Ulteriori informazioni
Situating it at the intersection of vernacular media production and the infrastructural-political reordering of provincial north India, the book shows that Bhojpuri media's characteristic 'disobedience' is marked by a libidinal excess - simultaneously scandalizing and moralizing - to address the inexact calculi of Bhojpuri speaking region's 'underdevelopment'.
Sommario
- Introduction
- Chapter 1 Reassembling Provincial North India
- Chapter 2 The Libidinal Dwellings of Bhojpuri Media
- Chapter 3 Language Politics in the Comparative Media Crucible
- Chapter 4 Otherwise: Suboptimal Transactions of the Meanwhile
- Conclusion
- Epilogue
- Bibliography
Info autore
Akshaya Kumar is assistant professor, School of Humanities and Social Sciences, Indian Institute of Technology, Indore.
Riassunto
Provincializing Bollywood argues that Bhojpuri cinema exemplifies the overflow of a provincial derivative form that defies its place in the given scheme of things. Situating it at the intersection of vernacular media production and the infrastructural-political reordering of provincial north India, the book shows that Bhojpuri media's characteristic 'disobedience' is marked by a libidinal excess - simultaneously scandalizing and moralizing - to address the inexact calculi of Bhojpuri speaking region's'underdevelopment'. Bhojpuri media therefore demands that it is assessed not merely for its internal content but within the comparative media crucible, marked by interpenetrating forms and histories as diverse as those of ecological distress, musical traditions, gendered segregation, real estate, urban resettlements, and highway modernities. Foregrounding the libidinal excess, language politics, and curatorial informalities, Provincializing Bollywood synthesizes Bhojpuri media's spectacular public insubordination and its invocation of a shared debt, which is by no means regional in its provenance.
Testo aggiuntivo
Akshaya Kumar's ultimate interest is the political formation of contemporary India. Kumar argues that transformations in capital in contemporary India have found their expression in intensified regional identities. When the subaltern speaks here, they are speaking Bhojpuri. To account for this political identity, Kumar has to rethink the operations of cinema and the broader media ecology in which it operates. The result is an ambitious, relentlessly inventive book, opening up new domains for film and media studies.
