOIUrl":"https://doi.org/10.1080/01296612.2022.2117012","url":null,"abstract":"Abstract This paper attempts to make a critical analysis of the influence of Korean and Chinese dramas on university students in India, especially in the backdrop of the COVID-19 lockdown. Considering the current trend of an increasing surge in drama consumption among GenZ, the research attempts to identify both positive and adverse effects of the soaps on different aspects of their lives. The study is premised on a mixed-method online survey, the data of which is analyzed using the Percentage Analysis method and interpreted based on the Mood-Cue Approach in Cognitive Film Theory proposed by Greg M. Smith. Subsequently, the researcher establishes that the lockdown period has provided great opportunities for the young generation of students to explore a wide variety of Korean and Chinese content. And if the factors leading to the adverse effects on the youth are judiciously controlled, these soaps can contribute a lot to the self-betterment of university students in India.","PeriodicalId":53411,"journal":{"name":"Media Asia","volume":"50 1","pages":"110 - 123"},"PeriodicalIF":0.0,"publicationDate":"2022-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48383444","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 : 2022-09-05DOI: 10.1080/01296612.2022.2115691
Goutam Karmakar
Indian Hindi films such as
印度的印地语电影如
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Pub Date : 2022-07-28DOI: 10.1080/01296612.2022.2104489
E. B. C. Novio
Around 31 million Filipinos voted for Ferdinand Marcos Jr as the 17th president of the Philippines on 9 May 2022. Ferdinand Marcos Jr is the namesake and son of ousted dictator Ferdinand Marcos whose family plundered and left the Philippines almost bankrupt when they were in power from 1965 to 1986. He won against former Philippine vice president Leonor “Leni” Robredo who only got around 15 million votes. Robredo is a human rights lawyer and an economist. She was a congressional district representative of Camarines Sur (3rd District) before serving as a vice president. Marcos Jr, on the other hand, was governor of Ilocos Norte from 1998 to 2007, congressional district representative of Ilocos Norte (2nd District) from 2007 to 2010, and senator from 2010 to 2016. He ran for vice president in 2016 but lost to Robredo. The landslide victory of Marcos Jr is not surprising. He promised to continue the legacy of his father who imposed Martial Law from 1972 to 1986. But what legacy does he promise? During the election campaign period, Marcos Jr did not clearly explain his plans for economic recovery and social services. Instead, he kept on calling for "unity." His supporters claim that he can help the poor by reducing the prices of commodities such as rice to as low as PhP20 per kilo from the current PhP37 per kilo. The Philippine election system has been ruled by the so-called 3 Gs – guns, goons, and gold. Perhaps it is timely to add another factor – social media. The Filipino people merely ousted the Marcos family from Malaca~ nan Palace on 25 February 1986 during a people’s uprising popularly called the People Power Revolution. While it resulted in the assumption into office of Corazon Aquino, widow of then opposition leader Benigno Aquino Jr, there are no qualitative changes in the Philippine political landscape. The 1987 Constitution did not declare that the dictator’s family would not have an opportunity to return. There was no clear provision prohibiting the rise of political dynasty or electing a person despite facing plunder cases or being convicted of crimes. From 1987 onwards, the Philippines further became a breeding ground for political dynasties and convicted politicians. After being ousted, Marcos and his family just spent time in Hawai’i with the help of the United States government, aware that they would return sooner or later. It
{"title":"Marcos presidency and the challenges to journalists and educators in the Philippines","authors":"E. B. C. Novio","doi":"10.1080/01296612.2022.2104489","DOIUrl":"https://doi.org/10.1080/01296612.2022.2104489","url":null,"abstract":"Around 31 million Filipinos voted for Ferdinand Marcos Jr as the 17th president of the Philippines on 9 May 2022. Ferdinand Marcos Jr is the namesake and son of ousted dictator Ferdinand Marcos whose family plundered and left the Philippines almost bankrupt when they were in power from 1965 to 1986. He won against former Philippine vice president Leonor “Leni” Robredo who only got around 15 million votes. Robredo is a human rights lawyer and an economist. She was a congressional district representative of Camarines Sur (3rd District) before serving as a vice president. Marcos Jr, on the other hand, was governor of Ilocos Norte from 1998 to 2007, congressional district representative of Ilocos Norte (2nd District) from 2007 to 2010, and senator from 2010 to 2016. He ran for vice president in 2016 but lost to Robredo. The landslide victory of Marcos Jr is not surprising. He promised to continue the legacy of his father who imposed Martial Law from 1972 to 1986. But what legacy does he promise? During the election campaign period, Marcos Jr did not clearly explain his plans for economic recovery and social services. Instead, he kept on calling for \"unity.\" His supporters claim that he can help the poor by reducing the prices of commodities such as rice to as low as PhP20 per kilo from the current PhP37 per kilo. The Philippine election system has been ruled by the so-called 3 Gs – guns, goons, and gold. Perhaps it is timely to add another factor – social media. The Filipino people merely ousted the Marcos family from Malaca~ nan Palace on 25 February 1986 during a people’s uprising popularly called the People Power Revolution. While it resulted in the assumption into office of Corazon Aquino, widow of then opposition leader Benigno Aquino Jr, there are no qualitative changes in the Philippine political landscape. The 1987 Constitution did not declare that the dictator’s family would not have an opportunity to return. There was no clear provision prohibiting the rise of political dynasty or electing a person despite facing plunder cases or being convicted of crimes. From 1987 onwards, the Philippines further became a breeding ground for political dynasties and convicted politicians. After being ousted, Marcos and his family just spent time in Hawai’i with the help of the United States government, aware that they would return sooner or later. It","PeriodicalId":53411,"journal":{"name":"Media Asia","volume":"50 1","pages":"124 - 127"},"PeriodicalIF":0.0,"publicationDate":"2022-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43493012","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 : 2022-07-27DOI: 10.1080/01296612.2022.2104499
Goutam Karmakar
of a rape survivor whose
一个强奸幸存者的
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Pub Date : 2022-07-27DOI: 10.1080/01296612.2022.2104495
Mohamad Saripudin, Ilfiandra, Y. Sunarya
Turning Red is a fictional animated comedy film directed by Shi (2022) available for viewing on Disney Plus Hotstar. This film is set in Toronto, Canada but the main character is Chinese. The film tells the life of Mellin “Mei” Lee as a student who struggles with a hereditary curse. At first, Mei was described as a teenage character who excels in several subjects and has normal relationships like teenage girls her age, such as having a gang, starting to like men, and having an idol group. The conflict starts when Mie felt that her mother was too overprotective and too restrained so that Mei could not express her emotions appropriately. As a result, Mei gets hit by a curse. This curse allows a woman from the Lee family to transform into a red panda. Initially, this change was not a curse but a blessing to the women in the Lee family. They use the red panda transformation to protect their hometown from soldiers who want to colonize it when all the boys go to war. As time passes and the world changes, this gift becomes a disaster for the Lee family. The red panda’s curse drastically changes Mei’s life, causing Mei to avoid social interactions. The film has a bright plot when Mei’s best friend finds out about Mei’s curse. They accept Mei for who she is, and so Mei feels loved by her best friends. The love of her best friend allows Mei to control her emotions, which causes her to control her transformation into a red panda. The Mei family tries to remove this curse by holding a curse release ceremony during the red moon. Simultaneously, Mei and her friends use the red panda to earn money for buying tickets to watch their favorite boyband concert. The transformation of the red panda turns into a spectacle. Mei’s attempt is discovered by her mother who then gets angry. To assuage her mother’s feelings, Mei finally takes part in the ceremony to get rid of the red panda. During the ceremony, however, Mei suddenly changes her mind, choosing to keep the red panda upon remembering good memories with her friends. And since the ceremony coincided with the concert, Mei runs away to see her favorite boyband. Her angry mother then turns into a giant red panda and disrupts the concert. The conflict escalates when Mei and her family tried to help her mother become human again by holding a ceremony at the concert venue. Mei’s family manages to save her mother. The director ends the film with the Lee family’s acceptance of Mei’s choice to keep the red panda.
{"title":"Film as a medium for cultivating a culture of peace: Turning Red film review (2022)","authors":"Mohamad Saripudin, Ilfiandra, Y. Sunarya","doi":"10.1080/01296612.2022.2104495","DOIUrl":"https://doi.org/10.1080/01296612.2022.2104495","url":null,"abstract":"Turning Red is a fictional animated comedy film directed by Shi (2022) available for viewing on Disney Plus Hotstar. This film is set in Toronto, Canada but the main character is Chinese. The film tells the life of Mellin “Mei” Lee as a student who struggles with a hereditary curse. At first, Mei was described as a teenage character who excels in several subjects and has normal relationships like teenage girls her age, such as having a gang, starting to like men, and having an idol group. The conflict starts when Mie felt that her mother was too overprotective and too restrained so that Mei could not express her emotions appropriately. As a result, Mei gets hit by a curse. This curse allows a woman from the Lee family to transform into a red panda. Initially, this change was not a curse but a blessing to the women in the Lee family. They use the red panda transformation to protect their hometown from soldiers who want to colonize it when all the boys go to war. As time passes and the world changes, this gift becomes a disaster for the Lee family. The red panda’s curse drastically changes Mei’s life, causing Mei to avoid social interactions. The film has a bright plot when Mei’s best friend finds out about Mei’s curse. They accept Mei for who she is, and so Mei feels loved by her best friends. The love of her best friend allows Mei to control her emotions, which causes her to control her transformation into a red panda. The Mei family tries to remove this curse by holding a curse release ceremony during the red moon. Simultaneously, Mei and her friends use the red panda to earn money for buying tickets to watch their favorite boyband concert. The transformation of the red panda turns into a spectacle. Mei’s attempt is discovered by her mother who then gets angry. To assuage her mother’s feelings, Mei finally takes part in the ceremony to get rid of the red panda. During the ceremony, however, Mei suddenly changes her mind, choosing to keep the red panda upon remembering good memories with her friends. And since the ceremony coincided with the concert, Mei runs away to see her favorite boyband. Her angry mother then turns into a giant red panda and disrupts the concert. The conflict escalates when Mei and her family tried to help her mother become human again by holding a ceremony at the concert venue. Mei’s family manages to save her mother. The director ends the film with the Lee family’s acceptance of Mei’s choice to keep the red panda.","PeriodicalId":53411,"journal":{"name":"Media Asia","volume":"50 1","pages":"150 - 153"},"PeriodicalIF":0.0,"publicationDate":"2022-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45209778","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 : 2022-07-26DOI: 10.1080/01296612.2022.2104492
Indumathi Somashekar, Melwyn S. Pinto
The idea of “national cinema” and its usage in common parlance in the world is not unknown as it often appears in academic and filmic discussions. However, its use especially in a multilingual country like India is questionable. India houses multiple film industries across different states distinguished by language and other features. But surprisingly, Hindi language cinema, or more popularly Bollywood, is referred to as the “national cinema of India.” This general conception of one language cinema (Hindi cinema) as the “national cinema of India,” both within the nation and outside, is grossly non-factual, unofficial, biased, and unfair. This commentary explores the misconception of Hindi cinema as the “national cinema of India” which is fluid in nature. It attempts to decipher popular arguments in the socio-political, and historical context of Indian cinema. The article tries to present arguments to counter the idea of one-language cinema (Hindi cinema) as the “national cinema of India,” and other languages cinema as regional cinema. It is under the milieu of language that the concept of national cinema and regional cinema in India needs to be analysed.
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Pub Date : 2022-07-18DOI: 10.1080/01296612.2022.2099637
Amit Verma, Abhishika Sharma, Amitabh Srivastava
83 is an Indian Hindi-language sports drama film written and directed by
《83》是一部印度印地语体育戏剧电影
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