By Alka Kurian
This booklet conducts a post-colonial, gendered research of women-centred South Asian movies. In those movies, the narrative turns into an act of political engagement and a domain of feminist fight: a map that weaves jointly a number of strands of subjectivity—gender, caste, race, type, faith, and colonialism. The e-book explores the cinematic building of an oppositional narrative of feminist dissent for you to problematic a old realizing and theorisation of the ‘materiality and politics’ of the typical fight of Indian ladies. The ebook analyzes the ways in which ‘cultural employees’ have tended to take advantage of subversive narratives as a device of resistance. Narratives which are political, ideological, classed, raced and gendered supply the point of interest of this exploration. via techniques of disclosure and documentation of reminiscence, own stories, and imaginary occasions formed via the bigger old, political, and cultural contexts, those discursive texts interact within the procedures of fight opposed to a plethora of oppression: caste, type, faith, patriarchal, sexual, and (neo)colonial. The learn appears to be like on the demeanour within which, via their artistic and aesthetic interventions, South Asian movie makers permit the articulation of an alternate gendered subjectivity in addition to represent the floor for private and collective empowerment. motion pictures mentioned comprise Shyam Benegal’s Nishaant, Nandita Das’ Firaaq, Beate Arnestad’s My Daughter the Terrorist, and Sarah Gavron’s Brick Lane.
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Narratives of Gendered Dissent in South Asian Cinemas (Routledge Advances in Film Studies) by Alka Kurian
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