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Secuencias, 36 BOLLYWOOD TRAVELS. CULTURE, tarse a una mera referencia al discurso naciona- DIASPORA AND BORDER CROSSINGS lista de los versos en el contexto de la recién inde- IN POPULAR HINDI CINEMA pendizada India dentro de crecientes procesos de Rajinder Dudrah globalización que ya se percibían a mediados del Londres y Nueva York siglo XX, Dudrah realiza un breve, a la par que Routledge, 2012 sugestivo, análisis de la secuencia musical del 145 páginas filme, que compara con los títulos de crédito de la 67,96 € (Kindle) / 97,08 € (tapa dura) película Phir bhi dil hai Hindustani (Aziz Mirza, 2000), protagonizada por la estrella de Bolly- wood Shahrukh Khan: «El tema de la secuencia inicial del filme, también del mismo título, rinde homenaje a la canción de la película de 1955 en lo que respecta a sus sentimientos patrióticos, pero en el contexto de una India neo-liberalizada en el cambio de milenio. Como el filme de 1955, este también fue visto por espectadores, no solo en India, sino en las comunidades de la diáspora sudasiática, así como en cualquier otro lugar del mundo donde los circuitos de distribución y emi- sión de Bollywood fueron capaces de viajar, de forma legítima o pirateada» (p. 3). El análisis comparativo de dos películas a «Mera Joota hai Japani (Mis zapatos son través de la intertextualidad de sus secuencias japoneses) musicales, teniendo en cuenta cómo los discur- Yeh Patloon Inglistani (Estos pantalones son sos ideológicos dominantes de sus respectivos ingleses) contextos históricos contienen otros discursos Sar pe lal topi Rusi (El sombrero rojo sobre contradictorios –incluso subversivos– depen- mi cabeza es ruso) diendo de los contextos socio-culturales del Phir bhi dil hai Hindustani (Pero mi corazón amplio espectro de espectadores que accede al sigue siendo indio)». texto cinematográfico, marca la pauta del intere- sante y complejo análisis de Bollywood como El estribillo de esta canción, de la película Shri fenómeno cultural transnacional que el autor 420 (Raj Kapoor, 1955), con frecuencia se cita en ofrece a lo largo de los siete capítulos que tratan estudios que tratan el tema de la globalización y diversos aspectos de una industria cinematográ- el cine transnacional como fenómeno que no es fica en expansión que necesitaban ser estudiados exclusivo de películas contemporáneas sino que académicamente. se remonta casi a los inicios del cine. Un libro que Dentro de las variadas industrias cinemato- versa sobre los «viajes de Bollywood» a través de gráficas regionales del subcontinente asiático, el «fronteras», que no solo se refieren a demarca- cine popular en hindi se suele denominar con ciones nacionales, sino también socio-culturales, varios términos: cine de Bombay, cine comercial así como relativas a la estética cinematográfica, indio, masala film o Bollywood. Este tipo de cine contenido temático e ideología de los filmes, y ha dominado la cultura popular de masas de referidas también a cuestiones metodológicas, no India desde sus comienzos, así como el panorama podía eludir la inclusión de dicha cita. Sin limi- cultural de la diáspora india, por lo que siempre LIBROS 135 ha estado íntimamente relacionado con los dis- ránea. Asimismo, la marcada vertiente socioló- cursos de identidad nacional que engloba las dis- gica del libro hace que resulte también impres- tintas regiones, culturas y religiones del país, así cindible para aquellos que tengan interés en ana- como las comunidades de indios no residentes en lizar el impacto y la recepción de productos India (NRIs, Non-Resident Indians), tal y como culturales transnacionales en diversos sectores de señaló Majunath Pendakur en Indian Popular comunidades diaspóricas, como la del Asia meri- Cinema. Industry, Ideology and Consciousness dional, en el nuevo milenio. El estilo personal y (Hampton Press, 2003). sencillo del autor, así como la cuidada estructura El controvertido término «Bollywood» es el del libro que facilita la lectura del mismo, lo hace que más se utiliza para denominar el cine popu- accesible a todos aquellos lectores aficionados al lar de India en hindi, y hace referencia concreta- cine que deseen explorar la cultura cinematográ- mente a la industria cinematográfica de Mumbai, fica de Bollywood. aunque a veces se hace erróneamente extensivo El primer capítulo del libro se presenta como al resto de películas comerciales realizadas en el una excelente introducción a los estudios de país. Recientemente, tras la liberalización de la Bollywood desde un punto de vista cultural e economía india, el término «Bollywood» aparece, interdisciplinar, prestando especial atención a los con frecuencia, acompañado del adjetivo «glo- cambios experimentados por el cine popular en bal», como ocurre en el libro de Anandam P. Ka- hindi en el nuevo milenio. Antes de llevar a cabo voori y Aswin Punathambekar Global Bollywood el estudio propuesto, Dudrah presenta una nece- (NYU Press, 2008), pasando a designar ya no saria revisión de las definiciones de «Bollywood» solo la industria cinematográfica india, sino el propuestas por otros autores y justifica la utiliza- conjunto de prácticas culturales a través de las ción del controvertido término en su libro, aten- cuales se negocia lo que significa identidad india diendo a su utilización mediática como fenómeno (Indianness). En este sentido, «Bollywood» refleja cultural, siendo a la vez consciente de la comple- la complejidad de los discursos de identidad na- jidad del mismo (p. 7). Interesante resulta, tam- cional y transnacional de la India a través del cine bién, la metáfora del viaje que Dudrah usa en popular y sus productos culturales asociados. sentido amplio para abrir nuevos horizontes de Conocido por su indudable contribución a la análisis e incluso de enfoques metodológicos expansión del conocimiento del fenómeno cultu- interdisciplinares, los cuales ofrecen nuevas rutas ral del cine sudasiático en circuitos académicos, académicas para un fenómeno cultural que nece- Dudrah continua con su diálogo interdisciplinar sitaba ser estudiado. Dudrah consigue convencer entre cine, sociología y cultura ya presente en su al lector de la importancia de adentrarse por conocido libro Bollywood: Sociology Goes to the caminos menos transitados por los que se despla- Movies (Sage, 2006) y que esta vez ofrece a tra- zan los productos culturales de Bollywood para vés de la metáfora del viaje, que conduce a los poder dar cuenta de fenómenos sociales a distin- lectores por caminos poco transitados por los que tos niveles y en distintos contextos históricos, también se mueve el cine popular en hindi. Bolly- políticos y culturales en un mundo globalizado y wood Travels. Culture, Diaspora and Border en constante cambio. Crossings in Popular Hindi Cinema resulta de Después de la introducción, Dudrah presenta obligada lectura no solo para académicos cuya el primer escenario de cruce de fronteras como investigación se centre en cine sudasiático, sino lugar físico a la par que simbólico: la problemá- también para todos los especialistas en estudios tica frontera entre India y Pakistán. El autor ana- de cine interesados en explorar las corrientes liza dos exitosas películas estrenadas en 2004 transnacionales de la cinematografía contempo- que, a la vez que construyen una visión un tanto 136 SECUENCIAS - 36 / Segundo semestre 2012 nacionalista del conflicto desde el punto de vista ral impecable, ya que hace referencia al carácter de India, también reflejan la complejidad del posmoderno de la misma en su parodia e inter- espacio cultural de la frontera (borderland): textualidad, que enlaza con el resto de productos Main Hoon Na (Farah Khan) y Veer Zaara (Yash culturales analizados en el libro, resaltando los Chopra). El autor lleva a cabo un detallado análi- cambios principales experimentados por perso- sis textual de las escenas que se desarrollan en najes y lugares de la diáspora, así como la rela- este espacio, a la par que realiza un excelente tra- ción entre estas comunidades e India como bajo de contextualización histórica, explicando, nación de origen. A pesar de no haber resultado también, los aspectos culturales que resultan tan exitosa como se preveía, la película presenta relevantes a la hora de interpretar las escenas múltiples niveles de análisis que hacen referencia desde el prisma de la complejidad coyuntural y a dichos cambios estéticos de Bollywood en rela- yendo más allá de una primera lectura de las pelí- ción con su contexto social y cultural. Por lo culas que las encasillaría dentro de la ideología tanto, considero muy acertada la elección de esta dominante conservadora del contexto socio-polí- película para llevar a cabo el estudio del cruce tico en el que se insertan los filmes. Desde un literal y metafórico de fronteras. punto de vista fílmico y cultural, el análisis lle- Continuando con el análisis de la diáspora, vado a cabo en este capítulo resulta revelador, ya el capítulo 4 nos conduce hasta Miami, donde el que el enfoque interdisciplinar y la cuidada con- cruce de fronteras cinematográficas formales textualización –no solo histórica sino también traspasa también las fronteras del género y social, política y cultural– que el autor lleva a sexualidad, incluyendo un importante elemento cabo toca diversos y cruciales puntos que escasa- queer en la narrativa principal de la película Dos- mente se habían tratado con anterioridad. Quizá, tana (Tarun Mansukhani, 2008). Siguiendo la dicho análisis se habría visto enriquecido si el línea del capítulo 2, que invita a ir más allá de autor hubiese realizado un estudio comparativo
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