Bhagat Singh

Sawhney, Simona

doi:10.1093/acprof:oso/9780198078012.003.0054

Cited by 16 publications

(1 citation statement)

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“…But Bhagat Singh’s revolutionary fervor would not have allowed for the same type of self-sacrificial passiveness that marks Uncle Tom’s martyrdom, even though both the fictional character and anticolonial agitator are named as such. 4 Bhagat Singh’s “love” was marked by a willingness and a desire to be the catalyst of revolution and his own death (Sawhney, 2012), whereas Uncle Tom’s “love” is marked by a willingness to forgive.…”

Section: Politicsmentioning

confidence: 99%

The Martyr, the Moviegoer: Bhagat Singh at the Cinema

Elam¹

2017

BioScope: South Asian Screen Studies

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This article attempts to rethink Indian anticolonial agitator Bhagat Singh within four alternative lineages, rooted in his often undiscussed love of early Hindi and American cinema. To date, Bhagat Singh has often been confined within the rubrics of a properly political form of revolution, whereby revolution is recognizable to the colonial state. To rethink revolution requires scholars to question the repetition of these colonial logics by moving away from the “recognizably political” to other forms of anti-authorial, anticolonial practices. This article focuses on Bhagat Singh’s viewing and response to the 1927 American iteration of Uncle Tom’s Cabin and the 1927 Hindi film Wildcat of Bombay. The article considers the ways in which Bhagat Singh moved beyond “properly political” forms of agitation in favor of affective, aesthetic, and experiential models of movie-going in the early twentieth century. By doing so, it reorganizes the categories of “world literature” away from the nation-state in favor of worldwide circulation, distribution, and interpretation.

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Section: Politicsmentioning

confidence: 99%