Bollywood Nation: Background / Context

On the occasion of the first screening in our Bollywood Nation film series, which is set to begin in just under an hour from now (with Swades – more info below, and here), Jatin Wagle has put together the following very useful background information on Bollywood and tonight’s film.

Bollywood Nation

27.10.2011 – Swades: We, the People [Homeland] (Dir. Ashutosh Gowariker, 2004, 187 mins.)

Bollywood: A widely accepted but not unproblematic term for Hindi/Urdu/Hindustani language commercial cinema in India. The expression is problematic because it suggests a close relationship with or dependence on Hollywood. Even as American popular cinema remains an important frame of reference and influence for Hindi cinema, straightforward comparisons are not necessarily useful. Although the films are actually shot all over the world, the undisputed site of production of commercial Hindi cinema is the megacity of Mumbai (or Bombay as it was called before 1995). In this sense, Bollywood is both about India and Mumbai, or to be more precise, about the Indian nation as it is constantly imagined and staged in the crowded, multilingual diversity of the metropolis.

There are no clearly defined genres in Hindi commercial cinema. Instead, a typical Hindi film contains varying elements of romance, melodrama, action and comedy interspersed with song-and-dance sequences. The principal reason for this has been the complex mode of production – called “disaggregated” by M. Madhava Prasad – and the precarious mode of distribution of films in India. Although Hindi cinema has been perhaps the most significant site for the social/cultural negotiation of the Indian nation, until 2001 it was not accorded the status of an industry by the Indian Government. This has meant that over the years Hindi films have been financed through more-or- less informal networks, and this financial precariousness lies at the root of Hindi cinema’s reluctance to fragment its potential audiences. This used to be evident until a few years ago, i.e. before the advent of the multiplexes, in the typical experience of watching a Hindi film in an Indian city, when one invariably watched it with the family in a “cinema theatre” with a seating capacity of around a thousand. Thus, instead of genres, Hindi commercial cinema has historically developed a range of masala [Gewürzmischung] or formula films, i.e. mixes of or compromises between plot compositions, narrative structures and genre elements. For instance, the popular masala films of the 1970s were slight variations on either the lost-and-found/family reunion plot (e.g. Yaadon Ki Baaraat 1973) or the angry young man action hero format (e.g. Deewaar 1975, Amar Akbar Anthony 1977). From the mid-nineties, a new sort of masala film has become popular, with a diaspora setting (or at least a strong diaspora component) and an NRI (non-resident Indian) protagonist who portrays a guiltless blend of so-called Indian tradition with Western modernity.

Swades: We are beginning our film series titled, needless to say with obvious irony, “Bollywood Nation” with a film aptly called Homeland. Even with its NRI protagonist, played by Shahrukh Khan, and its partial diaspora setting, this film is untypical for a variety of reasons. Its expatriate protagonist is different from the typical hero of the recent NRI masala film. Although successful in the West, he is plagued by the guilt of having left behind the land of his past, a developing, third-world country with its complicated challenges, for a relatively uncomplicated life in the U.S. In terms of its aesthetic, the film is not obviously “camp” [filmy] and has been described as more “realistic” than a typical Bollywood film. Although it was not really a box office success within India, Swades sold well in what have been called the diaspora markets, and its music composed by A. R. Rahman became popular even within India. Ashutosh Gowariker, who wrote the script, and produced and directed the film, is known for at least one more film, Lagaan [Land Tax] (2001), which was nominated for the Academy Award for Best Foreign Language Film.

Happy Telephone Day

Before Lady Gaga: “Call all you want, but there’s no one home / And you’re not gonna reach my telephone” (2009).

Before E.T.: “E.T. phone home” (1982).

There was Johann Philipp Reis: “Das Pferd frisst keinen Gurkensalat” (1861).

150 years ago today, on October 26, 1861, Johann Philipp Reis demonstrated the newly invented telephone with these words (roughly: “The horse doesn’t eat cucumber salad”), and the rest, as they say, was history…

In honor of the telephone’s 150th birthday, the Süddeutsche Zeitung has an entertaining little article by Bernd Graff (here). Graff’s brief cultural history (“kleine Kulturgeschichte”) of the telephone also touches (very lightly) upon some of the more interesting techno-phenomenological aspects of human-telephone relations, and there are some concluding thoughts from Benjamin, Proust, McLuhan, and Flusser. (Keep in mind, it’s a popular article, but it plants some nice seeds for further thought and research.) Also interesting: Die Zeit Online has a brief summary of Johann Philipp Reis’s life, written especially for kids, with a pointer to a radio program this coming Sunday, at 8:05, on NDR Info (Mikado – Radio für Kinder).

Combat for Atari VCS / 2600 (1977)

Next week in my “Game Studies” seminar, we’ll be discussing Nick Montfort’s great article “Combat in Context” (from Game Studies 6.1, December 2006). As the proud owner of an Atari 2600 (wood-grain but 4-switch variant), and as a firm believer that the specific material implementation of a game makes a big difference in players’ experience of it, I thought I would bring my console and the game and give students the opportunity to try it out for themselves (which we’ll be doing in an extra session this Friday; and speaking of material implementation, it will be my first time hooking up a 2600 to a digital projector).

Above, for the benefit of those who can’t make it, a clip that gives an impression of the game’s scheme of audiovisual re/presentation, the basics of gameplay, and the many variations (or games) included in Atari’s classic “game program.”

Judith Butler at #OccupyWallStreet

[youtube http://www.youtube.com/watch?v=JVpoOdz1AKQ]

I came here to lend my support to you today, to offer my solidarity, for this unprecedented display of democracy and popular will. People have asked, ‘So what are the demands? What are the demands all these people are making?’ Either they say there are no demands and that leaves your critics confused—or they say that the demands for social equality and economic justice are impossible demands. And impossible demands, they say, are just not practical.

If hope is an impossible demand, then we demand the impossible. If the right to shelter, food and employment are impossible demands, then we demand the impossible. If it is impossible to demand that those who profit from the recession redistribute their wealth and cease their greed then yes, we demand the impossible.

But it is true that there are no demands that you can submit to arbitration here because we are not just demanding economic justice and social equality, we are assembling in public, we are coming together as bodies in alliance, in the street and in the square. We’re standing here together making democracy, enacting the phrase ‘We the people!’

(Text from Verso’s blog: here)

Also, see here for John Protevi’s fascinating take on Butler’s speech in the context of an earlier talk she gave in Venice and the embodied, affective dynamics of the so-called “human microphone,” which we’ve now seen Butler, Zizek, Michael Moore, and others utilizing at Occupy Wall Street.

Bollywood Nation: Swades (2004)

This is a reminder that our Bollywood Nation film series will begin on Thursday, October 27, 2011, at 5:00 pm in room 615 (in the “Conti-Hochhaus” at Königsworther Platz 1).

The first film will be Swades: We, the People [Homeland] (Dir. Ashutosh Gowariker, 2004, 187 mins.), a late renegotiation of the “brain drain” paradigm that could serve as a contrast to the new global NRI films.

The film, which stars Shah Rukh Khan, is summarized at imdb.com thus:

Set in modern day India, Swades is a film that tackles the issues that development throws up on a grass root level. It is to this India, which is colorful, heterogeneous and complex that Mohan Bhargava (Shah Rukh Khan), a bright young scientist working as a project manager in NASA, returns to on a quest to find his childhood nanny. The film uses the contrast between the highly developed world of NASA, which has been at the forefront of advances in space research, and this world back home in India, which is at the crossroads of development. Mohan’s simple quest becomes the journey that every one of us goes through in search of that metaphysical and elusive place called “home”.

Film & TV Reading Group: Jason Mittell on Narrative Complexity

The Film & TV Reading Group at the Leibniz Universität Hannover will be meeting next Wednesday, October 26, 2011, to discuss Jason Mittell’s oft-cited article “Narrative Complexity in Contemporary American Television” (from The Velvet Light Trap 58 (Fall 2006), also downloadable from Mittell’s website at Middlebury College here). We will meet at 6:00 pm in room 609 (in the “Conti-Hochhaus” at Königsworther Platz 1). New members are always welcome to join us!

Friedrich Kittler (1943 – 2011)

[youtube http://www.youtube.com/watch?v=jxYZyOLMRAM]

Friedrich Kittler, whose name has become synonymous with so-called “German media theory,” passed away this week, on October 18, 2011. Kittler’s proclamation that “media determine our situation,” and his use of the phrase “der sogenannte Mensch” to refer to “us” (i.e. humans and our subjectivities), have long been occasions for controversy: for some, they are signs of Kittler’s “genius,” expressed paradoxically in his unrelenting break with the anthropocentric sympathies that would underwrite any such claim to genius; for others, they are merely signs of antihumanism and technological determinism. Whatever one decides, the significance of Kittler’s work cannot be denied; it will undoubtedly continue to play a controversial role and to exert a variety of influences on our attempts to think media in the future. Here, then, are some links that reflect on Kittler’s legacy:

News of Kittler’s death and reflections on his life and work appeared in virtually all the German newspapers. Die Zeit ran an article by Maximilian Probst here, and the taz had a piece by Stefan Heidenreich here. Norbert Bolz’s article in the Tagesspiegel can be found here. Die Welt reprinted parts of an interview with Kittler from earlier this year (here), as well as an obituary by Ulf Poschardt here. Christian Schlüter’s piece in the Berliner Zeitung is here, and Thomas Steinfeld’s obituary in the Süddeutsche Zeitung is here. Jürgen Kaube’s piece in the FAZ  is here.

Meanwhile, in the blogosphere, Thomas Groh has put together a collection of Kittler video clips on his blog Filmtagebuch here.

Finally, for some English-language reflections on Kittler’s legacy, see Jussi Parikka’s thoughts here on his blog Machinology, and Bernard Geogehan’s obituary at Critical Inquiry’s blog here.

Conference Program: “Cultural Distinctions Remediated”

“Cultural Distinctions Remediated: Beyond the High, the Low, and the Middle”

Leibniz Universität Hannover, American Studies, 15-17 December 2011

Like any discursive phenomenon, categories of cultural distinction (such as “high” art, “low” culture, or the less well-researched area of the “middlebrow”) require the substrate of some medium or medial field—be it language, mass media, or new media—in order to articulate the differences upon which they turn. Cultural clout or capital, for example, is accumulated, and the conditions of such accumulation are defined and regulated, in media ranging from the popular press to specialized academic and legal treatises. At the same time, the categories of cultural distinction not only take shape within media but apply as well to concrete media and media products. Individual novels, films, and music productions are classed according to oppositions such as high vs. low, art vs. kitsch, quality vs. trash, mainstream vs. alternative, while at times whole media are more generally relegated to a lowly status (such as was the case with “primitive” or pre-classical cinema or with the videogame in the eyes of many today) or, on the other hand, accorded a higher one (e.g. the “graphic novel” vis-à-vis the pulpy comics from which it evolved). Clearly, these examples attest to the fact that cultural distinctions are negotiable and historically indexed, but more importantly, they point to the role of media transformations in the historical revision and renegotiation of distinction categories. Notions of film-as-art, for example, first emerge (in the film-aesthetic writings of Vachel Lindsay and Hugo Münsterberg) in the 1910s, amidst the sweeping and uncertain changes of the “transitional era” between early and classical cinema, and the aesthetic revalorization of the popular medium finds its most pronounced expression (with the likes of Rudolf Arnheim) in the wake of the film-technological transition from silent to sound cinema. Similarly, the rise of so-called “Quality TV” takes place at a highly overdetermined moment of media change, one marked by digitalization, convergence trajectories, the rise of alternative delivery media, and a general reorganization of the televisual landscape. The conference “Cultural Distinctions Remediated: Beyond the High, the Low, and the Middle” aims to shed light on such processes of transformation, in which the medial “double articulation” of distinction categories—i.e. the fact that they are both articulated in media and apply to media—is most crucially at stake, by looking critically at what happens when existing media and attendant categories are “remediated” by newer ones: How are categories of cultural distinction transformed, or how do they relate to a transformed media landscape? These questions will be pursued across a wide range of media and from comparative (both cross-medial and historical) perspectives.

Program (links lead to abstracts):

Thursday, 15 December 2011, 6:00 pm (Niedersachsensaal)

Welcome: Ruth Mayer (American Studies, Hannover)

Keynote I

Jason Mittell (American Studies, Film & Media Culture, Middlebury): “The Complexity of Quality: Cultural Hierarchies & Aesthetic Evaluation in Contemporary Television”

Moderation: Ruth Mayer (American Studies, Hannover)

Friday, 16 December 2011

Panel I, 10:00 am – 12:30 pm (Room 103)

Regina Schober (American Studies, Mannheim): “Imagining the World Wide Web: Cultural Constructions of Virtual Space across Media”

Bettina Soller (American Studies, Göttingen): “Authorship as a Category of Cultural Distinction: Collaborative Writing and the Solitary Genius”

Andreas Jahn-Sudmann (Media Studies, Göttingen): “Desperately Seeking the Mainstream: Independent Games and the Cultural Logic of Distinction”

Moderation: Florian Groß (American Studies, Hannover)

Panel II, 14.30-17.00 (Room 103)

Florian Groß (American Studies, Hannover): “‘Quality TV’ and ‘Graphic Novel’: What’s in a Name?”

Christina Meyer (American Studies, Osnabrück): “Popular Visions of War, Gender, and Nation in [High]-Art-Advertising-Comics: Reading Nell Brinkley’s Newspaper Romance Serials”

Shane Denson (American Studies, Hannover): “Lady Gaga’s Mainstream Queer: A Serial Media Remix”

Moderation: Vanessa Künnemann (American Studies, Hannover)

Saturday, 17 December 2011, 10.00-12.00 (Raum 103)

Keynote II

Lynn Spigel (Screen Cultures/Communication, Northwestern University): “Designer TV: Television and the Taste for Modernism in Mid-Century America”

Moderation: Shane Denson (American Studies, Hannover)

Conclusion

Jason Mittell, “The Complexity of Quality”

Abstract for Jason Mittel’s keynote at “Cultural Distinctions Remediated: Beyond the High, the Low, and the Middle” (Leibniz University of Hannover, 15-17 December 2011):

The Complexity of Quality: Cultural Hierarchies & Aesthetic Evaluation in Contemporary Television

Jason Mittell (American Studies, Film & Media Culture, Middlebury)

In much popular and scholarly discourse about television, there is a slippage between the terms “quality television” and “narrative complexity.” The former is a well-worn signifier demarcating both an aesthetic judgment, and an assumed set of textual norms and mode of address—in the vein of Bourdieu, it is a classification that classifies the classifier. Narrative complexity, as I and other scholars have been exploring, is a textual mode that highlights particular storytelling structures, industrial formations, and strategies of consumption, but it need not inherently point to an evaluative hierarchy. In this talk, I will tease out the differences and overlaps between these two cultural categories, arguing that by dispensing with the rhetoric of quality television, we can use narrative complexity as one (of many) measures of aesthetic evaluation that might present a more nuanced way of discussing televisual taste and value.

Regina Schober, “Imagining the World Wide Web”

Abstract for Regina Schober’s talk at “Cultural Distinctions Remediated: Beyond the High, the Low, and the Middle” (Leibniz University of Hannover, 15-17 December 2011):

Imagining the World Wide Web: Cultural Constructions of Virtual Space across Media

Regina Schober (American Studies, Mannheim)

From the early days of the internet, there have been attempts to understand and represent this newly emerging medial realm within other media, from William Gibson’s novel Neuromancer (1984) to Martin Dodge’s and Rob Kitchin’s Atlas of Cyberspace (2001) to David Fincher’s recent film The Social Network (2010). What all these examples have in common is that they represent the new digital media within another, more traditional medium. In my paper I will examine a variety of such representations of the internet and discuss the aesthetic and cultural processes involved in such inverted “remediations” (Bolter & Grusin). With particular focus on the World Wide Web and its inherently multimodal nature, I will explore how this essentially hybrid configuration characterized by a complex and interactive set of highly heterogeneous data content in dynamic flow has been defined, conceptualized, and evaluated in the process of intermedial transformation.  How can media products which take up such aesthetic features and transform them within their own medial framework be critically assessed, accounted for, and categorized? In reference to some exemplary medial conceptualizations of the internet, I will discuss the question of whether certain media or medial configurations are more pertinent for such adaptations than others and if there are specific elements that can be identified in these transformation processes. In a second step, I will reflect on the cultural implications at work in such ‘translations’ of the digital. Which image of the internet as ‘new territory’ is portrayed in these cultural representations and how do these attitudes, implications, and ideologies expressed in cultural constructions of the World Wide Web relate to prevalent technological and cultural discourses of the 21st century?