• Philosophische Fakultät III
    • Institut für Asien- und Afrikawissenschaften

Archiv für Schlagwort Indien

Neues aus Filmistan: Schwerpunkt Film in Indien im neuen Masala-Newsletter

 

Die neue Ausgabe des MASALA-Newsletters (2/2014) enthält unter anderem drei Beiträge zum Thema Film in Indien:

  • Wo es kein Bollywood gibt: eine ethnologische Reise zum „indigenen“ Kino Indiens (Markus Schleiter)
  • Neue Räume und Praktiken politischer Jugendproteste im Hindi-Film (Nadja-Christina Schneider)
  • Typisch Bollywood? Der Diskurs über Bollywood in deutschen Qualitäts-Tageszeitungen (Katja Molis)

 

Link: Newsletter Virtuelle Fachbibliothek Südasien (Uni Heidelberg)

PDF: Newsletter Masala, Jg. 9, Nr. 2 (2014)

 

7. Mai 2014 | Veröffentlicht von Nadja-Christina Schneider | Kein Kommentar »
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Medien in Indien

Zwischen Globalisierung, Ausdifferenzierung und bedrohter Glaubwürdigkeit

 

von Nadja-Christina Schneider

In: Dossier Indien – Bildung und Kultur. Bundeszentrale für politische Bildung

Indiens Medienlandschaft ist vielfältig. Das liegt zum einen an der Größe des Landes, zum anderen an den regionalen, sprachlichen und soziokulturellen Unterschieden. Neben Fernsehen und Radio haben sich in den vergangenen Jahren auch soziale Medien rasant entwickelt und die Mediennutzung verändert. Eine Zeitungskrise wie in den USA oder Europa scheint bislang nicht in Sicht. Allerdings gibt es Faktoren, die die Glaubwürdigkeit der indischen Medien bedrohen.

Lesen Sie den gesamten Artikel online unter:

http://www.bpb.de/internationales/asien/indien/44549/medien

29. April 2014 | Veröffentlicht von Maruan Mourad | Kein Kommentar »
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‚Quaid‘ – People‘s Cinemas in the Age of Digital Filmmaking

von Max Kramer

 

A couple of days ago, on the 13th and the 14th of February (2014), I was attending the annual conference of the Gorakhpur Film Festival Movement (GFM) which was held at the Gandhi Peace Foundation in Delhi. Since its inception in the year 2006 the GFM spread to fourteen cities and towns in northern India, most of them located in the economically weaker areas of eastern Uttar Pradesh, Bihar and Rajasthan. The festival movement (mind the second component: movement) thrives due to the conjunction of new technologies and innovative work: digital projectors make new screening venues reachable and the new connectivities established between local film societies and the central highly mobile unit called ‚the group‘, which is based in Delhi, seem to generate the continuity and rapid expansion. ‚The group‘ promotes the concept of an inter-media platform, combining films with poetry, painting, music, academic lectures and film-related publishing in Hindi. During this year’s conference, the participants were reflecting upon their past work and planning their future strategies. Representatives of about a dozen cities were present. Among those invited to join the network this year was Mohad Gani, a self-taught filmmaker from Mathura who proposed to launch a local edition of the Cinema of Resistance, as the festivals of the GFM are called. I want to tell a few stories surrounding his film Quaid (Imprisoned, 2014) as they disclose some potentials of an independent digital film culture and the new ways of public engagement it relates to. Such an understanding should, however, be properly contextualized; in other words, we will start our journey from Mathura.

Most people in South Asia know Mathura for the adventurous stories of Lord Krishna, the amorous god, the war consultant and the ‚cunning‘ child. Until I saw Quaid, the only films from Mathura I knew belong, perhaps, to the most South Asian of all genres: the yatra-film. Images of temples invite the believer to enter a mediated pilgrimage, a voiceover introduces us to the mythologies of the place while the eyes of divine statues bestow auspicious looks.

However, with Mohad Gani’s fiercely independent film, something rather different emerged from the banks of the Yamuna River. This film is remarkable not only due to its place of origin, but because it tells us something about the potentials of filmmaking in our age. It reminds us that, sometimes, you need nothing more than a relevant subject, a dedicated theater group, your house, an elementary school, a self-taught filmmaker and 2000 Rupees (around 25 €) to make a good movie.

The narrative, based on a short story by Gyan Prakash Vivek, is about a strong-willed boy who is caught in the webs of a malfunctioning school and the business of religiously legitimized quacks. At school, the boy’s creative wit is more feared than being acknowledged. This initiates a destructive circle where, through the ostracism of his Hindi teacher, the boy closes himself off and turns more and more aggressive towards his surroundings. Instead of looking into the dynamics of the conflict, his parents consult a tantric baba who advises them to lock the boy into a room until he would come to his senses again. The plot takes a turn when an open-minded teacher joins the local school. He learns about the locked up boy on the roof and carefully attempts to establish contact with him. He slowly builds up trust and reassembles the causes which led to the boy’s imprisonment.

This film can perhaps best be understood as a cultural artifact circulating in a web of stories weaved around it. Beyond the screens of commercially ‚big‘ cinema, the filmmakers often travel along with their films and discuss them with local audiences, thereby adding multiple layers of narrative to the meaning of the film performance. These layers may include the story of the production of the film or some biographical sketches of the professional struggle of the filmmakers.

Mohad Gani did not visit school for more than four years and elementary education in state run schools in non-metropolitan India is well known for its notoriously bad condition. When he was about fifteen years old, he taught himself how to read and write Hindi. Together with some friends, Gani launched a street theater group called Sanket Rangtoli. He wanted to make films but he did not have the money to buy a camera. Getting admission to a film school was, of course, out of question. Again Gani taught himself to edit and direct a film. With his sewing work and the help of some friends he managed to save enough money to buy a camera. Together with the street theater group and some family members, he started producing Quaid about a year ago. They also set up a local film society called Jan Cinema (People’s Cinema) and bought a projector. With this projector the group travels through the city, bringing their films to the audiences they want to address, just as they have done before with the street theater performances. These films are, of course, not just shown, but also discussed with the audience.

Technical stories about minimal budget projects are often fun to hear and sometimes instructive to understand the potentials of digital filmmaking. Just one example: for building a camera dolly the crew put wheels under a table and fixed a chair on top of it. There are some aspects of a ‚third cinema‘ (e.g. Solanas/Gettino/Espinosa) which only came to a broader realization after digital film technology really took off. One way to understand this is in relation to the mobilities of independent film practices. Just as the street theater, films such as Quaid and their crews are coming to your part of town and maybe screen their next film on your neighbour’s wall. They provide us with a glimpse of emerging practices of political filmmaking in South Asia. By engaging in collectively negotiated processes of meaning, they pose a challenge to established modes of production. The next months will show how far Quaid will travel and how it will engage with audiences in South Asia and perhaps beyond. In the meantime, Jan Cinema is already planning their next feature film.

Find an additional article („Cinema of Resistance“) on this Topic online under: http://www.hardnewsmedia.com/2011/10/4174

11. März 2014 | Veröffentlicht von Maruan Mourad | Kein Kommentar »
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Aam Aadmi: Decoding the Media Logics

von Sahana Udupa

Abstract

The spectacular rise of the Aam Aadmi Party and all the recent controversies it has sparked prompt us to examine the role of media in the making of the „common man“. This article traces the logics of print, television, and social media, to ask what it means to consider AAP as a „media party“.

Economic & Political WEEKLY
Vol – XLIX No. 7, February 15, 2014

Read full article online: http://www.epw.in/commentary/aam-aadmi-decoding-media-logics.html

 

25. Februar 2014 | Veröffentlicht von Maruan Mourad | Kein Kommentar »
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News media and contention over “the local” in urban India

von Sahana Udupa

Abstract

Exploring the highly competitive bilingual news field in urban India, I illustrate how localization of news content has led to conflictual discourses around who should constitute “the local” and for what end. Mediatized contests over “the local” frame urban politics along linguistic and cultural divides, articulated through populist challenges to neoliberal media discourses of “the global local.” In turning a critical eye to these mediatized contests, I extend the recent emphasis on the need to “ground” globalization studies and explore the concrete ways in which globalization imprints itself on local spaces. I argue that local and global formations are embedded in the dynamics of news fields in ways that elude generalized claims advanced by pessimists of cultural homogeneity as well as by optimists of local resistance.

American Ethnologist
Volume 39, Issue 4, pages 819–834, November 2012

Read full article online: http://onlinelibrary.wiley.com/doi/10.1111/j.1548-1425.2012.01397.x/full

25. Februar 2014 | Veröffentlicht von Maruan Mourad | Kein Kommentar »
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Four Women and a Room

Experimenteller Dokumentarfilm, Indien 2008, 28 min
Regie: Ambarien Al Qadar

Kurzessay von Anna Oechslen

Lesen Sie den kompletten Kurzessay zum Film mit dem Titel „Im Schatten der imaginären Über-Mutter“ online unter: https://wikis.hu-berlin.de/mediaiaaw/images/6/6a/Anna_Oechslen_2014_Im_Schatten_der_imagin%C3%A4ren_%C3%9Cber-Mutter.pdf

Sie finden den Trailer zum Film online auf der Videoplattform Vimeo unter: http://vimeo.com/10574837

4. Februar 2014 | Veröffentlicht von Maruan Mourad | Kein Kommentar »
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Der indische Online-Heiratsmarkt

-Medienpraktiken und Frauenbilder im Wandel-

Neuerscheinung von Fritzi-Marie Titzmann

Abstract

In Indien wirft das Thema Eheschließung Fragen individueller und kultureller Identität im Spannungsfeld von gesellschaftlichem Wandel und Kontinuität auf. Am rasant wachsenden indischen Online-Heiratsmarkt lassen sich diese Fragen besonders eindrücklich im Zusammenhang mit der Medienentwicklung diskutieren. Die Autorin beschreibt die gleichzeitig global ausgerichteten, aber als ‚indisch‘ konnotierten Online-Heiratsmärkte und zeigt, wie sich diese in die Ausdifferenzierungsprozesse der indischen und transnationalen Medienlandschaft einfügen. In einem zweiten Schritt stellt sie Konzepte von Weiblichkeit und Ehe vor, die diese Portale transportieren, und analysiert den Umgang der Nutzerinnen mit den Erwartungen und Rollenklischees, die  Familie und Gesellschaft an sie herantragen.

Weitere Informationen zu dieser Neuerscheinung finden Sie auf der Verlagsseite unter: http://www.frank-timme.de/verlag/verlagsprogramm/buch/suchbegriff/Titzmann/verlagsprogramm/fritzi-marie-titzmann-der-indische-online-heiratsmarkt/backPID/suche.html?sword=Titzmann

28. Januar 2014 | Veröffentlicht von Maruan Mourad | Kein Kommentar »
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Changing Patterns of Matchmaking

The Indian Online Matrimonial Market

von Fritzi-Marie Titzmann

Abstract

Indian matrimonial websites, as a new and popular medium for seeking marriage partners, have millions of users and have become increasingly important in India’s marriage market as of the late 1990s. Despite their traditional approach, evident in their structure and design, these online spaces nevertheless reflect new dimensions of media usage and choice of partners. They show the active intervention of people in their own future planning. By assuming a basic connection between the growing media access and profound changes within contemporary Indian society, this article links media-based changes in matchmaking to an overall social change in post-liberalization India. With new lifestyles and social realities, notions regarding marriage, love, and gender roles are gradually being reworked. The analysis of the online matrimonial market and how it has been appropriated, offers remarkable insights into these dimensions of social change. Ninety percent of India’s marriages are still termed as ‘arranged,’ as opposed to the category of ‘love marriage.’ But the varied ways in which many young Indians engage with matrimonial media show that this dichotomy of terms needs urgent revision. Increasing social, physical, and media mobilities serve in manifold ways as a key factor in social change, particularly with regard to women and marriage. The pervasive gender image of the “New Indian Woman” is an influential role model in online representations as well as in personal narratives. She combines a modern lifestyle with cultural rootedness and makes way for new forms of subjectivity and agency. In the context of changing patterns and concepts, the ideological difference between agency and choice with regard to decision-making in matchmaking emerges as another crucial point for discussion. While agency emphasizes the capacity to act, choice is connoted by a consumerist viewpoint. But the explicitly new aspect about a medialised marriage market is the progressively interactive nature of online matrimonial media.

Der Artikel ist im Asian Journal for Women´s Studies (AJWS), Vol. 19, No. 4 (2013) erschienen.

8. Januar 2014 | Veröffentlicht von Maruan Mourad | Kein Kommentar »
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Tabubruch in Indien?!

Fritzi-Marie Titzmann

Die indische Schmuckfirma Tanishq hat mit ihrer neuesten Fernsehwerbung für eine kleine Revolution gesorgt. Die Darstellung einer Hochzeitsfeier (bei der die Braut Tanishq-Schmuck trägt) bricht gleich mit zwei Tabus: erstens ist es die zweite Heirat der Braut; zweitens ist ihre Hautfarbe einige Schattierungen dunkler als das medienübliche „Fair & Lovely“. So wird in einem Spot von 1min 31sec gleichzeitig Wiederheirat thematisiert und das Schönheitsideal heller Hautfarbe überwunden. Bereits eine Woche nach der Erstausstrahlung hatte der Werbefilm fast 1 Million Klicks auf YouTube und wird seit Wochen weiter über Social Networking Sites wie Facebook und Twitter, über Blogs und über die online und offline-Presse verbreitet und diskutiert.

Link „A Wedding To Remember“ (YouTube.com):

http://www.youtube.com/watch?feature=player_embedded&v=P76E6b7SQs8

Einige relevante Blogeinträge und Nachrichten:

http://www.youngisthan.in/lifestyle-specials/why-tanishqs-new-ad-is-a-masterpiece-/3856

http://www.businessinsider.com/tanishq-jewelry-wedding-ad-scandalizes-india-2013-10

http://www.huffingtonpost.com/2013/10/31/india-second-marriage-ad_n_4181192.html

19. November 2013 | Veröffentlicht von Maruan Mourad | Kein Kommentar »
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Heimweh nach Indien?

Indische Medien in Vientiane, Laos

von Max Priebe

Indien gilt als der weltweit zweitgrößte Zeitungsmarkt und verzeichnet, anders als viele westliche Industriestaaten, jährlich positive Wachstumsraten. Durch Regionalisierung und Lokalisierung, Kommerzialisierung und Professionalisierung sowie die Anbindung neuer Medienformen wie dem Internet hat sich eine vielfältige und vitale Printmedienlandschaft herausgebildet, die weit über die Grenzen Indiens hinaus Leser anzieht.

Lesen Sie den gesamten Artikel auf der Internetseite suedasien.info – das Informationsportal zu Südasien unter: http://www.suedasien.info/analysen/3013

11. September 2013 | Veröffentlicht von Maruan Mourad | Kein Kommentar »
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