Global South Asia on ScreenBloomsbury Publishing USA, 14 thg 6, 2018 - 272 trang With importance for geopolitical cultural economy, anthropology, and media studies, John Hutnyk brings South Asian circuits of scholarship to attention where, alongside critical Marxist and poststructuralist authors, a new take on film and television is on offer. The book presents Raj-era costume dramas as a commentary on contemporary anti-Muslim racism, a new political compact in film and television studies, and the President watching a snuff film from Pakistan. Hanif Kureishi's postcolonial 'fuck Sandwich' sits alongside Salman Rushdie's Satanic Verses, updated for the war on terror with low-brow, high-brow versions of Asia that carry us up the Himalayas with magic carpet TV nostalgia. Maoists rage below and books go up in flames while News network phone-ins end with executions on the Hanging Channel and arms trade and immigration paranoia thrives. Multiplying filmi versions of Mela are measured against a transnational realignment towards Global South Asia in a contested and testing political future. Each chapter offers a slice of historical study and assessment of media theory appropriate for viewers of Global South Asia seeking to understand why lurid exoticism and paralysing terror go hand-in-hand. The answers are in the images always open to interpretation, but Global South Asia on Screen examines the ways film and TV trade on stereotype and fear, nationalism and desire, politics and context, and with this the book calls for wider reading than media theory has hitherto entertained. |
Từ bên trong sách
Kết quả 1-5 trong 61
Trang
... are told where to look. People used to look up at the cinema screen in the hall, not always in reverence, but to some degree in awe at the very idea of the movies. Increasingly the look is lowered, moving down. With the advent.
... are told where to look. People used to look up at the cinema screen in the hall, not always in reverence, but to some degree in awe at the very idea of the movies. Increasingly the look is lowered, moving down. With the advent.
Trang
John Hutnyk. Increasingly the look is lowered, moving down. With the advent of television, and even more television on the computer screen, the gaze became more or less horizontal, and with the news, more and more about those who watched ...
John Hutnyk. Increasingly the look is lowered, moving down. With the advent of television, and even more television on the computer screen, the gaze became more or less horizontal, and with the news, more and more about those who watched ...
Trang
... from the United Kingdom before moving to feature Nepal, India, Pakistan, Bangladesh and Sri Lanka; and finally focuses closely on particular Hindi, Punjabi, Bengali, Malayalam and Telugu films, all called Mela. The chapters of.
... from the United Kingdom before moving to feature Nepal, India, Pakistan, Bangladesh and Sri Lanka; and finally focuses closely on particular Hindi, Punjabi, Bengali, Malayalam and Telugu films, all called Mela. The chapters of.
Trang
... move. This means a modest attempt at political evaluation of resources that break the conventions of communications study and favour in turn the fundamental and cinematic experiences of street protest, antiracist and anti-imperialist ...
... move. This means a modest attempt at political evaluation of resources that break the conventions of communications study and favour in turn the fundamental and cinematic experiences of street protest, antiracist and anti-imperialist ...
Trang
... move, except it is of course carried out with violence, an elision of a very large and considerable body of sensitive visual and textual work on partition. Scholarship and research programmes abound, as do other films. There is much ...
... move, except it is of course carried out with violence, an elision of a very large and considerable body of sensitive visual and textual work on partition. Scholarship and research programmes abound, as do other films. There is much ...
Nội dung
The Electronic Palanquin | |
For Mohammad Afzal Guru | |
Mela | |
Conclusions and Further Viewing | |
Notes | |
Filmography | |
Index | |
Ấn bản in khác - Xem tất cả
Thuật ngữ và cụm từ thông dụng
allegory already appears Asian attention audience Bangladesh become Bollywood British called camera capital celebrity chapter character cinema colonial commentary connections considered context course critical critique cultural death debate despite diaspora discussion documentary economic effort emergent example festival Fight film fire format frame gives Global South Asia House ideological images important India interest interpretation kind Kureishi later least Left less live London look Madhava Maoists means Mela move movement Muslim narrative notes offers Palin partition perhaps played political popular possible present Press production question reference regional relation reported representation Rosie Sammy scene screen seems significant social space Spivak story street struggle studies suggest television terror texts theory tradition turn University village violence watching writing