By S. Banaji
Analyzing 'Bollywood' explores the connections among representations of gender, sexuality and ethnicity in Hindi movies, socio-political contexts and the development of gender, sexual and ethnic id through younger viewers contributors in India and the united kingdom. prolonged excerpts from in-depth interviews with younger audience, observations and unique pictures offer intriguing and particular insights approximately spectatorship in addition to fabric for comparability with theories approximately Hindi movie and experiences of movie audiences and pop culture around the world.
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Extra resources for Reading 'Bollywood': The Young Audience and Hindi Films
Chatterji. In her book Subject Cinema: Object Woman, Chatterji argues, among other things, that male masquerade on screen does not give women the identity and integrity they desire (1998: 259), upholding instead male superiority and dominance, and that contrary to performing an ‘idealising’ function, ‘myth’ in Indian popular culture has functioned to perpetuate images of women which are ‘beautiful’, but in which their ‘inner strength’ – if they have any – ‘mainly derives from a man, dead or alive – father, brother, husband or son’ (1998: 49).
4 Cultural constructions: textual analysis and feminist critique Ranging from analyses of the ways in which the camera ‘interacts’ with actors and actresses in a symbolic simulation of ‘coitus interruptus’ to discussions of censorship, voyeuristic pleasure during dance sequences, sado-masochistic pleasure in watching heroic suffering and female authority in the rape-revenge genre of mainstream cinema, the work of Lalitha Gopalan (1998, 2002), Jyotika Virdi (2003), Shohini Ghosh (1999, 2002), Ranjani Mazumdar (2000) and Asha Kasbekar (2001) has much to offer debates over the location of power and agency in the text–audience interaction.
In this instance not only has the notion of masquerade and impersonation been stripped, so to speak, of its negative and duplicitous connotations, but it has been legitimised as a vehicle for moral regeneration. In terms of Chakravarty’s argument, which eschews simplistic assumptions about ‘identity’ and ‘realism’, the fact that nothing ‘material’ has changed at the end of the film (either within its universe or off the screen) is by the by. However, for many Hindi film critics and theorists, the ‘closure’ offered by Indian commercial cinema to dilemmas of gender, caste and class oppression, underprivilege and corruption, is false and misleading, dangerously simplistic and disabling to political critique.