Mediating<i>Bhojpuriya</i>: Migration, circulation, and Bhojpuri cinema

Hardy, Kathryn C.

doi:10.1080/14746689.2010.501543

Cited by 12 publications

(3 citation statements)

References 7 publications

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“…I would suggest that similarities in narrative context, bodily form, mise-en-scène or costume are due to the type of cinema that is the vehicle for cut-pieces. These aesthetic traits were shared by Bangladeshi popular cinema with other low investment modes of film production in the region, for example Pakistan's Pashto cinema (Hulsing 2004;Khan and Ahmad 2010;Nabi 2017) and North India Bhojpuri cinema (Hardy 2010;Kumar 2016). These all drew on shared aesthetic repertoires and production conditions of what can be broadly termed the B-circuit in South Asian cinema (Srinivas 2003;Vasudevan et al 2016), films destined for the 'segment of distribution and exhibition sectors that is characterized by low levels of investment' (Srinivas 2003, 49).…”

Section: South Asian Pornography On Vcdsmentioning

confidence: 99%

When celluloid pornography went digital: class and race in the Bangladeshi cut-piece online

Hoek

2024

South Asian Pornographies

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This article investigates the fate of celluloid pornography after the end of film. With the demise of celluloid filmmaking in Bangladesh and the rapid transitioning of film projection to digital forms, bits and pieces of stray sexually explicit celluloid have migrated to digital formats. In this article, I map the movement of so-called 'cut-pieces', locally produced strips of illegal celluloid pornography, onto online forums patronized by Bengali speakers. Exploring the reception of this sexually explicit material in its new digital environment, I ask the following questions: how are the traces of 'locality' that inflected the celluloid production of cut-pieces received within digital spaces of consumption? What happens to markers of class and race when celluloid forms of pornography move onto digital platforms? And what are the cultural and technological limits to the internationalization of the aesthetic of mainstream pornography?

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Section: South Asian Pornography On Vcdsmentioning

confidence: 99%

When celluloid pornography went digital: class and race in the Bangladeshi cut-piece online

Hoek

2024

South Asian Pornographies

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“…Recent work examines the importance of medium to colonial and postcolonial national histories (Sah 2020). Scholars have looked at how ethnic, religious, gender, and class identities are expressed and challenged in relation to medium distinctions in schools in Bangladesh (Hamid et al 2014), India (Chidsey 2018, LaDousa 2014, Nepal (Phyak 2013, Pradhan 2020), Pakistan (Rahman 2002), and Sri Lanka (Davis 2020). Other work considers the centrality of medium in practices outside pedagogical contexts-in how people communicate, consume mass media, make a living, and reflect on themselves and others-in Bangladesh ( Jahan & Hamid 2019) (Farooqui 2022).…”

Section: Medium (Of Instruction)mentioning

confidence: 99%

South Asian Language Practices: Mother Tongue, Medium, and Media

LaDousa

Davis

2022

Annu. Rev. Anthropol.

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Scholars such as Murray Emeneau and John Gumperz made India prominent in the development of sociolinguistics as a field of study through their simultaneous attention to difference and cohesiveness. Later, scholars stressed the ideological mediation of practice, especially the importance of colonial constructions that continue to be relevant in the postcolonial period. Work on specific notions such as mother tongue and medium of instruction, and the salience of English, led scholars to provide insights into multilingual practices in Bangladesh, Nepal, Pakistan, and Sri Lanka. Finally, a vast scholarship on an array of older and newer media forms ranging from early print publications to social media has posed questions about the possibilities of representation and participation. Ethnographic approaches to digital media that focus on the complex dynamics between ideologies and practices have put South Asia at the forefront of studies of communication. Expected final online publication date for the Annual Review of Anthropology Volume 51 is October 2022. Please see http://www.annualreviews.org/page/journal/pubdates for revised estimates.

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“…We argue that India, Turkey, and Ireland emerge as a digital periphery wherein the production and distribution relations among international companies, transnational media conglomerates, and local elites marginalize the cultural production in SME and its economic potential despite its size and scale. For example, Indian regional language creators struggle for visibility and audience as they face overwhelming competition with the Hindi-language content market (Hardy, 2010; Ingle, 2017; Mehta, 2020). Despite being among the top TV drama exporters in the world (Kaptan & Algan, 2020), the SME industries in Turkey have a peripheral status as creators, unlike the legacy media industries, do not have access to professional translation and dubbing services, appealing predominantly to Turkish-speaking audiences, and hindering their ability to compete in the global SME market.…”

Section: Introductionmentioning

confidence: 99%

Peripheral Creator Cultures in India, Ireland, and Turkey

Bidav,

Mehta

2024

Social Media + Society

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Drawing on Indian, Irish, and Turkish YouTube creators’ perceptions of their work, this article focuses on peripheral creator work cultures to broaden the understanding of creator labor precarity. We situate creator labor within not only the platform architectures but also within the geographical specificities of media production, distribution, and consumption. In doing so, we demonstrate that peripheral creators face distinctive struggles for visibility and survival in screen industries that emerge from their heterogeneous sociocultural and linguistic contexts. Based on the interviews with creators and streaming service executives conducted between 2017 and 2023, the findings reveal that creators’ choice of language and place of practice distinctly affects their global reach, visibility, and their ability to sustain a career in screen industries.

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MediatingBhojpuriya: Migration, circulation, and Bhojpuri cinema

Cited by 12 publications

References 7 publications

When celluloid pornography went digital: class and race in the Bangladeshi cut-piece online

When celluloid pornography went digital: class and race in the Bangladeshi cut-piece online

South Asian Language Practices: Mother Tongue, Medium, and Media

Peripheral Creator Cultures in India, Ireland, and Turkey

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