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Ashutosha Gowarikera lekcja patriotyzmu, czyli o roli kina indyjskiego w konstruowaniu tożsamości narodowej

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Śmigiel P.
Studia Filmoznawcze
|
2011
|
vol. 32
13-26
EN
The paper is devoted to the nationalistic character of Indian film narratives given by Ashutosh Gowariker in his three movies: Lagaan, Swades and Jodhaa Akbar. Taking the cultural understanding of nationalism derived from the theories of Benedict Anderson, Eric Hobsbawn and Anthony Smith as a starting point, the author attempts to show how the director tries to build his narrations about India as an ‘imagined community.’ Since both cinema and the idea of ‘nation’ appeared in the subcontinent at approximately the same time, it is exceedingly essential to recognize the vital implications of their coexistence. Ashutosh Gowariker’s movies are one of the most interesting samples of Indian cinema’s endeavour to promote the idea of united India where people with different religious, ethnic and social backgrounds can live in peace and harmony. The nationalistic rhetoric manifests itself in the portrayal of the community’s solidarity against colonial exploitation, in the representation of both ideal Indian women and emigrant patriot, and finally in apotheosis of the great Muslim ruler whose tolerance serves as a role model for contemporary India and its struggle in facing the growth of religious fundamentalism.
2

Repetition as Commentary - the Phenomena of Indian Cinema

100%
Hirszfeld A.
Kwartalnik Filmowy
|
2008
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issue 62-63
71-80
EN
The authoress attempts to analyze and reveal the context within which the discourse of Bollywood cinema came to exist. This discourse is related to the stereotypes of the East that are deeply rooted in the Western tradition, with the orientalism that still precedes critical thought. Orientalism is above all an auto commentary on the Western self, as reflected in the self 'Other'. The West creates itself through the contrast with the Orient. As a result we are dealing with a most interesting repetition: people of the Orient, although they do not construct 'orienatalistic' ideas, they take part in the line of Orientalistic thought created and propagated by the West, and repeat it. What we are dealing with here is not only economic but also ideological imperialism: Western critique of masala films using categories of a product, which forms part of the classic model of orientalistic thought on the Orient, into the model of the tempting exoticism. The authoress looks at this phenomenon through the prism of myth, as interpreted by Barthes and Propp. Bollywood cinema is infected by the West: the old myths are replaced by quasi-bourgeois myth-ideologies. What is created is new knowledge, hotchpotch of comments and new discourses, but they are created by the West.
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