Keywords
Mughals
Aurangzeb
Hindi Cinema
Categories
How to Cite
Abstract
Representation of religion in cinema has been a relevant subject for investigation by film historians of the Indian subcontinent. This article tries to evaluate the content of some of the movies based on the Medieval Period produced in the 21st Century, starting with Jaanisar and ending with Tanahaji. The article's basic argument is that in the films based on medieval history of India, filmmakers try to project the issues and problems concerning Muslims but ultimately stereotype them by describing them as debauch nawabs, trustworthy friends and villains. In popular culture, they are portrayed as ‘Others’ and represented according to society’s dominant notions. The article examines how films often depart from reality to reconstruct a mythical past.
References
Baumann, Gerd. The Multicultural Riddle – Rethinking National, Ethnic, and Religious Identities. London: Routledge, 1999. P 62
Deshpande, Anirudh, Class, Power and Consciousness in Indian Cinema and Television, (Delhi: Primus Books, 2009,) p.02
Matuszewski, Boleslaw, Quoted in Hannu Salmi ‘Film as Historical Narrative’ in Film-Historia, Vol. V, No. 1(1995), pp. 45-54
Sorlin, Pierre, ‘How to look at an “Historical” Film’, in Marcia Landy (ed.) The Historical Film: History and Memory in Media, (London: The Athlone Press, 2001), p.31
Landy, Marcia, 2001, ed., The historical Film: History and Memory in Media, New Brunswick, NJ: Rutgers University Press
Sorlin, Pierre, The Film History. Restaging the Past, (Oxford: Blackwell, 1980)
Chakravarty, Sumita S., National Identity in Indian Popular Cinema 1947-1987, (Austin University of Texas Press, 1993) p. 159
Jha, Shweta Sachdeva, Frames of Cinematic History: The Tawa’if in Umrao Jan and Pakeezah in Manju Jain (ed.), Narratives of Indian Cinema, (New Delhi: Primus Books, 2009) p. 170
H, Bhabha, The Location of Culture, (London: Rutledge, 1994), p. 37.
Ibid., p. 37.
Ferguson, H. (1990) The Science of Pleasure: Cosmos and Psyche in the Bourgeois World View, London: Routledge. p. 256
‘Masoom’ Portrays Muslim Life Excellently,” review, Filmindia, July 1942.
Bhaumik, Kaushik (2001). The emergence of the Bombay film industry, 1896–1936. D.Phil. thesis, Oxford. Cf. Ravi S. Vasudevan ‘Film Genres, the Muslim Social, and Discourses of Identity c. 1935–1945’ BioScope 6(1) 1–17, Screen South Asia Trust: 2015 p 2
Kunnummal, Ashraf. "Islamophobia Studies in India: Problems and Prospects." Islamophobia Studies Journal, Vol 7, No. 1 Spring 2022: pp. 25–44.
Ahmad, Sumaiya. "Presentation of Islamic Symbols in Indian Cinemas a Critical Study." Journal of Islamic Studies and Culture, June 2014,Vol. 2, No. 2,: pp. 33-54.
Bokhari, Muhammad Ashraf Khan and Syeda Zuria. " Portrayal of Muslims in Indian Cinema: A Content Analysis of Movies during (2002-8)." Pakistan Journal of Islamic Research, 2011.
Robert Brent Toplin, Reel History: In Defense of Hollywood, Kansas University Press, 2002.
Justin Smith, Withnail and Us: Cult Films and Film Cults in British Cinema, IB Tauris, 2010.
Annand, Dibyesh. Hindu Nationalism in India and the Politics of Fear. New York: Palgrave Macmillan, 2011. P,1
Kumar, H. M Sanjeev. "Metonymies of Fear: Islamophobia and the Making of Muslim Identity in Hindi Cinema." Society and Culture in South Asia 2(2) South Asian University, New Delhi SAGE Publications, 2016: 233–255.
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
Copyright (c) 2024 SOUTH INDIA JOURNAL OF SOCIAL SCIENCES