Beteiligte: | |
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In: | BioScope: South Asian Screen Studies, 6, 2015, 1, S. 27-43 |
veröffentlicht: |
SAGE Publications
|
Medientyp: | Artikel, E-Artikel |
Umfang: | 27-43 |
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ISSN: |
0974-9276
0976-352X |
DOI: | 10.1177/0974927615586930 |
veröffentlicht in: | BioScope: South Asian Screen Studies |
Sprache: | Englisch |
Schlagwörter: | |
Kollektion: | SAGE Publications (CrossRef) |
<jats:p> This article explores the phenomenon of the Muslim social film and “Islamicate” cinema of pre-Partition India to suggest a significant background to cinema’s function in the emergence of new states. In particular, it seeks to provide an account of how discussions of genre and generic difference framed issues of audience and identity in the studio period of Indian film, broadly between the mid-1930s and mid-1940s. Rather than focus too narrowly on identity discourses in the cinema, I try to move among amorphous and dispersed senses of audience, more calibrated understandings related to a trade discourse of who films would appeal to, and finally, an agenda of social representation and audience address that sought to develop in step with a secular nationalist imagining of the Muslim community and its transformation. </jats:p> |