'Bad' Women of Bombay Films: Studies in Desire and Anxiety

ISBN-13: 9783030267872 / Angielski / Twarda / 2019 / 381 str.

Saswati Sengupta; Shampa Roy; Sharmila Purkayastha

Spis treści

1. Saswati Sengupta, Shampa Roy and Sharmila Purkayastha : 

            Introduction: Breaking Bad

The Disorderly Presence at Home

2. Ira Bhaskar:

Desire, Deviancy and Defiance in Bombay Cinema (1937-1960)

3. Shampa Roy, Saswati Sengupta: 

“haan, haan mein alaida hoon!” (Yes, yes I am different!): the Disorderly Bibi in Sahib, Bibi aur Ghulam (1962)

4. Mrinal Pande:

The Goddess of Mean Things: the Mother-in-law in Hindi Films

5. Anjali Yadav, Anusha Choudhary, Divya Gupta, Ifsha Zehra, Neha Jaji Varghese, Prachi Khari, Shaifali Singh, Soumya Sharma, Tooba Towfiq, Violina Barman:

“ek admi tha, usne shadi karli!” (“There was a man who got married!”): Female Agency and Domestication in Omkara (2006)

The Business of the Body

6. Deepika Tandon

The Politics of Sanitisation / Sanskritisation: the Court Dancers and Classical Pasts (Rajnartaki, 1941; Chitralekha, 1964; Amrapali, 1966)

7. Ruth Vanita:

Goddess, Saint and Journeying Soul: Courtesans and Religion in Bombay Cinema (1939-2015)

8. Sameera Mehta:

The Prison-House of Performance: the Figure of the Dancing Girl in Bombay Films of the1960s

9. Neha Yadav:

Guns, Gangsters and “Gandagi”: the Moll in Hindi Cinema

10. Rakesh Shukla:

Sex Workers in Hindi Cinema: Imagos and Realities

The Question of Violence

11. Smita Banerjee: 

The Caged Woman: Female Guilt, Desire and Transgression in Bandini (1963)

12. Menka Ahlawat:

“itni bhhi mahaan main nahi hoon, raja!” (“I’m not that great, O king”): the Angry Young Woman of the 1970s

13. Neha Dixit:

Outcast[e] / Outlawed: The Bandit Queen (1996)

14. Isha Purkayastha: 

The Female Atankvadi: Gender, Militancy and the Politics of Representation in the late 90s.

15. Nonica Datta: 

Honoured Mother and ‘Honour’ Killing: Ammaji in NH10 (2015)

The Advent  of the New Woman

16. Nupur Mittal:

Of Pallus and Pants: Fabricating the New Woman of the New Nation

 Andaz (1949), Mr. and Mrs. 55 (1955), Shri 420  (1955)

17. Megha Anwer: 

Consumer Pleasures and Hindi Cinema’s En-gendered Distribution of Moral Capital in Hum Aapke Hain Koun (1994) and Zindagi Na Milegi Dobara (2011)

18. Puja Sen: 

Twenty-first century Heroines: Modernity in Cocktail (2012), Queen (2014) and Highway (2014)

19. Abhija Ghosh:

Curiosity, Consent and Desire in Masaan (2015), Pink (2016), Lipstick Under My Burkha (2016) and Veere Di Wedding (2018). 

The Screening of the Actress

20. Shikha Kothiyal:

“naye naam nit naye roop dhar” (Don new names and new forms daily): the Figure of the Actress in Hindi Cinema

21. An Interview with Swara Bhaskar: 

Playing Anaarkali: Gender, Morality and Erotica. 

O autorze

Saswati Sengupta, Shampa Roy and Sharmila Purkayastha are Associate Professors of English at Miranda House, Delhi University, who explore the social and material relations in cultural narratives. As part of the Miranda House collective they have engaged with a classical Sanskrit text (Revisiting Abhijñānaśākuntalam, Sengupta and Tandon ed., 2012) and a modern Indian novel (Towards Freedom: Critical Essays on Rabindranath Tagore’s Home and the World, Sengupta, Roy and Purkayastha ed., 2007) before turning to the 'Bad' Women of Bombay Films.

Outside their collective endeavour, Saswati has contributed to Goddesses:The Oxford History of Hinduism(2018), and her novel, The Song Seekers (2011), was long listed for the DSC award for South Asian Literature. Shampa has published In Zenanas and Beyond (2011) and Gender and Criminality in Bangla Crime Narratives (2017). She also translates early Bangla crime narratives into English. Sharmila is currently working on women’s prison writings of the 1970s in India and in Latin America. 

Blurb

This book presents a feminist mapping of the articulation and suppression of female desire in Hindi films, which comprise one of modern India’s most popular cultural narratives. It explores the lineament of evil and the corresponding closure of chastisement or domesticity that appear as necessary conditions for the representation of subversive female desire. The term ‘bad’ is used heuristically, and not as a moral or essential category, to examine some of the iconic disruptive women of Hindi cinema and to uncover the nexus between patriarchy and other hierarchies, such as class, caste and religion in these representations.  

The twenty-one essays examine the politics of female desire/s from the 1930s to the present day - both through in-depth analyses of single films and by tracing the typologies in multiple films. The essays are divided into five sections indicating the various gendered desires and rebellions that patriarchal society seeks to police, silence and domesticate.