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| 1 |
ID:
097683
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| 2 |
ID:
113860
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| Publication |
2012.
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| Summary/Abstract |
This article examines significant evidence of recent Bollywood influence on the Western movie industry, particularly Hollywood, and explores the implications of such developments in the context of globalisation. Within the ongoing globalisation of entertainment, a process that does not automatically lead to cultural Westernisation and uniformisation, Bollywood has by now become both a symbol of Indian cinema's circulation all over the world and the embodiment of non-monolithic globalisation. Bollywood is evidently not a homogenising influence that forces non-Indian cultures to embrace its cinematographic or musical norms and practices. Rather, it creates new hybrids. The article offers a framework for explaining the growing cultural and economic changes and movements of such non-hegemonic spreading of popular culture and identifies future agenda for research.
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| 3 |
ID:
090947
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| Publication |
2009.
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| Summary/Abstract |
Movies have a long and distinguished history in the political science and international relations classrooms; they provide connections between abstract theories and concepts and concrete everyday practices. However, traditional approaches to teaching movies in the political science and international relations classrooms allow for passive student learning, where students watch the movie and then react. We propose using insights from simulations to help resolve these problems with using movies in the classroom. In this article, we outline the learning methods and approaches of simulations, and then apply them to movies in the international relations classroom.
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| 4 |
ID:
087178
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| Publication |
2009.
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| Summary/Abstract |
In this article I describe what I see as the subliminal messages of desire and intimacy in the following Iranian movies: Gabbeh (1995), The Blue Scarf (1994), May Lady (1997), and Born in the Month of Mihr (2000). I argue that although the Islamic legal discourse has reasserted itself after the revolution of 1979 and appears to have become dominant, the "erotic" discourse that is ever so subtly embedded in Persian poetry and popular culture is alive and possibly thriving. Taking a light-hearted approach, I discuss representations of love and sex in these four films within the context of the dynamic tension between the legal discourse that regulates the gaze, ahkam-i nigah, and the erotic discourse that subverts the very same regulations, nazar-bazi
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