Notice bibliographique
Résumé
Abstract Relying on a quixotic blend of catchy tunes, frenetic dances, colourful costumes, and comically elaborate plot narratives, Indian films attract large audiences from across South Asia and around the world. Important in the appeal of this cinematic "masala" has been an idealized depiction of India and an overall disparaging representation of the West. Recently, film-makers, in their pursuit of creating ever more dazzling spectacles, have also become increasingly interested in portraying other world cultures, with non-Indian Asian societies being especially favoured. Using film music as a focal point, this article explores the emergent constructs and depictions of Asia vis-à-vis India and the West. It focuses specifically on representations of Islamic West Asia, especially Turkey, and industrialized East and Southeast Asian urban centres like Bangkok, Hong Kong, Shanghai, and Tokyo. Analyses of songs in such films as Mission Istaanbul, Bombay to Bangkok, and Chandni Chowk to China reveal not only how India sees itself with respect to the rest of the continent, but also the extent to which the way it sees itself is and is not premised on Western Orientalist paradigms. Keywords: Representationfilm musicfilm songIndiaAsia Notes 1 For an overview of several of the most profound influences, see Gokulsing and Dissanayake (Citation2004), pp. 19–24. 2 Rajagopalan Citation(2008) provides a fascinating study of the impact Indian cinema has had in post-Stalinist Russia and the larger Soviet orbit. 3 For a brief theoretical overview of this process, see Frith (Citation1996), pp. 115–122. 4 The songs set in the Swiss Alps in Aditya Chopra's 1995 blockbuster Dilwale Dulhania Le Jayenge (The Brave-hearted Will Take the Bride) epitomize the trend. 5 Saxophone cues are also used as indicators of Western or Westernized identities in such films as Hum Dil De Chuke Sanam (Straight from the Heart, 1999) and Raja Hindustani (Indian King, 1996). 6 The skyline is meant to be that of Los Angeles, though the one depicted is that of Vancouver. Budget constraints, lack of awareness among domestic audiences, and the tendency to view the West as a monolithic whole all make such substitution acceptable. In Hum Dil De Chuke Sanam, Budapest is used as a substitute for Italy. 7 All translations of film dialogue and song lyrics are based on English subtitles found on official DVD releases. They are often modified to correct grammatical errors, to better convey poetic meaning, or to conform to the more idiomatic forms of standard international English. 8 See Booth Citation(2007) for proposed alternate readings. 9 See Locke Citation(2009) for a more complete discussion of Spanish exoticism. 10 Dwyer (Citation2006, pp. 112–129) identifies several genres of so-called Islamicate films, including "fantasy" films, "historical" films, courtesan films, and Muslim socials. 11 For an extended discussion of the treatment of Turkish and Ottoman culture in Western art music, see Locke (Citation2009), pp. 110–126. 12 For a recent survey of the Islamic influence on Bollywood cinema, see Bhaskar and Allen Citation(2009). 13 For a brief overview of the under side of the film industry itself and of the real-life Muslim dons and racketeers who controlled it, see Pendakur (Citation20030, pp. 51–55. 14 In its cultural insensitivity, it bears a striking parallel to Wai Ka-Fai's comedy Himalaya Singh (2005), a Hong Kong production thriving off of Chinese and Western stereotypes of India.
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
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Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,000 | 0,000 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,001 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule tête enseignante, pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».