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International Conference Rukh and Global September 30th – October 2nd 2010 IMPRINT MASN - Austria (Moving Anthropology Social Network) Sozial- und kulturanthropologisches Kompetenzzentrum und Vernetzungsbüro International Conference ZVR: 401123252 Mail: [email protected] Web: http://www.masn-austria.org Institut für Kultur- und Sozialanthropologie Universitätsstraße 7 1010 Wien and Global Bollywood September 30th – October 2nd 2010 Sincere thanks are given to our PARTNERS & SPONSORS

PARTNERS MASN - Austria (Moving Anthropology Social Network) Museum of Ethnology

SPONSORS University of Vienna: Rectorate of the University of Vienna: O ce for International Relations Faculty of Social Sciences Department of Social and Cultural Anthropology Faculty of Historical and Cultural Studies Department of European Ethnology Department of South Asian, Tibetan and Buddhist Studies BMWF – Federal Ministry of Science and Research ÖFG – Österreichische Forschungsgemeinschaft (Austrian Research Community) Stadt Wien MA 7 – Vienna City Administration Embassy of Additional Sponsors Catering: Ströck Fair Trade CONTENT Shah Rukh Across ofConquering AJourney Continents Human Hearts Khan: |Zawahir Siddique Shah Rukh Cinematic oftheBaroque|Anustup Basu andHindi Kind Khan PLENARY SESSION 2|October1 The Light(Exhibition)| Mandel intheDark Mr. Khan Vienna Loves You Ja |Mehru (Documentary) er Hasnain SCREENING AND ART PRESENTATION and theIdeaofaGlobalized ‘Indianness’ |HannaKlien FemaleReinventing Shah Masculinity: EastIndian Rukh FansKhan in Trinidad and Matrimony from Rampur, |Shrayana India Bhattacharya Shah Desperately Seeking –ReRukh onMasculinities, Movies ections Mahadevan &Kanchana Ganesh Kamala Joharandthecreation Karan of SRK, Beyond boundaries diasporic ‘Bollywood’: WORKSHOP Performing Gender(Part 1)|October1 Lyrics HoonNa:Shah inMain Rukh Chudal andJaved |Alaka Khan Akhtar Garcia SceneinaMixed Diaspora asMultikulti |SilviaMartinez Music Bollywood PeruvianDancing Bollywood: Youngsters andShah Rukh |PetraKhan Hirzer Dreaming ofShah Rukh DancingtoBeatinPrague aBollywood Khan? |Sangita Shresthova andtheDanceGlobal Bollywood Performances ofShah Rukh |Ann DavidKhan WORKSHOP SongandDance|October1 andDiSimilarities erences oftwo Reception Contexts |Florian Krauss Shah Rukh Reloaded? Kapoor –Raj Khan Dollywood: The Pleasures |Bernhard Fuchs ofPlaying Khan withMini ITALIA:Bollywood Blogging Shah Rukh Acciari |Monia inItaly Khan Sudha Rajagopalan Shah Hyperlinked: Rukh intheAKhan Spacesective ofRussianOnlineFandom inGermanythe Reception|Dagmar ofBollywood Brunow you, Shah “Thank Rukh Khan!” Audience Reconsidering Studies: WORKSHOP ReceptionandFandom |October1 ofamovie |Ashish starin2000sBollywood RajadhyakshaThe making andI’m NameisKhan My aStar. from Studies to Rasa Dudrah toAssemblages NewMedia |Rajinder Theory Key SRKandGlobalBollywood: note |Unthinking PLENARY SESSION1|September30th Lecture | Opening The Worlds |Nasreen Munni ofShahRukh Message ofthePresident Welcome Note Imprint st st st st 28 27 26 25 24 23 22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 6 2 and marketing techniques |Györgyiand marketing inglobalisedBollywood Vajdovich Shah Rukh Khan’s pioneerrole inintroducing distribution newproduction, and thePolitics of Trans/National Belonging |Sunera Thobani At Homeinthe World? Shah Rukh Khan Closet|HumaDar anditsMuslim GlobalBollywood theKing: Outing in The Outer World ofShah Rukh |Priyadarshini Khan Shanker Khan Shah viaDocumentary: Star Gazing Rukh Khan’s Stardom Private Own My Shah Rukh Amir |Arya ChasinganImage Khan: Shah Rukh Rintoull andhisLeading andGlobalisationKhan |Robert Ladies:Star Images WORKSHOP StardomandGlobalisation|October2 Team Notes Biographical Shortnotes Cinema inEuropeanEuro-Bollywood. Indian Dudrah, Contexts Bernhard Fuchs |Rajinder RESEARCH NETWORKMEETING| October2 Curator: Lau Mira EXHIBITION Audiences, Participatory Khan, |ElkeMader andtheInternet Shah Rukh Stardom andBollywood |AmyIntermediality Villarejo PLENARY SESSION3|October2 Camp, SRKandtheGlobalDispersalofPostmodernity Sen andKhan: |Meheli Kitsch Accounting for theCamp Cult Appropriation Film ofMale Henniker |Charlie Stars inIndia Performing Femininity through Dance Bollywood inBavaria |Sandra Chatterjee WORKSHOP Performing Gender(Part 2)|October2 A Muslim Voice for Interreligious Peace |Adelheid inIndia Herrmann-Pfandt “And ILove Also“. Shah Rukh Khan: Gham:Reinventing Kabhie theAyodhya Khushi Kabhi Krimmer oftheRamayana|Arno Kanda Shah Rukh Khan’s Reinvention Hero oftheMuslim in NameisKhan”“My |Jaspreet Gill The Brand that isShah Rukh |OmemmaGillani Khan Interrogating Superstardom theLimitsofBollywood |Sreya Mitra NameIsKhan”“My and “Brand SRK”: WORKSHOP ReligionandFilm|October2 PROGRAMME OVERVIEW Kesariya Balam–Love Knows noLimits(Film) Kumar |Sandeep The ´s World. ofSRK|Aradhana Seth Designing theMilieu nd nd th nd nd 70 66 55 52 51 50 49 48 47 46 45 44 43 42 41 37 36 35 34 33 32 30 30 29

CONTENT WELCOME NOTE ing countries. speak- German in like culture fan active very a of basis the form that media cult into developed  Shah have Rukh Khan years lms recent in Thus, . in audiences, Asian particularly South non to as well as Diaspora Indian the of parts large to peal ap- special has He backgrounds. cultural and places diverse from people comprising cinema of world contemporary the in audience largest the holding of reputation the Shah has Rukh Bollywood. Khan global of dynamics new the for icon central the as The conference in Vienna is unique as it focuses on the signicance of Shah Rukh Khan several years. for Vienna of University the at teaching as well as research interdisciplinary of focus a been also have meanings and practices of cluster intercultural an as Cinema the in arrived has Westcinematicwave,a as only lifestyle.not a as on also Studies but the changed and India globalized modern, a has with synonymous almost is it Bollywood India: of view today. receptions audience and contexts cinematic global postcolonialism, with Bollywood shape thatprocesses transcultural ows, and par- of of relationship the cultures.study is overarching fan frameworkThe and audiences ticipant the to regard in particular in interest, of point new a as emerged has processes these in TechnologiesCommunication and Information of role the more, Further- performances. and practises cultural diverse as well as audiences and lms embracethattopics of internationalresearchconferencevariety the a dedicatedto is of line this In perspectives. theoretical and disciplines of range wide a from research circulation of CinemaIndian in a globalized world has also become focus of academic cinema. The mainstream successful highly as itself established and world the over all audiences new conquered – has “Bollywood”Cinema - Hindi popular years recent In and theConferenceCommittee Welcome fromtheOrganisers 6 ductive exchangeductive with otherscholarsandapleasant stay in Vienna! pro- insights, new many you promise committee conference the and organisers The with connection in productions Shah culturalRukh andGlobalBollywood. Khan on view of points their share will cinema and art of world the representativesof distinguished Furthermore, dance. and music Bollywood of performances cultural local with connection in as well sexuality,as and gender performing to relation in internet; the on consumption and production dia polyme- of realm the in position his toregard in relations;religious inter and nialism, colo- post globalisation, stardom, of issues with connection in discussed arework his and Theworld. media-centred a in meaning create to way a as stardom about questions general to relate topics Shah Its Rukh phenomenon Khan. cultural global the concerning topics of range wide a about confer to sciences social and manities, hu- arts, the in various study from of scholars elds together brings conference The 7

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NASREEN MUNNI KABIR DIRECTOR, PRODUCER, FILM STUDIES

The Worlds of Shah Rukh Khan

Stars have never been as popular as they are today. Though Hollywood has largely dominated the world of entertainment, it came as a surprise to the West in the early OPENING LECTURE | SEPTEMBER 30 2000s, that millions of people were interested in an altogether di erent kind of cin- ema – Indian  lm – and the stars of that cinema had far greater appeal for audienc- es from diverse religious, social and political worlds than ever imagined. Every de- cade, India has had its leading , but since the mid-nineties it is Shah Rukh Khan (SRK) who has emerged as India’s most popular star. Aided by the Net and his active Tweets, his fame continues to intensify and spread. Today his following rivals Beatle- mania at its height.

As a documentary director/producer, made two  lms (The In- ner and the Outer World of Shah Rukh Khan), which aimed to observe SRK up-close during his Temptations, 2004 as it toured the UK, and twelve North American cities, ending in Toronto, Canada. SRK has de ned for his generation (and it seems the next generation too) – the perfect fantasy of the Indian hero and in real life, he has come to enjoy a far bigger place in the collective psyche than his screen characters. But unusually this love works two-way. One of the many striking things about SRK is his admission of his addiction to stardom: “I’m very clear about loving stardom. I love people loving me. If I’m not going to be in that situation, I’ll just be with myself. I will not be able to come out of the four walls of my house and the crowd not screaming. I don’t think I’ll be able to do that.”

The discussion in this paper will center around what this most charismatic star means to his fans and the psychology of a man caught in the eye of an adoring storm.

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RAJINDER DUDRAH ASHISH RAJADHYAKSHA UNIVERSITY OF CSCS (CENTRE FOR STUDIES IN CULTURE AND SOCIETY) BANGALORE DEPARTMENT OF , HEAD OF THE DEPARTMENT SENIOR FELLOW

Key note Unthinking SRK and Global Bollywood: from Film AND I’M A STAR Studies to Rasa Theory to New Media Assemblages The Making of a in 2000s Bollywood

The rise of the study of Bollywood (contemporary popular Hindi cinema from India) The role and purpose of stardom has changed in the Indian cinema over the de- over the past ten or more years has raised a number of questions for researchers in- cades. Shah Rukh Khan is perhaps India’s leading example of what we might call 21st PLENARY SESSION 1 | SEPTEMBER 30 PLENARY terested in this growing phenomenon. This paper will o er an overview of the recent century stardom. Given that Khan is primarily a movie star, it is striking to note how SESSION 1 | SEPTEMBER 30 PLENARY academic history of the growth of this  eld as it has engaged with issues informed little, comparatively speaking, he depends on the cinema to de ne himself. Khan is by scholars who have invariably worked with classical Western screen theory and In- as much a television star as he is a sports icon, a design clothes horse as much as a dian narratives; Indian tropes and cultural theory; and more recently a turn to new brand ambassador. media studies, globalization and assemblages. An assessment of the  eld will allow Which perhaps makes it an interesting question as to what the role of the cinema us to possibly answer the following questions towards a critical study of SRK and now plays in his persona. And that question, once we have asked it, throws up very Global Bollywood Cinema: What is “Bollywood” as nomenclature and object of study? strange answers: speci cally if we see Kal Ho Na Ho and My Name is Khan. How and in what ways has this area been pursued, namely from across work in  lm, Both are in many ways new-gen  lms that incorporate everything that Khan stands media and cultural studies? What are the recent and emerging trends in the study for as a star, but both  lms have a curiously orthodox core that the rest of Khan’s per- of this cinema that o er further useful research agendas for scholars, practitioners sona would be hard pressed to admit to. Both are, almost in a way, political  lms in and students working in  lm and media studies across local and transnational con- an extraordinarily old fashioned sense of the term. Kal Ho Na Ho argues for individual texts? How might answers to these questions help us to productively articulate the autonomy that would have been conventional in the era of , while My relationship/s between SRK and Global Bollywood? Name is Khan wraps around its neoliberal sentimentality a startlingly conventional core. Once again, Shah Rukh Khan,  lm star, brings our attention back to 2000s Bollywood and asks what the cinema, an astonishingly small economy within the larger  ash and glitz of globalized India, is doing in a place like India.

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DAGMAR BRUNOW SUDHA RAJAGOPALAN UNIVERSITY OF HALMSTAD UTRECHT UNIVERSITY, MEDIA AND CULTURE STUDIES FILM STUDIES, PHD CANDIDATE AT HAMBURG UNIVERSITY RESEARCH AFFILIATE LECTURER IN FILM STUDIES AT HALMSTAD UNIVERSITY

“Thank you, Shah Rukh Khan!” Reconsidering Audience Hyperlinked: Shah Rukh Khan Studies: the Reception of Bollywood in Germany in the Affective Spaces of Russian Online Fandom

In my paper I suggest that the German reception of Bollywood allows us to compli- In contemporary Russia, Shah Rukh Khan (SRK) has a devoted following of fans who cate common notions prevalent in audience studies. On the one hand it points at the call themselves Sharumanki, a portmanteau blending the two words “Shah Rukh” and need for the analysis of speci c national audiences (Larkin 2003), on the other hand “maniaki” (Russian for “fanatics”). This paper, situated in the stream of scholarship on it shows that the distinction between Indian and diasporic NRI-audiences is not suf- online fandom, explores the manner in which SRK’s star status is constructed in the  cient. While Bollywood overseas has often been analysed in terms of diasporic mar- lively fan spaces of the Russian-language internet (Runet) and examines what this re- keting (Mishra 2002, Iordanova 2002), studies of the reception of Bollywood focus on veals about Russian fan identity in the process. diasporic audiences, on NRIs, on identity and belonging (Gillespie 1995, Cunning- Dispersed geographically, Russian fans meet in online communities, where SRK’s ce- ham/Sinclair 2001, Mishra 2002). Bollywood in Germany, however, cannot be con- lebrity is very actively sustained and promoted through their practices of download-

WORKSHOP RECEPTION AND FANDOM | OCTOBER 1 | OCTOBER AND FANDOM RECEPTION WORKSHOP ceptualised with notions of homeland, nostalgia and belonging, at least not when ing, translating and sharing of knowledge and the production of star-related arte- 1 | OCTOBER AND FANDOM RECEPTION WORKSHOP it comes to the White German audiences. The German reception also shows that facts. Sharumanki post readings of Shah Rukh’s  lms, showcase their connoisseurship Straubhaar’s notion of “cultural proximity“ (1991/2007) should be reconsidered. about Indian cinema and its stars, make pronouncements on how the star has helped Therefore, the aim of this paper is twofold:  rst, to point out the stages of the Ger- them through personal crises and create Shah Rukh-centred digital art and fan po- man reception and second, to complicate the current methodological and theoreti- etry. They not only co-construct SRK’s celebrity but also inscribe their personal/col- cal perspective prevalent in audience and reception studies. In order to highlight lective selves into the star narrative. In doing so, they perform their own identity as a the industrial context, it could be useful to examine how physical spaces like cities distinctive subculture that must alone do the work of sustaining Shah Rukh’s transna- shape the reception of cultural products. While the German research most often tional stardom in Russia. foregrounds Bollywood as a mainstream phenomenon centred around the star per- sona of Shah Rukh Khan, it is important to note that Bollywood in Germany should be perceived as a cultural practice having entered the mainstream via an art-house and camp circuit. Presenting a case study of the reception of Bollywood in Hamburg I will argue that the German example shows how diasporic audiences cannot be ho- mogenized. Therefore, this perspective could de-essentialise notions of migrant and diasporic audiences, in a tradition outlined by Stuart Hall (1990), Ien Ang (1991), Paul Gilroy (1993a) and Gayatri Gopinath (2005) and rather focus on communities united by consent instead of descent.

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MONIA ACCIARI BERNHARD FUCHS UNIVERSITY OF MANCHESTER UNIVERSITY OF VIENNA FACULTY OF DRAMA EUROPEAN ETHNOLOGY PHD CANDIDATE ASSISTANT PROFESSOR

Bollywood ITALIA: Blogging Shah Rukh Khan in Italy Dollywood: The Pleasures of Playing with Mini Khan

This paper intends to carry forward the study on the impact of Bollywood in Italy. My Merchandising products (besides marketing of  lm music) are almost absent from PhD project at the University of Manchester explored the cultural and aesthetic im- the Indian  lm industry – there have been only few attempts to link movies with the plications of the relationship between Italy and India on and o the screens of Italy toy industry. In 2006 a glamorous launch of a “Bollywood legends” doll series took following the 90s boom of Bollywood in Europe. My previous study charted two spe- place in Harrods in London and the Marriot Hotel in . The dolls represent ci c areas of dissemination: social and through the media, speci cally television and , , , and Shah Rukh Khan. The concept has been cinema partially neglecting new media, “on-line” communities, cybersociety and on- developed by UK based entrepreneur Shameen Jivraj. This product is distributed line cultural formation as associated to fandom. for a global market and targeted towards all age groups and intended to be a toy Italy experienced its own (re)discovery of Bollywood through an interrogation on for children and a collector’s item for adults. Although the economic success of this

WORKSHOP RECEPTION AND FANDOM | OCTOBER 1 | OCTOBER AND FANDOM RECEPTION WORKSHOP the cultural factors which were “delivering” the Indian cinematographic industry in series was rather limited it became an important feature of Bollywood fan culture. 1 | OCTOBER AND FANDOM RECEPTION WORKSHOP the rest of Europe. Albeit remaining outside the “maniac” circuits of imitation and re- The dolls’ reception by children remains invisible for media ethnography. On the production, Italy began contemplating both mutual cultural exchanges of the past other hand adult Shah Rukh Khan Fans present their practices in Cyberspace. The and historical similarities, uncovering dynamics for the two countries to communi- paper analyses this  eld of cultural creativity in the intersection of Material-, Visual-, cate and establish a “zone of aesthetic contact”. Terms such as Bollywood, India and and Cyber-Culture, the innovative combination of entertainment industries, cinema its cultural-aesthetic paraphernalia have been embodied in and his San- and doll-art: “Dollywood” (a poetic term created in this milieu). As the haptic aspect dokan since the 1970s and essentialised as exotic stereotypes within a common cul- of merchandise is lacking in Indian cinema culture active audiences in the West use tural memory. After 40 years, Sandokan has left the scenes to the new ‘hero’ of global this for signifying practices. Playing with the star-doll became a unique fea- Bollywood: Shah Rukh Khan who, by populating fan blogs continuously presents the ture of Shah Rukh Khan fan cultures: A “Mini Khan” is sent around the world, strength- idea of postcolonial globalised India. My attention will be devoted speci cally to the ening international networks by travelling from one fan to the other. Creative fans blog Bollywood ITALIA a “remarkable artefact of the web” in Italy. Bollywood ITALIA tailor clothes, re-enact scenes, make photos, describe and discuss their work in on- brings about new perspectives on Shah Rukh Khan as new gateway of Bollywood line texts. Such activities combine intensi cation of internal communication with the abroad. The question that this paper aims to answer is: does Shah Rukh Khan become hope of gaining recognition by Shah Rukh Khan himself. The star becomes accessible part of new global semiotic productivities and narrativities through the space of Bol- via the doll. Even the imagination (or rather illusion) of controlling the star is made lywood ITALIA? possible by this artefact.

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FLORIAN KRAUSS ANN R. DAVID FILM & TELEVISION ACADEMY POTSDAM-BABELSBERG ROEHAMPTON UNIVERSITY LONDON FILM STUDIES DANCE STUDIES PHD CANDIDATE PRINCIPAL LECTURER

Shah Rukh Khan – reloaded? Global Bollywood Similarities and Differences of two Reception Contexts and the dance performances of Shah Rukh Khan

My paper aims at broadening the perspective on Shah Rukh Khan and Bollywood in This paper examines the construction of global culture and the wide-ranging appeal Germany by looking at the former circulation of Hindi  lms in Western and Eastern of  lm stars such as Shah Rukh Khan through a selection of the Bollywood  lms of the Germany in the late 1950s and early 1960s. I argue that there are important links be- 1990s and the new millennium. Using an analysis of Khan’s appearance in the dance tween that context to today’s reception. sequences in Dil Se (1998), (1998), Asoka (2001) and Om Shanti It is widely unknown that Hindi  lms have been shown in German cinemas long be- Om (2007), I question how the Bollywood dancing body is constructed and how ap- fore the era of “ Khan”. Awara (1951) was screened in the GDR as Der Vagabund peal and desire are managed and controlled for global consumption. Drawing on 1 AND DANCE | OCTOBER SONG WORKSHOP and in Western Germany under the Awara – Der Vagabund von Bombay. Besides, ethnographic  eldwork carried out in Bollywood dance classes, I analyse the e ect at least in the GDR some more Hindi classics have been distributed o cially: Shree of Khan’s performances on both male and female audiences and dancers and seek to

WORKSHOP RECEPTION AND FANDOM | OCTOBER 1 | OCTOBER AND FANDOM RECEPTION WORKSHOP 420 (1955) as Der Prinz von Piplinagar, Jagte Raho (1956) as Unter dem Mantel der draw some conclusions about the mixed discourses at play in his  lms as well as the Nacht and Shambhu (1953) as Shambhu. potential ability to cross prescribed and perceived boundaries. How is the diaspor- By analysing newspaper articles from the late 1950s and early 1960s I elaborate on ic imagination fed through his  lms? Is there a “double” exoticism at play here? The parallels towards recent perspectives on Bollywood and Shah Rukh Khan. The reviews paper attempts to unpick the “local negotiations of historically shifting relations of and the  lm selection indicate that Raj Kapoor has been of particular importance. image production and consumption” in the complex context of Bollywood  lm and Correspondingly, the German media mostly focuses on one particular star – Khan’s performances and asks whether he is now perceived as the personi cation of Shah Rukh Khan – when it comes to Indian cinema nowadays. The articles from the Bollywood itself. 1950s and 1960s particularly deal with one  lm – the global blockbuster Awara. There is a parallel to today´s media reception of Indian cinema: Very few Shah Rukh Khan  lms have dominated the Bollywood circulation in Germany since the early 2000s and functioned as prototypes. Similar to the contemporary “Bollywood discourse” reviews on Awara give the im- pression that India cinema is less sophisticated than its Western counterparts and less “realistic”. But the GDR press partly appraised a “critical realism”, too. Some articles interpret Awara or even more general Indian cinema in a “socialist” way. Such read- ings were obviously linked with the historical and political context but maybe also with the star persona shaping the idea of Indian cinema at that time: Raj Kapoor. He plays the poor “little man” in various  lms and may have encouraged another view on Indian cinema than Shah Rukh Khan and his rich “Raj and Rahuls”.

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SANGITA SHRESTHOVA PETRA HIRZER UNIVERSITY OF SOUTHERN AND PRAG UNIVERSITY OF VIENNA COMPARATIVE MEDIA STUDIES SOCIAL AND CULTURAL ANTHROPOLOGY FILMMAKER, CHOREOGRAPHER, DANCER PHD CANDIDATE

Dreaming of Shah Rukh Khan? Dancing Bollywood: Dancing to a Bollywood Beat in Prague Peruvian Youngsters and Shah Rukh Khan

Today, Bollywood dance, a colloquial term used to describe choreography inspired Bollywood’s great popularity is not limited to India or the Indian diaspora. As a global by song-and-dance sequences in Hindi  lms, is fast becoming a global phenomenon phenomenon of media reception Bollywood literally has no borders. In Peru diversi- in urban centers from , Mumbai, Kathmandu, London, to Prague. Driven  ed fan cultures in connection with Indian Popular Cinema comprise several levels of by enthusiasm expressed by Indian and non-Indian audiences to experience chore- social practices and raise a lot of questions in regard to globalization, media studies ography contained in Hindi  lms, Bollywood dance has now emerged as a popular, and gender issues. How does the audience identify with topics, characters and mean- WORKSHOP SONG AND DANCE | OCTOBER 1 AND DANCE | OCTOBER SONG WORKSHOP lucrative, and recognized movement category. In Mumbai, the globally savvy  lm ings presented in Hindi-? Is Shah Rukh Khan, sometimes described as a modern 1 AND DANCE | OCTOBER SONG WORKSHOP industry increasingly caters to diasporic tastes in hopes of capturing much coveted god of India, the key-component within this framework of transcultural reception of overseas markets. In the , staged interpretations of Bollywood  lm song Indian Cinema? and dance sequences dominate annual cultural shows organized by South Asian The paper is based on ethnographic  eldwork in Peru and lays special emphases on associations on college campuses. In the United Kingdom, Bollywood dance now the analysis of local Bollywood fan-communities. On the one hand, it will discuss the competes with Indian classical in representing an imagined India to the broader pub- perception of Shah Rukh Khan and the content of respective movies. On the other lic. Recently, Bollywood dance also emerged as a recognized movement category in hand, it will describe the performative dimension of fan culture, in particular “Bolly- the Czech Republic, where these dance classes are generally taught by teachers only wood-Dancing” that has become a global phenomenon in itself. In Peru, members marginally connected to the Hindi  lm dance industry. of local fan-communities frequently meet to dance to the beat of Hindi-Films. Their This growing popularity of Bollywood dance in a country with a relatively small choreographies are inspired by the song-and-dance sequences in the movies but South Asian diasporic population and negligible Hindi  lm distribution structures also incorporate Latin American dances like Salsa or Cumbia. The paper will discuss raises many questions. Does Bollywood dance in performance in the Czech Repub- the practice of dancing Bollywood in Peru as a localized global phenomenon and lic express a new found multicultural post-communist tolerance of diversity? Does thereby focus on processes of acquisition, adaptation, and hybridity. it provide continuity to Hindi  lm distribution structures in Eastern Europe that pre- date current globalization e orts? Or are we witnessing a renewed Orientalized per- formance of exotic fantasies? In this presentation, the dances performed at the ama- teur Bollywood dance competition organized by the Prague Bollywood Festival in 2010 become an entry point into examining Bollywood dance in the Czech Republic. Drawing on comparative analyses of Bollywood dance around the world, I approach live Bollywood dances as sites of remediated and performed Hindi  lm reception that challenge conventional understandings of production and consumption, reality and fantasy, embodiment and migration.

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SILVIA MARTINEZ GARCIA ALAKA CHUDAL ESMUC BARCELONA UNIVERSITY OF VIENNA MUSICOLOGY DEPARTMENT DEPARTMENT OF SOUTH ASIAN, TIBET & BUDDHISM STUDIES HEAD OF DEPARTMENT

Bollywood Music Lyrics in “”: as Multikulti Scene in a Mixed Diaspora Shah Rukh Khan and

Countries that are not traditional destinations for immigrants allow new diaspo- Main Hoon Na (2004) starts and ends with two dramatic action sequences, but the ras to develop their own cultural practices in a relative  exible way. Less visibility as heart of it is pure, complete and cheerful Bollywood entertainment. Director Farah immigrant community could mean less hostility from the host society and fewer Khan pays careful attention to all the details – comedy, action, melodrama, costumes, pre-established clichés. This situation gives new citizens the opportunity to manage songs (with Javed Akhtar’s lyrics and Anu ’s music), and the playful choreogra- alternative strategies to negotiate their integration. phy with Shah Rukh Khan at the centre. Despite the highly political background story WORKSHOP SONG AND DANCE | OCTOBER 1 AND DANCE | OCTOBER SONG WORKSHOP Starting from these assumptions and looking at the Bollywood scene in Spain, my (Indo-Pakistani hostilities, peace negotiations, terrorist attacks etc.) the songs contin- 1 AND DANCE | OCTOBER SONG WORKSHOP paper is focused on: 1) the way in which musical practices provide situations to ne- ue to be popular for their seemingly apolitical lyrics: for example the opening song, gotiate concepts like “modern”, “traditional”, “own”, “authentic”, etc.; 2) how this prac- with the entire college cast out dancing, the title song Maĩ hū nā, Shah Rukh Khan tices became for young Pakistanis an alternative way to display ethnicity and build with Susmita Sen in Tumhẽ Jo Maine Dekhā, the party song Gorī Gorī and  nally the their public image; and 3) the raising multikulti scene built around Bollywood dance qawwālī (Su devotional tune) Tumse Milke Dil Kā Jo Hāl, as a pop song in plastic classes, parties and performances. Just a few years ago, Barcelona was included in a look. This paper will analyze the di erent poetic dimensions of the song lyrics in the Shah Rukh Khan’s Tour and, at the same time, an informal and particular market has  lm, and highlight the role of Javed Akhtar as a major voice of SRK. been growing and disseminating through neighbourhoods with a clear majority of immigrant population coming from . A discreet distribution net of video-clips,  lms and music nests in telephone calling centres, food stores, hairdressing salons, and all kind of stores managed by and oriented to migrants. Since that, Bollywood provides both local bands and public a succesfull dance music sometimes performed as an alternative sound to the cliché exploited by the World Music industry. My research tries to explain how Bollywood o ers them catchy rhythms and sophisti- cated productions aimed at the body and touched by an exotic Orientalism and a certain sense of global modernity.

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KAMALA GANESH KANCHANA MAHADEVAN SHRAYANA BHATTACHARYA UNIVERSITY OF MUMBAI UNIVERSITY OF MUMBAI DEPARTMENT OF SOCIOLOGY DEPARTMENT OF PHILOSOPHY PROFESSOR READER

Desperately Seeking Shah Rukh – SRK, and the Creation of “Bollywood” – Refl ections on Masculinities, Movies Beyond Diasporic Boundaries and Matrimony from Rampur, India

The emergence of the term “Bollywood” to denote the Hindi  lm industry has loosely It is the attempt of this paper to explore the idealised notions of masculinity embed- coincided with a transformation of its iconic vocabulary from an emphasis on the ded in male iconography, seen through the eyes of poor female home based embroi- macho, violent and angry young man to a more soft and meterosexual hero oper- dery workers in rural , India. Conversations suggest that the creation ating amidst the emotional landscape of romantic and family relationships. This of the notional ideal male relies heavily on Indian  lm and Shah Rukh Khan appears change has also marked the “crossover” moment when Bollywood  lms have gone as a constant benchmark by which masculinity is de ned by the single and married global, with serious competition being given to viewers in India by diasporic as well women interviewed. Paid work allows these women the space, social networks and as non-Indian audiences abroad.  nancial resources to access their favourite movie star and their preferred form of en- If the roles and persona of SRK are the symbols of this transformatory moment, tertainment – a new phenomenon viewed with suspicion by elders and male mem- then Karan Johar best exempli es the producer and director who has enabled it. Jo- bers of the community. The paper shall highlight how such interaction with  lm icons har has become known for exploring the Indian family through a technically skilled through greater dispersion of communication technologies results in women making treatment, with the conventional accoutrements of Bollywood glamour in terms of consistent attempts to incorporate expectations and understanding of “maleness/ WORKSHOP PERFORMING GENDER (PART 1) | OCTOBER 1 1) | OCTOBER PERFORMING GENDER (PART WORKSHOP 1 1) | OCTOBER PERFORMING GENDER (PART WORKSHOP song, dance, costume, location, etc. while simultaneously interrogating the “givens” mardangi” in their fathers, brothers and husbands; and explores why SRK emerges as of traditional Indian “family values”. Thus via a conventional glossy surface, he has an ideal male for the community of women interviewed. conveyed what are in the Indian context startling and radical interpretations. He has During  eld work conducted between August 2006 and September 2007 in Rampur softened and sugar coated his messages through the medium of SRK’s persona, his for a project associated with social protection for home based workers, initiated by charisma and his popularity. Karan Johar and SRK – the glossy radical and - UNIFEM, SEWA and ISST in Uttar Pradesh, 22 semi structured interviews with women essential meterosexual – share a strong professional and personal bond even though engaged in appliqué work and a district survey of 175 households provide further each has worked with others. insights into women’s conception of the masculine and the role Indian  lm stars such The paper explores the dynamics and synergy of their work together and its signi - as Shah Rukh Khan play in the creation and vocalisation of these concepts and expec- cance in the creation of global Bollywood. tations within lived experiences of community and marital relations.

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HANNA KLIEN MEHRU JAFFER HASNAIN UNIVERSITY OF VIENNA, WRITER, LECTURER SOCIAL AND CULTURAL ANTHROPOLOGY UNIVERSITY OF VIENNA, WEBSTER UNIVERSITY PHD CANDIDATE

Reinventing East Indian Masculinity: Female Shah Rukh Khan Fans in Trinidad and the Idea of a Globalized “Indianness” Mr. Khan Vienna Loves You (Documentary)

This paper is based on a reception study of Hindi  lms in Trinidad and focuses on the Date of Completion: July, 2010 role Shah Rukh Khan plays in the renegotiation of female identities in the younger Language: English, German and Hindi (with English subtitles) generations of the Indo-Trinidadian community. The actor is often seen as “mediat- Duration: 45 minutes ing signi er”, bridging the local and the global as well as diaspora and homeland in the context of NRI and Indian audiences. As Hindi  lms have always been a primary In 2005 after RTL II, a German television channel, aired the  rst Bollywood  lm star- identity marker of East Indians (a term used to di erentiate between Trinidadians of ring Shah Rukh Khan it opened a whole new world to viewers in central Europe. Many Indian ancestry and others) in Trinidad and were used to imagine the ‘homeland’, it is found the sights and sound of India incredible on screen but for others it was love at not surprising that the younger generation draws on the big star of contemporary In-  rst sight with Shah Rukh Khan, Mumbai’s biggest matinee idol. SCREENING AND ART PRESENTATION | OCTOBER 1 | OCTOBER PRESENTATION ART AND SCREENING dian  lm as a symbol of a globalized and modern “Indianness’” It is especially young Mr. Khan Vienna Loves You is an intimate journey into the home and heart of those in women who use the star image as well as contemporary Hindi  lm in general, to re- love with Shah Rukh Khan in the Austrian capital. This independent documentary brings negotiate existing gendered identities. Shah Rukh Khan fans also known as Shah Rukhis under one roof to talk about their re- WORKSHOP PERFORMING GENDER (PART 1) | OCTOBER 1 1) | OCTOBER PERFORMING GENDER (PART WORKSHOP To understand the new notions of East Indian masculinity constructed by female au- spective fascination with the Indian actor. They come from diverse walks of life but are diences in Trinidad, it is important to give an overview of the existing male gender united in admiration for their favourite Bollywood movie star from another continent roles. It is mainly in opposition to male stereotypes such as the wife-beating alcoholic, and culture. Similar to fans of a football team or of a rock star, Shah Rukhis are show- the penny-pinching businessman or the idle Chutney singer that young women cased laying the foundation of a thriving subculture in the very heart of Europe. form ideas of what they desire in a man. Mostly, the evolving ideal corresponds with Mr. Khan Vienna Loves You gives insight into a world of love created by Shah Rukhis for the urge to be liberated from patriarchal repression. However, this does not mean themselves. The documentary is an invitation by some fans into their apartment that embracing Western ideas of femininity, and emancipation. The female are converted into museums, displaying memorabilia collected over half a decade. identities these women seek to establish clearly mark their East Indian origin, when Travel with Shah Rukhis across continents in the hope of a hug from Shah Rukh Khan long nourished images of “Indian” traditions are applied and at the same time con- and a photograph with him. Party with Shah Rukhis, listen to them emote of the time solidated with values of a consumption oriented, global culture. Consequently, ideas when Shah Rukh Khan spent three days in Vienna during the 2008 world cup football and images of marriage, love, family life and sexuality allow valid conclusions as to tournament and participate in discussions about the academic research in progress what this new “Indianness” might be. on Shah Rukh Khan at the University of Vienna. This is the story of dozens of fans of Shah Rukh Khan. More importantly the docu- mentary is about love for a movie star who  lls the life of his fans with the colourful .

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ANNA MANDEL ANUSTUP BASU GERMAN SCULPTRESS AND PAINTER UNIVERSITY OF ILLINOIS DEPARTMENT OF ENGLISH: ENGLISH AND CINEMA STUDIES ASSISTANT PROFESSOR

Shah Rukh Khan and Hindi Cinematic Melodrama The Light in the Dark of the Baroque Kind

Before I knew anything about Hindi cinema my paintings were movement turned This paper theorizes the Shah Rukh Khan phenomenon of the early nineties as “ba- 1 SESSION 2 | OCTOBER PLENARY into colour,  oating colour, depth and light, like my sculptures are movement turned roque” entity that transformed certain melodramatic structures of the post-inde- into form. pendence classical Hindi  lm. I am proposing “baroque” here in the Benjaminian Then I found a di erent kind of light: sense, as expression of unremitted desire. In early signature  lms like /The I saw “Veer Zaara” and my world changed. From then on in my paintings fragments Player (Abbas Mastaan, 1992) and /Fear ( Chopra, 1992) the Khan persona of some stories emerge amidst the colours. For some beholders the stories are read- was a schizophrenic rewriting of the conventional Hindi cinema hero that went with able, for others not. the irreverent winds of globalisation. The charisma and allure of Khan thus lay in its Painting on canvas or beech wood I try to transfer something told in the medium of harboring and schizoid display of desires (for women, for money) that could not be SCREENING AND ART PRESENTATION | OCTOBER 1 | OCTOBER PRESENTATION ART AND SCREENING light and movement into the solid medium of paints. named in an erstwhile patriarchal order de ned, from competing directions, by a Not only to keep the displayed emotions, but to let them become one’s own. parsimonious Gandhian anti-modern agrarianism and a “protected” Nehruvian indus- The presentation will talk about the evocation of emotions, the colours of voices, trial socialism. The spectacle generated by the cinematic assembling of the faithful about movement and its transformation into light. wife, the psychotic villain, and a mise-en-scene of transnational consumerism, tour- ism and lifestyle in Darr therefore remains an obstinate expression of unremitted de- sire. That is, a perverse, but much more “enticing” spectacle of consuming the female in the high tides of globalisation. This body of a ects can neither be mitigated nor absolved by a formal coming together of the subject, unity, and law when the vil- lain receives his terminal punishment. They leave a powerful residue in death, potent enough to blast the continuums of the very protectionist totalities (the welfare state, the feudal joint family) that kill the charismatic wrong doer. The obsession in Darr is that forbidden delirium that precedes the arrival of a planetary neo-liberal order. It is a stylized, hyperbolic presentation of a new credo of individualism that had already made its historical entry in an opened out India. Khan’s orphan persona’s psychosis is an ensemble of male desires for money, recognition, goods, women, and power that are retailed and yet to be named. He is fascinating precisely because between the stammer in Khan’s acting and the dying smile of the maniacal stalker, he has already announced the irresistible arrival of a community of sons that are demanding a new covenant from the fathers of old: the Nehruvian state, as well as the agrarian feudal class. In doing so, it demands a new sacred name for what was the profane.

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ZAWAHIR SIDDIQUE ARADHANA SETH MS RAMAIAH INSTITUTE OF MANAGEMENT, BANGALORE VIENNA ASSISTANT PROFESSOR PRODUCTION DESIGNER, ART DIRECTOR, FILMMAKER

Shah Rukh Khan: A Journey of Conquering The Don’s World: Human Hearts Across Continents Designing the Milieu of Shah Rukh Khan

PLENARY SESSION 2 | OCTOBER 1 SESSION 2 | OCTOBER PLENARY The glory Shah Rukh Khan (SRK) has achieved in over two decades is a mystery that Production Design is the art of envisioning and manifesting the context in which 1 SESSION 2 | OCTOBER PLENARY his critics and fans  nd di cult to explain. With a single minded determination he characters come to life on the silver screen. Expected to simultaneously build the has achieved one victory across continents: conquest of human hearts. persona, the , and the characters that inhabit the design, as well as literally fade This paper attempts to explore di erent layers of SRK’s enigmatic personality. into the background so that the story, action and stars can occupy the foreground, As a middle class Indian Muslim, SRK followed the path of , believing Production Design is an art that has morphed over time in Indian Cinema. in cultural synthesis. He married a Hindu and encouraged his children to learn the Using the marker of the  lm Don,  rst produced in the 1970s with India’s then super- message of Bhagwat Gita, and Bible. His clean personal life only added to the star, , and then remade post-2000 with India’s current reigning su- glamour of his stardom. perstar Shah Rukh Khan, we will explore the changes in stage architecture from Don As a successful businessman, his business acumen and people management skills are (1978) to Don (2006). essential lessons for any business school worldwide. The presentation is centered on the creation of the world that surrounds As a producer, his uncompromising commitment to portray himself as a creative pro- Shah Rukh Khan’s contemporary Don. The creation of his headquarters, his home and ducer and not a commercial producer attributes to his success in making movies like the design choices that inhabit his world will be discussed, as will the choices made Asoka and Phir Bhi Dil He Hindustani embedded with powerful social messages de- to contrast the good, working class character, and a discerning Don, as conver- spite commercial setbacks. sant with the value of stolen world art as he is with guns. As an actor, SRK dared to rede ne the landscape of acting lessons. His success came Of particular interest is the interplay between Shah Rukh Khan’s global superstar im- from connecting to his audience and the camera was only a mere medium in his mis- age and the design of the Don character in the 2006  lm which presents a global- sion. It is not a coincidence that he is known to be the “powerhouse of energy” in the ized, slickly produced 21st century India. Don of the 1970s tacks between the streets industry. He used his energy, emotional connectivity, and mesmerizing voice as three of Churchgate and the Filmistan sets of Bombay, generating a character rooted in the indispensible ingredients of his acting skills. His fans are not concerned about con- visual life of the city. The present-day Don exhibits an ease in moving between the ventional acting skills as long as they feel he can connect and energize. Champs Elysees in , the Cable Car in Lagkawi, the Petronas Towers in Kuala Lum- As the Brand Icon of India, SRK has also managed to connect with the masses pur, as well as returning to the streets of Mumbai, and singing on the sets of Film through his favorite medium: television. Daniel Goleman’s ground breaking book on City. The  lm in a sense becomes a microcosm of global Bollywood and the increas- emotional intelligence creating waves in the 1990s coincided with the journey of a ingly far  ung reaches of Shah Rukh Khan’s cosmopolitan, globe-trotting existence successful icon whose emotional intelligence is unparalleled. and popularity.

28 29 ST nd

SANDEEP KUMAR ROBERT RINTOULL VIENNA COPENHAGEN UNIVERSITY DIRECTOR DEPARTMENT OF ENGLISH, GERMAN AND ROMANCE LANGUAGES PHD CANDIDATE

SCREENING | OCTOBER 1 SCREENING | OCTOBER Kesariya Balam – Love Knows no Limits Shah Rukh Khan and his Leading Ladies: (2010, Austria/India) Star Images and Globalisation

Billed as the  rst Austrian Bollywood  lm, this is Vienna Bollywood-style, re ecting This paper will focus on globalisation and SRK’s star image, viewed predominantly the opulence and splendour of the city, and its kitsch. Indian born Director Sandeep through the eyes of his leading heroines: Kajol, Ashwairya Rai, , Preity Kumar has done a Raj Kapoor of sorts by being producer, director and lead actor of Zinta and Rani , in  lms such as Kuch Kuch Hota Hai, , Kabhi Alvida a  lm titled “Kesariya Balam”. The storyline of “Kesariya Balam” is also of typical Bol- Naa Kehna, Veer Zaara and Khabie Khushi Khabie Gham. In this paper, I will discuss lywood style with separation and reincarnation added as twists. The movie has cross- how the role of the traditional Indian woman both a rms SRK’s super-star status, and references to Shah Rukh Khan and  lms like , Aaja Nachale, etc. helps to act as an acceptable transformative bridge for transcultural processes with- The  lmmaker also happens to be Shah Rukh Khan’s schoolmate. in the strict demarcations of Hindu and Moslem socio-religious traditions. Through This is Sandeep Kumar’s  rst feature  lm, but he has won several awards for short relevant examples from the aforementioned  lms, I will argue that without the star  lms made by him in the past. This feature  lm is getting rave reviews in Austria and presence of these extraordinarily talented women, and their ability to translate mo- the Austrian newspaper headlines term the  lm as “Indian Magic in Vienna” and “Love dernity and tradition for both an Indian (home) audience and an overseas diaspora Without Borders”. This acceptance for Bollywood movies seems to be the trend in audience, SRK’s ability to cross East/West global barriers would be far less e ective. WORKSHOP STARDOM AND GLOBALISATION | OCTOBER 2 | OCTOBER AND GLOBALISATION STARDOM WORKSHOP Austria which will just continue to grow in the future. Kesariya Balam is a non-commercial venture dedicated to increase awareness of Bol- lywood style  lms in German speaking Europe.

30 31 nd nd

ARYA AMIR PRIYADARSHINI SHANKER UNIVERSITY OF VIENNA NEW YORK UNIVERSITY THEATRE AND FILM STUDIES DEPARTMENT OF CINEMA STUDIES PHD CANDIDATE PHD CANDIDATE

Star Gazing via Documentary: Shah Rukh Khan’s My Own Private Shah Rukh Khan: Chasing an Image Stardom in The Outer World of Shah Rukh Khan

Bombay  lms do not just re ect, but also engage self-con dently in the public In closely examining the second part of the documentary  lm The Inner/Outer discourse about a star´s image/text. By the predominantly narrative reading of World of Shah Rukh Khan (Nasreen Munni Kabir, 2005), namely The Outer World of Om Shanti Om (2007, dir. ) and (2009, dir. ) – Shah Rukh Khan, this paper proposes to demonstrate how the documentary  lm can Shah Rukh Khan starring in both  lms – I try to examine the elements within these serve as a meaningful and contradictory though somewhat paradoxical cultural text  lms that constitute in particular Shah Rukh Khan´s image construction, star text ne- for the construction of the star image. The documentary  lm (beyond the obvious list gotiation, respectively. of media texts that participate in the subsidiary forms of star circulation) is a much In regards to star text construction the two aforementioned  lms are particularly in- ignored and under-studied text within star studies and this paper aspires to make a teresting, because both  lms pick this topic – though in di erent ways – plot-wise modest intervention in this regard. up. Intertextuality and self-referentiality being prominent features of Bombay  lms The paper attempts to ask how does the documentary  lm The Outer World of in general, in these  lms they are deployed in a distinguished way to reinforce Shah Rukh Khan in ect Shah Rukh Khan’s stardom? Brie y taking into account the Shah Rukh Khan´s star text. By approximating the structured polysemy in the sense terms of the analysis, star and stardom, in the  eld of cinema studies, the paper pri- WORKSHOP STARDOM AND GLOBALISATION | OCTOBER 2 | OCTOBER AND GLOBALISATION STARDOM WORKSHOP 2 | OCTOBER AND GLOBALISATION STARDOM WORKSHOP of Richard Dwyer of his image and by taking a closer look at how these two  lms ap- marily argues that the dynamism of Kabir’s  lm lies in attempting to articulate the in- proach and present the star text, I will show the range of possibilities that  lms them- stability and the contradictions inherent in the star image of Shah Rukh Khan through selves have to construct such a star text, thus the means of  lms themselves to high- showcasing the “on-stage” and “o -stage” schism amidst the chaos of a public-perfor- light the star text. The focus is hereby to provide an insight into the relation of the mance, the stage show. formal presentation of the star text in the  lm to the star text in the diegesis of the The paper further argues that in doing so the documentary while recognizing the  lm. This focus will be additionally, but just broadly, informed by reception research duality of the star image, as sustained by a public-private contrast, also reverses it. on Bombay  lm audience and meta- ctional communication, e.g. discussions in fan More broadly, I ask what do we gain by including the discussion of the documentary magazines, reviews etc., which shape the construction process of a star text as well. within the range of cultural and media texts that we already acknowledge as valid Furthermore, by suggesting that the star text is a main “arena“ in which  lmic and tools for analysis of the star image within star studies? Further, does the introduc- non- lmic/diegetic and non-diegetic elements condense, I argue that it is here that tion of the documentary form within star studies enable us to complicate the terms they reach the potential to become evident and readable. Given the line of inquiry, of the debate around stars and stardom? Finally the paper examines the paradox of Richard Dyer´s seminal work will be used as the point of departure to stimulate ques- the documentary under discussion. With the involvement of “Hyphen Films”, “Chan- tions of Bombay  lms mediation of the star text. nel 4”, “Red Chillies Entertainment” and “” the  lm itself covertly par- ticipates in the creation and the circulation of the star image that it intends to de- construct thus serving as an attendant star text to be consumed by the Bollywood enthusiast at home and abroad.

32 33 nd nd

HUMA DAR SUNERA THOBANI UNIVERSITY OF CALIFORNIA AT BERKELEY UNIVERSITY OF BRITISH COLUMBIA DEPARTMENT OF SOUTH & SOUTH EAST ASIANSTUDIES CENTRE FOR WOMEN’S AND GENDER STUDIES PHD CANDIDATE ASSOCIATE PROFESSOR

Outing the King: At Home in the World? Shah Rukh Khan Global Bollywood and its Muslim Closet and the Politics of Trans-/National Belonging

This paper proposes that the very signi cant  lm, My Name is Khan (Dir: Karan Jo- In 1997, India celebrated the 50th Anniversary of its independence from British rule. har, 2010), a star vehicle for Shah Rukh Khan, although narratively based mostly in ’s Pardes, a patriotic  lm featuring the hugely successful song, “I love the USA, has to be understood and theorized within and around the framework of My India”, was released in concurrence with the national(ist) celebrations held around Shah Rukh Khan’s star narrative and the determining context of the Indian political the country. An instant hit in India, the  lm was also very successful abroad, espe- scene along with that in the USA; global Bollywood emerging from -Hindi  lm cially in the US. One year later, ’s Dil Se, a critique of the violence that industry, and its transnational circuits of production, distribution, and consumption; underpins the Indian nation-state, was released. This  lm failed to do well in India, and the global  ow of these circuits of desire. Even prior to the Indian Partition in but received critical acclaim abroad and became the  rst Indian  lm to appear in the 1947, most Muslim artists had what Sa’adat Hasan Manto (1912–1955) mockingly top 10 box o ce charts in the UK. Shah Rukh Khan, the reigning Bollywood superstar, called “shuddi ed” or Hinduized names – for Yusuf Khan, starred in both  lms. for Jahan Dehlavi (1933–1969), for Mahjabeen Bano This paper examines what Pardes and Dil Se reveal about the fraught politics of na- (1932–1972) etc. At the contemporary moment, the biggest stars of the Urdu-Hin- tion, gender, transnationalism and diaspora in a globalizing world. Beginning with WORKSHOP STARDOM AND GLOBALISATION | OCTOBER 2 | OCTOBER AND GLOBALISATION STARDOM WORKSHOP 2 | OCTOBER AND GLOBALISATION STARDOM WORKSHOP di  lm industry in India are Khans: Shah Rukh, Salman, Aamir, Saif Ali et al. It might a contextualization of the two  lms in their postcolonial location, the paper follows therefore be tempting to conclude that there is indeed a level playing  eld. The ker- with an examination of the  lms’ markers of national belonging; representation of fu e around the  lm My Name is Khan however, provides ample evidence that the the ideal of “Indian” manliness in national and transnational spaces; and identi cation playing  eld is far from level: the “Muslim name” carries a bonus – a fetishistic attrac- of particular forms of violence as corrupting of “Indian” values. The paper ends with a tion – as well as an onus, and the two are intimately intertwined. discussion of the convergences and divergences in the two  lms’ constructions of the In the era of permanent war, of declared and undeclared wars, on people, practices, heroic Indian male and the respectable Indian woman. Given that Shah Rukh Khan, faith tradition, and languages, My Name is Khan, with all its transnational baggage, the “Indian” hero of both  lms, is a Muslim, and is read as such by many of his audi- manages to depict with some sincerity, those deemed dispensable, less grievable, ences, the paper pays particular attention to the complex relation of the Muslim sub- more precarious, inherently threatening; those whose racialization is produced and ject to the postcolonial Indian nation-state. naturalized through the ethics (or lack thereof) of war.

34 35 WORKSHOP STARDOM AND GLOBALISATION | OCTOBER 2nd process ofBollywood. globalisation the in role considerable a have that tendencies new launch often very and companies other for example an as serve strategies new his because important plexes is very and overseas industry role entertainment markets. His inside theIndian new a and way with a of radicallydistribution growingmarketing, number of prints concentrating on multi- of types new of help the with markets new of conquest the especial exploiting digitalof waysof new adaptation or ects), the making, (like lm technologies of new ways of new nancing introduction includes the This try. lms, diindus- in entertainment acting erentcompaniesthe other of his elds with days nowa- and Entertainment Chillies Red with keting; then Unlimited, Dreamz with rst the mar- and distribution production, with of Westernexperimenttechniques to rst often was and technologies, and techniques new to open been always has He ality. signiperson- his star the West,but his in in actor only lywood reside not does cance Shah Bol- popular most the processRukh as this in rolepivotal a alwayshad has Khan cable DVDs, channels, satellite channels, internet etc.). (like distribution of ways new to and the market, of overseas share the increasing of the incomes to due is This 30%. than less to reduced been has that  Bollywood of incomes the of 80% nowadays India; inside sales fromticket came lms almost 1990s the until the as strategies,changed nancing have techniques bution with Westernco-productions distri- in companies.New part taking and market tional interna- the in operating of capable companies Indian makes and  production lm transparent well-organised, demands which  industry, Bollywood lm of ratisation” the to due “corpo-largelyconsiderably. are changed havechanges techniquesThese marketing and distribution  production, Bollywood lm 1990s the of end the Since in GlobalisedBollywood New Production, Distribution andMarketing Techniques Shah Rukh Khan’s PioneerRoleinIntroducing ASSOCIATE PROFESSOR DEPARTMENT OFFILM STUDIES LORÁND UNIVERSITY (ELTE) –BUDAPEST GYÖRGYI VAJDOVICH 36 September 30 Universitätsstraße 7,4 andCultural ofSocial AnthropologyDepartment fürKultur-Institut undSozialanthropologie OPENING: MUSEUMOFETHNOLOGY, HOFBURG(September30 Programme Overview My Name is Khan andI’m NameisKhan My aStar. ofamovie starin2000sBollywood The making PLENARY SESSION1|Convenor:MartinGaenszle Elke Mader, Vice oftheFaculty Dean Science, ofSocial University of Vienna th Opening Lecture: – Nasreen Kabir Munni The Worlds Khan ofShahRukh –October 2 from Film Studies to Rasa toAssemblages NewMedia Theory 18:00–20:00 |HallI,Universitätsstr. 7,GroundFloor Message of Message The President ofAustria oftheRepublic HeinzFischer Dance Performance: LisaLengheimer, Schollenbruch Christina His Dinkar Khullar, Excellency Dinkar His to Austria Ambassador ofIndia www.univie.ac.at/srk2010 th oor, 1010 Wien Arthur Mettinger,Arthur Vicerector oftheUniversity of Vienna Key note: Unthinking SRK and Global Bollywood: SRKandGlobalBollywood: Key note: Unthinking Opening September30 EXHIBITION andVIDEOINSTALLATIONS Barbara Plankensteiner, ofEthnology Museum nd , 9:30–18:00,Universitätsstr. 7,4 SHAH RUKHKHAN&FANS Addresses: Ashish Rajadhyaksha Rajinder Dudrah Rajinder Reception th th Museum für Museum Völkerkunde Floor, Videos inRoomD Museum ofEthnologyMuseum Neue Burg, 1010 Wien th ) 14.00–17.00 October 1st October 2nd

09:30–13:00 09:30–13:00 09:30–13:00 09:30–13:00 Room A, Universitätsstr. 7, 4th Floor Room B, Universitätsstr. 7, 4th Floor Room A, Universitätsstr. 7, 4th Floor Room B, Universitätsstr. 7, 4th Floor

WORKSHOP Reception and Fandom WORKSHOP Song and Dance WORKSHOP Stardom and Globalisation WORKSHOP Religion and Film Convenor: Elke Mader Convenor: Mehru Jaffer Hasnain Convenor: Rosie Thomas Convenor: Adelheid Herrmann-Pfandt

“Thank you, Shah Rukh Khan!” Reconsidering Audience Global Bollywood and the Dance Performances Shah Rukh Khan and his Leading Ladies: Star Images and “My Name Is Khan” and “Brand SRK”: Interrogating the Studies: the Reception of Bollywood in Germany of Shah Rukh Khan | Ann David Globalisation | Robert Rintoull Limits of Bollywood Superstardom | Sreya Mitra Dagmar Brunow Dreaming of Shah Rukh Khan? Dancing to a Bollywood Beat My Own Private Shah Rukh Khan: Chasing an Image | Arya Amir The Brand that is Shah Rukh Khan Hyperlinked: Shah Rukh Khan in the A ective Spaces of in Prague | Sangita Shresthova Omemma Gilliani Star Gazing via Documentary: Shah Rukh Khan’s Stardom in Russian Online Fandom | Sudha Rajagopalan Dancing Bollywood: Peruvian Youngsters and The Outer World of Shah Rukh Khan | Priyadarshini Shanker Shah Rukh Khan´s Reinvention of the Muslim Hero in Bollywood ITALIA: Blogging Shah Rukh Khan in Italy Shah Rukh Khan | Petra Hirzer “My Name is Khan”| Jaspreet Gill At Home in the World? Shah Rukh Khan and the Politics of Monia Acciari Bollywood Music as Multikulti Scene in a Mixed Diaspora Trans/National Belonging | Sunera Thobani Kabhi Khushi Kabhie Gham: Reinventing the Ayodhya Dollywood: The Pleasures of Playing with Mini Khan Silvia Martinez Garcia Kanda of the | Arno Krimmer Outing the King: Global Bollywood and its Muslim Closet Bernhard Fuchs Lyrics in Main Hoon Na: Shah Rukh Khan Huma Dar “And I Love Hinduism Also“. Shah Rukh Khan: A Muslim Shah Rukh Khan – Raj Kapoor Reloaded? and Javed Akhtar | Alaka Chudal Voice for Interreligious Peace in India Shah Rukh Khan’s pioneer role in introducing new produc- Similarities and Di erences of two Reception Contexts Adelheid Herrmann-Pfandt tion, distribution and marketing techniques in globalised Florian Krauss Bollywood | Györgyi Vajdovich

LUNCHBREAK LUNCHBREAK

14:30–16:30 14:30–16:30 14:30–16:30 14:30–16:30 Room A, Universitätsstr. 7, 4th Floor Room B, Universitätsstr. 7, 4th Floor Room A, Universitätsstr. 7, 4th Floor Room B, Universitätsstr. 7, 4th Floor

Screening and Art Presentation WORKSHOP Performing Gender (Part 1) WORKSHOP Performing Gender (Part 2) RESEARCH NETWORK MEETING Convenor: Deana Heath Convenor: Deana Heath Euro-Bollywood. Indian Cinema in European Contexts SRK, Karan Johar and the creation of “Bollywood”: Mr. Khan – Vienna loves you! Performing Femininity through Bollywood Dance in Rajinder Dudrah, Bernhard Fuchs Documentary on Shah Rukh Khan Fans in Vienna Beyond diasporic boundaries Sandra Chatterjee Mehru Ja er Hasnain Kamala Ganesh & Kanchana Mahadevan Accounting for the Camp Cult Appropriation of Male Film The Light in the Dark (Exhibition) Desperately Seeking Shah Rukh – Re ections on Masculini- Stars in India | Charlie Henniker Anna Mandel ties, Movies and Matrimony from Rampur, India Shrayana Bhattacharya Camp, Kitsch and Khan: SRK and the Global Dispersal of Postmodernity | Meheli Sen Reinventing East Indian Masculinity: Female Shah Rukh Khan Fans in Trinidad and the Idea of a Globalized “Indianness” Hanna Klien

16:30–17:30 | Room B, Universitätsstr. 7, 4th Floor 17:00–20:30 | Hall I, Universitätsstr. 7, Ground Floor RESEARCH NETWORK MEETING PLENARY SESSION 3|Convenor: Claus Tieber Founding of Association for Research on Indian Cinema in the German speaking countries Adelheid Herrmann-Pfandt Shah Rukh Khan and Hindi Cinematic Melodrama of the Baroque Kind Anustup Basu, University of Illinois at Urbana-Champaign 18:00–19:30 | Hall I, Universitätsstr. 7, Ground Floor Intermediality and Bollywood Stardom | Amy Villarejo PLENARY SESSION 2 | Convenor: Rachel Dwyer Shah Rukh Khan, Participatory Audiences, and the Internet | Elke Mader Shah Rukh Khan and Hindi Cinematic Melodrama of the Baroque Kind Round Table: Conclusions of the Conference Anustup Basu, University of Illinois at Urbana-Champaign Closing of the Conference Shah Rukh Khan: A Journey of Conquering Human Hearts Across Continents | Zawahir Siddique The Don´s World. Designing the Milieu of SRK | Aradhana Seth

PARTY: October 2nd, 21:00–2:00, LOOP 20:00–21:30 | Hall I, Universitätsstr.7, Ground Floor Lerchenfelder Gürtel (Stadtbahnbogen 26/27), 1080 Wien DJ and Organisation: Satish Gandhi | Dance Performances, Bollywood Disco SCREENING “Kesariya Balam” – Love knows no Limit | Sandeep Kumar, Vienna Room Plan | Department of Social and Cultural Anthropology nd Neues Institutsgebäude, 4th Floor

SREYA MITRA B UNIVERSITY OF WISCONSIN – MADISON A i COMMUNICATION ARTS PHD CANDIDATE

“My Name Is Khan” and “Brand SRK”: Interrogating the Limits of Bollywood Superstardom

For the Bombay-based Hindi  lm industry, popularly known as Bollywood, and its global audience of more than 3.6 billion, Shah Rukh Khan and “Brand SRK’” are sym- bolic of both the Hindi  lm star’s iconic value as well as the “Bollywoodization” (Ash- ish Rajadhyaksha) of popular Hindi cinema in recent years. Khan’s meteoric rise to superstardom also needs to be read in the context of the Indian nation’s embrace of economic liberalization policies in the early nineties, and the shift from a socialist ethos to a consumerist ideal. As  lm critic underlines, the actor’s 2 AND FILM | OCTOBER RELIGION WORKSHOP meteoric rise to superstardom is not simply “a dramatic show-biz success story,” but rather, “provides a ringside view into the forces shaping Indian culture today … (and) D can be understood as a metaphor for a country changing at a breakneck pace.” Employing the work of star studies scholars like Richard Dyer, I look at how Khan’s star text has functioned as a site of mediation for social and cultural aspirations and anxieties, particularly for a nation negotiating the crucial shift from socialism to con- sumerism. In doing so, I also interrogate the limits of the actor’s star image as the “global millennial Indian”by bringing into discussion the question of his “Muslim- ness’.” I argue that Khan’s religious identity essays a dual, and somewhat problematic role – while it reiterates the actor’s embodiment of the “secular’” Indian Muslim, it also marks him, at times, as the “Other” incapable of assimilation. In examining this ques- tion, my work engages with interviews, textual analysis, media coverage, as well as detailed examination of the recent controversy in February 2010.

C P

Room A Room D Room B Room P (Press O ce) Room C (Co ee/Tea/Lunch) Registration/Information i

40 41 nd nd

OMEMMA GILLANI JASPREET GILL THE INSTITUTE OF ISMAILI STUDIES YORK UNIVERSITY ISLAMIC STUDIES DEPARTMENT OF ENGLISH AND HUMANITIES

Shah Rukh Khan’s Reinvention The Brand that is Shah Rukh Khan of the Muslim Hero in “My Name Is Khan”

This paper will look at the “branding” of Shah Rukh Khan through an examination of The Muslim hero is a rare depiction in Bollywood. Shah Rukh Khan (SRK) has played a characters, and modes of “star” production. First we explore popular theories of star- Muslim lead character in only two of his blockbuster hits: Kabir Khan in “Chak de In- dom to understand how a charismatic “star” is produced who embodies certain fun- dia” and Rizwan Khan in “My Name is Khan” (MNIK). In both of these  lms the patrio- damental attitudes and emotions of the time. The larger than life onscreen persona is tism of Islamic characters is questioned at a national and international level. Kalyani strengthened through a combination of media channels including reality shows, con- Chadha and Anandam Kavoori have argued that the “cinematic Othering of certs and fan forums. We see the combined e ect of these mediums in the produc- has occurred through a variety of strategies of representation ranging from exoticiza- WORKSHOP RELIGION AND FILM | OCTOBER 2 AND FILM | OCTOBER RELIGION WORKSHOP tion of a brand in the person of Shah Rukh Khan which is accessible 24/7 across the tion and marginalization to demonization”. In these two  lms, SRK recuperates the 2 AND FILM | OCTOBER RELIGION WORKSHOP globe. While reinforcing the star status these mediums bring about a mirage a ect  gure of the Muslim male from historically stereotypical depictions, endowing him and create an illusion that the ‘dream product’ may be within reach of the average with characteristics of , integrity, loyalty and compassion. viewer. Furthermore, various dimensions of his life are highlighted at di erent times My paper will examine the representation of the Muslim male on both the national and presented ‘di erent editions’ to attract di erent audiences. Through means of and global stage. MNIK connects sectarian tension in the national space of India – as documentaries and such his life is given an almost myth like status, allowing diverse indicated by the  ashback sequence – to the international space in the form of the audiences to draw new hope and meaning from it in accordance with their own life prejudice and negative bias experienced by Islamic Americans in post 9/11 America stories. For the hundreds of people caught in the throes of communal clashes, pover- and their global vili cation. The character and  lm are departures from SRK’s cine- ty and anonymity, the story and person Shah Rukh Khan then, becomes an embodi- matic work and speak to the global relevance of tolerance and understanding of the ment of lifelong struggles and dreams. As illustration two recent  lms Chak De India other. In MNIK, SRK provides an interiority to his portrayal that is generally lacking and My name is Khan are used to see how one dimension of his life i.e. his religious in Bollywood cinematic representations as Muslims are usually stock characters. This identity has been used in recent years to make connections and create new meaning re-con guring of the Muslim male in MNIK not only speaks to Bollywood representa- for at least a part of the audience in post 9/11 world. For Muslims audiences, par- tions, but to the pervasive global construction of Muslims, orthodox Muslims in par- ticularly in the West, the acceptance of his popularity despite his religious identity ticular. MNIK is remarkable for its positive portrayal of orthodox Muslims as the Bolly- o -screen and continued portrayal of positive Muslim characters onscreen, becomes wood trend has been to portray heroic secular Muslims. This positive imaging has led a model of hope and an attractive alternative and the brand that is SRK becomes re- to the  lm’s playing to packed theatres in which bodes well for an emerging vitalized and relevant even in a changing world and to a an ever-growing audience. solidarity between India and Pakistan.

42 43 nd nd

ARNO KRIMMER ADELHEID HERRMANN-PFANDT THEATRE AND FILM STUDIES UNIVERSITY OF MARBURG SCRIPTWRITER, DICECTOR, PHD CANDIDATE RELIGIOUS STUDIES PROFESSOR

“And I Love Hinduism Also“ Kabhi Khushi Kabhie Gham … Shah Rukh Khan: A Muslim Voice for Reinventing the Ayodhya Kanda of the Ramayana Interreligious Peace in India

Director Karan Johar, son of founder , has so far di- One of the most remarkable features of Indian Cinema is its interreligious character. rected four  lms and all four of them were big blockbusters and are part of Indian In the production of each  lm, members of all religions living in India are partaking,  lm history: Kuch Kuch Hota Hai (1998), Kabhi Khushi Kabhie Gham (2001), Kabhi Al- and nobody in the  lm industry has a problem writing or performing texts or ritu- vida Naa Kehna (2006) and My Name Is Khan (2010). All four of them star Shah Rukh als that don’t belong to his or her own religion. For many of us Westerners the  rst Khan. medium through which we experienced the typical Indian intermingling of religions and the idea of the interreligious “oneness of God“ was a Shah Rukh Khan  lm. WORKSHOP RELIGION AND FILM | OCTOBER 2 AND FILM | OCTOBER RELIGION WORKSHOP This paper attempts to explore how Karan Johar’s second  lm Kabhi Khushi Kabhie Starting from the astonishing activities of an Indian SRK fan club I have visited sev- 2 AND FILM | OCTOBER RELIGION WORKSHOP Gham (Sometimes Happy, Sometimes Sad ...) is a reinvention of the Ayodhya Kanda, eral times in the last years and from some scenes in selected Shah Rukh Khan movies, the second book of the ancient epic and national Indian epic of Ramayana I intend, on the one hand, to trace the origin of these ideas in Indian religious history for a modern audience. The Ayodhya Kanda is the second of the seven parts of the and on the other hand, to analyze the special importance of a public role model like Ramayana and narrates the preparations for Rama’s and his exile into the Shah Rukh Khan for the propagation of these ideas in India and abroad. forest. Witnessing and even sharing the joy and pride in which Muslims all over the world It is a well-known fact that in most of his  lms the name of the character played by reacted to SRK playing a person of his – and their – own religious identity in his last Shah Rukh Khan – although Muslim by creed – is that of God-King Ram.  lm My Name is Khan, my impression is that for promoting interreligious peace and Even when his name is not that, the character played by that often responds to the respect in India as well as globally, it might have been much more important that, characteristics of this – according to Indian society – ideal man. It is interesting to being a Muslim, SRK so often in his career played deeply religious , Christians note that in the case of Kabhi Khushi Kabhie Gham Shah Rukh Khan’s character and , that he repeatedly appreciated their faiths in public and even prayed at shows many of the character traits of Lord Ram as does the  lm’s narrative resemble their holy places. the second book of the Ramayana. Thus the  lm addresses India’s Collective Memory as well as many archetypal elements in a powerful and subtle way. It has to be noted that these similarities of KKKG and Ramayana have not been articulated by critics or scholars so far and most probably have also not be noticed by the very major part of the audience. Thus the interconnectedness between this ancient epic and this mod- ern blockbuster deserves to be examined closer.

44 45 nd nd

SANDRA CHATTERJEE CHARLIE HENNIKER UNIVERSITY OF MANCHESTER CULTURE & PERFORMANCE STUDIES PHD CANDIDATE

Performing Femininity Accounting for the Camp Cult Appropriation through Bollywood Dance in Bavaria of Male Film Stars in India

In this paper a selection of Bollywood dance practices in and around Munich, Bavaria, Global discussions of contemporary  lms and publications now illustrate the prob- is analyzed from the particular perspective of a South Asian choreographer thinking lematic terminology of terms like “gay” or “camp” in India, coupled with increasing through questions of performing femininity. speculation and reference to homosexuality. This paper analyses media representa- Fifteen years ago, in my birthplace Munich, upon stating that I was an “Indian dancer,” tions of Hindi cinema stars and highlights the emergence of some male stars as icons I was often asked back: is that like “Belly dance?” It seemed as though, for many, this for gay communities within India and in the global diaspora. Analysis of the way Bol- was the closest point of reference. Today, however, this reference point has shifted: lywood celebrities are represented in India’s press indicates that the media has been with the rising popularity of Bollywood  lms there has also been a boom in Bolly- crucial for this emergence to occur. Focussing on Shah Rukh Khan, Bollywood’s most wood dance practice. recognisable and in uential star today, the article argues that while a cult of interpre- The dances circulating through “Bollywood”  lms have become reference points that tation surrounds Bollywood icons, there is a de nite trend of stars confronting and locate my own, comparatively “marginal,” artistic practice as a choreographer with- negotiating sexually ambiguous spaces, both on screen and o . Media “gossip” and in the broader cultural landscape in and around Munich. I am hence looking at the speci c public responses thus serve a variety of commercial as well as socio-cultural WORKSHOP PERFORMING GENDER (PART 2) | OCTOBER 2 2) | OCTOBER PERFORMING GENDER (PART WORKSHOP practice of Bollywood dance through the lens of a choreographer of contemporary and wider political purposes. 2 2) | OCTOBER PERFORMING GENDER (PART WORKSHOP Indian dance, who has been, for some years, investigating the staging of femininity and the South Asian female body. This concern with the performance of femininity through (Indian) dance and the production of “the exotic” also guides my study of the speci cities of Bollywood dance practice, in Bavaria, South Germany. The focus of this paper will be case studies of women practicing Bollywood dance in Munich and in surrounding small towns within Bavaria. A number of dancers, some initially trained in “Belly dance” others coming from classical Indian dance have shift- ed to performing and teaching Bollywood dance. There are also groups of Bollywood Film fans that meet regularly to dance together to the sounds of Bollywood music – informally, outside a “dance school.” Of particular interest for the analyses are lo- cal interpretations of songs embodying di erent kinds of “Indian” women, such as, for example, the two female protagonists of the  lm Devdas: Paro, Devdas’ childhood sweetheart, and , the courtesan.

46 47 nd nd

MEHELI SEN AMY VILLAREJO UNIVERSITY OF OKLAHOMA CORNELL UNIVERSITY, ITHACA, NEW YORK FILM AND VIDEO STUDIES DEPARTMENT OF THEATRE, FILM & DANCE ASSISTANT PROFESSOR PROFESSOR AND CHAIR

Camp, Kitsch and Khan: SRK and the Global Dispersal of Postmodernity Intermediality and Bollywood Stardom

One of the most novel aspects of Shah Rukh Khan’s phenomenal stardom has been “Intermediality” unseats the longstanding opposition between tradition and mo- 2 SESSION 3 | OCTOBER PLENARY its malleability – the actor’s willingness, indeed eagerness, to portray characters and dernity that has governed much of the study of . Understood as  gures considered “risky” within the Bollywood universe. From early renditions of a shift in emphasis from communication “devices” to the broader domain of media pathological homicidal mis ts (Baazigar, Darr, 1993, 1994, Raam Jaane 1995) practices and materialities, “intermedia” describes a way of understanding “Bolly- to embodiments of distressed, failed, even deviant masculinities (Kabhie Han Kabhie wood” as a new form of global culture. An emerging generation of media scholars Na, 1993, and more recently , 2008, and My Name is Khan, 2010), place Indian cinema and media at the center of debates indexed under the rubric of SRK has successfully negotiated a series of unstable character types in commercial globalisation, debates about secularism, capitalist expansion, sovereignty, popular Hindi cinema. This paper argues that this star has turned a major corner over the last religiosity, and technology. Their work challenges previous models of  lm history, not  ve years or so: Khan has recently transitioned into a series of roles that actively en- by collapsing Hindi cinema, into the category of “Bollywood,” but by attending to the gage kitsch, camp, and pastiche. formal/aesthetic and ideological changes in popular cinema in relation to a changing From playing a reincarnated comic in Om Shanti Om (2007) to playing world. WORKSHOP PERFORMING GENDER (PART 2) | OCTOBER 2 2) | OCTOBER PERFORMING GENDER (PART WORKSHOP himself as a baroque “star” in Billu (2009), SRK’s recent avatars are uniquely postmod- As a name, Bollywood connects the Bombay  lm industry to Hollywood, yet its wide- ern in their insistence on mixing , assembling disparate typologies, signs and spread application raises questions beyond industrial practices (studios, stardom, narrative impulses into extravagant, outlandish composites. ) or new international schemes of co-production. Does it deride Hindi popular Alongside the propensities towards kitsch, parody and pastiche, SRK’s recent perfor- cinema as derivative, or does it, conversely, mark its particularity within the context mances also lend themselves generously to queer readings. In fact, of all the mean- of recent socio-political phenomena? For whom does it name: for the NRI in search of ings that gather around SRK as star, speculations about his sexual orientation(s) dom- roots, for the European/American audience in search of new content, or for the indig- inate. Ranging from campy invocation of the iconic gay band The Village People and enous industry’s new generation producing work in an increasingly re exive mode? putting his impeccably taut abdominal muscles on display in the song “Dard e Disco” Thomas (1985) and Vasudevan (2001) furthermore stress the inherently intermedial to coy remarks about his closeness with director Karan Johar, Khan has not only han- and intertextual nature of meaning-making in popular Hindi cinema, noting that dled the discourses about his possible homosexuality with verve and humor, but has audiences have long understood elaborate schemes of citation and reference orga- also deployed them towards securing a global cross-over audience. This paper will nized through the temple, calendar art, popular prints, movie posters, photo-deities,  nally argue that Khan’s enduring global popularity rests foundationally on his abil- other  lms and stars, and so on. Shah Rukh Khan is at the center of this orbit. ity to harness signs that lend themselves to accessible and globally available under- This paper argues that the concept of “intermediality” helps us to connect the aston- standings of postmodernity and queerness. ishing achievements of Shah Rukh Khan and his  lms to the idea of a global cinema, an idea whose time has come.

48 49 nd

ELKE MADER MIRA LAU EXHIBITION UNIVERSITY OF VIENNA UNIVERSITY OF VIENNA SOCIAL AND CULTURAL ANTHROPOLOGY SOCIAL AND CULTURAL ANTHROPOLOGY PROFESSOR

Shah Rukh Khan, Participatory Audiences, and the Internet Exhibition

In cooperation with Elke Mader, Bernhard Fuchs & Adelheid Herrmann-Pfandt PLENARY SESSION 3 | OCTOBER 2 SESSION 3 | OCTOBER PLENARY During the past decade the internet has become a signi cant global mediascape that reduces the distance between producers and consumers of media content in vari- Exhibits by courtesy of Maria-Stella Hinterndorfer, Satish Gandhi, Elke Mader, ous ways. On the one hand, the internet links people, content, and places on a global Bernhard Fuchs level; it facilitates and accelerates interaction as well as the  ow of information. On the other hand, it provides a platform for diverse forms of digital popular culture. As Indian cinema and Bollywood dance are part of the cosmopolitan popular culture in Henry Jenkins points out, media practices often transcend the boundaries between many European countries. In the last few years German speaking fans grew to be part cultural industries and their audiences as new technologies are enabling average of the  uctuating global audiences that actively shape the meaning of Indian cinema consumers to archive, annotate, appropriate, and recirculate media content. and its stars. A growing number of Shah Rukh Khan fans worldwide form part of the new digitally Aiming at giving an ethnographic glimpse on the topic of fan practices and the ma- empowered and participatory audiences that engage in a wide range of activities terial culture of fandom, the exhibition is going to introduce some of the interests of on the internet. The contribution will discuss two dimensions of participation in this anthropological research in fan culture and the relationship between Shah Rukh Khan context: Firstly, media content concerning SRK is available immediately and continu- and his fans. ously worldwide; it forms the base for intensive and extensive engagement of fans The exhibit is going to showcase  lm posters and representations of Shah Rukh Khan with the work and life of the star. Fan activities in this context comprise viewing and in popular material and visual culture used and produced by fans. It will display “SRK- collecting pictures, interviews, and other media content, as well as talking about SRK items” collected by fans from Vienna that comprise autographs, posters, photos, and in speci c forums, or interacting with the star on . This form of participation a variety of fan objects. Furthermore, video installations and virtual exhibits will ac- promotes emotional proximity between SRK and his fans, and forms part of his spe- company the display, featuring movie clips and digital fan art. cial connectivity with audiences. Secondly, various forms of participation in SRK fan culture can be designated as “co-creativity”; many fans are “prosumers” who consume and produce digital cultural objects at the same time. Thus, Shah Rukh Khan  gures in a multitude of visual fan art, he is the hero of hundreds of stories of fan  ction that are shared on the internet, and he dances through a great variety of remixed and re- loaded videos. The contribution will give insight into selected scenarios of SRKs participatory audi- ences, in particular in the German speaking countries. Furthermore, it will discuss how the internet contributes to the construction and consumption of SRK as a global media persona.

50 51 nd nd

BERNHARD FUCHS RAJINDER DUDRAH UNIVERSITY OF VIENNA UNIVERSITY OF MANCHESTER EUROPEAN ETHNOLOGY DEPARTMENT OF DRAMA ASSISTANT PROFESSOR HEAD OF DEPARTMENT

Research Network Meeting: Euro-Bollywood

The “Euro-Bollywood” research meeting at the conference aims at developing an (2007). The West changed from either picturesque touristic land- NETWORK MEETING | OCTOBER 2 NETWORK MEETING | OCTOBER 2 NETWORK MEETING | OCTOBER international research network and to work towards the application for a project  - scapes or threatening urban environments to the main location of many  lm narra- nanced by the EU. tives as an integral part of the hybrid protagonists’ life world. From its inception Indian cinema has been a medium of both culture transfer and We understand cinema and its reception as a  eld of cultural production which be- identity formation. There have been several important European contributors like the comes transformed by cultural transfer. The aims of the research project “Euro-Bolly- Germans Franz Osten, who directed movies with Himansu Rai and , the wood” will cover: scriptwriter Willy Haas, and the cameraman Josef Wirsching. The latter made Indian • Analysis of di erent forms of culture transfer in connection with Indian cinema. movies starting in the 1920s with Franz Osten’s Prem Sanyas until the beginning of • Comparative reception studies in di erent European Countries - not exclusively re- the 1970s, when he died during the production of Pakeezah. What are the contribu- search on readings of movie narratives but study of cultural practices in uenced and tions of “Westerners” to the Indian lm industry? inspired by Indian cinema (e.g. locally produced “Bollywood movies” and other deri- Hindi-cinema found enthusiastic audiences in Eastern and South-Eastern Europe vates of Bollywood popular culture). This includes comparison with reception stud- since the 1950s. Channels of cultural transfer (or mediascapes) vary with social and ies and fan cultures in in order to highlight culturally speci c aspects. political contexts: e.g. in Britain Indian cinema was an element of migrant labour • Analysis of the relevance of Bollywood for European Societies. What are some of culture and entrepreneurship, while in the Soviet Union or Romania it has been sup- the reasons for the desire of Western audiences to consume Indian movies and cel- ported for political reasons and has not primarily been linked with a South Asian ebrate Indian movie stars etc.? In what way does this research contribute to the un- Diaspora. As such, many regionally and historically diverse trajectories for Indian cin- derstanding of European society? ema have occurred. Since the 1990s economical transformations in India intensi ed • Research on cinematic representations of Europe and the West in Bollywood, Occi- globalisation and initiated a new wave of commercial Indian cinema. Whereas previ- dentalism and Orientalism in the  lms. ously Bollywood primarily reached audiences in developing and socialist countries a • Research on transnational in uences and co-operations in the history and presence new interest in Indian cinema emerged in post-industrial societies where the enter- of Indian and European cinema. tainment industries found new prospering markets and ideologies to disseminate. • Seeking inspiration in and developing cultural theory e.g. through integration of Our conference as well as the increasing number of scholars studying Indian cinema indigenous concepts like Rasa-theory and highlighting non-western traditions. To and its media cultures are also consequences of these developments. combine a European focus with Indian cinema does not mean that our perspective Another  eld of cultural contact of Europe and India can be found within the  lm should be eurocentric. On the contrary the concentration on Europe in relation to In- narratives and audio-visual representations themselves. Cinematic representations dia and vice-versa should support an un-thinking of eurocentrism and on the other of encounters with Europe can translate social and economical developments: from hand prevent an exclusive indocentrism. the early tourists of Sangam (1964) to the a uent and self-conscious NRIs of the 1990s. Moral debates about the occident and Indian virtues often lie at the centre of The idea for this project has been developed during a meeting in Vienna by Rajinder Hindi movies from Purab aur Pacchim (1971) to Dilwale Dulhania Le Jayenge (1995) or Dudrah, Bernhard Fuchs and Elke Mader in Vienna in September 2009.

52 53 nd

BIOGRAPHICAL SHORTNOTES

MONIA ACCIARI UNIVERSITY OF MANCHESTER

PARTY | OCTOBER 2 | OCTOBER PARTY PHD CANDIDATE [email protected] Monia Acciari has completed her BA and MA (Laurea) in Film and Media Studies at the Università degli Studi di Bologna, Italy. Following her studies at Bologna, she obtained a second Master in New Media Bollywood-Party and Web Content Management at the European Institute of Design – IED, in Milan. In 2005 she moved SHORTNOTES BIOGRAPHICAL to the UK where she is working on her PhD at the University of Manchester with a thesis entitled “Indo- Italian Screens and the Aesthetic of Emotions”.

ARYA AMIR UNIVERSITY OF VIENNA THEATRE AND FILM STUDIES PHD CANDIDATE PARTY: October 2nd 21:00–2:00 [email protected]

LOOP ANUSTUP BASU Lerchenfelder Gürtel (Stadtbahnbogen 26/27) UNIVERSITY OF ILLINOIS DEPARTMENT OF ENGLISH: ENGLISH AND CINEMA STUDIES 1080 Wien ASSISTANT PROFESSOR [email protected] Anustup Basu is an Assistant Professor at the University of Illinois at Urbana-Champaign. He is the author of Bollywood in the Age of New Media: The Geotelevisual Aesthetic (forthcoming from the DJ and Organisation: Press). Basu’s essays on  lm, media, globalization, and political sovereignty have appeared or are forthcoming in boundary 2, Journal of Human Rights, Critical Quarterly, Satish Gandhi Postmodern Culture, Postscript, Mute and in the anthology “Global Bollywood: Travels of Hindi Song and Dance” (University of Minnesota Press, 2008). Basu is also presently guest-editing a special issue of South Asian Popular Culture on new media ecologies. He is the executive producer of Herbert (2005), • Dance Performances which won the Indian National Award for Best Bengali in 2005-06.

• Bollywood Disco SHRAYANA BHATTACHARYA [email protected] • Bhangra DAGMAR BRUNOW UNIVERSITY OF HALMSTAD FILM STUDIES PHD CANDIDATE AT HAMBURG UNIVERSITY LECTURER IN FILM STUDIES AT HALMSTAD UNIVERSITY [email protected] Dagmar Brunow has been teaching  lm studies for more than ten years at various Swedish universities (Halmstad, Lund and Växjö). Since 2007 she has been a PhD student at the department of “Medienkultur” at Hamburg University (Germany). Her thesis deals with aesthetic strategies in

54 55 Black British and Asian British avant-garde  lmmaking as well as with questions of canonisation and RAJINDER DUDRAH diasporic memory. UNIVERSITY OF MANCHESTER Dagmar Brunow is a board member of  lmvet.se, the Swedish Association of Film Studies, the co- DEPARTMENT OF DRAMA founder of “Nätverk för postkoloniala  lmstudier” (Sweden), an editorial board member of the HEAD OF THE DEPARTMENT forthcoming “Journal of Scandinavian Cinema Studies”, and a member of NECS – European Network [email protected] for Cinema and Media Studies. Rajinder Dudrah is Head of the Department of Drama and Senior Lecturer in Screen Studies at the http://www.hh.se/hum/forskning/kontextochkulturgranser/forskare/forskningspresentationdagmar- University of Manchester, UK. He has researched and published widely in  lm, media, and cultural brunow.9151.html studies. His books include Bollywood: Sociology Goes to the Movies (Sage Publications, 2006); Bhangra: Birmingham and Beyond (Birmingham City Council and Punch Records, 2007); and The Bollywood Reader (Open University Press, 2008). He also is the founding co-editor of the journal SANDRA CHATTERJEE South Asian Popular Culture (Routledge). In 2010 he was honored by the Triangle Media Group, UK, CULTURE & PERFORMANCE STUDIES with a Top 50 Global South Asian Achiever Award in the category of Education. Other recipients of the

BIOGRAPHICAL SHORTNOTES BIOGRAPHICAL [email protected] SHORTNOTES BIOGRAPHICAL award included A.R. Rahman (Oscars Award winner and music composer for ) and Sandra Chatterjee holds a PhD in Culture & Performance from UCLA, where she also taught as a visiting Professor Amartya Sen (Nobel Memorial Prize winner in Economic Sciences). scholar. She is a co-founder of the Post Natyam Collective, a transnational network of independent www.manchester.ac.uk/research/rajinder.dudrah/ choreographers/scholars, working in body based performance, video, and scholarship. www.sandrachatterjee.net RACHEL DWYER SOAS, UNIVERSITY OF LONDON ALAKA CHUDAL DEPARTMENT OF SOUTH ASIA UNIVERSITY OF VIENNA PROFESSOR DEPARTMENT OF SOUTH ASIAN, TIBET & BUDDHISM STUDIES [email protected] [email protected] Rachel Dwyer is Professor of Indian Cultures and Cinema at SOAS, University of London. She took her BA in Sanskrit at SOAS, followed by an MPhil in General Linguistics and Comparative Philology at the HUMA DAR University of Oxford. Her PhD research at SOAS was on the Gujarati lyrics of Dayaram (1777-1852). She UNIVERSITY OF CALIFORNIA AT BERKELEY teaches undergraduate and postgraduate courses in cinema and supervises PhD research on Indian DEPARTMENT OF SOUTH & SOUTH EAST ASIAN STUDIES cinema. Dwyer’s main research interest is in Hindi cinema where she has researched and published PHD CANDIDATE on  lm magazines and popular  ction; consumerism and the new middle classes; love and eroticism; [email protected] visual culture. Huma Dar’s PhD dissertation is titled “Projecting Desires, Screening Muslims: The Racialized Politics and Poetics of Indian Cinematic Discourses” (Department of South & South East Asian Studies at the BERNHARD FUCHS University of California at Berkeley) lays emphases on Film Studies and Women, Gender, and Sexuality. UNIVERSITY OF VIENNA Dar’s work is focused on the intersections and co-formations of gender, religion, class, , sexuality, EUROPEAN ETHNOLOGY and national politics of South Asia, speci cally analyzing the cinematic and literary representations of ASSISTANT PROFESSOR Muslims and in India, some star narratives, and the politics of reception of the same. [email protected] Bernhard Fuchs studied European Ethnology at University of Vienna where he is employed since ANN R. DAVID 1997. In both his MA- and PhD-Thesis he observed the niche-economy of South Asian migrants ROEHAMPTON UNIVERSITY – LONDON in Vienna. His main  elds of research are media, migration and cultural transfer. Recent project- DANCE STUDIES participation “Embedded Industries. Cultural Entrepreneurs in Di erent Immigrant Communities of PRINCIPAL LECTURER Vienna” – published in German: Andreas Gebesmair (ed.): Randzonen der Kreativwirtschaft. Türkische, [email protected] chinesische und südasiatische Kulturunternehmungen in Wien (LIT Verlag, 2009). Working on a book Ann R. David is Principal Lecturer in Dance Studies at Roehampton University, London. She has trained “Filmi Fulmi Masti – Bollywood macht glücklich! Kulturtransfer und cineastisches Vergnügen aus Sicht in the classical Indian dance styles of Bharatanatyam and Kathak, as well as other more popular forms der Europäischen Ethnologie (Bollywood makes you happy! Cultural transfer and cineastic pleasure of dance, including Bollywood. Her research work investigates the impact of migration, of diasporic from the perspective of European Ethnology). movement, and other socio-cultural factors on the lives and dance practices of British Asians in particular. She has published in many leading journals and presented at conferences all over the world. www.roehampton.ac.uk/sta /anndavid

56 57 MARTIN GAENSZLE DEANA HEATH UNIVERSITY OF VIENNA UNIVERSITY SOUTH ASIAN, TIBETAN AND BUDDHIST STUDIES RESEARCH ASSOCIATE PROFESSOR [email protected] [email protected] Deana Heath is an Indian Council for Cultural Research Senior Fellow in the Department of History Martin Gaenszle is Professor in Cultural and Intellectual History of Modern South Asia at the Institute at . Her work, which endeavours to place South Asia in broader comparative, of South Asian, Tibetan and Buddhist Studies, University of Vienna, Austria. His research interests transnational and global contexts, focuses on a range of issues including imperialism and colonialism, are in ethnicity, local history, oral traditions and religious pluralism in and . His modernity and governmentality, sexuality and the body, communalism and violence, and Indian book publications include Ancestral Voices: Oral Ritual Texts and their Social Contexts among the cinema. She is the author of Purifying : Obscenity and the Politics of Moral Regulation in Mewahang Rai of East Nepal (LIT Verlag, 2002) and Rai Mythology: Kiranti Oral Texts (with Karen Ebert, Britain, India and Australia (Cambridge University Press, 2010) and co-editor of Communalism and Harvard Oriental Series, 2008). Globalisation in South Asia and its Diaspora (Routledge, 2010). BIOGRAPHICAL SHORTNOTES BIOGRAPHICAL SHORTNOTES BIOGRAPHICAL KAMALA GANESH CHARLIE HENNIKER UNIVERSITY OF MUMBAI UNIVERSITY OF MANCHESTER DEPARTMENT OF SOCIOLOGY PHD CANDIDATE PROFESSOR [email protected] [email protected] Kamala Ganesh is a cultural anthropologist and Professor at the University of Mumbai. Her research ADELHEID HERRMANN-PFANDT interests include Gender Studies and Indian Diaspora Studies. UNIVERSITY OF MARBURG http://sites.google.com/site/drkamalaganesh RELIGIOUS STUDIES PROFESSOR [email protected] JASPREET GILL YORK UNIVERSITY Adelheid Herrmann-Pfandt is an Indologist and Professor of the Study of Religions in Philipps- DEPARTMENT OF ENGLISH AND HUMANITIES Universität Marburg, Germany. She took her PhD in Comparative Religion from Bonn University with [email protected] a thesis on the Dakinis (Indo-Tibetan Tantric goddesses) in 1990 and  nished her Habilitation in 2001 in Marburg University. She is the author of the museum exhibition “Tibet in Marburg” of 2007. Jaspreet Gill is a doctoral candidate at York University and will be defending in the fall. Her areas of Her research interests are in Hindi cinema, especially after 1990, Indian and Tibetan religious history, specialization are postcolonial studies and the early modern period. Her essay “Sikh Redemption in secularism and interreligious relations in India as well as religion and violence. On all these subjects Khushwant Singh’s Train to Pakistan” is forthcoming in the anthology Subaltern Vision in the Indian she has published many articles and four books. She is currently working on a research project on English Novel. Tibetan rNying ma pa iconography and preparing for another research project on religion and interreligiosity in Hindi  lm that will cover the whole of Independence era cinema. OMEMMA GILLANI Adelheid Herrmann-Pfandt is interested in interdisciplinary cooperation in Hindi  lm research and is THE INSTITUTE OF ISMAILI STUDIES therefore preparing for the foundation of a society for research into South Asian cinema in German- ISLAMIC STUDIES speaking countries that will take place during the Conference. [email protected]

PETRA HIRZER MEHRU JAFFER HASNAIN UNIVERSITY OF VIENNA UNIVERSITY OF VIENNA, WEBSTER UNIVERSITY VIENNA SOCIAL AND CULTURAL ANTHROPOLOGY WRITER, LECTURER PHD CANDIDATE [email protected] [email protected] Mehru Ja er Hasnain is a Vienna based Indian writer and  lm maker. She is the author of The Book of Petra Hirzer is a PhD student at the Department of Social and Cultural Anthropology at the University Muhammad (Penguin, 2005) and The Book of Muinuddin Chishti (Penguin, 2008). She teaches Islam of Vienna. She has  nished her MA at the same department with a thesis on Bollywood fans in and South Asia related topics at the University of Vienna and the American Webster University Vienna. Arequipa, Peru. Her theoretical focus lies on processes of hybridization and appropriation in this  eld of global popular culture. She is currently engaged in ethnographic  eldwork in Peru for her PhD thesis that will be a continuation of the MA topic on an extended regional level.

58 59 NASREEN MUNNI KABIR MIRA LAU LONDON UNIVERSITY OF VIENNA DIRECTOR, PRODUCER, FILM STUDIES SOCIAL AND CULTURAL ANTHROPOLOGY nmk@hyphenfi lms.com [email protected] Born in India, Nasreen Munni Kabir has lived in London and Paris (where she organised the  rst major Mira Lau is a bachelor student at the Department of Social and Cultural Anthropology at the University Indian  lm festivals held in France at the Georges Pompidou Centre, 1983 and 1985). She has worked of Vienna. The focus of her studies lies on museum anthropology and postcolonial studies concerning as Channel 4’s Indian  lm consultant for over 28 years and continues to select 20  lms each year South Asia and Europe. (which she also subtitles). She has produced and directed for Channel 4 UK over 80 TV programmes on Indian cinema, including the 49-part series Movie Mahal (1986/87). In Search of (1989) ELKE MADER Follow that Star (a pro le of Amitabh Bachchan, 1989), in her own voice (1990) and UNIVERSITY OF VIENNA most recently, The Inner and Outer World of Shah Rukh Khan (produced by C4/Red Chillies, 2005). SOCIAL AND CULTURAL ANTHROPOLOGY Author of several books, including Guru Dutt’s biography, two conversation books with Javed Akhtar

BIOGRAPHICAL SHORTNOTES BIOGRAPHICAL PROFESSOR SHORTNOTES BIOGRAPHICAL and Lata Mangeshkar in Her Own Voice (2009) The Dialogue of Mughal-e-Azam (OUP) The Dialogue [email protected] of , Raj Kapoor’s Immortal Classic (Niyogi Books, 2009) and The Dialogue of , ’s Immortal Classic (Niyogi Books, 2010). Elke Mader is a professor of Social and Cultural Anthropology and Vice Dean of the Faculty of Social A former governor on the board of the , Kabir received in 1999 the  rst Asian Sciences. She is also a member of the research group “Visual Studies in Social Sciences” at the Womens’ Achievement award for her promotion of Indian Cinema in the UK. She is currently working University of Vienna. For the past three years her main research interest has been in Popular Hindi on a book of conversations with A.R. Rahman and dialogue books on Pyaasa and ’s Devdas. Cinema and globalization from the perspective of media anthropology. Her studies focus on non- South Asian audiences, transcultural processes, and diverse cultural practices of fans on the internet. She is currently working on a book on Shah Rukh Khan fans in the German speaking countries. HANNA KLIEN http://homepage.univie.ac.at/elke.mader/ UNIVERSITY OF VIENNA SOCIAL AND CULTURAL ANTHROPOLGY PHD CANDIDATE KANCHANA MAHADEVAN [email protected] UNIVERSITY OF MUMBAI Hanna Klien is a PhD student at the Department of Social and Cultural Anthropology at the University DEPARTMENT OF PHILOSOPHY of Vienna. Her PhD thesis on female audiences of Hindi  lms in Trinidad is based on ethnographic READER  eldwork among the Indian diaspora and Afro-Caribbeans. Her research focus lies on questions of [email protected] gender, imagination and globalization. ANNA MANDEL FLORIAN KRAUSS HAMBURG FILM & TELEVISION ACADEMY POTSDAM-BABELSBERG SCULPTRESS AND PAINTER FILM STUDIES [email protected] PHD CANDIDATE Born in Berlin; studied philosophy at the universities of Berlin and Tübingen and sculpture at the art [email protected] academy Karlsruhe; worked as actress for Robert Wilson and Harun Farocki: assistant stage designer for Johannes Schütz; scholarships at the Künstlergut Prösitz and at the Kloster Neuzelle; lives and works in Hamburg. ARNO KRIMMER UNIVERSITY OF VIENNA AND MUMBAI THEATRE AND FILM STUDIES, SCRIPTWRITER, DICECTOR SILVIA MARTINEZ GARCIA PHD CANDIDATE ESMUC BARCELONA [email protected] MUSICOLOGY DEPARTMENT HEAD OF DEPARTMENT [email protected] SANDEEP KUMAR DIRECTOR Silvia Martinez is Head of the Musicology Department in the ESMUC (Barcelona, Spain) and teaches VIENNA Popular Music and World Music at the Universitat Autonoma de Barcelona. She completed her PhD skfi [email protected] in Popular Music Studies at the Universitat de Barcelona and furthered her studies with a grant to conduct research at Humboldt Universität Berlin (Germany). Her main research topics are currently Kesariya Balam – Love Knows no Limits (2010, Austria/India) is Sandeep Kumar’s  rst feature  lm, but Bollywood music, Postcolonial and Diaspora studies, and theoretical and historical issues related to he has won several awards for short  lms made by him in the past. Spanish popular music.

60 61 SREYA MITA ROBERT RINTOULL UNIVERSITY OF WISCONSIN – MADISON COPENHAGEN UNIVERSITY COMMUNICATION ARTS DEPARTMENT OF ENGLISH, GERMAN AND ROMANCE LANGUAGES PHD CANDIDATE PHD CANDIDATE [email protected] [email protected] Sreya Mitra is a PhD student at the Department of Communication Arts at the University of Wisconsin, Robert Rintoull is a third year PhD research student at the University of Copenhagen Denmark. Here Madison. Her research interests include Indian cinema and television, stardom, gender and sexuality, he is writing his thesis on Bollywood’s relationship to Hindu and Moslem socio-religious rituals and globalization, and culture industries. Her article “Localizing the Global: Bombay’s Sojourn from the iconography, in both the Indian subcontinent and the global diaspora. Cosmopolitan Urbane to Aamchi Mumbai,” has been published in Michael Curtin and Hemant Kumar (ed.) Re-Orienting Global Communication: Indian and Chinese Media Beyond Borders. MEHELI SEN http://commarts.wisc.edu/directory/?person=mitra UNIVERSITY OF OKLAHOMA FILM AND VIDEO STUDIES BIOGRAPHICAL SHORTNOTES BIOGRAPHICAL ASSISTANT PROFESSOR SHORTNOTES BIOGRAPHICAL ASHISH RAJADHYAKSHA [email protected] CSCS (CENTRE FOR STUDIES IN CULTURE AND SOCIETY), BANGALORE SENIOR FELLOW [email protected] ARADHANA SETH PRODUCTION DESIGNER, ART DIRECTOR, FILMMAKER Ashish Rajadhyaksha is a  lm study scholar and senior fellow of CSCS (Centre for Studies in Culture [email protected] and Society), Bangalore. He has published extensively on cinema and contemporary art and presented papers on these topics in conferences across the world. He has taught Film Studies at the University of Aradhana Seth is based in Vienna and has worked extensively in various  elds of the Indian and Iowa, USA, the Korean National University of Arts, Seoul, and Birkbeck College/British Film Institute International  lm industry and the world of art. among others. Among his books are: Indian Cinema in the Time of Celluloid: From Bollywood to the Among her Documentaries and Shorts are A Lotus For You. A Buddha To Be (Director. PSBT); A Emergency (Indiana University Press, 2009); Encyclopaedia of Indian Cinema, with Paul Willemen Woman’s Place (Consulting Producer. Maryland Public Television. PBS); The God of small things (British Film Institute and OUP, 1994); The Sad and Glad of (Research Centre for Cinema (Director & Cinematographer. TM3); Invisible Hands (Director & Principal Researcher. Doordarshan). Studies, 1988); co-edited with Amrit Gangar, Ghatak: Arguments/Stories (Screen Unit/Research Centre Among her work as production designer are West in West (Director: Andy de Emmony. Assassin Films. for Cinema Studies, 1987). BBC Films); Don (Director: . ); One Night with the King (Director: Michael Sejbel. Gener8Xion Entertainment); Leela (Director: Somnath Sen. Lemon Tree Films. http://www.cscs.res.in/Members/ashish/cscs_people_view Cinebella); Earth (Director: Deepa Mehta. Cracking the Earth Films. Zeitgeist Films); Fire (Director: Deepa Mehta. Trial by Fire Films. Zeitgeist Films) SUDHA RAJAGOPALAN Her work as an art director includes The Darjeeling Limited (Director: Wes Anderson. American UTRECHT UNIVERSITY Empirical Pictures. Fox ); The Bourne Supremacy (Director: Paul Greengrass. MEDIA AND CULTURE STUDIES Fromage Films. Universal) RESEARCH AFFILIATE [email protected] PRIYADARSHINI SHANKER Sudha Rajagopalan studied in the University of Bombay and in Moscow, and went on to do a PhD NEW YORK UNIVERSITY in Russian history in Indiana University, Bloomington, USA. Her doctoral work, a product of archival DEPARTMENT OF CINEMA STUDIES and ethnographic research in Russia, was an ethno-historical study of Indian cinema’s reception in the PHD CANDIDATE post-Stalinist Soviet era. [email protected] She is a Research A liate with the Media Studies Group (Research Institute for History and Culture) in Priyadarshini Shanker is a PhD candidate in the Department of Cinema Studies at New York University the University of Utrecht. Sudha Rajagopalan is also currently deputy editor of Digital Icons: Studies in where she has also taught in the capacity of an Adjunct Faculty. She has a double Master’s in Cinema Russian, Eurasian and Central European New Media. Studies from New York University and in Mass Communication from in , www.digitalicons.org India. She has published essays on “Hitchcock and Hindi cinema” in the Hitchcock Annual and on “” in the recent anthology The .

62 63 SANGITA SHRESTHOVA in Screen in 1985. Originally trained as a social anthropologist at the London School of Economics, she UNIVERSITY OF SOUTHERN CALIFORNIA AND PRAG did her  rst  eldwork in the Bombay  lm industry in the early 1980s. Since then she has written widely COMPARATIVE MEDIA STUDIES, FILMMAKER, CHOREOGRAPHER, DANCER on Indian cinema, contributing to numerous books and journals. She is co-founder and co-editor of [email protected] the recently launched international Sage journal BioScope: South Asian Screen Studies, a forum for A Czech/Nepali scholar,  lmmaker, dancer and media specialist; she holds a PhD from UCLA’s new research on the history and theory of South Asian  lm, screen-based arts and new media screen Department of World Arts and Cultures and earned a MSc. Degree from MIT’s Comparative Media cultures. Studies program where she focused on Hindi  lm dance. She previously received her BA from Princeton University and a MSc. in Development Studies from the London School of Economics and SUNERA THOBANI Political Science (LSE). UNIVERSITY OF BRITISH COLUMBIA Sangita Shrestova’s work has been presented in academic and creative venues around the world CENTRE FOR WOMEN’S AND GENDER STUDIES including the Schaubuehne (Berlin), AIGA Boston/ATE Massaging Media Conference (Boston), the ASSOCIATE PROFESSOR Other Festival (), the EBS International Documentary Festival (Seoul), the American Dance [email protected] BIOGRAPHICAL SHORTNOTES SHORTNOTES BIOGRAPHICAL BIOGRAPHICAL Festival (Durham, NC), and Akademi’s Frame by Frame (London, UK). Her writing has appeared in SHORTNOTES BIOGRAPHICAL Sunera Thobani degrees are from Middlesex University (BA in Social Sciences), University of Colorado several academic publications, most recently in Global Bollywood, an edited volume on Hindi cinema, (MA in Social Sciences and Certi cate in Women’s Studies) and Simon Fraser University (PhD in and she is currently also working on a forthcoming book about the globalization of Bollywood dance. Sociology). Prior to coming to UBC she was the Ruth Wynn Woodward Endowed Professor in Women’s She currently works with Professor Henry Jenkins on questions related to participatory culture, new Studies at Simon Fraser University (1996-2000). media, and civic engagement. Sangita is the programming director of the annual Prague Bollywood Festival. GYÖRGYI VAJDOVICH LORÁND UNIVERSITY (ELTE) – BUDAPEST ZAWAHIR SIDDIQUE DEPARTMENT OF FILM STUDIES MS RAMAIAH INSTITUTE OF MANAGEMENT, BANGALORE ASSOCIATE PROFESSOR ASSISTANT PROFESSOR [email protected] [email protected] Györgyi Vajdovich is an assistant professor at the Department of Film Studies, Eötvös Loránd University Zawahir Siddique is an Engineering graduate with a masters degree in Engineering Management (ELTE), Budapest, Hungary. She is a  lm historian specialised in early  lm history, Hungarian  lm from Manipal Institute of Technology. Having imbibed multidisciplinary interests and with a teaching history and Bollywood  lms. experience in engineering and management domains, Zawahir Siddique is pursuing his doctoral She is a founding editor of the Hungarian review of  lm theory and  lm history called Metropolis research on Emotional Intelligence. He has attended and presented research papers at various (www.metropolis.org.hu) and the author of several articles. international conferences around the world. Zawahir also heads the academic wing of i2i, the training and consulting company based in Bangalore. AMY VILLAREJO CORNELL UNIVERSITY, ITHACA, NEW YORK CLAUS TIEBER DEPARTMENT OF THEATRE, FILM & DANCE UNIVERSITY OF VIENNA PROFESSOR AND CHAIR THEATRE, FILM AND MEDIA STUDIES [email protected] [email protected] Amy Villarejo is Professor in Film and Feminist, Gender, & Sexuality Studies Program. She received her Studied theatre studies, philosophy, political and communications studies at the University of Vienna. BA in English from Bryn Mawr College in 1985, an MA in English from the University of Pittsburgh in Professorial quali cation (Habilitation) 2008. Worked as commissioning editor in the TV movie 1991, and a PhD in Critical and Cultural Studies (in the Film Studies Program) from the University of department of the Austrian Broadcasting Corporation (ORF). Head of research project about music in Pittsburgh in 1997, when she came to Cornell. Silent Cinema at the University of Salzburg. Recent Publications: Fokus Bollywood. Das indische Kino in wissenschaftlichen Diskursen. (ed., LIT Verlag, 2009); Schreiben für Hollywood. Das Drehbuch im Studiosystem. (LIT Verlag, 2008); Passages to Bollywood. Einführung in den Hindi-Film. (LIT Verlag, 2007)

ROSIE THOMAS UNIVERSITY OF WESTMINSTER SCHOOL OF MEDIA, ARTS AND DESIGN [email protected] Rosie Thomas is a pioneer of the academic study of popular Indian cinema, establishing an international reputation following the publication of her  rst groundbreaking article on Hindi cinema

64 65 NOTES 66 67

NOTES NOTES 68 69

NOTES TEAM Judith Keppel Cover &Layout Sattavet Rogler Christian Hunjadi Monika University of andCultural ofSocial Vienna, Anthropolgy Department Assistants GeneralCoordination Kerstin Tiefenbacher Conference Organisation Claus Tieber Schicklgruber Christian JaMehru er Hasnain HeathDeana Gaenszle Martin Dudrah Rajinder Conference Committee Bernhard Fuchs Elke Mader General Coordination Conference Team 70 MASN Austria (Moving Anthropolgy Network) Social of Department Theatre, Film Studies andMedia University of Vienna ofEthnology,Museum Vienna Asian, ofSouth Department Tibetan andBuddhistStudies IANS, University of Vienna University Delhi Asian, ofSouth Department Tibetan andBuddhistStudies University of Vienna ofDrama andScreen Studies Department University ofManchester ofEuropean Ethnology Department University of Vienna andCultural ofSocial AnthropologyDepartment University of Vienna Bernhard Fuchs Hinterndorfer, ofMaria-Stella Exhibits by courtesy ElkeMader, Satish Gandhi, in cooperation withElkeMader, Bernhard Fuchs &Adelheid Herrmann-Pfandt Curator Lau Mira Exhibition Kitzler, Gisela Kirova, Yana Klotz, Thomas ÜmmüSelime Kaya, Hetzenauer, Marion Eva Hahnekam, Grassnigg, Christina Eckel, Alexandra Melike Durmaz, Buvari, Doris Brückler, Kirstin Bergthaler, Kathrin Altenhuber, Conny Dolly Abdul Karim, Student Conference Assistants Satish Gandhi Bollywood Party Hanna Klien University of andCultural ofSocial Vienna, Anthroplogy Department Coordination Young Scholars Marcel SinghalKamlesh Ursula Probst University of andCultural ofSocial Vienna, Anthropology Department Catering Coordination Seidl Katja JaMehru er Hasnain Sulikowski Ulrike-Davis University of andCultural ofSocial Vienna, Anthropolgy Department Press Wu, Xin Hugo van Doorn, Tuswald, Andrea Sunda, Shikha Stadler, Michaela Ilene Singh, Devi Sindelar, Melanie Jana Schiemann, Qureshi, Davina Petraschek, Carmen Elif Öztürk, Osmanovic, Erkan Mairhofer, Jasmin Surina Malik, 71

TEAM