Looks at representations of Partition in Indian cinema and argues that cinema functions as a method of cultural mourning that has helped the country grapple with a painful historical event.
Looks at representations of Partition in Indian cinema and argues that cinema functions as a method of cultural mourning that has helped the country grapple with a painful historical event.
Bhaskar Sarkar is an assistant professor of film studies at the University of California, Santa Barbara.
Inhaltsangabe
Acknowledgments ix Introduction: National Cinema's Hermeneutic of Mourning 1 Part I. A Resonant Silence 1. Cinema's Project of Nationhood 47 2. Runes of Laceration 88 3. Bengali Cinema: A Spectral Subnationality 125 Part II. The Return of the Repressed 4. Dispersed Nodes of Articulation 169 5. Ghatak, Melodrama, and the Restitution of Experience 200 6. Tamas and the Limits of Representation 230 7. Mourning (Un)limited 259 Coda: The Critical Enchantment of Mourning 299 Notes 305 Bibliography 343 Index 365
Acknowledgments ix Introduction: National Cinema's Hermeneutic of Mourning 1 Part I. A Resonant Silence 1. Cinema's Project of Nationhood 47 2. Runes of Laceration 88 3. Bengali Cinema: A Spectral Subnationality 125 Part II. The Return of the Repressed 4. Dispersed Nodes of Articulation 169 5. Ghatak, Melodrama, and the Restitution of Experience 200 6. Tamas and the Limits of Representation 230 7. Mourning (Un)limited 259 Coda: The Critical Enchantment of Mourning 299 Notes 305 Bibliography 343 Index 365
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