Suchergebnisse

This article contributes to one of Patricia Uberoi's research interests, how family films address identity conflicts in globalising India. It seeks to highlight the symbolic changes in narrative structure brought about by the shifting focus from mother to father as arbiter of national belonging in recent 'family socials'. Particular attention is paid to the narrative and performative strategies involved in converting the father and images of the father to a more open social and multicultural design. The article analyses rhetorical modes of self-presentation and assertion, playful and ambiguous forms of characterisation and performance, and genre mixage such as inducting stunt scenes into family socials, as key resources for resolving identity conflicts and engaging spectator interest. Dilwale Dulhania Le Jayenge (Aditya Chopra, 1995) and Kal Ho Na Ho (Nikhil Advani, 2004) are the main works used to analyse these changes, and special attention is devoted to the performance style of the emblematic star, Shah Rukh Khan, in traversing a plethora of identity questions.

Frontmatter -- Contents -- Preface -- Acknowledgments -- Introduction -- I. Secularism's Historical Background -- Reflections on the Category of Secularism in India: Gandhi, Ambedkar, and the Ethics of Communal Representation, c. 1931 -- A View from the South: Ramasami's Public Critique of Religion -- Nehru's Faith -- II. Secularism and Democracy -- Closing the Debate on Secularism: A Personal Statement -- Living with Secularism -- The Contradictions of Secularism -- The Secular State and the Limits of Dialogue -- Secular Nationalism, Hindutva, and the Minority -- III. Sites of Secularism: Education, Media, and Cinema -- Secularism, History, and Contemporary Politics in India -- The Gujarat Experiment and Hindu National Realism: Lessons for Secularism -- Secularism and Popular Indian Cinema -- Neither State nor Faith: The Transcendental Significance of the Cinema -- IV. Secularism and Personal Law -- Siting Secularism in the Uniform Civil Code: A ''Riddle Wrapped Inside an Enigma''? -- The Supreme Court, the Media, and the Uniform Civil Code Debate in India -- Secularism and the Very Concept of Law -- V. Conversion -- Literacy and Conversion in the Discourse of Hindu Nationalism -- Christian Conversions, Hindutva, and Secularism -- Appendix: Chronology of the Career of Secularism in India -- Works Cited -- Contributors -- Index

In the digital media ecology, archives are changing. Artists, curators, critics and scholars assume the role of accidental archivists. They shape cinema's futures by salvaging precarious repositories and making them matter in new ways. In the process, the cinema's public, a democratic body seemingly scattered about platforms and niches in a post-pandemic world, re-emerges as a political force. Accidental Archivism brings together programmatic statements and proposals to explore an artistic space between archiving and activism, a space where remnants of the past become the building blocks of new ways of making, showing, teaching and thinking cinema.