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INDIAN FILM (2) answer(s).
 
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ID:   195171


Nehruvian ghosts: Kamal Amrohi’s film, Mahal (1949) / Pernau, Margrit   Journal Article
Pernau, Margrit Journal Article
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Summary/Abstract The Nehruvian era has been seen as marked by the focus on sovereign human agents, no longer dependent on non-humans and their powers to achieve self-defined goals. This reinforced the distinction between humans and their others, notably ghosts and otherworldly creatures. However, this article argues, this exorcism was less successful than often assumed. A close reading of the film Mahal (directed by Kamal Amrohi in 1949) shows that ghosts were not only present at a narrative level, but also continued to establish their presence, right at the centre of the modern medium of the film and amongst filmmakers committed to the Nehruvian project.
Key Words Emotions  Nehru  Ghost  Indian Film  Temporalities  Shauntology 
Mahal 
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2
ID:   126166


Nuclear imaginary and Indian popular cinema / Kaur, Raminder   Journal Article
Kaur, Raminder Journal Article
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Publication 2013.
Summary/Abstract In this article I consider the interface between state policy and popular culture by examining the issue of nuclear weapons in and around Indian popular cinema. Whilst it has been pointed out that there are no cinematic examples of nuclear annihilation in Indian film, I propose instead that the threat of it is nevertheless evident. Nuclear technology is deeply entangled in anxieties about the nation, its constituents such as the family, and its detractors such as forces to do with communalism and separatism. These disquieting dynamics do not enable a straightforward alliance between the nuclear and the national as official state discourse would have it, where nuclear weapons are advocated as a measure of India's military might in the contemporary era, or in other words, 'nuclear nationalism'. Rather than being nation-builders, films present nuclear weapons as dangerous nation-destroyers, for missiles harbour threats to people and civilisations especially in the hands of the figurative terrorist and those with designs against the nation of India. With this formulation there lies a latent critique of state policy, which nevertheless is imbued with patriotic rhetoric by the end of the film, when the hero averts disaster and/or invokes the state as the paragon of nuclear management.
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