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Women's Transborder Cinema
Can we write women’s authorial roles into the history of industrial cinema in South Asia? How can we understand women’s creative authority and access to the film business infrastructure in this postcolonial region? Esha Niyogi De draws on rare archival and oral sources to explore these questions from a uniquely comparative perspective, delving into examples of women holding influential positions as stars, directors, and producers across the film industries in India, Pakistan, and Bangladesh. De uses film tropes to examine the ways women directors and film entrepreneurs claim creative control within the contexts of anti-colonial nationalism and global capitalism. The region’s fictional cinemas have become staging grounds for postcolonialism, with colonial and local hierarchies merged into new imperial formations. De’s analysis shows how the gendered intersections of inequity and opportunity shape women’s fiction filmmaking while illuminating the impact of state and market formations on the process. Innovative and essential, Women’s Transborder Cinema examines the works of South Asia’s women filmmakers from a regional perspective.
Projecting Desire
"Examines the post-globalization transformation of India's screen and exhibition industries alongside the shifts in urban planning and architecture"--
The US Antifascism Reader
How anti-fascism is as American as apple pie Since the birth of fascism in the 1920s, well before the global renaissance of “white nationalism,” the United States has been home to its own distinct fascist movements, some of which decisively influenced the course of US history. Yet long before “antifa” became a household word in the United States, they were met, time and again, by an equally deep antifascist current. Many on the left are unaware that the United States has a rich antifascist tradition, because it has rarely been discussed as such, nor has it been accessible in one place. This reader reconstructs the history of US antifascism into the twenty-first century, showing how g...
Gendered Violence in Public Spaces
Gendered Violence in Public Spaces: Women’s Narratives of Travel in Neoliberal India examines the vulnerability of women in public spaces in India through an analysis of narrative representations ranging from emerging digital media, commercial Hindi films, and graphic narratives to accounts of real and lived experiences of women. In doing so, this collection initiates a scholarly discussion on manifold forms of emotional, mental, epistemic, and above all sexual violence female travelers face in male-dominated public spaces. Gendered Violence in Public Spaces therefore challenges contemporary readers to re-frame India’s public spaces against misogyny and gendered violence.
Women Filmmakers in Contemporary Hindi Cinema
This book is a comprehensive anthology comprising essays on women film directors, producers and screenwriters from Bollywood, or the popular Hindi film industry. It derives from the major theories of modernity, postmodern feminism, semiotics, cultural production, and gender performativity in globalized times. The collection transcends the traditional approaches of looking at films made by women filmmakers as ‘feminist’ cinema, and focuses on an extraordinary group of women filmmakers like Ashwini Iyer Tiwari, Bhavani Iyer, Farah Khan, Mira Nair Vijaya Mehta, and Zoya Akthar. The volume will be of interest to academics and theorists of gender and Hindi cinema, as well as anybody interested in contemporary Hindi films in their various manifestations.
Gender, Cinema, Streaming Platforms
This book offers interdisciplinary examination of gender representations in cinema and SVOD (Subscription Video on Demand) platforms in India. This book will identify how the so-called feminist enunciations in twenty-first century film and SVOD content in India are marked by an ambiguous entanglement of feminist and postfeminist rhetoric. Set against the backdrop of two significant contemporary phenomena, namely neoliberalism and the digital revolution, this book considers how neoliberalism, aided by technological advancement, re-configured the process of media consumption in contemporary India and how representation of gender is fraught with multiple contesting trajectories. The book looks ...
Bollywood’s New Woman
Bollywood’s New Woman examines Bollywood’s construction and presentation of the Indian Woman since the 1990s. The groundbreaking collection illuminates the contexts and contours of this contemporary figure that has been identified in sociological and historical discourses as the “New Woman.” On the one hand, this figure is a variant of the fin de siècle phenomenon of the “New Woman” in the United Kingdom and the United States. In the Indian context, the New Woman is a distinct articulation resulting from the nation’s tryst with neoliberal reform, consolidation of the middle class, and the ascendency of aggressive Hindu Right politics.
Smart University
How surveillance perpetuates long-standing injustices woven into the fabric of higher education. Higher education increasingly relies on digital surveillance in the United States. Administrators, consulting firms, and education technology vendors are celebrating digital tools as a means of ushering in the age of "smart universities." By digitally monitoring and managing campus life, institutions can supposedly run their services more efficiently, strengthen the quality of higher education, and better prepare students for future roles in the digital economy. Yet in practice, these initiatives often perpetuate austerity, structural racism, and privatization at public universities under the gui...
'Bad' Women of Bombay Films
This book presents a feminist mapping of the articulation and suppression of female desire in Hindi films, which comprise one of modern India’s most popular cultural narratives. It explores the lineament of evil and the corresponding closure of chastisement or domesticity that appear as necessary conditions for the representation of subversive female desire. The term ‘bad’ is used heuristically, and not as a moral or essential category, to examine some of the iconic disruptive women of Hindi cinema and to uncover the nexus between patriarchy and other hierarchies, such as class, caste and religion in these representations. The twenty-one essays examine the politics of female desire/s from the 1930s to the present day - both through in-depth analyses of single films and by tracing the typologies in multiple films. The essays are divided into five sections indicating the various gendered desires and rebellions that patriarchal society seeks to police, silence and domesticate.
BOOM! SPLAT!
Contributions by Lawrence Abrams, Diana Álvarez Amell, Partha Bhattacharjee, Natalja Chestopalova, Jim Coby, Rita Costello, Sam Cowling, Joanna Davis-McElligatt, Elisabetta Di Minico, Kiera M. Gaswint, Vincent Haddad, Kaleb Knoblauch, Christina M. Knopf, Leah Milne, Jacob Murel, Priyanka Tripathi, and Steven S. Vrooman In 1954, the culture, distribution, and content of comics forever changed. Long a mainstay of America’s reading diet, comic books began to fall under the scrutiny of parent groups, church leaders, and politicians. The bright colors and cheaply printed pulp pages of comic books that had once provided an escape were suddenly presumed to house something lascivious, insidious, ...
