Hindi Cinema and Pakistan traces the genesis and development of this theme in Hindi cinema in the 1950s, showcasing its relevance as a tool that both reflects and shapes how India sees its neighbour, the India-Pakistan relationship, and itself.
Hindi Cinema and Pakistan traces the genesis and development of this theme in Hindi cinema in the 1950s, showcasing its relevance as a tool that both reflects and shapes how India sees its neighbour, the India-Pakistan relationship, and itself.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Meenakshi Bharat is a writer, translator, reviewer and cultural theorist and teaches at the University of Delhi. Her special interests include children's literature, women's fiction and film, and postcolonial, translation and cultural studies-areas which she has extensively researched. She has published The Ultimate Colony: The Child in Postcolonial Fiction, a monograph, Desert in Bloom: Indian Women Writers of Fiction in English, Filming the Line of Control: The Indo-Pak Relationship through the Cinematic Lens, Rushdie the Novelist and children's books Little Elephant Throws a Party and New Friends. Her wide and variegated writing, both creative and critical, is spurred by contemporary concerns. She has co-edited and contributed to five successful Indo-Australian Short Fiction anthologies (Fear Factor: Terror Incognito, Alien Shores: Asylum Seekers and Refugees, Only Connect: Technology and Us, Glass Walls: Stories of Tolerance and Intolerance, Relatively True: Stories of Truth, Deception and Post Truth), which have variously taken on the burning issues of terrorism, asylum seekers, technology and us, tolerance and intolerance, and truth, deception and post-truth. Her monographs Troubled Testimonies: Terrorism and the English Novel in India (2016) and Shooting Terror: Terrorism and the Hindi Film (2020) take on the impact of terrorism on contemporary Indian culture. She served as President of the International Federation of Modern Languages and Literatures (FILLM, UNESCO, 2014-2017), as a bureau member of the International Council of Philosophy and the Human Sciences (CIPSH, UNESCO) and as the Treasurer of the Indian Association for the Study of Australia (IASA) from 2012 to 2016.
Inhaltsangabe
Acknowledgements viii 1 Introduction: The Idea of Pakistan in Hindi Cinema 1 2 A Nation Divided: Pakistan and the Partition in Hindi Cinema 15 3 War Clouds: Pakistan and the Uniform in Hindi Cinema 39 4 Proxy Wars: Pakistan and Terrorism in Hindi Films 65 5 The Nation at Play: Pakistan and the Hindi Sports Film 88 6 Loving the Other: Cross-Border Love in the Hindi Film 112 7 Mending Fences: Humour in the India-Pakistan Hindi Film 135 8 Conclusion: The Reality of Pakistan in Hindi Cinema 159 Filmography 177 Appendix 1 180 Appendix 2 184 Bibliography 186 Index 194
Acknowledgements viii 1 Introduction: The Idea of Pakistan in Hindi Cinema 1 2 A Nation Divided: Pakistan and the Partition in Hindi Cinema 15 3 War Clouds: Pakistan and the Uniform in Hindi Cinema 39 4 Proxy Wars: Pakistan and Terrorism in Hindi Films 65 5 The Nation at Play: Pakistan and the Hindi Sports Film 88 6 Loving the Other: Cross-Border Love in the Hindi Film 112 7 Mending Fences: Humour in the India-Pakistan Hindi Film 135 8 Conclusion: The Reality of Pakistan in Hindi Cinema 159 Filmography 177 Appendix 1 180 Appendix 2 184 Bibliography 186 Index 194
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