Description
Book SynopsisPopular Hindi cinema has become a significant signpost of contemporaneity due to its construction of social language. Generally, Hindi cinema has been understood through internal (auteur or genre or cinéma verité) and external aspects (consumption spheres and moviegoers’ complex response in the form of catharsis or everydayness mimesis). However, cinema also needs a new way of discerning with respect to ‘Dalit Representation’. The study needs to look at the construction and meaning of the social language of Hindi cinema. Construction refers to exploring factors beyond the film industry responsible for shaping the social language. Meaning entails the exhibition of social language in the form of messages. Herein, relational exploration becomes crucial. The relationship between factors of social language of Hindi cinema and Dalits must be unraveled for understanding the meaning of social language for Dalits. Contested representation encompasses the nature of absence and presence of Dalits in Hindi cinema.
Trade ReviewWell-researched, theoretically grounded and politically committed, this is a pioneering study of Dalits and Hindi cinema, examined through the perspectives of social language and representation. It needs to be read, and I hope it leads to more studies of Dalits in Indian cinema.
-- Tabish Khair, Aarhus University
Contested Representation is a brilliant exposition of the social language of Hindi cinema focusing on the ‘absence’ and ‘presence’ of Dalits in cinematic constructions. Rai argues persuasively that cinematic representations replicate the social and material power imbricated in caste hierarchies, yet the narratives are heterogenous, and the representational field is inflected by powerful Dalit resistance against domination.
-- Anupama Roy, Jawaharlal Nehru University
Table of ContentsIntroduction: Opening the Issues
Chapter 1: Constituting Social Language: Dalits in Material and Social Spheres
Chapter 2: The Public Sphere and Social Language
Chapter 3: In Search of a Perspective: Cinema and Dalit Representation
Chapter 4: Contested Representation: Sujata, Sholay and Swades
Chapter 5: Conclusion
