Reading the Muslim on Celluloid
Language: English
Published by Ratna Sagar Nov 2020, 2020
- Hardcover
- New
Seller: AHA-BUCH GmbH, Einbeck, GermanyAHA-BUCH GmbH
AbeBooks seller since August 14, 2006
Condition: New
£ 95.11
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Add to basketItem description from seller
Neuware - While Bollywood continues to be part of the psyche of Indians and South Asians the world over, the cinematic representation of identities, particularly of the Muslim as a cultural category, also contains within ideas about visualities and their impact. The contribution of cinema to ideological milieus is immense. Hindi cinema-through its romantic narratives and culture of myth-making-has tended to be one of the most powerful tools of political communication and propaganda.This book aims to bring cinematic narratives under the analytical lens and contextualize the representation of the Muslim in popular Hindi cinema. It also argues in favour of a noticeable transformation in the representation of Muslims in films through the 1990s and 2000s, culminating in the emergence of a secularized portrayal which is far from unproblematic. Can one discern an attempt to construct a visual binary where the Muslims can be categorized as 'good' and 'bad'.
Seller Inventory # 9789389850888
- Title
- Reading the Muslim on Celluloid
- Author
- Roshni Sengupta
- Publisher
- Ratna Sagar Nov 2020
- Publication year
- 2020
- Condition
- Neu
- Binding
- Buch
- Language
- English
- ISBN 10
- 9389850886
- ISBN 13
- 9789389850888
- Item weight
- 685 grams
- Dimensions
- 234x156x22 mm
While Bollywood continues to be part of the psyche of Indians and South Asians the world over, the cinematic representation of identities, particularly of the Muslim as a cultural category, also contains within ideas about visualities and their impact. The contribution of cinema to ideological milieus is immense. Hindi cinema-through its romantic narratives and culture of myth-making-has tended to be one of the most powerful tools of political communication and propaganda.
This book aims to bring cinematic narratives under the analytical lens and contextualize the representation of the Muslim in popular Hindi cinema. It also argues in favour of a noticeable transformation in the representation of Muslims in films through the 1990s and 2000s, culminating in the emergence of a secularized portrayal which is far from unproblematic. Can one discern an attempt to construct a visual binary where the Muslims can be categorized as 'good' and 'bad'?
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About the Author
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