Nationalism and Hindi Cinema: Narrative Strategies in Fanaa

Khan,

doi:10.1386/safm.1.1.85/1

Cited by 5 publications

(8 citation statements)

References 4 publications

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“…For instace, Zooni (in Faana) sacrifices an earthly love for her lover who is a terrorist/separatist for a larger transcendental love of the nation, much like Mother India described earlier. In doing so, she creates a space for herself and her son as depoliticised 'good Muslims' within the nationalist space of India (Khan 2009). …”

Section: Muslims In India: the Real And The Imaginedmentioning

confidence: 99%

“…Our research findings suggest that, in recent times, there have been several cinematic attempts to somewhat re-cast female Muslim characters as the 'new age girl who does not desist from bending the conservative (Muslim) societal norms' (Daily Mail, 15 Feb 2013). However, these 'new' representations of Muslim women in Bollywood neither challenge stereotypes about Muslims subordinate position through their portrayals as anti-nation or as the 'other' (Hirji, 2008;Khan, 2009;Jain, 2011;Kumar, 2013) nor do they offer a nuanced picture of the association of Muslim religious practices with women's experiences of gender injustice (Agnes, 2012;Sachar, 2006;Kandiyoti, 1994).…”

Section: Introductionmentioning

confidence: 99%

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Interrogating Practices of Gender, Religion and Nationalism in the Representation of Muslim Women in Bollywood: Contexts of Change, Sites of Continuity

Hussein

Hussain

2015

EIRJ

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Section: Muslims In India: the Real And The Imaginedmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Interrogating Practices of Gender, Religion and Nationalism in the Representation of Muslim Women in Bollywood: Contexts of Change, Sites of Continuity

Hussein

Hussain

2015

EIRJ

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“…I argue that Jodhaa Akbar brings the Emperor Akbar out of the preamble into the centre stage of history. At the same time the narrative domesticates him through heterosexual marital life in the process neutralizing the excessive sexuality and violent danger the Muslim masculine normally poses in current Hindi films (Khan, 2009).…”

Section: Jodhaa Akbar As Historical Narrativementioning

confidence: 99%

Recovering the past in Jodhaa Akbar: Masculinities, Femininities and Cultural Politics in Bombay Cinema

Khan¹

2011

Feminist Review

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As the dominant media institution in South Asia, Bombay cinema's cultural production of narratives, images and spectacle plays a crucial role in the effort to consolidate and project definitions of the nation. Moreover, such images are exported to the South Asian diaspora worldwide as part of the processes associated with the globalized cultural product referred to as Bollywood. This discussion examines the production and reception of the 2008 film Jodhaa Akbar both as process and product of complex historical, cultural and political nation-building projects in which gender plays a central role.

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“…Sarfarosh ideologically highlights cultural identity through intrainterstate representation between India and Pakistan by projecting rivalries due to cartographic anxieties of the partition narrative that create the concept of -US and Them.‖ The images of Indian Muslims in the films that construct as being affiliated religiously with Pakistan are plenty (Booth, 2005;Chakravarty, 2000;Chaudhuri, 2005;Khan, 2009;Mallhi, 2006). The film's fetishism of has already been affirmed borders.…”

Section: Introductionmentioning

confidence: 99%

Ideology and Representation of the Nation: Aggressor and Transgressor in Film Sarfarosh

Khan

Pahore

2021

Progressive Research Journal of Arts & Humanities

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This paper analyses the narrative of Bollywood film Sarfarosh which portrays the ethnic, cultural and religious issues between majority Hindu-minority and Muslim communities in India with projection of identifying politics between India and Pakistan. Further, it t reveals that Pakistan army constitutes spies who are behind the plot of cross border terrorism and supplies of arms through their local agents in the Indian state of Rajasthan. The agents and their activities are projected as the machineries that are firmly responsible for a series of havocs and killings of innocent people in the most of cities and towns within their reach. Through crafting the notions of national (in) securities, the film picks up an Urdu Ghazal singer, the Pakistani who migrated from Rajasthan during the partition of the subcontinent in 1947. The singer as a metaphor of terrorism often sings Ghazals among Indian dignitaries in the front of his weaponry smuggling to India. The paper finds out that the historical traumatic event of partition is used for posing the Muslim minorities, „Other? as cultural methodological device, whereas Pakistanis understood as extremely dangerous enemy of the Indian nation. The identity politics of the film results the conflicting ideologies of Hinduism and Islam. This is due to the cultural industry?s ideological apparatus for making strategies to manage and maximize the profits by seeking wider audiences through its well- established capitalist system. Bollywood cinematic apparatus should be cautious of essentialist form of nationalist narratives and the post partition conflicts should be avoided for authentic peaceful culturalsocial relationships between India and Pakistan.

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Nationalism and Hindi Cinema: Narrative Strategies in Fanaa

Cited by 5 publications

References 4 publications

Interrogating Practices of Gender, Religion and Nationalism in the Representation of Muslim Women in Bollywood: Contexts of Change, Sites of Continuity

Interrogating Practices of Gender, Religion and Nationalism in the Representation of Muslim Women in Bollywood: Contexts of Change, Sites of Continuity

Recovering the past in Jodhaa Akbar: Masculinities, Femininities and Cultural Politics in Bombay Cinema

Ideology and Representation of the Nation: Aggressor and Transgressor in Film Sarfarosh

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