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Authors:Sagorika Singha Abstract: BioScope: South Asian Screen Studies, Ahead of Print. This article explores the relationship between the arrival of early mobile communication technologies and the emergence of reality television (TV) contestants from the Northeast region, particularly Assam. It argues that such networked communication infrastructures enabled marginalised and aspirational publics to mobilise and assert their identities in an evolving mediascape; specifically, how these publics deploy telecommunication and media infrastructures to acquire media visibility. This correlation is examined via the success story of Debojit Saha—the first reality TV star from the Northeast. Significantly, his win was credited to a rigorous, coordinated SMS voting campaign conducted by local student and socio-political unions. Hitherto marginalised regional identities emerged as key players in development of the digital television culture in a neoliberal economy. Citation: BioScope: South Asian Screen Studies PubDate: 2022-07-25T12:48:39Z DOI: 10.1177/09749276221114180
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Authors:Laleen Jayamanne Abstract: BioScope: South Asian Screen Studies, Ahead of Print. Quite by chance, participating in Zoom webinars on two recent films about Sri Lanka, Funny Boy and The Single Tumbler, opened up an unexpected and surprising research problem. This was especially surprising because neither of the webinars were organised from within academic film studies. Citation: BioScope: South Asian Screen Studies PubDate: 2022-07-01T11:05:33Z DOI: 10.1177/09749276221099089
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Authors:Spandan Bhattacharya Abstract: BioScope: South Asian Screen Studies, Ahead of Print. Bedeni film emerged as a film genre centred on the snake worship cult and the figure of the bedeni/snake charmer woman after the phenomenal popularity of Beder Meye Josna (Panu, 1991). In this article, I consider how bedeni’s figuration disrupted the idea of the bhadra heroine of Bengali cinema, a figure of polish and restraint, and offered new understandings of ‘public women’. I study constructs of bedeni as a sexualised female performing figure through the multiple influences of diverse media texts ranging from Hindi cinema, to music videos, to sexually explicit Bengali songs (‘raser gaan’) popularised by cassettes. These influences speak of an expansive adaptation by Bengali cinema of contemporary popular culture across regional and national boundaries. Citation: BioScope: South Asian Screen Studies PubDate: 2022-06-29T09:38:41Z DOI: 10.1177/09749276221104910
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Authors:Isabel Huacuja Alonso Abstract: BioScope: South Asian Screen Studies, Ahead of Print. Binaca Geetmala was a weekly countdown or hit parade radio programme that ranked Hindi film songs by order of popularity, first based on listeners’ requests and later on record sales. The programme aired from 1952 until 1994 and is arguably one of the longest lasting and most influential radio programmes in the world. Drawing on a variety of sources, including listeners’ diaries, correspondence from listener radio clubs and interviews with broadcasters and devoted listeners, I trace Geetmala’s four-decade ‘melodious journey’, charting the programme’s central role in making Hindi film songs – the leading popular music in the Indian subcontinent. I make two interrelated arguments. First, I argue that through its popularity charts, Geetmala cultivated an understanding of Hindi film songs as ‘the music of the common people’ and made partaking in film song’s so-called ‘commonness’ the very attraction of the programme. Here, I consider how this fascination with ‘commonness’, with measuring popularity, and with individuals’ participation in the process, relates to the larger political culture of independent India’s first decades, including the experience of universal suffrage. Second, I argue that by encouraging alertness to ever-changing popularity lists and by developing specific terminology, Geetmala effectively transformed ordinary radio listeners into discerning Hindi film-song experts. Citation: BioScope: South Asian Screen Studies PubDate: 2022-06-26T07:23:18Z DOI: 10.1177/09749276221097726
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Authors:Pallavi Paul Abstract: BioScope: South Asian Screen Studies, Ahead of Print. This essay explores the ways in which notions of ‘expert’-driven authenticity are being interrogated in the post-COVID-19 media sphere. I argue that the intensification of pathogenic virality has instantiated a generative ‘contamination’ of scientific disciplines such as immunology and virology with the networked openness of digital image cultures. It is through this contamination that we are able to see media forms as central to viral matter and not merely as repositories of its causes and effects. It is in the actions of a growing community of networked media user-producers and amateur scientists that a new lexicon of authenticity and truth can be imagined for our post-pandemic world. Citation: BioScope: South Asian Screen Studies PubDate: 2022-06-17T04:16:26Z DOI: 10.1177/09749276221097471
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Authors:Srideep Mukherjee Abstract: BioScope: South Asian Screen Studies, Ahead of Print. The oeuvre of Tanvir Mokammel majorly centres on his conviction that the Indian Partition of 1947 has long-standing ramifications for Bangladesh. While nationalist historiography understandably privileges the Liberation War of 1971 as the arrival of nationhood in Bangladesh, Mokammel persistently argues for the relevance of historical continuities in understanding both the aspirations and ruptures underlying the nation project over the last 50 years. This article analyses his film Chitra Nadir Pare (Quiet Flows the Chitra, 1998) for Mokammel’s representation of the complex ways in which the matrices of religion and gender have subversively operated in the intervening decades between 1947 and 1971 to rupture a hitherto syncretic Bengali identity, leading to displacements and statelessness. This re-historicising of the mid-twentieth-century cataclysm and its analysis in the second decade of the twenty-first century prioritise film as an authentic medium of cultural history that bears deep implications in the present time. Citation: BioScope: South Asian Screen Studies PubDate: 2022-06-12T02:39:51Z DOI: 10.1177/09749276221100280
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Authors:Anirban K. Baishya Abstract: BioScope: South Asian Screen Studies, Ahead of Print. When the COVID-19 pandemic broke out in 2020, countries around the world began enacting lockdown measures and enforcing social distancing rules. Almost at the same time, the use of drones also began to see a spike, especially in the hands of civilian users. This article examines the phenomenon of the drone video as a genre of the pandemic. While drone imagery is not endemic to the COVID-19 crisis, in the face of mass deaths and lockdowns, drone users globally began to turn to the drone as a mobile archive machine. Drawing on recent scholarship on drones, I examine how the drone’s vertical vision afforded a form of pandemic witnessed by proxy. Despite the increasing use of drones for policing, surveillance and warfare, in the case of India, drone imagery also played an important role in countering government narratives about the pandemic and its body counts. Examining the drone images captured by the late photographer Danish Siddiqui, I demonstrate how the drone’s ‘vertical play’ facilitated the emergence of a counter-archive of the pandemic. Citation: BioScope: South Asian Screen Studies PubDate: 2022-06-12T02:39:10Z DOI: 10.1177/09749276221097732
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Authors:Kuhu Tanvir Abstract: BioScope: South Asian Screen Studies, Ahead of Print. Notes on the media experience of last rites in quarantine during the second wave of COVID-19 in India in April 2021. Citation: BioScope: South Asian Screen Studies PubDate: 2022-06-12T02:38:51Z DOI: 10.1177/09749276221097728
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