DOCSLIB.ORG

The Visual Representation of Queer Bollywood: Mistaken Identities and Misreadings in Dostana

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Visual Representation of Queer Bollywood: Mistaken Identities and Misreadings in Dostana JAWS 1 (1) pp. 91–101 Intellect Limited 2015 Journal of Arts Writing by Students Volume 1 Number 1 © 2015 Intellect Ltd Article. English language. doi: 10.1386/jaws.1.1.91_1 Rohit K. Dasgupta University of the Arts London the visual representation of queer Bollywood: Mistaken identities and misreadings in Dostana aBstRact KeywoRDs Tarun Mansukhani’s Dostana/Friendship (2008) is the first commercial popular queer cinema feature film from India to exclusively engage in a queer dialogue using the device Bollywood of ‘mistaken identity’ and ‘misreading’ (Ghosh 2007). This film provides a rich site Hindi cinema for studying the traffic between discourses of sexuality, Indian-ness, diaspora and visual culture performativity. This article will address the queer representation of these fictional characters and queer framing, analysing the concepts of ‘dosti’ (friendship) and ‘yaarana’ (friendship) and the trope of the homo-social triangle in Hindi cinema. Indian popular cinema unlike European cinema has received quite scant attention within arts criticism and this article attempts to look at both the aesthetic under- pinnings of a popular Indian cinema such as Dostana which is also ushering in a new queer cinematic aesthetic within the global cinema discourse. This article was presented at the Global Queer Cinema Network at the University of Sussex and has benefited from the advice and feedback of B. Ruby Rich, Deborah Shaw, John David Rhodes, Nguyen Hoang, Samar Habib, Cuneyt Cakirlar, Juan Suarez and the organizers Rosalind Galt and Karl Schoonover. Finally it has also benefited from intense discussions and debates with fellow Bollywood writer, Steven Baker. 91 JAWS_1.1_Dasgupta_91-101.indd 91 12/4/14 6:14:30 PM Rohit K. Dasgupta 1. The term Bollywood Indian cinema has attracted much attention globally and within a short is a late invention and the emergence of space of time has moved from the ‘periphery to the centre of World Cinema’ this category can be (Gokulsing and Dissanayake 2013: 1). The reasons for this remarkable jour- traced back only to ney are many and quite complex; they include India’s urbanization, a growth the latter half of the 1990s when it started of consumer economy and the emergence of globalization, which has firmly being used profusely placed India as a significant global nation. Much of the Indian cinema that in trade magazines, has proliferated and entered the global consciousness is the popular variety newspapers, etc. 1 Rajyadaksha (2003) synonymous with ‘Bollywood’. Even as Bollywood devotes itself to the cele- designates it in broader bration of normative heterosexual desire, their passionate engagement with terms as referring to the contemporary forbidden, transgressive, cross-religion, cross-national love stories such as entertainment industry Devdas (Sanjay Leela Bhansali, 2002) and Veer Zara (Yash Chopra, 2004), have where film is just one held a particular significance for queer spectators. Alongside this has been element. Bollywood’s preoccupation with ‘dosti’ (friendship between two men and 2. Riyadh Wadia’s sometimes women) such as in Razia Sultana (Kamal Amrohi, 1983), Sholay/ Bomgay (1996), a short twelve-minute film, has Embers (Ramesh Sippy, 1975) and the more recent Student of the Year (Karan the distinction of being Johar, 2012) celebrating intense same sex love between two friends which called India’s first gay according to Ghosh (2007) can be read as homoerotic texts. film. Similarly Sridhar Rangayan’s Pink Mirror Although gay themes and queer characters are relatively under-represented (2003) is called India’s in the output of the Hindi film industry, the rendering of queer is neither first ‘kothi’ film. To put it very simplistically wholly unrecorded, nor is it a contemporary development. Cinema in India kothis are considered has repeatedly addressed queer representations through stereotyped depic- an indigenous tions, such as the ambiguous gendered side characters in Raja Hindustani/ localized sexual identity in reaction King India (Dharmesh Darshan, 1996), or the drag performances of Amitabh to the homosexual Bachchan in Laawaaris/Orphan (Prakash Mehra, 1981) whose elemental func- identity in South Asia. tion appeared to be limited to the provision of comic relief. Alternatively, a It refers specifically to effeminate gay men. modest number of commercial films presenting queer narratives are also in For more detailed existence, which in contrast emphasize the disconsolate or the tragic. My information see Boyce 2007. Both these short Brother Nikhil (Onir, 2005) and I Am (Onir, 2010) – which take HIV and gay features have only bashing/blackmailing (in the latter) as their major themes – are perhaps the been screened in film most well known examples of this genre. festivals with limited distribution. See: Tarun Mansukhani’s Dostana (2008) is the first commercial popular feature Shahani 2008 film from India to exclusively engage in a queer dialogue using the devices of ‘mistaken identity’ and ‘misreading’ (Ghosh 2007). This film provides a rich site for studying the traffic between discourses of sexuality, Indian-ness, diaspora and performativity. This article will analyse the concepts of ‘dosti’ and ‘yaarana’, the trope of the homo-social triangle and the queer representation of characters (or queer framing), in Hindi cinema. By acknowledging the slip- pages between ‘real identity’ and ‘mistaken identity’ these films usher in a new queer cinematic discourse within popular Bollywood. While Dostana/Friendship cannot legitimately lay claim to the mantle of the first gay film in India,2 it is one of the first mainstream commercial films from Bollywood to explicitly engage in a queer dialogue by means of rerouting traditional rituals and denaturalizing family structures, thus reimagining Indian-ness through a queer lens. ‘Dosti’, ‘yaaRana’, Dostana Bollywood cinema is saturated with rich images of intense love and friendship between men. According to Madhava Prasad dosti in Bollywood takes prec- edence over heterosexual love, he argues that The code of dosti takes precedence over that of heterosexual love and in the case of conflict, the latter must yield to the former. Thus, in a conflict 92 JAWS_1.1_Dasgupta_91-101.indd 92 10/30/14 2:47:12 PM The visual representation of queer Bollywood over love between male friends, the woman remains out of the picture, 3. The word ‘le lenge’ (which literally while the two males decide between themselves who will have her […] translates as ‘take The bond of ‘dosti’ is then a prototype of the compact among men that from you’) was again institutes the social contract. translated as ‘fuck you’ in the recent song (Prasad 1998: 83–84) ‘Tujhe Keh ke lunga’ (‘I Will Tell You and then This space of homo-social male bonding within which dosti and yaarana are Fuck You’, Amit Trivedi, 2012) from the film inscribed, then becomes a subversive space within which queer desires are Gangs of Wasseypur referenced and articulated. It is significant to note that the concepts of yaarana (Anurag Kashyap, 2012). Unlike Sholay, where and dosti have been central to much queer reading of Indian cinema (Ghosh the word was left 2007; Kavi 2000; Rao 2000; Gopinath 2005). An oft cited case of this key trope un-translated. in the Hindi film repertoire is Sholay. Jai and Veeru’s dosti is played out most tellingly in the song ‘Yeh Dosti’ (‘This Friendship’, Kishore Kumar and Manna Dey, 1983). According to Kavi (2000: 310), this song ‘features lyrics plainly homosexual in content. One verse, openly sexual, says: “I will take anything from you […] Tere Liye Lelenge.” “Lelenge” is Hindi street slang for the phrase “getting fucked”.’3 The word ‘yaar’ (friend) is itself quite ambiguous. As R. Raj Rao (2000) has noted, it can be used to denote a male or female friend, one’s spouse, or in a pejorative sense, that of a wife’s lover. As such the representation of yaarana in Hindi films is open to multiple interpretations, whilst dosti is an honoured institution that triumphs over all other forms of love and emotion (including heterosexual love), and loyalty to one’s yaar or ‘dost’, is an accepted virtue. For a queer community struggling for recognition in India (Shahani, 2008), this playing out of male–male bonding and attach- ment becomes significant in the absence of a more deliberately articulated political position on sexuality. I want to suggest extending the textual reading of these films beyond the materiality of the film alone, in terms of how we might think about the queer representation as being played out in related cultural geographies. For instance, the song ‘Yeh Dosti’ has long been an anthem for South Asian queer marches and events all over the world, the lyrics of the song’s opening lines being utilized as an expression of queer solidarity: ‘Yeh dosti hum nahin chodenge / Todenge dum agar, tera saath na chodenge’ (‘We will not give up this friendship / We may die but we will never part’). Similarly Dostana’s queer currency extends from its ‘pseudo-queer’ storyline and the numerous fan fictions written about it, to its public perform- ance in queer South Asian clubs in the diaspora. I want to recall here a recrea- tion of a particular song from Dostana, ‘Maa Da Laadla Bigad Gaya’ (‘Mamma’s Boy Has Become a Brat’, Master Saleem and Sunidhi Chauhan, 2008), which is often played at South Asian queer spaces in the United Kingdom, and can be used to posit how queer sensibilities are recreated in urban geographies. In the film, the song shows a homophobic mother, terrified at her son’s homo- sexuality, trying to ‘cure’ him with witch doctors, and keeping him and his partner apart. As this song is played in queer spaces, it can be understood as an acknowledged queer text, where the audience identify as the ‘spoilt son’, corrupted by the influence of homosexuality.
Load more

Recommended publications
  • Q4FY19: a Phenomenal Show!
    SECTOR UPDATE - MEDIA Q 4FY19: A Phenomenal Show! India Equity Research | Media Box office collections hit all-time highs in Q4FY19 with five, ‘non-Khan’, Bollywood movies crossing the coveted INR1bn mark - Uri (~INR2.4bn collection), Total Dhamaal (~INR1.55bn), Simmba (~INR1.4bn), Gully Boy (~INR1.4bn) and Kesari (~INR1.25bn). On the flip side, the quarter saw a face-off between producers and exhibitors over the virtual print fee (VPF), which threatens to be an overhang. Exhibitors are now focusing on innovations to differentiate themselves, which we believe will help them attract higher footfalls. However, we expect footfalls to be weak in Q1FY20 considering IPL, World Cup and general elections. We will watch out for: (1) VPF issue; (2) impact of Ind AS 116; (3) contagion risk of local body tax (LBT); and (4) OTTs’ aggression. Maintain ‘BUY’ on PVR. Multiplexes and producers battling on VPF payments \ Last month, Mr. Ronnie Screwvala had reportedly filed a complaint with CCI against top multiplex chains, over the virtual print fee (VPF) payments. VPF is typically charged ‘per- property’ by multiplexes on a ‘per-title (per movie) basis’, from the producers. Though, VPF income is a small portion of the overall revenue for multiplexes – less than 1% of PVR’s FY19E revenue in PVR’s case, the critical part is that the absence of VPF income will have a direct impact, though marginal, on EBITDA of the multiplexes. For PVR, VPF in FY18 was ~INR172mn, roughly ~4% of EBITDA. However, for INOX Leisure (INOX), VPF stood ~12% of the EBITDA. In case, CCI rules in favour of producers, we can expect a marginal hit on the multiplexes’ revenue and EBITDA respectively.
    [Show full text]
  • Transnational Cinema: a Cross Culture Communication Medium Manu Sharma* Amity School of Communication, Amity University, Noida, India
    un omm ica C tio s n s Sharma, J Mass Communicat Journalism 2014, 4:9 a & M J o f u DOI: 10.4172/2165-7912.1000219 o Journal of r l n a a n l r i s u m o J ISSN: 2165-7912 Mass Communication & Journalism Research Article OpenOpen Access Access Transnational Cinema: A Cross Culture Communication Medium Manu Sharma* Amity School of Communication, Amity University, Noida, India Abstract In recent times, in India, as in most other developing nations, there has been an exponential increase in global foray, whether be it of industry, multinational companies, or even art, both popular and otherwise. This has successively made the window of outlook wider and the border more porous, at least figuratively. It is the changes brought about by these transnational elements, mostly, cinema, and particularly those made during the last two decades that formed the core subject of this study. Keywords: Indian films; Indian transnational cinema; Cultural study Literature Review Introduction Culture and society The paper entitled Transnational Cinema: A Cross Culture In Indian context, the word culture has been derived from the Communication Medium, attempts to look into transnational cinema’s word ‘Kriti’, which means the reparation or reformations and is usually innate nature to network the national to the international, not only referred to as ‘sanskriti’, which means the cultivation or creation of in the panoptical sense but also with questions related to aesthetics, ‘sanskars’ (habits, values, beliefs). Elaborating upon the concept of ideas, and mostly factors pertaining to cross-culture communication, kriti, Leela Samson, in her paper on imbibing Culture at Kalakshetra especially in Indian context [1,2].
    [Show full text]
  • Q1, FY18-19 Vs Q1, FY17-18
    INVESTOR UPDATE Q 1 , F Y 2018- 2 0 1 9 INVESTOR UPDATE Q 1 , F Y 2018- 2 0 1 9 Disclaimer Safe Harbor: - Some information in this report may contain forward-looking statements. We have based these forward looking statements on our current beliefs, expectations and intentions as to facts, actions and events that will or may occur in the future. Such statements generally are identified by forward-looking words such as “believe”, “plan”, “anticipate”, “continue”, “estimate”, “expect”, “may”, “will” or other similar words. A forward-looking statement may include a statement of the assumptions or bases underlying the forward-looking statement. We have chosen these assumptions or bases in good faith, and we believe that they are reasonable in all material respects. However, we caution you that forward-looking statements’ and assumed facts or basis almost always vary from actual results, and the differences between the results implied by the forward-looking statements and assumed facts or bases and actual results can be material, depending on the circumstances. You should also keep in mind that any forward- looking statement made by us in this report or elsewhere speaks only as of the date on which we made it. New risks and uncertainties come up from time to time, and it is impossible for us to predict these events or how they may affect us. We have no duty to, and do not intend to, update or revise the forward-looking statements in this report after the date hereof. The risks and uncertainties relating to these statements include, but are
    [Show full text]
  • Introduction 1
    Notes Introduction 1. Abha Dawesar, Babyji (New Delhi: Penguin, 2005), p. 1. 2. There are pitfalls when using terms like “gay,” “lesbian,” or “homosexual” in India, unless they are consonant with “local” identifications. The prob- lem of naming has been central in the “sexuality debates,” as will shortly be delineated. 3. Hoshang Merchant, Forbidden Sex, Forbidden Texts: New India’s Gay Poets (London: Routledge, 2009), p. 62. 4. Fire, dir. by Deepa Mehta (Trial by Fire Films, 1996) [on DVD]. 5. Geeta Patel, “On Fire: Sexuality and Its Incitements,” in Queering India, ed. by Ruth Vanita (London: Routledge, 2002), pp. 222–233; Jacqueline Levitin, “An Introduction to Deepa Mehta,” in Women Filmmakers: Refocusing, ed. by Jacqueline Levitin, Judith Plessis, and Valerie Raoul (Vancouver: UBC Press, 2002), pp. 273–283. 6. A Lotus of Another Color, ed. by Rakesh Ratti (Boston: Alyson Publi- cations, 1993); Queering India, ed. by Ruth Vanita; Seminal Sites and Seminal Attitudes—Sexualities, Masculinities and Culture in South Asia, ed. by Sanjay Srivastava (New Delhi: Sage Publications, 2004); Because I Have a Voice: Queer Politics in India, ed. by Arvind Narrain and Gautam Bhan (New Delhi: Yoda Press, 2005); Sexualities, ed. by Nivedita Menon (New Delhi: Women Unlimited, 2007); The Phobic and the Erotic: The Politics of Sexualities in Contemporary India, ed. by Brinda Bose and Suhabrata Bhattacharyya (King’s Lynn: Seagull Books, 2007). 7. Walter Jost and Wendy Olmsted, “Introduction,” in A Companion to Rhetoric and Rhetorical Criticism, ed. by Walter Jost and Wendy Olmsted (Oxford: Blackwell, 2004), pp. xv–xvi (p. xv). 8. Quest/Thaang, dir.
    [Show full text]
  • Bromance in Bollywood: Is It Dismantling Homohysteria and Homophobia?
    Global Media Journal-Indian Edition; Volume 12 Issue1; June 2020. ISSN:2249-5835 Bromance in Bollywood: Is it dismantling homohysteria and homophobia? Mausumi Bhattacharyya, Ph.D. Associate Professor Centre for Journalism & Mass Communication Visva-Bharati University, Santiniketan - 731235, India & Indian Council of Social Science Research (ICSSR) Post-Doctoral Fellow (June 2017- May 2019) at Jamia Millia Islamia University, New Delhi Abstract Traditionally Hindi films produced by Bollywood are not known to have taken an empathetic view of the plight of India’s queer community. Projecting them as subjects of mockery, as aberrations and villainous have been the predominated approach of filmmakers. Given the power of the medium, such thoughts have percolated and influenced outlook of majority towards the gender minority. Yet there have been the odd films which contrast this oft adopted approach of Bollywood filmmakers. Though gender scholars have engaged in homoerotic reading of such films and unearthed underlying homosexual subtexts, feasibility of a different discourse about such films stands strong. By analysing films like Silsila, Dosti, Sholay, Dil Chahta Hai, Zindegi Na Milegi Dobara and Rang De Basanti this article relooks at tenability of homoerotic subtexts of these films. Specifically employing the theoretical framework of bromance, a form of homosocial bonding between individuals of the same sex, this article counters the conclusion of scholars about blurring of homosociality and homoeroticism in respect to characters portrayed in the selected films. This article argues that bromance films, made during the 20th century and thus far in 21st century, attempts to dismantle homohysteria and homophobia. Intentions of such filmmakers were to sensitize viewers about romantic same- sex bonding, not necessarily falling within the purview of sexual attraction or homosexuality.
    [Show full text]
  • The Queer Rhetoric of Bollywood: a Case of Wykorzystując Przypadki "Błędnie Przypisanej Tożsamości"
    The Queer Rhetoric of Bollywood: A case of wykorzystując przypadki "błędnie przypisanej tożsamości". mistaken identity ______________________ Introduction Rohit K. Dasgupta The term "queer" has avoided a conceptual pinning down. Aligning itself with postmodern and poststructuralist theory, "queer" moves STRESZCZENIE: Artykuł "Bollywoodzka retoryka queer. beyond the limitations imposed by the categories of "gay," "lesbian," Tożsamościowe qui pro quo " analizuje queerowe ujęcia postaci "bisexual" and "transgender." It avoids closure through its fluidity of literackich i homoseksualności w indyjskim kinie hindi, ze signification and appropriation. However, it also marks a break from szczególnym uwzględnieniem pojęć dosti i yaarana oraz tropu postmodern and poststructuralist high theory by choosing to trójkąta homospołecznego. Wybrana seria filmów zakłada maintain its allegiance to socio-political transformation. Jackie istnienie homoseksualności, jednocześnie postulując Stacey points out that "it is precisely this convergence of the nieuchronność heteroseksualności. Filmy te skupiają się na theoretical and the political which has given the term such tradycyjnych tematach społecznych, takich jak miłość, rodzina czy a generative and yet elusive life." Queer, according to Stacey, "can tradycja, ale w obrębie tej tematyki budują alternatywne, be played across diverse theoretical and political agendas with "niewidoczne" narracje queerowe. Uwzględniając przenikanie się a range of different consequences" (Stacey, 2007:1). "prawdziwej" i "błędnie
    [Show full text]
  • 100 Essential Indian Films, by Rohit K. Dasgupta and Sangeeta Datta
    Alphaville: Journal of Film and Screen Media no. 21, 2021, pp. 239–243 DOI: https://doi.org/10.33178/alpha.21.21 100 Essential Indian Films, by Rohit K. Dasgupta and Sangeeta Datta. Rowman & Littlefield, 2019, 283 pp. Darshana Chakrabarty Among the many film industries of South Asia, the Indian film industry is the most prolific, specifically Hindi language film, more commonly known as Bollywood, which produces almost four hundred films annually. Bollywood films dominate the national market. These films have also been exported successfully to parts of the Middle East, Africa, and the Asiatic regions of the former Soviet Union, as well as to Canada, Australia, the UK, and the US. The success of these films abroad is largely down to the presence of Indian communities living in these regions; as the conventional melodramatic plot structures, dance numbers and musicals tend to deter Western audiences. Within India and abroad “the traditional division between India’s popular cinema and its ‘art’ or ‘parallel’ cinema, modelled after India's most prestigious film-director Satyajit Ray, often produced the uncritical assumption that Indian films are either ‘Ray or rubbish’” (Chaudhuri 137). Recently, Indian film criticism has begun focusing on popular Indian cinema, assessing the multi-discursive elements of the cinematic creations. Bollywood “gained prominence within academia due to its growing popularity and unique manner of glorifying Indian familial values” (Sinha 3). From a history and origin of Indian motion pictures to selecting films that best represent the diversity, integrity and heritage of the nation, 100 Essential Indian Films by Rohit K. Dasgupta and Sangeeta Dutta is a concise book on Indian cinema for connoisseurs and for film enthusiasts taking an interest in India’s classic and contemporary cinema.
    [Show full text]
  • Media Dossier
    MEDIA DOSSIER Period Covered: February, 2012 Subject: Monthly Media Dossier Medium Appeared in: Print & Online For internal circulation only Monthly Media Dossier February 2012 Page 1 of 82 PERCEPT AND INDUSTRY NEWS Percept Limited Pg 03 ENTERTAINMENT Percept Pictures Pg 08 Percept Sports and Entertainment - Percept S & E – Corp _____ - Percept ICE Pg 24 - Percept Entertainment Pg 26 - Percept Sports Pg 38 - Percept Art _____ - Percept Talent Pg 42 - P9 Integrated Pg 43 - Spark Entertainment _____ - Percept IP _____ Bollywood Corporation _____ MEDIA Allied Media Pg 45 Percept Out Of Home Pg 47 PK Online _____ Percept Activ Pg 48 COMMUNICATIONS Advertising Percept/H Pg 49 MASH Advertising _____ IBD India Pg 57 Percept Gulf _____ H & H Communication _____ Hakuhodo Percept Pg 60 Public Relations Percept Profile India Pg 64 IMC PERSPECTRUM _____ INDUSTRY & COMPETITOR NEWS Pg 66 Monthly Media Dossier February 2012 Page 2 of 82 PERCEPT LIMITED Nobody wanted to hire me Source: The Franchising World, Date: February 2012 issue ************** Is this needed, at all? Source: Mid-day.com, Date: February 25, 2012 While the city is abuzz with the latest news about Saif Ali Khan and a South African businessman, Iqbal Sharma's fight at Taj Mahal hotel recently, it is interesting what kind of reaction this altercation has evoked. While followers may be cleaved into the for-Saif, against-Saif camps, there are the skeptics who believe this may be a publicity stunt for Saif's forthcoming movie, Agent Vinod. While this may sound incredulous, it shows the trust deficit created by the huge hype and the publicity-ke-liye-kuch-bhi-karega tendency these days.
    [Show full text]
  • TRACING the TEMPORAL ASSEMBLAGE of INDIAN MEDIA a Thesis Submitted to the Faculty of the Graduate School O
    THE AFFECTIVE NATION: TRACING THE TEMPORAL ASSEMBLAGE OF INDIAN MEDIA A Thesis submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Master of Arts in Communication, Culture, and Technology By Lakshmi Padmanabhan, Bachelor of Arts Washington, DC April 28, 2011 Copyright 2011 by Lakshmi Padmanabhan All Rights Reserved ii THE AFFECTIVE NATION: TRACING THE TEMPORAL ASSEMBLAGE OF INDIAN MEDIA Lakshmi Padmanabhan, Bachelor of Arts Thesis Advisor: Jatinder P. Singh, Doctor of Philosophy. ABSTRACT This thesis examines two films – Slumdog Millionaire (Boyle, 2008) and Dostana (Mansukhani, 2008) to explore the circulation of national identities within these films and the circulation of the films themselves within larger discourses of the nation, particularly India. This thesis argues that our current cultural moment require changing understandings of the idea of ‘film’, to include its multiple networks of capital and affect, and a changing understanding of ‘nation’ as materially illustrated in these films. The aim of this thesis is to conceive of a way to understand films as a collection of temporalities, and to map the duration of these temporalities as they reveal the emerging networks of circulation that change the ontology of both film and nation. I also argue that the ‘nation’ is an affective construct, and that ‘nationness’ is the ‘trace’ or ‘residue’ that these films bear. This argument also marks a specific approach to the idea of a ‘nation’ itself that includes more than the boundaries of the state, or the ethnicity of the people, but begins to address the way objects possess certain national traces, particularly within cultural objects such as the arts.
    [Show full text]
  • Navigation, Search My Name Is Khan Theatrical Poster Directed By
    My Name Is Khan From Wikipedia, the free encyclopedia Jump to: navigation, search My Name Is Khan Theatrical Poster Directed by Karan Johar Produced by Hiroo Yash Johar Gauri Khan Written by Story and Screenplay: Shibani Bathija Dialogues: Shibani Bathija Niranjan Iyengar Starring Shahrukh Khan Kajol Music by ShankarEhsaanLoy Cinematography Ravi K. Chandran Editing by Deepa Bhatia Distributed by Fox Searchlight Pictures Release date(s) 12 February 2010 (global)[1] Running time 161 minutes [1] Country India Language Hindi/Urdu English Budget Rs. 380 million[2] US$ 8.18 million Buyover: Rs. 1 billion US$ 21.53 million My Name Is Khan (Hindi: ??? ??? ??? ????) is a 2010 Bollywood film directed by K aran Johar, with a screenplay by Shibani Bathija, produced by Hiroo Yash Johar a nd Gauri Khan, and starring Shahrukh Khan and Kajol.[3][4] It is overseen by bot h Dharma Productions and Red Chillies Entertainment and will be distributed by F OX Star Entertainment, which bought the rights for the film for the sum of Rs. 1 00 crores, thus becoming the second most expensive Bollywood film, behind Blue.[ 5] Cinematography is by Ravi K. Chandran, ShankarEhsaanLoy composed the film's score, choreography is by Farah Khan, and lyrics were written by Niranjan Iyeng ar.[6] Visual Effects are by Red Chillies VFX. My Name is Khan debuted in Abu Dhabi, UAE on 10 February 2010.[7] It released gl obally in theaters on 12 February 2010.[1] It will also be screened as part of t he 60th Berlin International Film Festival's Official Selection that same month.
    [Show full text]
  • Entertainment Worldwelcome to Entertainment World HERE You
    Welcome To Entertainment WorldWelcome To Entertainment World HERE You Can get all the Latest Movies, Songs, Games And Softwares for free.English Movies English Movies In Hindi Hindi Movies Hindi Songs PC Softwares PC Games Punjabi Songs Disclaimer Search Stuffs On This Blog Latest Hindi ( Bollywood ) Songs : Delhi 6 Billu Barber 42 Kms Jugaad Aasma Luck By Chance Dev. D Jumbo Victory Slumdog Millionaire Raaz The Mystery Continues... Chandni Chowk To China Wafaa Ghajini Meerabai Not Out Sorry Bhai Khallballi Dil Kabaddi Ek Vivaah Aisa Bhi Rab Ne Bana Di Jodi Yuvvraaj Kaashh Mere Hote My friends COLLECTOR ZONE Groovy Corner Masti Zone Movies Zone Categories Animated Movies Applications Bollywood Movies Christmas Dvd Ripped Movies DvdRipped Movies Ebooks English Movie's English Movie's In Hindi English Movies Fun Corner Hindi Movies Hindi Song's Hollywood Movies Masti Cafe Special Mobile Stuff NEWS Old Hindi Movies PC Games PC Software's Punjabi Movies Punjabi Song's Soundtracks Telugu Movies Telugu Songs Tools And Tips Trailer Video Song's Chat Here!!!!!!! Advertise on www.masti.tk Powered By AdBrite But Sponsered By Manveer Singh Your Ad Here HAPPY NEW YEAR HAPPY NEW YEAR 2009 HAPPY NEW YEAR 2009 TO ALL MY SITE VISITORS Labels: Greetings, Masti Cafe Special, NEWS HAPPY NEW YEAR HAPPY NEW YEAR 2009 HAPPY NEW YEAR 2009 TO ALL MY SITE VISITORS Labels: Greetings, Masti Cafe Special, NEWS Lucky by chance 2008HQ320Kbps Original CDRip Music Director : Shankar Ehsaan Loy Cast : Farhan Akhtar , Konkona Sen Sharma Label: Big Music 01.Yeh Zindagi
    [Show full text]
  • Beneath the Red Dupatta: an Exploration of the Mythopoeic Functions of the 'Muslim' Courtesan (Tawaif) in Hindustani Cinema
    DOCTORAL DISSERTATIO Beneath the Red Dupatta: an Exploration of the Mythopoeic Functions of the ‘Muslim’ Courtesan (tawaif) in Hindustani cinema Farhad Khoyratty Supervised by Dr. Felicity Hand Departament de Filologia Anglesa i Germanística Universitat Autònoma de Barcelona 2015 Table of Contents Acknowledgements iv 1. Introduction 1 2. Methodology & Literature Review 5 2.1 Methodology 5 2.2 Towards Defining Hindustani Cinema and Bollywood 9 2.3 Gender 23 2.3.1 Feminism: the Three Waves 23 2.4 Feminist Film Theory and Laura Mulvey 30 2.5 Queer Theory and Judith Butler 41 2.6 Discursive Models for the Tawaif 46 2.7 Conclusion 55 3. The Becoming of the Tawaif 59 3.1 The Argument 59 3.2 The Red Dupatta 59 3.3 The Historical Tawaif – the Past’s Present and the Present’s Past 72 3.4 Geisha and Tawaif 91 4. The Courtesan in the Popular Hindustani cinema: Mapping the Ethico-Ideological and Mythopoeic Space She Occupies 103 4.1 The Argument 103 4.2 Mythopoeic Functions of the Tawaif 103 4.3 The ‘Muslim’ Courtesan 120 4.4 Agency of the Tawaif 133 ii 4.5 Conclusion 147 5. Hindustani cinema Herself: the Protean Body of Hindustani cinema 151 5.1 The Argument 151 5.2 Binary Narratives 151 5.3 The Politics of Kissing in Hindustani Cinema 187 5.4 Hindustani Cinema, the Tawaif Who Seeks Respectability 197 Conclusion 209 Bibliography 223 Filmography 249 Webography 257 Photography 261 iii Dedicated to My Late Father Sulliman For his unwavering faith in all my endeavours It is customary to thank one’s supervisor and sadly this has become such an automatic tradition that I am lost for words fit enough to thank Dr.
    [Show full text]