Rohit K. Dasgupta - Böcker

Sexuality in India offers an expression of nationalist anxieties and is a significant marker of modernity through which subjectivities are formed among the middle class. This book investigates the everyday experience of queer Indian men on digital spaces. It explores how queer identities are formed in virtual spaces and how the existence of such spaces challenge and critique ‘Indian’-ness. It also looks at the role of class and intimacy within the discourse. This work argues that new media, social networking sites (SNSs), both web and mobile, and related technologies do not exist in isolation; rather they are critically embedded within other social spaces. Similarly, online queer spaces exist parallel to and in conjunction with the larger queer movement in the country. This book will be of great interest to scholars and researchers of gender studies, especially men's and masculinity studies, queer and LGBT studies, media and cultural studies, particularly new media and digital culture, sexuality and identity, politics, sociology and social anthropology, and South Asian studies.

This book documents and analyzes the effects of the COVID-19 pandemic through queer and feminist perspectives. A testament of dispossessions as well as a celebration of various forms of resilience, community building and critical responses, it chronicles the social history of queer and trans persons and women in South Asia and the diasporas.Through a creative and collaborative form of ethnographic writing, the book enters in conversation with the worlds of domestic helps, caregivers, cultural workers, students, sex workers and other precariously employed people. It examines the confining effects of the pandemic on the lived realities of many queer and trans individuals, the caste-oppressed and women across socio-economic backgrounds. The chapters in the volume piece together narratives of prejudice, hardship, self-expression and resistance from interviews, personal accounts, as well as poems and stories from activists, artists and other collaborators. The book pays particular attention to issues of power and asymmetrical relationships amidst COVID-19 and offers critiques to deepen the understanding of the uneven fault lines within which historically oppressed persons reside in South Asia.Exploring themes of migration, disability and sexual politics, this book is an essential reading for scholars and researchers of gender and sexuality studies, cultural studies, South Asian studies, sociology and social anthropology.

This edited volume focuses on South and East Asian cinema, exploring transnational connections between these film industries from the point of view of narratives, topics and themes, as well as in terms of co-productions. At a time of resurgent nationalisms and increasing fortifications of (actual and symbolic) borders, the chapters in this book explore cinematic work that challenge these boundaries and promote a reflection on the social, cultural, political and economic value of international exchanges and collaborations within the context of Asia.Indeed, notwithstanding the aforementioned tendency to implement border policing and the revival of nationalist sentiments, South and East Asian cinemas retain a strong transnational character, as not only genres and themes are borrowed and exchanged across borders, but also the popularity of the Indian, Chinese and Korean film industries extend well beyond their national borders – within Asia as well as in the West. The chapters in this book were originally published as a special issue of Transnational Screens.

This edited volume focuses on South and East Asian cinema, exploring transnational connections between these film industries from the point of view of narratives, topics and themes, as well as in terms of co-productions. At a time of resurgent nationalisms and increasing fortifications of (actual and symbolic) borders, the chapters in this book explore cinematic work that challenge these boundaries and promote a reflection on the social, cultural, political and economic value of international exchanges and collaborations within the context of Asia.Indeed, notwithstanding the aforementioned tendency to implement border policing and the revival of nationalist sentiments, South and East Asian cinemas retain a strong transnational character, as not only genres and themes are borrowed and exchanged across borders, but also the popularity of the Indian, Chinese and Korean film industries extend well beyond their national borders – within Asia as well as in the West. The chapters in this book were originally published as a special issue of Transnational Screens.

This volume of new interdisciplinary essays provides insights into the emerging field of masculinities and the challenges it poses to the Indian male. Masculinities research has evolved considerably and demonstrates that men are not an homogenous group but are instead diverse--there are many "masculinities." Manliness can no longer be studied from just a North American or European perspective but from those of every part of the world. Covering an array of topics such as the construction of identity and the negotiation of power and sexuality, these essays aim to show how masculinities are experienced and embodied within India.

An iconic filmmaker and inheritor of the legendary Satyajit Ray’s legacy, Rituparno Ghosh was one of the finest auteurs to emerge out of contemporary Bengal. His films, though rooted firmly in middle-class values, desires and aspirations, are highly critical of hetero-patriarchal power structures. From the very outset, Ghosh displayed a strong feminist sensibility which later evolved into radical queer politics. This volume analyses his films, his craft, his stardom and his contribution to sexual identity politics. In this first scholarly study undertaken on Rituparno Ghosh, the essays discuss the cultural import of his work within the dynamics of a rapidly evolving film industry in Bengal and more largely the cinematic landscape of India. The anthology also contains a conversation section (interviews with the filmmaker and with industry cast and crew) drawing a critical and personal portrait of this remarkable filmmaker.

Friendship as Social Justice Activism brings together academics and activists to have essential conversations about friendship, love, and desire as kinetics for social justice movements. The contributors featured here come from across the globe and are all involved in diverse movements, including LGBTQ rights, intimate-partner violence, addiction recovery, housing, migrant, labor, and environmental activism. Each essay narrates how living and organizing within friendship circles offers new ways of dreaming and struggling for social justice. Recent scholarship in different disciplinary fields as well as activist literature have brought attention to the political possibilities within friendship. The essays, memoirs, poems, and artwork in Friendship as Social Justice Activism address these political possibilities within the context of gender, sexuality, and economic justice movements.

This book documents and analyzes the effects of the COVID-19 pandemic through queer and feminist perspectives. A testament of dispossessions as well as a celebration of various forms of resilience, community building and critical responses, it chronicles the social history of queer and trans persons and women in South Asia and the diasporas.Through a creative and collaborative form of ethnographic writing, the book enters in conversation with the worlds of domestic helps, caregivers, cultural workers, students, sex workers and other precariously employed people. It examines the confining effects of the pandemic on the lived realities of many queer and trans individuals, the caste-oppressed and women across socio-economic backgrounds. The chapters in the volume piece together narratives of prejudice, hardship, self-expression and resistance from interviews, personal accounts, as well as poems and stories from activists, artists and other collaborators. The book pays particular attention to issues of power and asymmetrical relationships amidst COVID-19 and offers critiques to deepen the understanding of the uneven fault lines within which historically oppressed persons reside in South Asia.Exploring themes of migration, disability and sexual politics, this book is an essential reading for scholars and researchers of gender and sexuality studies, cultural studies, South Asian studies, sociology and social anthropology.

The Cultural Industries of India is the first book length study dedicated to the Indian cultural and creative industries. By covering specific aspects of the cultural and creative sectors in India– from film festivals to music and performing arts, from cinema to tourism, including a policy review on innovation in the creative industries – the various chapters offer a comprehensive overview of the relationship between the cultural and creative industries and the wider economic, social, cultural and political processes taking place within India and its diaspora. The study of cultural and creative industries in India is important not only for their potential for economic growth and its knock-on effect on social and cultural development, but also because their analysis reveal the ways in which cultural production shapes politics and identities, income generation and urban renewal. This volume focuses on questions of structural inequalities within the sector at the local level, and to account for asymmetries in economic power and the possibility to circulate and access symbolic content within and beyond the boundaries of the Indian nation.This book will be an essential read for scholars and researchers of creative and cultural studies, economics, history, development studies and media studies in India. The chapters in this book were originally published as a special issue of Cultural Trends.

The Cultural Industries of India is the first book length study dedicated to the Indian cultural and creative industries. By covering specific aspects of the cultural and creative sectors in India– from film festivals to music and performing arts, from cinema to tourism, including a policy review on innovation in the creative industries – the various chapters offer a comprehensive overview of the relationship between the cultural and creative industries and the wider economic, social, cultural and political processes taking place within India and its diaspora. The study of cultural and creative industries in India is important not only for their potential for economic growth and its knock-on effect on social and cultural development, but also because their analysis reveal the ways in which cultural production shapes politics and identities, income generation and urban renewal. This volume focuses on questions of structural inequalities within the sector at the local level, and to account for asymmetries in economic power and the possibility to circulate and access symbolic content within and beyond the boundaries of the Indian nation.This book will be an essential read for scholars and researchers of creative and cultural studies, economics, history, development studies and media studies in India. The chapters in this book were originally published as a special issue of Cultural Trends.

The first in-depth study of the Indian creative industries, this book provides a comprehensive mapping of the Indian creative industries and its policy landscape, developing and defining key concepts and terms and offering detailed case studies of specific sectors, geographic regions and governance structures.Using an ecosystem framework, this book focuses on strategy/policy; tangible and intangible infrastructure; and funding and investment to understand the main drivers and barriers across nine sub-sector value chains. With investment from global brands into many sectors, it tracks how Indian creative industries are fostering innovation and design for social and ecological sustainability. It also delves into India’s informal economy to share key policy insights.The volume will be of great interest to scholars and researchers of public policy, business studies and South Asian studies. It will also be a key document for foreign investors willing to invest in one of the fastest-growing and stable economies in the world.

Queerness remains a central fault line in contemporary South Asia. Colonial-era ‘anti-sodomy’ laws, codified in Article 377 of the penal codes in India, Bangladesh and Pakistan, or Article 365 in Sri Lanka, exemplify the shared imperial lineages of the region as also their long postcolonial afterlives. Across South Asia and the world, new authoritarianisms have reignited old fault lines around sexuality. New media technologies have increasingly connected diasporic space with mainland South Asia, globalising queer networks. Yet, these trajectories are necessarily discontinuous.In the last two decades whilst there has been an explosion of LGBTQ+ visibility most notably in South Asian film, television and new media, this visibility has come with mainstream ideological agendas which do not especially represent the diversity of queer lives in South Asia along key identities of caste, class, religion and region. This book seeks to encourage critical thinking by suggesting ways in which notions of culture, neoliberalism, nationalism and queerness in the context of new authoritarianisms are disentangled. The chapters in this volume take up these questions and offer critical imaginings of sexual politics and its imbrication with popular culture and authoritarian politics within contemporary South Asia.The chapters in this book were originally published as a special issue of South Asian Popular Culture.

Queerness remains a central fault line in contemporary South Asia. Colonial-era ‘anti-sodomy’ laws, codified in Article 377 of the penal codes in India, Bangladesh and Pakistan, or Article 365 in Sri Lanka, exemplify the shared imperial lineages of the region as also their long postcolonial afterlives. Across South Asia and the world, new authoritarianisms have reignited old fault lines around sexuality. New media technologies have increasingly connected diasporic space with mainland South Asia, globalising queer networks. Yet, these trajectories are necessarily discontinuous.In the last two decades whilst there has been an explosion of LGBTQ+ visibility most notably in South Asian film, television and new media, this visibility has come with mainstream ideological agendas which do not especially represent the diversity of queer lives in South Asia along key identities of caste, class, religion and region. This book seeks to encourage critical thinking by suggesting ways in which notions of culture, neoliberalism, nationalism and queerness in the context of new authoritarianisms are disentangled. The chapters in this volume take up these questions and offer critical imaginings of sexual politics and its imbrication with popular culture and authoritarian politics within contemporary South Asia.The chapters in this book were originally published as a special issue of South Asian Popular Culture.

The first in-depth study of the Indian creative industries, this book provides a comprehensive mapping of the Indian creative industries and its policy landscape, developing and defining key concepts and terms and offering detailed case studies of specific sectors, geographic regions and governance structures.Using an ecosystem framework, this book focuses on strategy/policy; tangible and intangible infrastructure; and funding and investment to understand the main drivers and barriers across nine sub-sector value chains. With investment from global brands into many sectors, it tracks how Indian creative industries are fostering innovation and design for social and ecological sustainability. It also delves into India’s informal economy to share key policy insights.The volume will be of great interest to scholars and researchers of public policy, business studies and South Asian studies. It will also be a key document for foreign investors willing to invest in one of the fastest-growing and stable economies in the world.

Sexuality in India offers an expression of nationalist anxieties and is a significant marker of modernity through which subjectivities are formed among the middle class. This book investigates the everyday experience of queer Indian men on digital spaces. It explores how queer identities are formed in virtual spaces and how the existence of such spaces challenge and critique ‘Indian’-ness. It also looks at the role of class and intimacy within the discourse. This work argues that new media, social networking sites (SNSs), both web and mobile, and related technologies do not exist in isolation; rather they are critically embedded within other social spaces. Similarly, online queer spaces exist parallel to and in conjunction with the larger queer movement in the country. This book will be of great interest to scholars and researchers of gender studies, especially men's and masculinity studies, queer and LGBT studies, media and cultural studies, particularly new media and digital culture, sexuality and identity, politics, sociology and social anthropology, and South Asian studies.

An iconic filmmaker and inheritor of the legendary Satyajit Ray’s legacy, Rituparno Ghosh was one of the finest auteurs to emerge out of contemporary Bengal. His films, though rooted firmly in middle-class values, desires and aspirations, are highly critical of hetero-patriarchal power structures. From the very outset, Ghosh displayed a strong feminist sensibility which later evolved into radical queer politics. This volume analyses his films, his craft, his stardom and his contribution to sexual identity politics. In this first scholarly study undertaken on Rituparno Ghosh, the essays discuss the cultural import of his work within the dynamics of a rapidly evolving film industry in Bengal and more largely the cinematic landscape of India. The anthology also contains a conversation section (interviews with the filmmaker and with industry cast and crew) drawing a critical and personal portrait of this remarkable filmmaker.

For South Asia, fashion and consumption have come to play an increasingly important role in the lives of young people and in the formation of youth cultures. Afghanistan, Bangladesh, Bhutan, India, Maldives, Nepal, Pakistan and Sri Lanka have all, in related and distinctive ways, been producing confident young fashion consumers, who are proving to be an important market for fashion.This book explores South Asian youth cultures and fashion across the countries of this region and their diasporas from a transnational perspective. Through visual and textual analysis of film, photography and digital cultures, as well as ethnographic fieldwork, the expert contributors look at how gender, sexuality, class, the media and faith intersect with and style youth cultures. By establishing the heterogeneous nature of South Asia and its youth cultures, they also dismantle grand western narratives that tend to understand the region's diverse cultural modernity through the lens of homogeneity.

Repositioning Indian art cinema as a genre that articulated an elite, middle-class social imaginary, Indian Art Cinema and its Cultural Elites examines the form's contentious position within Indian society, at once exclusionary in its outlook and yet instrumental in bringing Indian film into global prominence in the latter half of the twentieth century.Drawing on Bourdieu's theory of cultural production, Jyotika Virdi looks at how a closed producer-critic-consumer circuit reinforced class distinction through a presumption of superior taste. She traces the trajectory of art cinema in India from the 1950s, when new institutions under Nehru's socialist ideals catalysed its emergence, through the New Wave movement of the 1970s and 1980s, and finally to its gradual decline in the 1990s as economic liberalization once again transformed the social landscape. By examining films like The Apu Trilogy (1955-1959) and Ardh Satya (Half Truth, 1983), she showcases the complex contradictions of the middle class, who were both the creative producers and consumers of alternative cinema, especially during the political turbulence of the late 1960s and 1970s.Combining a meticulous examination of key auteurs such as Satyajit Ray, Mrinal Sen, and Shyam Benegal, among others, with a broader study of cultural shifts and institutional frameworks, this book reevaluates the intricate relationship between art films, the state that sustains them, and the ruling cultural elite whose influence far exceeds its size.

From physical duplicates to role reversals and sexual masquerades, Storytelling in Hindi Cinema provides a comprehensive overview of Hindi films centered around the figure of the double.Richard Allen dissects the cultural significance of these double-themed plots, considering how they reflect questions of social mobility, the expression of desire, social justice, and national identity in the post-colonial period. He considers the wide array of influences that shape the genre, from Sanskrit Kathasaritsagara story-telling traditions, folk Nautanki theatres, and Tales of the Arabian Nights to colonial and post-colonial roots from Shakespeare to Hollywood melodrama. He asserts the influence of Bengali cinema, particularly of filmmaker Hrishikesh Mukherjee, and South Indian films like Hello Brother (1994) in providing diverse perspectives that enrich these narratives.Examining a broad range of films, from 1947 to present, including Mahal (1949), Madhumati (1958), Chupke Chupke (1975), Angoor (1982), Banjaran (1991), Kal Ho Na Ho (2003) and Dostana (2008), Allen traces the evolution of the trope, even incorporating transgressive narratives like cross-dressing and gender disguise. In doing so, he highlights how these cinematic motifs navigate the complexities of traditional worldviews and modern experiences.

Although the motion picture industry in India is one of the oldest and largest in the world—with literally thousands of productions released each year—films from that country have not been as well received as those from other countries. Known for their impressive musical numbers, melodramatic plots, and nationally beloved stars, Indian films have long been ignored by the West but are now at the forefront of cinema studies. With the prolific number of films available, it can be difficult to know what to watch. In 100 Essential Indian Films, Rohit K. Dasgupta and Sangeeta Datta identify and discuss significant works produced since the 1930s. Examining the output of different regional film industries throughout India, this volume offers a balance of box-office blockbusters, critical successes, and less-recognized cult classics. From early films by Satyajit Ray to contemporary classics such as Salaam Bombay and Lagaan, each entry includes comprehensive details about the film and situates the work in the context and history of the Indian canon.In addition to these notable productions, this book also examines key film directors and the work of major film stars in the industry. While many studies of Indian films focus on a single language’s contributions, this encyclopedia offers a comprehensive guide to productions from across the country in various languages, including Hindi, Bengali, Tamil, Malayalam, Assamese, Punjabi, Marathi, and English. 100 Essential Indian Films is an engaging volume that will appeal to both cinema scholars and those looking for an introduction to a vital component of world cinema.

The first book to look critically at digital technologies and the role they play within queer lives in contemporary IndiaThis pioneering interdisciplinary collection works across mainstream and alternative spaces such as Twitter, Youtube, Facebook, Grindr and gay men's health websites. These digital platforms are then situated within the contemporary socio-political conjuncture in India, offering a way of understanding queerness and Indian-ness in contemporary India.Queering in this book does not simply refer to a sexual category rather queerness is a mode of dispossession through which certain bodies are rendered as bodies marked for discipline and regulation. This book takes on diverse strands of queer theory in order to name the ways neoliberalism, nationalism, digital technologies, and movements for queer rights converge with each other within present day India. This analytical approach to queerness in India is the first of its kind and the result is a pioneering interdisciplinary collection.Key FeaturesTakes on diverse strands of queer theory to show where neoliberalism, nationalism, digital technologies and movements for queer rights converge in present-day IndiaIntegrates academic pieces with activist and practitioner narrativesLooks at sexualised online communities: their aims, compositions and potentialitiesDiscusses hook-up apps and social media, and how institutions use them to control, discipline and repressEngages with new forms of queer politics, feminist politics and online activismContributorsNiharika Banerjea, Ambedkar University, New Delhi, IndiaAniruddha Dutta, University of Iowa, USAAmit S. Rai, Queen Mary, University of London, UKJack Harrison-Quintana, independent researcher and Director of Grindr for Equality, USARadhika Gajjala, Bowling Green State University, Ohio, USARahul Gairola, Indian Institute of Technology Roorkee, IndiaKareem Khubchandani, Tufts University, USAIla Nagar, Ohio State University, USARohit K Dasgupta, Loughbrough University, UKPawan Singh, University of California San Diego, USASneha Krishnan, St John's College, University of Oxford, UKDebanuj DasGupta, University of Connecticut, USAInshah Malik, recently Yale University, USA

This pioneering interdisciplinary collection works across mainstream and alternative spaces such as Twitter, Youtube, Facebook, Grindr and gay men’s health websites. These digital platforms are then situated within the contemporary socio-political conjuncture in India, offering a way of understanding queerness and Indian-ness in contemporary India. 'Queering' in this book does not simply refer to a sexual category rather queerness is a mode of dispossession through which certain bodies are rendered as bodies marked for discipline and regulation. This book takes on diverse strands of queer theory in order to name the ways neoliberalism, nationalism, digital technologies, and movements for queer rights converge with each other within present day India. This analytical approach to queerness in India is the first of its kind and the result is a pioneering interdisciplinary collection.

India's Imperial Formations explores the ways in which empire building occurs and consolidates through the Indian and diasporic cultural landscape, where a collusion with whiteness, Hindu fundamentalism, casteism, and religious and racial bigotry are rampant, and create hegemonic imaginaries of an India that denies a democratic space of multiple Indias to coexist together. India is not only home to the world’s largest film industry but also has one of the oldest media ecosystems today with a prolific output in television, radio, print, and digital media. These systems shape hearts and minds in the large nation and also have significant impact in the region as well as in the world due to India’s vast diaspora population. This book argues that Indian culture industries are a crucial site to investigate constructions of Islamophobia, casteism, sinophobia, sexism, colorism and anti-Blackness. Within this work, the authors highlight the urgent need to evaluate the complicity of Indian and diasporic cultural production in perpetuating a casual and sometimes even aggressive normalization of bigotry and discrimination towards minoritized communities. This polemical book is written by three scholars of culture, gender and postcolonial studies providing an accessible yet rigorous study of these issues.

For South Asia, fashion and consumption have come to play an increasingly important role in the lives of young people and in the formation of youth cultures. Afghanistan, Bangladesh, Bhutan, India, Maldives, Nepal, Pakistan and Sri Lanka have all, in related and distinctive ways, been producing confident young fashion consumers, who are proving to be an important market for fashion.This book explores South Asian youth cultures and fashion across the countries of this region and their diasporas from a transnational perspective. Through visual and textual analysis of film, photography and digital cultures, as well as ethnographic fieldwork, the expert contributors look at how gender, sexuality, class, the media and faith intersect with and style youth cultures. By establishing the heterogeneous nature of South Asia and its youth cultures, they also dismantle grand western narratives that tend to understand the region's diverse cultural modernity through the lens of homogeneity.