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The Branded Muslim Woman a Qualitative Study Into the Symbolic Boundaries Negotiated Around the Portrayal of Muslim Women in Brand Cultures
Media and Communications Media@LSE Working Paper Series Editors: Bart Cammaerts, Nick Anstead and Richard Stupart The Branded Muslim Woman A Qualitative Study into the Symbolic Boundaries Negotiated around the Portrayal of Muslim Women in Brand Cultures Nuha Fayaz Published by Media@LSE, London School of Economics and Political Science ("LSE"), Houghton Street, London WC2A 2AE. The LSE is a School of the University of London. It is a Charity and is incorporated in England as a company limited by guarantee under the Companies Act (Reg number 70527). Copyright, NuHA FAYAZ © 2020. The author has asserted their moral rights. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means without the prior permission in writing of the publisher nor be issued to the public or circulated in any form of binding or cover other than that in which it is published. In the interests of providing a free flow of debate, views expressed in this paper are not necessarily those of the compilers or the LSE. 1 ABSTRACT Traditionally, Muslim women in media have been framed as oppressed by the burdens of the hijab and their religion. However, Muslim women have been countering this narrative through the emergence of alternative Muslim media content circulating within the Islamic cultural industry. The growing consumer segment of Muslim women have resulted in mainstream brands targeting this demographic. Likewise, female Muslim bloggers are gradually entering the influencer market of social media. There is an emerging visibility of Muslim women within these brand cultures: through the branding of Muslim women in advertisements and the self-branding of Muslim women on social media. -
Enchantment of the Mind Preface
PREFACE 1 March 2004 marked the tenth anniversary of the death of Manmohan Desai. A fall from the terrace of his Khetwadi home brought the 57-year old filmmaker’s life to an end in the spring of 1994. The suspected suicide came as a shock both to those nearest to him and to the film world as a whole, as testified in countless articles and tributes in the Indian and international press in the month following his death. The articles that appeared spanned the gamut of reactions: praise for Desai as a man and as a filmmaker, heartfelt remembrances from those who had worked with him, indignation and disbelief over the circumstances of his death, and speculation over possible motives for suicide— depression over severe backaches being most frequently offered as an explanation. At that time, I could not help feeling a personal sadness over his death. I had, after all, spent the better part of four years studying Manmohan Desai’s work before completing an initial version of this book in 1987. It was, therefore, consoling to have immediate and direct evidence of Manmohan Desai’s work living on beyond his death, as happened one day in 1994 when I walked into an Indian carry-out restaurant in Paris and saw a colorful dance scene from Dharam-Veer playing on the conspicuously placed VCR. Those waiting in line stood transfixed before the screen, their faces radiating joy. Curious to know if Desai’s work had crossed the generations, I asked a young man in his twenties if he knew who had directed the film. -
Routledge Handbook of Indian Cinemas the Indian New Wave
This article was downloaded by: 10.3.98.104 On: 28 Sep 2021 Access details: subscription number Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: 5 Howick Place, London SW1P 1WG, UK Routledge Handbook of Indian Cinemas K. Moti Gokulsing, Wimal Dissanayake, Rohit K. Dasgupta The Indian New Wave Publication details https://www.routledgehandbooks.com/doi/10.4324/9780203556054.ch3 Ira Bhaskar Published online on: 09 Apr 2013 How to cite :- Ira Bhaskar. 09 Apr 2013, The Indian New Wave from: Routledge Handbook of Indian Cinemas Routledge Accessed on: 28 Sep 2021 https://www.routledgehandbooks.com/doi/10.4324/9780203556054.ch3 PLEASE SCROLL DOWN FOR DOCUMENT Full terms and conditions of use: https://www.routledgehandbooks.com/legal-notices/terms This Document PDF may be used for research, teaching and private study purposes. Any substantial or systematic reproductions, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The publisher shall not be liable for an loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. 3 THE INDIAN NEW WAVE Ira Bhaskar At a rare screening of Mani Kaul’s Ashad ka ek Din (1971), as the limpid, luminescent images of K.K. Mahajan’s camera unfolded and flowed past on the screen, and the grave tones of Mallika’s monologue communicated not only her deep pain and the emptiness of her life, but a weighing down of the self,1 a sense of the excitement that in the 1970s had been associated with a new cinematic practice communicated itself very strongly to some in the auditorium. -
Manufacturing Muslim Image Through Bollywood Cinema
Muslim South Asia Conference 28 Oct, 2013 Shiraz Sheikh Green on Silver: Manufacturing Muslim Image through Bollywood Cinema ABSTRACT: During the last decade, a series of Bollywood movies were produced which caricatured the Muslim image in a certain way. The biased portrayal grew in time when numbers of Muslim youths were framed and fabricated with false terror charges. The accumulated angst against the partisan communal profiling of Muslims outburst was protest against the movie Vishwaroopam. This has regenerated media debate about the artistic freedom and the freedom of expression. In this context, the paper focuses to analyse the portrayal of Muslims in Bollywood Cinema since 9/11. It seeks to examine the pattern of portrayal that negatively reinforces the bias against the community and also how with positive portrayal a balance is sought. For this purpose two clusters of movies are selected. One set of films produces loaded narrative that reinforces notion that ‘evil community’ is required to be contained whereas the second set producing a counter narrative. On theoretical plane the paper seeks to theorsie the prevailing phenomenon by applying two general theories. The first theory is of profitability – that is to exploit a burning issue which is easily sellable. Second, an assumption that there is politics entrenched with ideology that helped manufacture Muslim image as an enemy within to contain the bellicose threat of spread of Islam. Finally the paper tries to analyse the debates generating within the educated Muslim youths. Key Words: Bollywood Cinema, Muslim Image, Hindutava, Hindu Nationalism, Muslim Youth, Freedom of Expression, Social Media. Introduction In February of 2013 movie Vishwaroopam was in news due to protest against it by Tamilnadu Muslim Munnetra Kazhagam and Tamil Nadu Thowheed Jamath. -
How Post 9/11 Pakistani English Literature Speaks to the World
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 11-17-2017 2:00 PM Terrorism, Islamization, and Human Rights: How Post 9/11 Pakistani English Literature Speaks to the World Shazia Sadaf The University of Western Ontario Supervisor Nandi Bhatia The University of Western Ontario Joint Supervisor Julia Emberley The University of Western Ontario Graduate Program in English A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © Shazia Sadaf 2017 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Literature in English, Anglophone outside British Isles and North America Commons Recommended Citation Sadaf, Shazia, "Terrorism, Islamization, and Human Rights: How Post 9/11 Pakistani English Literature Speaks to the World" (2017). Electronic Thesis and Dissertation Repository. 5055. https://ir.lib.uwo.ca/etd/5055 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Terrorism, Islamization, and Human Rights: How Post 9/11 Pakistani English Literature Speaks to the World Abstract The start of the twenty-first century has witnessed a simultaneous rise of three areas of scholarly interest: 9/11 literature, human rights discourse, and War on Terror studies. The resulting intersections between literature and human rights, foregrounded by an overarching narrative of terror, have led to a new area of interdisciplinary enquiry broadly classed under human rights literature, at the point of the convergence of which lies the idea of human empathy. -
Looking at Popular Muslim Films Through the Lens of Genre
Rupkatha Journal on Interdisciplinary Studies in Humanities, Vol. IX, No. 1, 2017 0975-2935 DOI: https://dx.doi.org/10.21659/rupkatha.v9n1.17 Full Text: http://rupkatha.com/V9/n1/v9n117.pdf Is Islamicate a Genre? Looking at Popular Muslim Films through the Lens of Genre Asmita Das Department of Film Studies, Jadavpur University, Kolkata. ORCID: 0000-0002-7307-5818. Email: [email protected] Received February 25, 2017; Revised April 9, 2017; Accepted April 10, 2017; Published May 7, 2017. Abstract This essay engages with genre as a theory and how it can be used as a framework to determine whether Islamicate or the Muslim films can be called a genre by themselves, simply by their engagement with and representation of the Muslim culture or practice. This has been done drawing upon the influence of Hollywood in genre theory and arguments surrounding the feasibility / possibility of categorizing Hindi cinema in similar terms. The essay engages with films representing Muslim culture, and how they feed into the audience’s desires to be offered a window into another world (whether it is the past or the inner world behind the purdah). It will conclude by trying to ascertain whether the Islamicate films fall outside the categories of melodrama (which is the most prominent and an umbrella genre that is represented in Indian cinema) and forms a genre by itself or does the Islamicate form a sub-category within melodrama. Keywords: genre, Muslim socials, socials, Islamicate films, Hindi cinema, melodrama. 1. Introduction The close association between genre and popular culture (in this case cinema) ensured generic categories (structured by mass demands) to develop within cinema for its influence as a popular art. -
Film Genres, the Muslim Social, and Discourses of Identity C. 1935–1945
Article BioScope Film Genres, the Muslim Social, and 6(1) 27–43 © 2015 Screen South Asia Trust Discourses of Identity c. 1935–1945 SAGE Publications sagepub.in/home.nav DOI: 10.1177/0974927615586930 http://bioscope.sagepub.com Ravi S. Vasudevan1 Abstract 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 particu- lar, 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. Keywords Muslim social, Mehboob, K.A. Abbas, Islamicate, oriental, Lahore 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 particu- lar, 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. -
The Muslim Emperor of China: Everyday Politics in Colonial Xinjiang, 1877-1933
The Muslim Emperor of China: Everyday Politics in Colonial Xinjiang, 1877-1933 The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Schluessel, Eric T. 2016. The Muslim Emperor of China: Everyday Politics in Colonial Xinjiang, 1877-1933. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493602 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA The Muslim Emperor of China: Everyday Politics in Colonial Xinjiang, 1877-1933 A dissertation presented by Eric Tanner Schluessel to The Committee on History and East Asian Languages in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of History and East Asian Languages Harvard University Cambridge, Massachusetts April, 2016 © 2016 – Eric Schluessel All rights reserved. Dissertation Advisor: Mark C. Elliott Eric Tanner Schluessel The Muslim Emperor of China: Everyday Politics in Colonial Xinjiang, 1877-1933 Abstract This dissertation concerns the ways in which a Chinese civilizing project intervened powerfully in cultural and social change in the Muslim-majority region of Xinjiang from the 1870s through the 1930s. I demonstrate that the efforts of officials following an ideology of domination and transformation rooted in the Chinese Classics changed the ways that people associated with each other and defined themselves and how Muslims understood their place in history and in global space. -
Karen Occasional Paper.Pmd
Whose Mother (land)?: Visualising and Theorising National Identity - Karen Gabriel - Introduction Using established and familiar iconographic representations of the nation, this paper will make two intertwined arguments. The first of these is that by and large, narrations of the nation have a melodramatic structure. The second is that, the iconic and mythogenic figuring of the nation as Mother India/Bharat Mata, contrary to enduring assumptions about it, is, strictly speaking, not a ‘national’ one at all. To do the above, the paper will critically review the relations between a) melodrama, gender, the organisation of sexuality, the family and the nation; b) The principle of maternality, the maternal body and nation. c) It will examine the ways in which central symbols of the national iconography of Mother India/ Bharat Mata have been cognised and reworked Some art instances and modern cinematic narrativizations and representations of the nation in mainstream Bombay cinema will be used to exemplify the precise nature of the relations set out above and the arguments being made. The argument will rest in the main on the work of cinema, since cinema remains a key representational site at which the mechanics of melodrama as these pertain to the nation-state are clearly deployed and visibilised. This specific dynamic was inevitable, in manner of speaking, given Bombay cinema’s historical involvement with nationalism, the nationalist movement and ideas of nation: this powerful cultural apparatus early on officially declared its commitment to promoting nation-building, national integration and patriotism. In that sense the medium always retained a sharp awareness of the historicity and the material bases of iconography and national discourse. -
Department of English University of Delhi Delhi
DEPARTMENT OF ENGLISH Phone: 27666757 UNIVERSITY OF DELHI Fax : 27666343 DELHI-110007 Allotment of Courses for the Current Batch of M.Phil Students (August-December 2017) 1. Of Race and Class: The Self-Positioning of the African-American - Tapan Basu Writer in the Civil Rights Era and Beyond 2. The Body in Performance - Rimli Bhattacharya 3. Modern India in Paint and Print - Christel R. Devadawson 4. The ‘Long’ Partition: - Priya Kumar 5. Caste and Literary Imagination: A Reading of Dalit Fiction - Raj Kumar 6. Beyond Ethics: Critical Perspectives on Cosmopolitanism Now - Ira Raja 7. The "idea" of Asia: Sites, Imaginations, Networks - Anjana Sharma 8. Shakespeare Across Media - Shormishtha Panja 9. Speaking Silence: - Haris Qadeer 1. Of Race and Class: The Self-Positioning of the African-American Writer in the Civil Rights Era and Beyond (MAIN CAMPUS) Dr. Tapan Basu In his seminal study of class mobility within the African-American social context, Black Bourgeoisie (1957), E. Franklin Frazier struck a very different note from that of the euphoria of middle-class arrival which had been sounded in the contributions to The New Negro (1925), an anthology of writings by an earlier generation of African-American intelligensia: When the opportunity has been present, the black bourgeoisie has exploited the Negro masses as ruthlessly as have whites. As the intellectual leaders in the Negro community, they have never dared to think beyond a narrow opportunistic philosophy that provided a rationalisation for their own advantages... The masses regard the black bourgeoisie as simply those who have been “lucky in getting money” which enables them to engage in conspicuous consumption.. -
In This Issue © John Smock
The Women’s Review of Books Vol. XX, No. 7 April 2003 74035 $4.00 I In This Issue Smock © John I In her first novel, Korean American Caroline Hwang tells the story of Ginger Lee, the comically rebellious daughter of Korean par- ents: Christine Thomas reviews In Full Bloom,p.14. I Indian activist Arundhati Roy speaks out around the world against the evils of globalization: now, in “Come September,” an essay written to mark the first anniversary of September 11, she reflects on the multiple, interconnected anniversaries that fall on that date, p. 6. I Is it true that writers of children’s books are really children who never grew up? In her review of Girls and Boys Forever, Elizabeth Bobrick takes issue with Alison Lurie’s claim, p. 8. I In The Country Under My Skin, Nicaraguan poet Gioconda Belli looks Caroline Hwang, author of In Full Bloom. back on her life as a feminist in the heart of the Sandinista revolution: Roxanne Dunbar-Ortiz reads her poignant recollections of the triumph and defeat of a dream, p. 12. Out of the rubble I What is it like to be a foster par- by Amy Zalman ent? Kathy Harrison’s Another Place at the Table offers an unusual glimpse of Competing perspectives on the the satisfactions and tribulations that lives of Afghan women come with the job: Edith Milton I reviews her account of caring for “an hen the United States made its of Afghan women from Taliban rule endless succession of abused and neg- opening gambit in the war against occurred as a by-product of the U.S.-led lected children,” p. -
University of Alberta Qasim's Short Stories: .4N Esample of Arnbic
University of Alberta Qasim's Short Stories: .4n Esample of Arnbic SupernaturaUGhost/Horror Story Sabah H Alsowaifan O -4 thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requiremrnts for the degree of Doctor of philosophy Comparative Literature Department of Comparative Literature, Religion, and Filmli\fedia Studies Edmonton, Alberta Spnng 200 1 National Library Bibliothèque nationale 191 ,,a& du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 WeUington Street 395, rue Wellington Onawa ON K1A ON4 Ottawa ON KlA ON4 CaMda Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Libwof Canada to Bibliothèque nationale du Canada de reproduce, ban, distniute or sell reproduire, prêter, distribuer ou copies of this thesis in micloform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/fi.lm, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fkom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Dedica tion To my father and mother. To my supervisor, Dr. Milan V. Dimic. To Mr. Faisal Yousef Al Marzoq. To the Commercial Bank of Kuwait. To Kuwait University. Abstract This dissertation focuses on an Arabic wnter of short stories, Qasirn Khadir Qasim.