Elora Halim Chowdhury – författare

New political realities and shared histories connect film cultures across bordersIn South Asia massive anticolonial movements in the twentieth century created nation-states and reset national borders, forming the basis for emerging film cultures. Following the upheaval of the partition of India and Pakistan in 1947 and the Bangladesh Liberation War of 1971, new national cinemas promoted and reinforced prevailing hierarches of identity and belonging. At the same time, industrial and independent cinemas contributed to remarkably porous and hybrid film cultures, reflecting the intertwining of South Asian histories and their reciprocal cultural influences. This cross-fertilization within South Asian cultural production continues today.South Asian Filmscapes excavates these complex politics and poetics of bordered identity and crossings through selected histories of cinema in South Asia. Several essays reveal ways in which fixed notions of national identity have been destabilized by the cross-border mobility of filmed arts and practitioners, while others interrogate how filmic politics intersects with discourses of nationalism, sexuality and gender, religion, and language. Together, they offer a fluid approach to the multiple histories and encounters that conjure “South Asia” as a geographic and political entity in the region and globally through a cinematic imagination.

New political realities and shared histories connect film cultures across bordersIn South Asia massive anticolonial movements in the twentieth century created nation-states and reset national borders, forming the basis for emerging film cultures. Following the upheaval of the partition of India and Pakistan in 1947 and the Bangladesh Liberation War of 1971, new national cinemas promoted and reinforced prevailing hierarches of identity and belonging. At the same time, industrial and independent cinemas contributed to remarkably porous and hybrid film cultures, reflecting the intertwining of South Asian histories and their reciprocal cultural influences. This cross-fertilization within South Asian cultural production continues today.South Asian Filmscapes excavates these complex politics and poetics of bordered identity and crossings through selected histories of cinema in South Asia. Several essays reveal ways in which fixed notions of national identity have been destabilized by the cross-border mobility of filmed arts and practitioners, while others interrogate how filmic politics intersects with discourses of nationalism, sexuality and gender, religion, and language. Together, they offer a fluid approach to the multiple histories and encounters that conjure “South Asia” as a geographic and political entity in the region and globally through a cinematic imagination.

Interdisciplinary Approaches to Human Rights: History, Politics, Practice is an edited collection that brings together analyses of human rights work from multiple disciplines. Within the academic sphere, this book will garner interest from scholars who are invested in human rights as a field of study, as well as those who research, and are engaged in, the praxis of human rights.Referring to the historical and cross-cultural study of human rights, the volume engages with disciplinary debates in political philosophy, gender and women’s studies, Global South/Third World studies, international relations, psychology, and anthropology. At the same time, the authors employ diverse methodologies including oral history, theoretical and discourse analysis, ethnography, and literary and cinema studies. Within the field of human rights studies, this book attends to the critical academic gap on interdisciplinary and praxis-based approaches to the field, as opposed to a predominantly legalistic focus, drawing from case studies from a wide range of contexts in the Global South, including Bangladesh, Colombia, Haiti, India, Mexico, Palestine, and Sudan, as well as from Australia and the United States in the Global North.For students who will go on to become researchers, practitioners, policy makers, and activists, this collection of essays will demonstrate the multifaceted landscape of human rights and the multiple forces (philosophical, political, cultural, economic, historical) that affect it.

Interdisciplinary Approaches to Human Rights: History, Politics, Practice is an edited collection that brings together analyses of human rights work from multiple disciplines. Within the academic sphere, this book will garner interest from scholars who are invested in human rights as a field of study, as well as those who research, and are engaged in, the praxis of human rights.Referring to the historical and cross-cultural study of human rights, the volume engages with disciplinary debates in political philosophy, gender and women’s studies, Global South/Third World studies, international relations, psychology, and anthropology. At the same time, the authors employ diverse methodologies including oral history, theoretical and discourse analysis, ethnography, and literary and cinema studies. Within the field of human rights studies, this book attends to the critical academic gap on interdisciplinary and praxis-based approaches to the field, as opposed to a predominantly legalistic focus, drawing from case studies from a wide range of contexts in the Global South, including Bangladesh, Colombia, Haiti, India, Mexico, Palestine, and Sudan, as well as from Australia and the United States in the Global North.For students who will go on to become researchers, practitioners, policy makers, and activists, this collection of essays will demonstrate the multifaceted landscape of human rights and the multiple forces (philosophical, political, cultural, economic, historical) that affect it.

Examines transnational movement building through a focus on acid attacks and organizing against acid violence in Bangladesh.Winner of the 2012 Gloria E. Anzaldua Book Prize presented by the National Women's Studies Association Acid attacks against women and girls have captured the attention of the global media, with several high-profile reports ranging from the BBC to The Oprah Winfrey Show. In Bangladesh, reasons for the attacks include women's rejection of sexual advances from men, refusal of marriage proposals, family or land disputes, and unmet dowry demands. The consequences are multiple: permanent marks on the body, disfiguration, and potential blindness. In Transnationalism Reversed, Elora Halim Chowdhury explores the complicated terrain of women's transnational antiviolence organizing by focusing on the work done in Bangladesh around acid attacks-and the ways in which the state, international agencies, local expatriates, US media, Bangladeshi immigrants in the United States, survivor-activists, and local women's organizations engage the pragmatics and the transnational rhetoric of empowerment, rescue, and rehabilitation. Grounded in careful ethnographic work, oral history, and theoretical and filmic analysis, Transnationalism Reversed makes a significant contribution to conversations around gendered violence, transnational feminist praxis, and the politics of organizing-particularly around NGOs-in the global South.

Examines transnational movement building through a focus on acid attacks and organizing against acid violence in Bangladesh.Winner of the 2012 Gloria E. Anzaldua Book Prize presented by the National Women's Studies Association Acid attacks against women and girls have captured the attention of the global media, with several high-profile reports ranging from the BBC to The Oprah Winfrey Show. In Bangladesh, reasons for the attacks include women's rejection of sexual advances from men, refusal of marriage proposals, family or land disputes, and unmet dowry demands. The consequences are multiple: permanent marks on the body, disfiguration, and potential blindness. In Transnationalism Reversed, Elora Halim Chowdhury explores the complicated terrain of women's transnational antiviolence organizing by focusing on the work done in Bangladesh around acid attacks-and the ways in which the state, international agencies, local expatriates, US media, Bangladeshi immigrants in the United States, survivor-activists, and local women's organizations engage the pragmatics and the transnational rhetoric of empowerment, rescue, and rehabilitation. Grounded in careful ethnographic work, oral history, and theoretical and filmic analysis, Transnationalism Reversed makes a significant contribution to conversations around gendered violence, transnational feminist praxis, and the politics of organizing-particularly around NGOs-in the global South.

Ethical Encounters is an exploration of the intersection of feminism, human rights, and memory to illuminate how visual practices of recollecting violent legacies in Bangladeshi cinema can conjure a global cinematic imagination for the advancement of humanity. By examining contemporary, women-centered Muktijuddho cinema-features and documentaries that focus on the Bangladesh Liberation War of 1971-Elora Chowdhury shows how these films imagine, disrupt, and reinscribe a gendered nationalist landscape of trauma, freedom, and agency. Chowdhury analyzes Bangladeshi feminist films including Meherjaan, and Itihaash Konna (Daughters of History), as well as socially-engaged films by activist-filmmakers including Jonmo Shathi (Born Together), and Shadhinota (A Certain Liberation), to show how war films of Bangladesh can generate possibilities for gender justice. Chowdhury argues that justice-driven films are critical to understanding and negotiating the layered meanings and consequences of catastrophic human suffering yet at the same time they hint at subjectivities and identities that are not reducible to the politics of suffering. Rather, they are key to creating an alternative and disruptive archive of feminist knowledge-a sensitive witnessing, responsible spectatorship, and just responsibility across time, and space. Drawing on Black and transnational feminist critiques, Chowdhury explores questions around women’s place, social roles, and modes of participation in war as well as the visual language through which they become legible as victims/subjects of violence and agents of the nation. Ethical Encounters illuminates the possibilities of film as a site to articulate an ethics that acknowledges a founding violence of the birth of a nation, recuperates it even if in fragments, and imagines differently the irreconcilable relationship between humanity, liberty, and justice.