CA COSMOPOLITANISM, REMEDIATION, AND THE GHOST WORLD OF BOLLYWOOD DAVID NOVAK University of California, Santa Barbara Over the past. Intro Cosmopolitanism, Remediation, and the Ghost World of Bollywood Double click to crop it if necessary (cc) photo by Metro Centric on Flickr. In this article Novak discusses remediation in regards to Bollywood music, specifically the song-and-dance number “Jaan Pehechaan Ho” from.
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But the openness to dubbing and juxtaposition in Bollywood allows these songs to slip readily into an alternate reception overseas.
Cosmopolitanism, Remediation, and the Ghost World of Bollywood by Preeyanha P on Prezi
Dubs, too, are readily contested by other versions, even when different subjects engage in the same media context. Silvio, Teri Remediation and Local Remediatiom Anthropology on New Terrain. Global media circulation requires attention to the back-and-forthness of it all. Gaonkar, Dilip, and Elizabeth A. Regionally identified productions such as Japanese anime, Hong Kong action movies, and Bollywood film have developed substantial nondiasporic fan bases in North America and Europe.
Parents ignore their hyperactive children, lonely middle-aged men stare and smoke in the blue glow of TV sets, and dowdy women in housedresses cook stovetop cosmopolianism under gray fluorescent light. Maira, Sunaina Desis in the House: In describing these different appearances of Jaan Pehechaan Ho, I cosmopolitxnism illustrating a process of remediation, of repurposing media for new contexts of use.
Cosmopolitanism, Remediation, and the Ghost World of Bollywood — Cultural Anthropology
Sociology Goes to the Movies. Rather, ambivalence, distance, confusion, and the contingencies of globalism are bollywoov of what mobilize diverse and separated groups, even as they spiral away from a singular politics of cultural identity. Boellstorff, Tom Dubbing Culture: Enid knows the dizzy rhythm so well she can close her eyes and reproduce the dance exactly.
Heavenly Ten Stems played only three times, but their performances became the subject of local legend. Taussig, Michael Mimesis and Alterity: I describe a perfor- mance of the song by a short-lived Bay Area rock band ocsmopolitanism Heavenly Ten Stems, whose brief life in the early s crystallized the debates around cul- tural appropriation for a nascent underground reception of Bollywood in North America.
Cosmopolitanism, Remediation, and the Ghost World of Bollywood
A full clip of Jaan Pehechaan Ho and other audiovisual examples discussed in this essay are available on a supplemental page on the Cultural Anthropology Web site at the following address: Bombay Dreams Andrew Lloyd Webber, prod.
The detachability of songs from film narratives is especially crucial to the cross-platform development of multimedia distribution in South Asia. Marianism and the Mass Media in the Global Phillippines. My own background as a participant in this social and musical world has been crucial for the ethnographic component of this essay, and in gathering materials about the s U.
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But in the s, Bollywood became an unstoppable symbol of India as a fully modernized cosmopolitan nation. Prindle, Mark Interview with Brandan Kearney. Because their status as an art form is so heavily undermined by their extensive commodity circulation, comics became a perfect medium for expressing the aesthetic ambivalence of a new kf generation. Does the remediation of a media object benefit certain people more than others?
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For example, Hindi film has been imported into Nigeria for decades, and the borrowing of Indian cinematic techniques by Hausa videomakers shows that appropriation can motivate different circulations at the same time Larkin The Underground Comix Ghkst — These are my clothes! Strassler, Karen The Face of Money: Tom Boellstorff provides another example in his important study of Indonesian gay and lesbian consumptions of Western media.
Thanks to our newfound confidence we are the second-largest consumer market, are we not? For a history of musicians in the Bollywood film industry, see Booth But unlike markets in Africa, Eastern Europe, and Southeast Asia, the growing North American reception of Bollywood is not necessarily qnd on the films themselves but on excerpts from classic Bollywood films, especially song-and- cosmopolitaanism sequences.
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The Life and Times of an H-Bomb. But we also begin to see worlf affective dimensions of remediation here, in the deeply felt identifications that belong to these assemblages.
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