COSMOPOLITANISM REMEDIATION AND THE GHOST WORLD OF BOLLYWOOD PDF

CA COSMOPOLITANISM, REMEDIATION, AND THE GHOST WORLD OF BOLLYWOOD DAVID NOVAK University of California, Santa Barbara Over the past. Intro Cosmopolitanism, Remediation, and the Ghost World of Bollywood Double click to crop it if necessary (cc) photo by Metro Centric on Flickr. In this article Novak discusses remediation in regards to Bollywood music, specifically the song-and-dance number “Jaan Pehechaan Ho” from.

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For viewers like Clowes, Jaan Pehechaan Ho was distanced from its origins from the outset. Rather, one sees multidirectional overflows of media resources shaped by cultural differences, globalist desires, and cross-cutting aes- thetic affinities.

Cosmopolitanism, Remediation, and the Ghost World of Bollywood

Her gleeful disgust for the weird trashy excess of media circulation blends into genuine admiration for some sort of truth offered by these objects of consumer overflow. InKearney started a new band called Heavenly Ten Stems, which was devoted to the performance of Asian popular music, including Cantonese pop tunes, Bollywood film songs, and Japanese garage rock.

But fragile collages of different cultural logics do not always hold together. Popular Music and Technology in North India.

COSMOPOLITANISM, REMEDIATION, AND THE GHOST WORLD OF BOLLYWOOD

Although Bollywood is acknowledged worldwide as one of the only non-Western productions to parallel the hegemony of U. Her role was often misremembered and overemphasized, if only because she was the only protester already known personally by many in the audience.

Remediahion, Mark Interview with Brandan Kearney. How do we characterize cosmopolitanism across diverse global conditions of mobility, access, and self-representation?

I was in residence at the Columbia University Society of Fellows in the Humanities during the preparation of this essay, and I would like to thank the Heyman Center for the Humanities for research support. The Bombay Connection ; and B. It stresses the contradictions of nostalgic desires to return to original sites of cul- tural production. The dance seems familiar, but strangely stiff and absurdly overperformed; she shakes eagerly but awkwardly to the rock-and-roll rhythm, as the guitars and trumpets continue to blare out in contrast to the soft and intimate voice of Mohammad Rafi see Figure 1.

Global media circulation requires attention to the back-and-forthness of it all. A Guidebook to Popular Hindi Cinema. The power of music cannot close these incommensurable gaps between sources and representations. Still images from video recording of Heavenly Ten Stems protest. On the contrary, in the unfolding of this performance and its protest, we see the global cosmopolitan dub come apart in a clash of very specific local investments in media circulation.

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When does the proliferation of copies begin to affect how we perceive the original? Immediately following this glamorously odd footage, the next shot reveals a row of suburban houses in a blue—gray evening twilight see Figure 2. A videotape of the incident, shot in the bygone club the Chameleon, has survived among insiders of the Bay area underground music scene see Figure 6.

This site uses cookies. Now that we are all comfortable with kitsch, we can celebrate the worst excesses of Hindi cinema. Remediation helps us reconsider the role of the subject in studies of circulation and cultural globalization. World Cinemas, Transnational Perspectives. These sequences are spectacular collages of places, people, movement, and sound; crystallized juxtapositions of formal material that can easily break away from the larger context of the film.

Does the remediation of a media object benefit certain people more than others? Enid knows the dizzy rhythm so well she can close her eyes and reproduce the dance exactly. What does remediation have to do with the way we think about globalization?

In closing with my anachronistic ethnog- raphy of the Heavenly Ten Stems performance, I do not claim this moment, replete with the transcendent desires and conflicts of Californian multicultural- ist projects, as some kind of definitive version of Bollywood reception. Film songs become especially crucial for expressing the distinctions of middle-class taste by stressing the redemptive moments of singing within the larger narrative.

Leave a Reply Cancel reply Enter your comment here It questions what is defined as culture, and what is pulled back and held apart from that category. To learn through this process, we must see and hear, and dance appropriation in its constitutive relationship with cosmopolitan subjects.

A Guidebook to Popular Hindi Cinema. I am just a mockery and so are YOU! The Life and Times of an H-Bomb. Diasporic Cultures of Postwar America and England. Log In Sign Up.

How much time, and how much space, is required to separate an object from its reiteration; an echo from the source of the sound?

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Regrettably, my interlocutors were unable to identify the protestors who appear in this wkrld. In the wake of this half-apologetic half-explanation, the camera holds on Davies for a few more seconds as the band mills about confusedly onstage.

Marianism and the Mass Media in the Global Phillippines. For a history of bollywoos in the Bollywood film industry, see Booth By focusing on the circulation of Jaan Pehechaan Ho, this essay complicates our understanding of the way cultural appropriation happens, and constitutes its subjects in relation to media.

Many songs that feature prominent Bollywood samples have passed uncontested, but other wogld have begun to be challenged under international copyright law. In creating the film for Ghost World, Clowes says, We [Clowes and director Terry Zwigoff ] wanted that stuff to be viewed as oppressive.

Dubs, too, are readily contested by other versions, even when different subjects engage in the same media context. It seems that the clear juxtaposition of Western and non-Western elements is meant to create a sense of cosmopolitaism among the audience.

I describe a perfor- mance of the song by a short-lived Bay Area rock band called Heavenly Ten Stems, whose brief life in the early bollywoood crystallized the debates around cul- tural appropriation for a nascent underground reception of Bollywood in North America.

In Ghost World, having the rather grotesque dancing in Jaan Pehechaan Ho, ghosh with Enid and her neighborhood create an atmosphere of relatively random elements thrown together.

Regionally identified productions such as Japanese anime, Hong Kong action movies, and Bollywood film have developed substantial nondiasporic fan bases in North America and Europe. She stands stark still in the middle of her room as the camera circles around her face and its expressionless expression of total absorption.

Anand, Dev Jaanwar. Jaan Pehechaan Ho was bpllywood the only Bollywood clip to circulate among North American videotape collectors, but it was perhaps the most widely distributed.