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Indian cinematic traditions have always relied on eclectic ways of
figuration that combine signs and affects of desire and
abomination. That is, incarnations often emerge at critical
interfaces between good/bad, Indian/western, self/other,
virtue/vice, myth/reality, and so on. Such figures are products of
discontinuous assembling processes that cut through dyadic
arrangements and pass the same character/body/identity via
different, often contradictory, moral economies and sign systems.
These many-armed, complex modes of figuration carry a special
tenacity in Indian cinema for many reasons, but perhaps most
importantly because the template of classical realist narration
usually has had limited authority over its proceedings. Perpetually
caught between the home and the world, between elation and agony,
such cinematic entities carry in them the diverse, contending
energies of the overall assembling arena of Indian modernity
itself. The essays in this volume consider the issue of figuration
in the broadest sense, including formations that are
supra-individual, animalistic, divine and machinic.
This volume brings together a series of essays that interrogate the
notion of figuration in Indian cinemas. The essays collectively
argue that the figures which exhibit maximum tenacity in Indian
cinema often emerge in the interface of recognizable binaries:
self/other, Indian/foreign, good/bad, virtue/vice, myth/reality and
urban/rural.
Haunting Bollywood is a pioneering, interdisciplinary inquiry into
the supernatural in Hindi cinema that draws from literary
criticism, postcolonial studies, queer theory, history, and
cultural studies. Hindi commercial cinema has been invested in the
supernatural since its earliest days, but only a small segment of
these films have been adequately explored in scholarly work; this
book addresses this gap by focusing on some of Hindi cinema's least
explored genres. From Gothic ghost films of the 1950s to snake
films of the 1970s and 1980s to today's globally influenced zombie
and vampire films, Meheli Sen delves into what the supernatural is
and the varied modalities through which it raises questions of film
form, history, modernity, and gender in South Asian public
cultures. Arguing that the supernatural is dispersed among multiple
genres and constantly in conversation with global cinematic forms,
she demonstrates that it is an especially malleable impulse that
routinely pushes Hindi film into new formal and stylistic
territories. Sen also argues that gender is a particularly
accommodating stage on which the supernatural rehearses its most
basic compulsions; thus, the interface between gender and genre
provides an exceptionally productive lens into Hindi cinema's
negotiation of the modern and the global. Haunting Bollywood
reveals that the supernatural's unruly energies continually resist
containment, even as they partake of and sometimes subvert Hindi
cinema's most enduring pleasures, from songs and stars to myth and
melodrama.
Haunting Bollywood is a pioneering, interdisciplinary inquiry into
the supernatural in Hindi cinema that draws from literary
criticism, postcolonial studies, queer theory, history, and
cultural studies. Hindi commercial cinema has been invested in the
supernatural since its earliest days, but only a small segment of
these films have been adequately explored in scholarly work; this
book addresses this gap by focusing on some of Hindi cinema's least
explored genres. From Gothic ghost films of the 1950s to snake
films of the 1970s and 1980s to today's globally influenced zombie
and vampire films, Meheli Sen delves into what the supernatural is
and the varied modalities through which it raises questions of film
form, history, modernity, and gender in South Asian public
cultures. Arguing that the supernatural is dispersed among multiple
genres and constantly in conversation with global cinematic forms,
she demonstrates that it is an especially malleable impulse that
routinely pushes Hindi film into new formal and stylistic
territories. Sen also argues that gender is a particularly
accommodating stage on which the supernatural rehearses its most
basic compulsions; thus, the interface between gender and genre
provides an exceptionally productive lens into Hindi cinema's
negotiation of the modern and the global. Haunting Bollywood
reveals that the supernatural's unruly energies continually resist
containment, even as they partake of and sometimes subvert Hindi
cinema's most enduring pleasures, from songs and stars to myth and
melodrama.
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