Notice bibliographique
Résumé
IntroductionThis paper will explore the representation of Hinduism and its others in of the late 1990s and early 2000s. It will deal with constructed notions of otherness revealed in the representation of the West and of in popular Hindi film. I will focus on the discourse of difference well on issues of nationalism, diaspora and globalization. I analyze the films in the light of ideological criticism and post-colonial theory represented in the work of Edward Said (1979), Homi Bhabha (1994) and Partha Chatterjee (1993), my own work on the discourse of otherism, and theories of nationalism expounded by Benedict Anderson (1983) and Eric Hobsbawm (2003). The films that I will discuss are: Lagan (Rent on Land) and Ham dil de cuke sanam (I Have Already Given My Heart Away). It is characteristic of these films that they deal with aspects of modernity, westernization and globalization in order to assert a modern Hindu-Indian identity that is different, other, and often traditional and conservative.In the following I will discuss briefly the beginnings, development and the different periods of film well its politics, aesthetic and genres. I will then focus on the theoretical discourse of the 'self and the other,' the discourse of otherism and the differences that it produces in the era of globalization, diaspora and hybridity.Bollywood film: history, periodization and aestheticI use the term Film to denote the Hindi-Urdu popular cinema of India, which has its center in Mumbai (Bombay). It has been argued that the term Bollywood is not a perfect one, as it implies that Hindi cinema is a derivation of Hollywood and thus an insulting term, (Dwyer, 2005: 4). However, it is the dominant global term to refer to the prolific Hindi language film industry in Bombay and has also become part of the academic jargon appearing on the titles of many recent books on Hindi-Urdu popular Therefore I have adopted it in this essay.The beginnings of cinema in India go back to 1896, when the first cinematographe show was presented at the Watson's hotel in Bombay. Dhundiraj Govind Phalke (Dadasaheb Phalke, 1870-1944) is venerated nowadays the Father of Indian cinema. His first film Raja Harischandra made its debut in Bombay's Coronation Cinematographe Theatre in 1913 and is considered the first Hindi film. Sound and music arrived in Indian cinema in 1931. In the following two decades several studios, organized along lines similar to Hollywood, made an important contribution to the further development of the Hindi film industry. Four important studios of this era were Imperial Films Company in Bombay, Prabhat Company in Pune, New Theatres in Calcutta, and Bombay Talkies. During World War II there were shortages of raw film stock and a thriving black market. The priority that was given to films supporting the war resulted in the production of numerous war movies. During and after Partition the importance of the Bombay film industry grew, the film industries located in Calcutta and Lahore lost personnel and audiences. The post-independence film industry was shaped by the histories of migration and displacement. Bombay became one of the few centers in India where the Urdu language was kept alive, Hindi films continued to be made in Hindustani, building on a common Hindi-Urdu vocabulary, and not in the highly Sanskritized Hindi, promoted by the government. Moreover, Urdu poets and many Muslim stars, directors, lyricists and screenwriters have enjoyed prominence and success in the film industry located in Bombay (Ganti, 2004: 8- 23).Scholars have categorized Hindi film-making in post-Independence India in three main eras: Hindi cinema in the nation-building Nehruvian era in the 1950s, Hindi cinema during the crisis of the state in the 1970s, and Hindi cinema in the period of liberalization and satellite television after 1991 and up to present day. …
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.
Comment cette classification a été obtenuedéplier
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) | 0,000 | 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 ».