ISSN (Print) - 0012-9976 | ISSN (Online) - 2349-8846

Hindi CinemaSubscribe to Hindi Cinema

From Sairat to Jhund via Jai Bhim

Mainstream Indian cinema has rarely depicted the complexities of caste and its associated social problems. With Fandry (2014) and Sairat (2016), Nagraj Manjule brought caste and gender to the centre stage of fi lm-making. However, his recent Hindi fi lm Jhund fails to carry forward this legacy and adopts a time-tested Bollywood style—an upper-caste-male-saviour trope.

Noir Urbanisms in Post-globalisation Hindi Cinema

Dark Fear, Eerie Cities: New Hindi Cinema in Neoliberal India by Sarunas Paunksnis, New Delhi: Oxford University Press, 2019; pp xx + 172, 895.

 

The Popular Aesthetics of Social Mobility

Reflecting on the aesthetic trajectory of the idea of social mobility in Hindi cinema and situating such film texts within the long history of the optical relation between cinema and the city, this article argues that the film Gully Boy’s (2019) quest is anchored within neo-liberal freedoms, albeit topped with a laudable linguistic experiment. In comparison with the social mobility films of the last three decades, the film is marked by certain key departures and new blind spots, which occasion a rethinking of popular culture, particularly due to its increasing over-reliance on the attention economy of social media.

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