Landless–导演Randeep Maddoke(2018年导演,旁遮普语,英文字幕)

IF 0.3 0 ASIAN STUDIES South Asian Popular Culture Pub Date : 2022-05-04 DOI:10.1080/14746689.2022.2089465
V. Kalra
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引用次数: 0

摘要

农民反对印第安人的运动在原则和行动上被视为人民力量的一个例子,那么必须认识到农场工人、工人和土地所有者联盟的重要性。当kisan morcha于2020年11月开始时,人们对它的轻蔑态度突显了男性占主导地位的种姓领导,并质疑从这个主题立场中产生进步政治的可能性。然而,在长期斗争的过程中,北印度社会面临的每一个问题都凸显出来了,种姓问题和那些无法获得土地的人的地位,更不用说所有权的梦想了,这一问题在运动内外不断得到强调。正是在这种背景下,Randeep Maddoke的电影《无地》才需要被观看。这不仅是因为Randeep本人在德里边境度过了一年的时间,作为一名活动家摄影师/电影制作人参与其中,而且这部出色的纪录片为那些处于农村劳动力阶层绝对底层的人——无地、日薪、女性——提供了支持。这部电影对达利特劳工、占多数的妇女和日薪工人的生活进行了无情而深刻的洞察。他们处于经济等级的底层,他们的身体因工作条件恶劣而僵硬。也许这部电影中最有力的片段是一场拖拉机交易会,一群歌手正在招待那些想要购买农业机械的富裕土地所有者。歌手们的淫秽歌词与一名年轻的达利特妇女在放学回家的路上被Jat男孩强奸的案件相吻合。占主导地位的种姓男性的虐待和经济必要性的陷阱为父权剥削奠定了背景,这是一个由Maddoke的美学框架所揭示的残酷制度。这部电影将观众带入了乡村生活,使用了在画面中停留很长时间的静止镜头,创造了一种被暴力和苦难所震撼的亲密感。
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Landless – Dir Randeep Maddoke (Dir. 2018, Punjabi with English subtitles)
the of the farmer’s movement against the Indian is to be considered as an example of people power in principle and action, then the importance of the coalition of farm labourers, workers and landowners has to be recog-nised. When the kisan morcha began in November 2020, a dismissive attitude towards it highlighted the male, dominant caste leadership and questioned the possibility of a progressive politics coming out of this subject position. However, through the process of the long struggle, every issue that faces North Indian society came to the fore and the question of caste and the position of those who have no access to land, let alone the dream of ownership, was continuously highlighted from within and outside the movement. It is in that context, that the film Landless by Randeep Maddoke needs to be viewed. This is not only because Randeep himself spent a year at the Delhi borders, participating as an activist-photographer/filmmaker, but this brilliant documentary forefronts those who are at the absolute bottom of the rural labour hierarchy – landless, daily-wage earning, women. This film is an unrelentless and incisive insight into the lives of Dalit labour, predomi-nantly women, daily wage workers. They are at the bottom of the economic hierarchy, their bodies gnarled and hardened, by the harsh, rugged working conditions in which they labour. Perhaps the most powerful segment of the film juxtaposes a tractor fair in which a group of singers are entertaining the wealthy landowners, who are looking to buy farm machinery. The lewd lyrics of the singers are sequenced with the case of a young Dalit woman who is raped by Jat -boys on her way back from school. The abuse by dominant caste men and the trap of economic necessity sets the context of patriarchal exploitation, a brutal system laid bare by Maddoke’s aesthetic framing. The film takes the viewer deep into rural life, with the use of still shots that stay in the frame for what seems a long time, creating an intimacy that is shaken by the violence and hardship of the lives presented.
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来源期刊
South Asian Popular Culture
South Asian Popular Culture Arts and Humanities-Visual Arts and Performing Arts
CiteScore
1.00
自引率
0.00%
发文量
29
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