Securitisation of Standard Assets: A New Business in India

Kashyap, Amit Kumar; Kashyap, Deepak

doi:10.2139/ssrn.1545765

Cited by 2 publications

(2 citation statements)

References 6 publications

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“…This has forged a broad solidarity across the Hindi film and “folk” performance genres. Vidya Balan’s item number Mala Jau de [Let me go] from Ferrari ki Sawaari [The Ride of a Ferrari] (Mapuskar, 2012) improvises over the Marathi Tamasha, while Malaika Arora’s riotously popular Munni Badnaam Huyi [Munni earned a bad name] from Dabangg [The indomitable] (Kashyap, 2010) reconfigures the launda nach , offsetting the otherwise clear dominance of Punjabi styles over the item number portfolio.…”

Section: Female Impersonation and The Rebellious Masculinitymentioning

confidence: 99%

Bhojpuri Consolidations in the Hindi Territory: Infrastructure, Aesthetics, and Competing Masculinities in North India

Kumar

2016

BioScope: South Asian Screen Studies

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The soaring emergence of Bhojpuri cinema in 2004 took over the B/C segments of Hindi film distribution in most of north India. The success of the film industry had followed from a vibrant music industry; in a few subsequent years, however, the success of the Bhojpuri film industry turned against itself, on account of the shifting balance between production and exhibition sectors. This paper explores how the Bhojpuri industry negotiated this challenge, particularly with the reconsolidation of the Hindi film industry. I argue that the Bhojpuri stars benefitted most from the enforced reconfigurations as the film-texts became further subservient to stardom and the new aesthetic grammar was organized around the figure of the action-star. Through Jaan Tere Naam (Prasad, 2013)—one among a series of successful films featuring Khesari Lal Yadav—I assess Yadav’s popularity, earned via his performances as a launda (female impersonator). Bhojpuri cinema survives by projecting the male star as its primary text and arranging a plethora of pleasures around his figure, including the bawdy registers that proudly claim the insignia of nativity. The rebellious and native masculinity thus not only anchors the switch between bawdy irreverence and moral exactitude, it also vanquishes the “othered” urban values often resident in the female body.

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Section: Female Impersonation and The Rebellious Masculinitymentioning

confidence: 99%

Bhojpuri Consolidations in the Hindi Territory: Infrastructure, Aesthetics, and Competing Masculinities in North India

Kumar

2016

BioScope: South Asian Screen Studies

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“…8.Examples of the first include Satya (Ram Gopal Varma, 1998) , Once Upon a Time in Mumbai (Milan Luthria, 2010) and Kaminey (Vishal Bhardwaj, 2009) and of the latter, Dabangg (Abhinav Kashyap, 2010) and Ishaqzaade (Habib Faisal, 2012). …”

mentioning

confidence: 99%

Wrinkles in Time: Ageing Costume in Hindi Film

Wilkinson¹

2018

BioScope: South Asian Screen Studies

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Today’s philosophy and practice of costume ageing, even in mainstream commercial Bollywood output, skews strongly towards an avowed ‘realism’. Consequently, accurate ageing and the subtle impressions of wear are valued in contrast to the ‘theatrical’ and ‘inauthentic’ ageing of most pre-1990s films (and some films still today). Designers argue that costume ageing has simply improved but this answer oversimplifies the complex narrative and organisational imperatives at stake. Older, more theatrical costume ageing, embedded within the melodramatic mode of expression, worked for its audience because of the explicit contrast it drew with costumes that were pristine. The distinction between new and aged costumes served many functions, among them the marking of vulnerable versus invulnerable bodies. Stars, dressed in new, unworn clothes, achieved their near mythic identifications in part because their costumes resisted the rigors of time and experience. In this past era, it was sufficient to pile on dirt and tear fabric to achieve effective ‘ageing’ as opposed to carefully mimicking how clothes actually age. This type of quick, crude ageing was both a consequence of—and a rationalisation for—scant time spent in costume ageing (and fabrication) in pre-production. New practices that strive for ‘realistic’ ageing thrive in expanded pre-production schedules. Alongside a resilient poetics of aged costume, ‘relaxed’ costumes lend texture to the film’s ‘lived world’. Now, the goal of ageing is to index the unseen time that characters have experienced outside the film’s temporal boundaries.

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Securitisation of Standard Assets: A New Business in India

Cited by 2 publications

References 6 publications

Bhojpuri Consolidations in the Hindi Territory: Infrastructure, Aesthetics, and Competing Masculinities in North India

Bhojpuri Consolidations in the Hindi Territory: Infrastructure, Aesthetics, and Competing Masculinities in North India

Wrinkles in Time: Ageing Costume in Hindi Film

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