Diapositiva 1

Camouflages bollywoodiani: lIndia raccontata dal suo cinema

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Ethnoscapes :migrazoni e diasporeMediascapes : flusso dei simboliTechnoscapes : movimento delle tecnologieFinanscapes: movimento del denaroIdeoscapes :flussi di idee

Arjun Appadurai

Modernity At Large: Cultural Dimensions of GlobalizationSradicamento, distanza psicologica / vicinanza elettronica-Limmaginazione come pratica sociale e culturale organizzata

ETNORAMIMEDIORAMITECNORAMIFINANZIORAMIIDEORAMI

Col termine Bollywood, fusione di Bombay e Hollywood ,si intende il cinema popolare in lingua hindi e in lingua urdu.

Altre cinematografie indiane importanti sono quelle in lingua tamil, malayalam, telugu e bengali.

Caso particolare negli ultimi anni la cinematografia tribale.

BOLLYWOOD: circa 800 pellicole lanno

L'industria cinematografica tamil chiamata "Kollywood" ed la seconda realt del Paese come importanza.Lindustria cinematografica nel Kerala chiamata "Mollywood".L'industria cinematografica telugu chiamata "Tollywood, ha sede nella capitale.Dopo Bollywood, questa l'industria che produce pi film. In questo stato c' anche lo studio cinematografico pi grande del mondo, la Ramoji Film City.

7 luglio 1896 : la proiezione di sei cortometraggi dei fratelli Lumire (Lo stabilimento balneare, Arrivo di un treno, Una demolizione, Signore e soldati su ruote e All'uscita della fabbrica) presso lhtel Watson di Bombay. 1912: Dadasaheb Phalke, considerato come il padre del cinema indiano, gira il primo film Raja Harishchandra, un episodio del Mahbhrata . Impresari Parsi (Gujarat)Mumbai realt cosmopolitaInteresse per il teatroDiversificazione degli spettacoli per variet di pubblico

The Mahabharata : 1989 Epica HinduPeter Brook Spettacolo originale 1985 stage ply (9 ore) , ridotto a 6 nel 1989 per un adattamento televisivo e in seguito ulteriormente a tre ore per la diffusione in DVD Due famiglie in guerra tra loro: Pandavas (i buoni) e Kauravas (i cattivi). Krishna ha chiesto loro di riappacificarsi, ma senza successo.La storia narrata dal Bramino Vyasa e da Ganesha che raccontano a un bambino della storia dellumanit.

Madre India ( ), Mehboob Khan, 1957, nomination come miglior film straniero.

K3G(1998) 2001Diretto da Karan Johar211 minEnglish: Sometimes Happiness, Sometimes Sadness

-At a certain age, boys are very demonstrative about their love towards their fathers. They hug and kiss them. But after that, they withdraw, become less demonstrative. My film is about relationships, about sons going up to their fathers and saying they love them.-"The Rediff interview: Karan Johar". Rediff. 5 December 2001.

Amitabh Bachchan Kajol MukherjeeShah Rukh KhanHrithik Roshan

https://www.youtube.com/watch?v=wyrRz6EjvZ0&feature=share

Abitudini familiari: https://www.youtube.com/watch?v=FZE20KqgmGs Campus e British Museum:https://www.youtube.com/watch?v=avuWWztS-6kPiramidi: https://www.youtube.com/watch?v=BjhFZDFxKn8

https://www.youtube.com/watch?v=_sOaA-4Y8tIFilm: 2006, Mira Nair2004, primo romanzo di J.Lahiri

https://www.youtube.com/watch?v=JJL-mOz-ngQIrrfan KhanTabassum Hashmi Khan

Film sulle seconde generazioni disaporiche

https://www.youtube.com/watch?v=tVU7w7Be22A2010 (produzione bollywoodiana pi costosa quellanno)Karan JoharShahrukh Khan + KajolSindrome di Asperger9/11

"I did feel bad for a lot of people in that room, I know because I had an escort and someone would recognise me, I will get out. Others may face more trouble [...] I have extra security because of my name. Shahrukh Khan

"MNIK is an unusual Bollywood film, if at all, and doesn't have those quintessential pre-requisite elements that any Bollywood film has. It's telling a story with a strong message, professing humanity and goodness and putting it out on a big cinematic scale. So all put together it is definitely a different experience for main stream India (...) All I can say is that MNIK is going to open windows and doors to many people who have stories to tell and are shy to put their story on the celluloidKaran Johar

H. Bhabha: "Of mimicry and man: The ambivalence of colonial discourse," in The Location of Culture

Mimicry reveals something in so far as it is distinct from what might be called an itself that is behind. The effect of mimicry is camouflage.... It is not a question of harmonizing with the background, but against a mottled background, of becoming mottled - exactly like the technique of camouflage practised in human warfare. Jacques Lacan, "The line and light', Of the Gaze. In mimicry, the representation of identity and meaning is rearticulated along the axis of metonymy. As Lacan reminds us, mimicry is like camouflage, not a harmonization of repression of difference, but a form of resemblance, that differs from or defends presence by displaying it in part, metonymically. Its threat, I would add, comes from the prodigious and strategic production of conflictual, fantastic, discriminatory 'identity effects' in the play of a power that is elusive because it hides no essence, no 'itself'. And that form of resemblance is the most terrifying thing to behold, as Edward Long testifies in his History of Jamaica (1774). At the end of a tortured, negrophobic passage, that shifts anxiously between piety, prevarication and perversion, the text finally confronts its fear; nothing other than the repetition of its resemblance 'in part: '[Negroes] are represented by all authors as the vilest of human kind, to which they have little more pretension of resemblance than what arises from their exterior forms.The menace of mimicry is its double vision which in disclosing the ambivalence of colonial discourse also disrupts its authority. And it is a double vision that is a result of what I've described as the partial representation/ recognition of the colonial object.

We must at present do our best to form a class who may be interpreters between us and the millions whom we govern; a class of persons, Indian in blood and colour, but English in taste, in opinions, in morals, and in intellect. To that class we may leave it to refine the vernacular dialects of the country, to enrich those dialects with terms of science borrowed from the Western nomenclature, and to render them by degrees fit vehicles for conveying knowledge to the great mass of the population[MACAULAY'S MINUTE ON INDIAN EDUCATION]negoziazione complessa e continua che punta a conferire autorit a ibridi culturali nati in momenti di trasformazione storica [Bhabha]

201420062003Vishal BhardwajIf according to Arjun Appadurai, the concept of nation-state is on the verge of disappearing, its maintenance has a clear political and ethical dimension. Due to the permeability of borders, the concept of national cinemas has to be equally questioned since the borders are pushed and have to be broadened. [R.M.Gracia Periago]

Hamlet Conflitto nel Kashmir del 1995People's Choice Award al Roma Film Festival 2014Curfewed Nights di Basharat Peer

Shahid KapoorHaider MeerPrince HamletTabuGhazala MeerGertrudeNarendra JhaDr. Hilal MeerKing HamletIrrfan KhanRoohdaarHoratio/PhantomKay Kay MenonKhurram MeerClaudiusShraddha KapoorArshia LoneOpheliaKulbhushan KharbandaHussain MeerFictitiousLalit ParimooPervez LonePoloniusAshish VidyarthiBrigadierT. S. Murthy[FictitiousAamir BashirLiyaqat LoneLaertesSumit Kaul(Salman 1) CourtierRosencrantzRajat Bhagat(Salman 2) CourtierGuildensternAshwath BhattZahoorFortinbras

https://www.youtube.com/watch?v=ZWZ3sXznGnoEro indeciso tra lAmleto e Re Lear. stato il conflitto sessuale presente nellAmleto che mi ha fatto decidere a suo favore. Dal momento che entrambe le mie tragedie precedenti trattavano i rapporti tra uomo e donna nella loro essenza, ho pensato che Amleto potesse essere il miglior racconto per completare la trilogia. Vishal Bhardwaj

All of Kashmir is a prison

Arshia = Ofelia

Khurram= ClaudioSalman& Salman =Rosencrantz & Guildenstern

Ghazala = GertrudeLower the heat a bit, and the flames within you, they can burn this house down

https://www.youtube.com/watch?v=c0o2MKB2DrUhttps://www.youtube.com/watch?v=OwCZR_15JM0Roohdaar= Fantasma

2010Italo SpinelliTratto dal racconto Choli ke peeche della scrittrice indiana Mahasweta DeviGirato nel Bengala Occidentale.Gangor la storia del fotoreporter Upin, inviato nel Bengala occidentale per un reportage sullo sfruttamento e la violenza subita dalle donne tribali. A Purulia, accompagnato dal suo assistente Ujan, mentre fotografa un gruppo di indigene intente a lavorare, Upin mette a fuoco Gangor rimanendo profondamente turbato dall'immagine di lei mentre allatta il suo bambino. La foto viene pubblicata in prima pagina suscitando scandalo e la vita di Gangor cambia drammaticamente. Upin ignaro di tutto, dopo essere tornato a Calcutta da sua moglie, ossessionato dal pensiero di Gangor, decide di tornare a Purulia per ritrovarla. Upin scoprir cosi di essere diventato, senza volerlo, strumento della stessa violenza che avrebbe voluto fermare.