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| 1 |
ID:
124954
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| Publication |
2013.
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| Summary/Abstract |
The contemporary Bangladeshi cinema is stained red by the enthusiastic use of fake blood that erupts from bodies pictured in fist fights, gun battles and sword attacks. In this article, I draw on my ethnographic fieldwork in the Bangladesh film industry to illustrate the spurting of fake blood in two popular film genres: mainstream action cinema and straight-to-VCD rural crime stories (kiccha pala VCDs). I suggest that the affective intensity ascribed to blood by film insiders points to the capacity of blood to lend force to the protean and submerged discourses of contemporary Bangladesh presented in these blood-splattered genres. These film forms make use of the excessive and abject quality inherent in this bodily tissue as well as interacting with more regimented and metaphoric uses of blood in the political aesthetics of contemporary Bangladesh that they recycle and pervert.
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| 2 |
ID:
144359
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| Summary/Abstract |
In the introduction to this special section, we present six ethnographic articles that explore the sites and forms of ‘non-sociological sociality’ in South Asia. Set in urban spaces where the familiar vectors of relations, such as ethnicity, class, gender or age, may be attenuated, the articles examine how social and political entanglement is suffused with ambiguity, indeterminacy, provisionality and contingency. In these sites, opaque conditions, open-ended play, double meanings and interpretive scrutiny abound. Spaces such as the racecourse, the bazaar, the university campus or the nocturnal street suggest undetermined conditions and fleeting collaborations which have a wider bearing on cross-cutting forms of sociality in South Asia.
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| 3 |
ID:
144360
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| Summary/Abstract |
What do film posters on city walls tell us about the relationship between the cinema and the city? In this paper, I rely on the practice and perspective of young men who put up film posters on Dhaka's city walls to explore this question. I argue that the wall is a key site for the production of a cinematic public that does not map onto film audiences; for the experience of newness in the city and of the cinema as analogous experiences; and for an encounter with imagery that is considered luminous and intense, assailing the crowds that pass by the posters in the congested city.
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