Beyond Bollywood: The Cultural Politics of South Asian by Jigna Desai

By Jigna Desai

Past Bollywood is the 1st accomplished examine the emergence, improvement, and value of latest South Asian diasporic cinema. From a feminist and queer viewpoint, Jigna Desai explores the hybrid cinema of the ''Brown Atlantic'' via a detailed examine motion pictures in English from and approximately South Asian diasporas within the usa, Canada, and Britain, together with such well known motion pictures as My attractive Laundrette, fireplace, Monsoon marriage ceremony, and Bend it Like Beckham.

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South Asian diasporic filmmakers have gained access to resources in many different ways, including Hollywood financing, state funding, and multinational sponsorship. S. filmic production but also the circulation and consumption of diasporic films. Marxist cultural and postcolonial studies scholarship has noted the function of cultural production in colonialism and late capitalist political economy. Scholars have commented on the role of the cinematic apparatus in colonialism through its production of difference particularly in relation to disciplinary formations such as ethnography, anthropology, and sciences.

And alternative Indian. Thus, South Asian diasporic films function significantly as part of the shifting economic, political, and cultural relations between global capitalism and the postcolonial nation-state, raising questions regarding the negotiation of cultural politics of diasporas located within local, national, and transnational processes. Most frequently, films are institutionalized within the canons of national cinemas that are nation-building projects. Hence, cinema functions significantly in narrating nations and producing national identities.

Queer methods prove useful in understanding not only sexual norms but other norms, such as gender, as well. 30 Taking seriously the charge made by Ong (1999, 3) to attend “to the transnational practices and imaginings of nomadic subjects and the social conditions that enable his [sic] flexibility” my approach is a comparative transnational framework in which I examine South Asian diasporic cinema of the United States, Canada, Britain, and India. This oxymoron of transnational (hence linked) comparative (hence discrete) conveys the complex analytics of this project, as I have discussed earlier.

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