The Cinematic ImagiNation: Indian Popular Films as Social History
The Cinematic ImagiNation: Indian Popular Films as Social History
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电影想象：作为社会历史的印度流行电影
DOI：
10.5860/choice.41-1456
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发表时间：
2003
期刊：
影响因子：
--
通讯作者：
Jyotika Virdi
中科院分区：
文献类型：
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作者：
Jyotika Virdi
印度制作的电影比世界上任何其他国家都多，这些作品被非洲、东欧、中东的非西方文化以及世界各地的印度社区所消费。本文着重于这样一个占主导地位的媒体如何配置“国家”在独立后的印地语电影。作者仔细审视了自1950年以来出现的大约30部电影，并展示了国家概念如何成为这部电影的道德宇宙的中心。作为一种讲故事的形式，印度电影提供了一个社会历史和文化政治的帐户，与家庭部署作为国家的象征。Virdi展示了印地语电影如何将国家描绘成一个神话般的社区，在其自身矛盾的重压下崩溃-包括性别，性，家庭，阶级和宗教社区的不可调和的差异。
India produces more films than any other country in the world and these works are consumed by non-Western cultures in Africa, Eastern Europe, the Middle East, and by the Indian communities across the world. This text focuses on how such a dominant media configures the ""nation"" in post-Independence Hindi cinema. The author scrutinizes approxiamtely 30 films that have appeared since 1950 and demonstrates how concepts of the nation centre this cinema's moral universe. As a form of storytelling, Indian cinema provides an account of social history and cultural politics, with the family deployed as a symbol of the nation. Virdi demonstrates how Hindi films' portrayal of the nation as a mythical community collapses under the weight of its own contradictions - irreconcilable differences that encompass gender, sexuality, family, class and religious communities.