Using the lenses of post-colonial and feminist theory, Kurian examines politically engaged, women-centered South Asian films.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Alka Kurian is a Lecturer in Interdisciplinary Arts and Sciences at the University of Washington, Bothell.
Inhaltsangabe
Part 1: Class Caste and Social Exclusion 1. Subalterneity and Resistance in Shyam Benegal's Nishaant and Manthan 2. Radical Politics and Gender in Govind Nihalani's Hazaar Chaurasi Ki Ma Sudhir Mishra's Hazaaron Khwaishein Aisi and Sanjiv Karambelkar's Lal Salaam Part 2: Nationalism Religion and Identity 3. The Politics of Hindutva in Nandita Das' Firaaq Rahul Dholakia's Parzania and Rakesh Sharma's Final Solution 4. Gender Home and Displacement in Sabiha Sumar's Khamosh Pani Part 3: Nationalism and Ethnic Struggle 5. Subjectivity Choice and Feminist Agency in Santosh Sivan's The Terrorist and Beate Arnestad's My Daughter the Terrorist Part 4: Heteronormativity 'Difference' and the Construction of a Subversive Femininity 6. Gender Identity and the Diaspora in Gurinder Chadha's Bhaji on the Beach and Sarah Gavron's Brick Lane
Part 1: Class Caste and Social Exclusion 1. Subalterneity and Resistance in Shyam Benegal's Nishaant and Manthan 2. Radical Politics and Gender in Govind Nihalani's Hazaar Chaurasi Ki Ma Sudhir Mishra's Hazaaron Khwaishein Aisi and Sanjiv Karambelkar's Lal Salaam Part 2: Nationalism Religion and Identity 3. The Politics of Hindutva in Nandita Das' Firaaq Rahul Dholakia's Parzania and Rakesh Sharma's Final Solution 4. Gender Home and Displacement in Sabiha Sumar's Khamosh Pani Part 3: Nationalism and Ethnic Struggle 5. Subjectivity Choice and Feminist Agency in Santosh Sivan's The Terrorist and Beate Arnestad's My Daughter the Terrorist Part 4: Heteronormativity 'Difference' and the Construction of a Subversive Femininity 6. Gender Identity and the Diaspora in Gurinder Chadha's Bhaji on the Beach and Sarah Gavron's Brick Lane
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