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Results 69211-69217 of 69217 (Search time: 0.045 seconds).
  • Article

  • A case of Holy cow: religion, politics and culture in assamese feature film Goru

    • Authors: Debajyoti Biswas (2022)

  • The bovine has been the cause of conflict in the Indian sub- continent for the past few centuries owing to religious and cultural sentiments associated with it. This apparent irreconcilable conflict is localised in the binary of religious mannerism espoused by the religious groups in northern India, which is known as India’s cow belt. Such contradictions have caused bitter riots and conflicts resulting in social unrest in mainland India with spiralling effects spilling over to other regions. Although this issue has become a determiner in controlling electoral politics in some Indian states that affected the rise in Hindutva politics, in the case of Assam both cow-politics and Hindutva sentiments have had little effect. This paper proposes to examine this hypothesis by analysing Hima...
  • Article

  • Real life fiction: genre and truth claims in popular call centre narratives

    • Authors: Anna Guttman (2022)

  • Chetan Bhagat’s blockbuster, was the first popular novel about business process outsourcing work – but not the last. Since 2007, several new authors, including Vikrant Shukla, Shruti Saxena, Anish Trivedi, Brinda Narayan and Makhudar Yadav have all launched careers in fiction writing by employing call centre narra-tives, and drawing specifically on their corporate work experience. Much like popular compilations of ‘true’ stories by Sudhindra Mokhasi, these ostensibly fictional texts perform a variety of func-tions: instructing prospective call centre employees on the indus-try, breaking down negative perceptions of call centre work and entertaining the reader with tales of youthful hijinks. Perhaps most importantly, however, popular texts interpolate a growing Indian middle class ...
  • Article

  • The new ‘new liberal Indian woman’: The glocalization of chick lit

    • Authors: Srijani Ghosh (2022)

  • Since the process of economic liberalization began in India in the 1990s, globalization opened channels for the circulation of Western popular literature and culture in India, which led to their localized adaptation. An illustrative example of this phenomenon is Indian chick lit, which features plots that have a lot in common with Western chick lit but are adapted to reflect urban Indian popular culture, complete with popular Indian stereotypes like the arranged marriage to make it more relatable to the target Indian audience. Through an analysis of Swati Kaushal’s Piece of Cake (2004) and Advaita Kala’s Almost Single (2009), this essay will illustrate how Indian chick lit represents a newer version of Rupal Oza’s post- liberalization ‘new liberal Indian woman’ and glocalizes the ...
  • Article

  • Food for thought: India, postage stamps and banal nationalism

    • Authors: Sarita K. Heer (2022)

  • Social Psychologist Michael defines banal nationalism as ordinary iconographies communicating a sense of nation and permeating daily existence (8). Postage stamps are vehicles of banal national-ism, as they are ephemeral and small government-issued items that seem innocuous. However, the images chosen to be on postage stamps are carefully considered and chosen, and commonly reflect the ideologies of the dominant political party at the time of pro-duction. Yet many citizens do not take the time to contemplate why a certain image has been produced on this medium of government authority. In my paper I will unpack the Bharatiya Janata Party’s philosophy and rise to power in 2014 and then discuss how postage stamps issued in 2017, specifically the series on Indian food, reflects the part...
  • Article

  • Sex and sensibility: The homographic stardom of Ranveer Singh

    • Authors: Rahul Sen (2022)

  • This essay examines the stardom of Ranveer Singh in the light of Queer Theory. In the last decade, Ranveer Singh has established himself as the superstar of the Bombay film industry. Not only has he acted in a range of challenging films, thereby proving his versa-tility as an actor, his quirky sense of clothing and style, as well as his eccentric personality and over the top public gestures, have been subject to endless public conversations and debates. In this essay, I argue, that Ranveer Singh’s aesthetics – both, on-screen and off- screen – mirror an aesthetics of queerness that militate against the normative expectations of a male star in the Bombay film industry. The characters that he plays on screen, his fashion, as well as his public conduct, together, are responsible for ...
  • Article

  • Familial unfamiliarity: Reading family spaces in New Generation Malayalam cinema

    • Authors: Mohammed Shafeeq; Zeenath Mohamed Kunhi (2022)

  • Spatiality and the spatial turn in cultural studies and media theory have critically influenced academic dialogues and the analysis of texts in contemporary discourses. In this context, the paper attempts to apply the discourse of spatiality to read into the family spaces in the New Generation Malayalam film narratives, holding the view that diegetic spaces in these films, directly and indirectly, attempt at foregrounding and subverting the normalisation of reproductive heteronormativity which had resulted in the gen-dered storytelling practices. To engage critically with the category of diegetic spatiality, two representational New Generation Malayalam films, Bangalore Days(2014) and Kumbalangi Nights (2019) are explored.
  • Article

  • Satyajit Ray, New Cinema, and the FFC/NFDC

    • Authors: Sudha Tiwari (2022)

  • Year 2021–22 was celebrated as the birth centenary of Satyajit Ray. The Film Finance Corporation (FFC) and National Film Development Corporation (NFDC) were two of his important financiers and pro-ducers. Ray’s Charulata (1964), Nayak (1965), and Goopy Gyne Bagha Byne (1968) were financed by the FFC. NFDC produced some of his later films, viz. Ghare Baire (1984), Ganashatru (1989), and Agantuk (1992). This article remembers Ray by recalling the Corporation’s support towards and celebration of the Master’s films. It revisits Ray’s views on Indian films, New Cinema movement of the 1970s, and films and audience in general with a view to highlight his curious relationship with the alternative cinema movement of India.