维沙尔·巴德瓦杰《海德尔》中克什米尔“阿扎迪”的引发与反思

IF 0.2 Q4 WOMENS STUDIES Meridians-Feminism Race Transnationalism Pub Date : 2021-07-23 DOI:10.1215/15366936-8913129
Sreyoshi Sarkar
{"title":"维沙尔·巴德瓦杰《海德尔》中克什米尔“阿扎迪”的引发与反思","authors":"Sreyoshi Sarkar","doi":"10.1215/15366936-8913129","DOIUrl":null,"url":null,"abstract":"Abstract:Women living in the South Asian conflict zone of Kashmir have been represented by mainstream media and film as mainly victims of the Indian state power's political and sexual violence, as protestors who are supporting their men's insurgency in Kashmir, or as aligned with local Islamic militant groups. This obscures their nuanced testimonies, political objectives, and multivalent agencies within the conflict zone. The author shows how Vishal Bharadwaj's 2014 film Haider, an adaptation of Shakespeare's Hamlet, disrupts such erasures to highlight Kashmiri women's lived experiences in the conflict zone at intersections of everyday and extraordinary violence. By close reading scenes from the film via cinematic structure, dialogue, acting, camerawork, and mise-en-scène, the author shows how Haider not only mounts a scathing critique of the Indian occupation of Kashmir but also underscores the need for more capacious considerations of postcolonial feminisms as emergent from lived experiences versus adhering to established checklists approved by Euro-American feminism. The film's investments in its female protagonists—Ghazala and Arshia—more than the men also uncovers the former's redefinitions of azadi (freedom) as not just about Kashmiri political autonomy from India and Pakistan but also about nonviolence, equality, and justice for women and by extension all marginalized populations in Kashmir.","PeriodicalId":54178,"journal":{"name":"Meridians-Feminism Race Transnationalism","volume":"20 1","pages":"126 - 90"},"PeriodicalIF":0.2000,"publicationDate":"2021-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":"{\"title\":\"Engendering Protest and Rethinking \\\"Azadi\\\" in Kashmir in Vishal Bhardwaj's Haider\",\"authors\":\"Sreyoshi Sarkar\",\"doi\":\"10.1215/15366936-8913129\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Abstract:Women living in the South Asian conflict zone of Kashmir have been represented by mainstream media and film as mainly victims of the Indian state power's political and sexual violence, as protestors who are supporting their men's insurgency in Kashmir, or as aligned with local Islamic militant groups. This obscures their nuanced testimonies, political objectives, and multivalent agencies within the conflict zone. The author shows how Vishal Bharadwaj's 2014 film Haider, an adaptation of Shakespeare's Hamlet, disrupts such erasures to highlight Kashmiri women's lived experiences in the conflict zone at intersections of everyday and extraordinary violence. By close reading scenes from the film via cinematic structure, dialogue, acting, camerawork, and mise-en-scène, the author shows how Haider not only mounts a scathing critique of the Indian occupation of Kashmir but also underscores the need for more capacious considerations of postcolonial feminisms as emergent from lived experiences versus adhering to established checklists approved by Euro-American feminism. The film's investments in its female protagonists—Ghazala and Arshia—more than the men also uncovers the former's redefinitions of azadi (freedom) as not just about Kashmiri political autonomy from India and Pakistan but also about nonviolence, equality, and justice for women and by extension all marginalized populations in Kashmir.\",\"PeriodicalId\":54178,\"journal\":{\"name\":\"Meridians-Feminism Race Transnationalism\",\"volume\":\"20 1\",\"pages\":\"126 - 90\"},\"PeriodicalIF\":0.2000,\"publicationDate\":\"2021-07-23\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"1\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Meridians-Feminism Race Transnationalism\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1215/15366936-8913129\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q4\",\"JCRName\":\"WOMENS STUDIES\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Meridians-Feminism Race Transnationalism","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1215/15366936-8913129","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q4","JCRName":"WOMENS STUDIES","Score":null,"Total":0}
引用次数: 1

摘要

摘要:在主流媒体和电影中,生活在南亚克什米尔冲突地区的妇女主要被描绘成印度国家政权的政治暴力和性暴力的受害者,或者是支持克什米尔地区男性叛乱的抗议者,或者是与当地伊斯兰激进组织结盟的人。这掩盖了他们微妙的证词、政治目标和冲突地区的多重机构。作者展示了维沙尔·巴拉德瓦吉(Vishal Bharadwaj) 2014年的电影《海德尔》(Haider)是如何改编自莎士比亚的《哈姆雷特》(Hamlet),打破了这种抹除,突出了克什米尔妇女在冲突地区日常暴力和特殊暴力的交叉点上的生活经历。通过对电影结构、对白、表演、摄影和场景布置的仔细阅读,作者展示了海德尔不仅对印度占领克什米尔进行了严厉的批评,而且强调了从生活经验中涌现的后殖民女权主义需要更广泛的考虑,而不是坚持欧美女权主义所认可的成熟清单。影片对两位女主角——加扎拉和阿尔希娅——的投入超过对男性的投入,也揭示了前者对阿扎迪(自由)的重新定义,不仅是关于克什米尔从印度和巴基斯坦的政治自治,也是关于非暴力、平等和正义,以及克什米尔所有边缘化人口。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
查看原文
分享 分享
微信好友 朋友圈 QQ好友 复制链接
本刊更多论文
Engendering Protest and Rethinking "Azadi" in Kashmir in Vishal Bhardwaj's Haider
Abstract:Women living in the South Asian conflict zone of Kashmir have been represented by mainstream media and film as mainly victims of the Indian state power's political and sexual violence, as protestors who are supporting their men's insurgency in Kashmir, or as aligned with local Islamic militant groups. This obscures their nuanced testimonies, political objectives, and multivalent agencies within the conflict zone. The author shows how Vishal Bharadwaj's 2014 film Haider, an adaptation of Shakespeare's Hamlet, disrupts such erasures to highlight Kashmiri women's lived experiences in the conflict zone at intersections of everyday and extraordinary violence. By close reading scenes from the film via cinematic structure, dialogue, acting, camerawork, and mise-en-scène, the author shows how Haider not only mounts a scathing critique of the Indian occupation of Kashmir but also underscores the need for more capacious considerations of postcolonial feminisms as emergent from lived experiences versus adhering to established checklists approved by Euro-American feminism. The film's investments in its female protagonists—Ghazala and Arshia—more than the men also uncovers the former's redefinitions of azadi (freedom) as not just about Kashmiri political autonomy from India and Pakistan but also about nonviolence, equality, and justice for women and by extension all marginalized populations in Kashmir.
求助全文
通过发布文献求助,成功后即可免费获取论文全文。 去求助
来源期刊
CiteScore
0.50
自引率
0.00%
发文量
24
期刊最新文献
Farm of Forgetting Between Skin and Stone Editor’s Introduction “We Are Orlando” Indigo
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
×
提示
您的信息不完整,为了账户安全,请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
现在去查看 取消
×
提示
确定
0
微信
客服QQ
Book学术公众号 扫码关注我们
反馈
×
意见反馈
请填写您的意见或建议
请填写您的手机或邮箱
已复制链接
已复制链接
快去分享给好友吧!
我知道了
×
扫码分享
扫码分享
Book学术官方微信
Book学术文献互助
Book学术文献互助群
群 号:481959085
Book学术
文献互助 智能选刊 最新文献 互助须知 联系我们:info@booksci.cn
Book学术提供免费学术资源搜索服务,方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。
Copyright © 2023 Book学术 All rights reserved.
ghs 京公网安备 11010802042870号 京ICP备2023020795号-1