The Kashmiri as Muslim in Bollywood's ‘New Kashmir films’

Kabir, Ananya Jahanara

doi:10.1080/09584935.2010.526201

Cited by 17 publications

(2 citation statements)

References 14 publications

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“…Before 1989, Kashmir was portrayed as a "romantic destination, " with the romantic genre set in Kashmir's picturesque landscape. Following 1989, Kashmir is transformed into a "tragic hamlet" depicting terrorism (Kabir, 2010). The valley opened up a new avenue for "cine-patriotism" (Rai, 2003), with soldiers from the Indian armed forces risking their lives to protect the country from terrorists.…”

Section: IImentioning

confidence: 99%

Alternative discourse for constituting subjecthood of women: A case for an autonomous feminist discourse in Kashmir in India

Sharma

2023

Front. Polit. Sci.

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The article is centrally concerned with mapping out the autonomy of the feminist subject in India using the case study of Kashmir after the abrogation of Article 35A. It argues that the autonomy of the feminist subject in India has been subsumed within various other discourses, due to which the feminist subject of the discourse is still denied the necessary space. The article uses the case study of Jammu and Kashmir and argues that women face triple jeopardy being subjected to multiple counter-discourses to their autonomy. Feminism and autonomy in Kashmir cannot be defined in isolation; gender power relations intersect with the ethnic conflict of partitions as well as the militarization of Kashmir. It accounts for women's positions throughout history, including the ancient monarchical system, which resulted in a syncretic Kasmiriyat tradition, the Dogra regime with its alliances and misalignments with British rule, and the violence of the Indian subcontinent's partition. Based on multiple variables, the article employs a two-pronged approach. The first approach is to carry out the discursive analysis of the autonomy of the feminist subject in India and Jammu and Kashmir. The second approach considers the narrative of Kashmiri women through detailed interviews to determine how they define their autonomy. Using these two approaches, an attempt is made to investigate the implications of the abrogation of Article 35A in terms of conceptualizing a case of autonomous space for Kashmiri women as democratic citizens of India.

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Section: IImentioning

confidence: 99%

Alternative discourse for constituting subjecthood of women: A case for an autonomous feminist discourse in Kashmir in India

Sharma

2023

Front. Polit. Sci.

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“…Hindi cinema's "presentation of Pakistan, Islam and Kashmir in a vile nexus of anti-Indian conspirators," as well as its other preferred depiction of Muslims as thugs of the underworld and/or international terrorists, vilified Urdu and abstracted Arabic as its scarier sister language. 18 Arabic became the secret code that connected Indian Muslims to each other and the pan-Islamic world for which they reserved their true loyalty. Ananya Jahanara Kabir notes how in the Tamil-Hindi film Roja (Rose, 1992), even the simple Arabic definite article of "al-" became heavily value-laden when prefixed to the name of a bearded elderly man introduced to us as al-Sami, immediately connoting his pan-Islamic and terrorist associations.…”

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confidence: 99%

Of Echoes and Utterances: A Brief Sketch of Arabic Hauntings in Hindi Cinema and Song

Petiwala

2023

Int. J. Middle East Stud.

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On a Saturday afternoon in January 2017, Shah Rukh Khan—Hindi cinema's reigning star of the last thirty years—arrived at Bollywood Parks Dubai to promote his latest film release, Raees (2017). To the crowd of adoring Arab and South Asian fans and journalists who had flocked to the theme park to catch a glimpse of the “Badshah of Bollywood” and brand ambassador of Dubai, SRK unveiled the much-anticipated Arabic version of “Zaalima” (Cruel One), the film's breakout hit song. Rendered in Darija by Moroccan pop artists Abdelfettah Grini and Jamila El Badaoui, this version of “Zaalima” proved an awkward copy of the original, its unwieldy Arabic lyrics molded to fit as tightly within the blueprint melody as possible. “Dīrī fiya al-thiqa, al-gharām hā howa” (Put your confidence in me, for love is here) did not have quite the same ring or seamlessness as the Hindi-Urdu “Main sau martaba dīwāna hua” (I fell in love a hundred times over), with the Arabic line painstakingly crafted to echo the “hua” ending of the Hindi-Urdu.

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Shifty Outfits

Wilkinson¹

2022

A Companion to Indian Cinema

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The Kashmiri as Muslim in Bollywood's ‘New Kashmir films’

Cited by 17 publications

References 14 publications

Alternative discourse for constituting subjecthood of women: A case for an autonomous feminist discourse in Kashmir in India

Alternative discourse for constituting subjecthood of women: A case for an autonomous feminist discourse in Kashmir in India

Of Echoes and Utterances: A Brief Sketch of Arabic Hauntings in Hindi Cinema and Song

Shifty Outfits

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