![]() ![]() National Identity, Popular Culture and Everyday Life, Oxford and New York: Berg.Įnloe, C. 2005, “The Saffron Screen? Hindu Nationalism and the Hindi Film,” in Religion, Media and the Public Sphere (edited by Birgit Meyer and Annelies Moors), USA: Indiana University PressĮdensor, T. Filming the Gods: Religion & Indian Cinema. ![]() National Cinema, the Very Idea in The Philosophy of Film and Motion Pictures: An Anthology, London: Blackwell Publishingĭwyer, R. In doing so, the film is making sure that India is identifying itself as a nation which is different from Pakistan or by drawing the boundary of India as the self and Pakistan as the other.Īnderson, B. The main research question is how the film depicts the process of self-identification from the Indian characters by looking at the “cultural similarities and differences” compared to the Pakistani character while representing the effort of drawing a boundary between India and Pakistan? Research findings who that there are three dominant representational elements (space, religion and gender) in which the film with its authority select what forms of representation it would present concerning each country. The conflicts represent the ongoing and completely unresolved sibling rivalry between the two countries particularly after the partition in 1947. ![]() The chosen case study for this article is Veer Zaara (2004), a romantic Bollywood movie telling us the story of two lovers from India and Pakistan who have to undergone multiple challenges to be together. Films as cultural texts articulate the politics of everyday lives and one of the issues often depicted is on nationalism. ![]()
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