By Meheli Sen (ed.), Anustup Basu (ed.)
This quantity brings jointly a chain of essays that examine figures, representational modes that may be learn as figural, and in a few circumstances, the boundaries of figurability in Indian cinema. Cinematic traditions in India have constantly depended on eclectic methods of figurations that mix symptoms and impacts of hope and abomination. that's, incarnations usually emerge at serious interfaces among good/bad, Indian/western, self/other, virtue/vice, myth/reality and so forth. Such figures are items of discontinuous assembling techniques that minimize via dyadic preparations and cross an analogous character/body/identity through various, usually contradictory, ethical economies and signal structures. The essays within the ebook contemplate the difficulty of figuration within the broadest feel, together with formations which are supra-individual, animalistic and machinic.
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Extra resources for Figurations in Indian Film
New constellations of dacoits arise as historical circumstances change, but the practice of social banditry persists as a fairly stable phenomenon. One might say the social bandit as a cultural form expressive of defiance against institutions and states endures, despite the new technologies of its mediatization. The legendary daku (“dacoit,” in Anglicized parlance) in the cultural imagination appears in two well-known guises in scholarly works: the baaghi or rebel, originally a farmer who turns to crime upon losing his land or traditional occupation, as economic historians tell us, or the illegal “thug” (in the colonial context) or the “outlaw” (in the postcolonial context) who presents an administrative problem, given her collection of informal tithes, kidnapping for ransom, poaching, and later, gun-running or smuggling.
Bacon’s tactile-optical diagrams, he argues, disrupt the epistemologically contained boundaries of figuration, plunging it into its ground: “one starts with a figurative form, a diagram intervenes and scrambles it, and a form of a completely different nature emerges from the diagram, which is called the Figure” (Deleuze, 2004, 125). When Peirce reflects on diagrams as icons (forms just like the space it seeks to represent), Deleuze argues, he attends to an incorporative technology that opens to dynamic forces beyond the enclosures of skin; even as Peirce remains wedded to the question of representation, Deleuze insists diagrammatic forms, analogical modulators, anticipate a real yet to come.
17. 18. 19. 20. 21. 39 (2002) deliberations on such a counter-history provide important points of departure for the study of icons in South Asia. Pinney elaborates a “corpothetics” that “can meet, halfway, a different tradition with which it shares much in common”: see, “The Indian Work of Art in the Age of Mechanical Reproduction: Or, What Happens When Peasants ‘Get Hold’ of Images,” in Faye Ginsburg, Lila Abu-Lughod, and Brian Larkin eds, Media Worlds: Anthropology on New Terrain (University of California Press, 2002, 355–369).
Figurations in Indian Film by Meheli Sen (ed.), Anustup Basu (ed.)