Global South Asia On Screen

With importance for geopolitical cultural economy, anthropology, and media studies, John Hutnyk brings South Asian circuits of scholarship to attention where, alongside critical Marxist and poststructuralist authors, a new take on film and television is on offer. The book presents Raj-era costume dramas as a commentary on contemporary anti-Muslim racism, a new political compact in film and television studies, and the President watching a snuff film from Pakistan. Hanif Kureishi's postcolonial 'fuck Sandwich' sits alongside Salman Rushdie's Satanic Verses, updated for the war on terror with low-brow, high-brow versions of Asia that carry us up the Himalayas with magic carpet TV nostalgia. Maoists rage below and books go up in flames while News network phone-ins end with executions on the Hanging Channel and arms trade and immigration paranoia thrives. Multiplying filmi versions of Mela are measured against a transnational realignment towards Global South Asia in a contested and testing political future. Each chapter offers a slice of historical study and assessment of media theory appropriate for viewers of Global South Asia seeking to understand why lurid exoticism and paralysing terror go hand-in-hand. The answers are in the images always open to interpretation, but Global South Asia on Screen examines the ways film and TV trade on stereotype and fear, nationalism and desire, politics and context, and with this the book calls for wider reading than media theory has hitherto entertained.

The emergence of new media today in South Asia has signalled an event, the meaning of which remains obscure but whose reality is rapidly evolving along gradients of intensity and experience. Contemporary media in and from South Asia have come to sense a new arrangement of value, sensation, and force - new forms of becoming that might be usefully termed as 'media ecologies'. This evolution from nation-based forms of communication (Doordarshan, All India Radio, the "national" feudal romance) to simultaneous global ones conform and mutate the structures of feeling of local, national, diasporic and transnational belonging. This collection of original essays is concerned with understanding how people are making meaning from the new media and how subaltern tinkering (pirating, peer to peer file sharing, hacking, noise jamming, indymedia, etc.) does things to and in the new media. This exciting works helps us to make sense of the creation of new publics, new affects and new experiences of pleasure and value in convergences of intermedia in a fast developing South Asia context. This book was originally published as a special issue of South Asian Popular Culture.

This first book in the new Foundations in Global Studies series offers a fresh, comprehensive, multidisciplinary introduction to South Asia. The variations in social, cultural, economic, and political life in this diverse and complex region are explored within the context of the globalising forces affecting all regions of the world. In a simple strategy that all books in the series employ, the volume begins with foundational material (including chapters on history, language, and, in the case of South Asia, religion), moves to a discussion of globalisation, and then focuses the investigation more specifically through the use of case studies. The cases expose the student to various disciplinary lenses that are important in understanding the region and are meant to bring the region to life through subjects of high interest and significance to today's readers. Resource boxes, an important feature of the book, are included to maintain currency and add utility. They offer links that point readers to a rich archive of additional material, connections to timely data, reports on recent events, official sites, local and country-based media, visual material, and so forth. A website developed by Syracuse University's South Asia Center will feature additional graphic, narrative, and case study material to complement the book.

The dramatic expansion of the media and communications sector since the 1990s has brought South Asia on the global scene as a major center for media production and consumption. This book is the first overview of media expansion and its political ramifications in South Asia during these years of economic reforms. From the puzzling liberalization of media under military dictatorship in Pakistan to the brutal killings of journalists in Sri Lanka, and the growing influence of social media in riots and political protests in India, Nepal and Bangladesh, the chapters analyse some of the most important developments in the media fields of contemporary South Asia. Attentive to colonial histories as well as connections within and beyond South Asia in the age of globalization, the chapters combine theoretically grounded studies with original empirical research to unravel the dynamics of media as politics. The chapters are organized around the three frames of participation, control and friction. They bring to the fore the double edged nature of publicity and containment inherent in media, thereby advancing postcolonial perspectives on the massive media transformation underway in South Asia and the global South more broadly. For the first time bringing together the cultural, regulatory and social aspects of media expansion in a single perspective, this interdisciplinary book fills the need for overview and analytical studies on South Asian media.

After the end of World War II when many Southeast Asian nations gained national independence, and up until the Asian Financial Crisis, film industries here had distinctive and colourful histories shaped by unique national and domestic conditions. Southeast Asia on Screen: From Independence to Financial Crisis (1945-1998) addresses the similar themes, histories, trends, technologies and sociopolitical events that have moulded the art and industry of film in this region, identifying the unique characteristics that continue to shape cinema, spectatorship and Southeast Asian filmmaking in the present and the future. Bringing together scholars across the region, chapters explore the conditions that have given rise to today's burgeoning Southeast Asian cinemas as well as the gaps that manifest as temporal belatedness and historical disjunctures in the more established regional industries.

Southern Screens: Cinema, culture and the global South adopts a transversal south-south approach to the study of screen culture across national and cultural territories. It examines the conditions by which screen culture participates in the generation, sharing, and circulation of new knowledge that is both southern and about the global South. The contributors, all of them residents of the world’s southernmost nations, examine new and traditional media that manifests an affinity with southern cultural imaginaries and territories identifiable through the sociological category of "Global South." Some of their chapters engage in analysis linked to specific national contexts, others follow comparative approaches to screen culture across national, regional, and socio-historical borders. Sketching a new tapestry of references to other areas of southern social science and cultural theory, Southern Screens traces a critical genealogy that here finds a productive place within an emerging, comparative discussion of the screen cultures of the Global South. This book was originally published as a special issue of Critical Arts: South-North Cultural and Media Studies.

This volume adopts a transversal South-South approach to the study of visual culture in transnational, transcultural, and geopolitical contexts. Every day hundreds of people travel back and forth between southern countries, including Australia, Argentina, Brazil, Chile, New Zealand, Indonesia, Timor-Leste, and South Africa. With these people travel cultures, experiences, memories, and images. This creates the conditions for the generation, sharing, and circulation of new knowledge that is both southern and about the South as a specific kind of material and imaginary territory (or territories). It does so through the study of the southern hemisphere’s screen cultures, addressing the broad spectrum of cultural expression in both traditional and new screen media, including film, television, video, digital, interactive, and online and portable technologies. This book was originally published as a special issue of Critical Arts.

This book collects essays that take on the excavatory, critical, and generative work of rethinking the relationship between South Asia and the world. In examining what kind of new relationships are uncovered between these two geopolitical groupings, the chapters in this book argue that South Asian literature and literary criticism can reframe the common narrative of the powerful Global North and a disenfranchised Global South. This is not always a comforting reframing since it must account for the oppressive roles that South Asian nations sometimes play in regional and intranational theatres. Through myriad disciplinary groundings, theoretical approaches, and objects of study, the essays in this book collectively argue that South Asian literature allows us to think more critically about both the liberatory possibilities of South Asia as a grouping (of nations but also of ideas and aesthetics) as well as the elisions that may happen under such categorization. The chapters in this book were originally published as a special issue of the South Asia Review.

This book explores the aesthetic forms of the political left across the borders of post-colonial, post-partition South Asia. Spanning India, Sri Lanka, Pakistan and Bangladesh, the contributors study art, film, literature, poetry and cultural discourse to illuminate the ways in which political commitment has been given aesthetic form and artistic value by artists and by cultural and political activists in postcolonial South Asia. With a focused conceptualization this volume asks: Does the political left in South Asia have a recognizable aesthetic form? And if so, what political effects do left-wing artistic movements and aesthetic artefacts have in shaping movements against inequality and injustice? Reframing political aesthetics within a postcolonial and decolonised framework, the contributors detail the trajectories and transformations of left-wing cultural formations and affiliations and focus on connections and continuities across post-1947/8 India, Pakistan, Sri Lanka and Bangladesh.