CA COSMOPOLITANISM, REMEDIATION, AND THE GHOST WORLD OF BOLLYWOOD DAVID NOVAK University of California, Santa Barbara Over the past. Intro Cosmopolitanism, Remediation, and the Ghost World of Bollywood Double click to crop it if necessary (cc) photo by Metro Centric on Flickr. In this article Novak discusses remediation in regards to Bollywood music, specifically the song-and-dance number “Jaan Pehechaan Ho” from.

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You are commenting using your Twitter account. My access to a copy of the videotaped concert was provided by a former member of Heavenly Ten Stems. Blogger Jai Arjun Singh describes this as part of a broader negotiation with hard-to-justify affections for mass media: In the middle of this pop culture detritus, Enid mirrors the mirroring on her TV set.

Gunning, Tom The Cinema of Attractions: Alex, the keyboardist, had on a sari. For example, Hindi film has been imported into Nigeria nollywood decades, and the borrowing of Indian cinematic techniques by Hausa videomakers shows that appropriation can motivate different circulations at the same time Larkin They reappro- priate received materials for widely divergent personal goals, and construct cosmppolitanism relations through an intertextual discourse of mediated references.

But that, in an odd way, helps maintain the legend. How is Bollywood film song, often itself a kitschy send-up of American popular culture, remediated differently for different projects of reception? His analysis of the cultural implications of Jaan Pehechaan Ho as part of the movie are particularly interesting.

Cosmopolitanism, Remediation, and the Ghost World of Bollywood

Thanks to Amanda Minks, Jairo Moreno, and Amanda Weidman for their comments on early versions, as well as the editors and an anonymous reviewer of Cultural Anthropology.


Bombay the Hard Way: Although Bollywood is acknowledged worldwide as one of the only non-Western productions to parallel the hegemony of Worrld. My reconsideration of this idea connects with other recent anthropological work in this journal that brings remediation from logics of representation and virtuality to social experiences and globalizing discourses of media Silvio ; Strassler But unlike markets in Africa, Eastern Europe, and Southeast Asia, the growing North American reception of Bollywood is not necessarily based on the films cosjopolitanism but on excerpts from classic Bollywood films, especially song-and- dance sequences.

Ivy, Marilyn Discourses of the Vanishing: Skinn, Dez Comix: Truth Hurts Addictive. These sequences are spectacular collages of places, people, movement, and sound; crystallized juxtapositions of formal material that can easily break away from the larger context of the film.

Povinelli Technologies of Public Forms: I am not sug- gesting that remediation creates some sort of social equivalence between nationally constructed cultures, ethnic subcultures, and aesthetic countercultures. In their sense, remediation transfers content from one format to another, qorld making media new, and making new media.

A few weeks later, several students e-mailed that they had been shocked to recognize the obscure clip while sitting in a local movie theater.

Prindle, Mark Interview with Brandan Kearney. Mazzarella, William a Shoveling Smoke: Film Songs of Bollywood Thomas Hartlage, prod. This is the Exotic Other of the Other Coosmopolitanism, lost and found again in the self-consciousness of remediation. She stands stark still in the middle of her room as the camera circles around her face and its expressionless expression of total absorption.

“Cosmopolitanism, Remediation and the Ghost World of Bollywood.” | David Novak –

Annual Review of Anthropology Gopal, Sangita, and Sujata Moorti, eds. So in the middle of one song, there was a lot of shouting. Is the sense of the uncanny what draws both filmmakers and viewers to maintain a market for this form cosmopolitaniem art?


But fragile collages of different cultural logics do not always hold together. Gumnaam, ” Jaan Pehechaan Ho.

Rosencranz, Patrick Rebel Visions: Remember me ghots this computer. The dance seems familiar, but strangely stiff and absurdly overperformed; she shakes eagerly but awkwardly to the rock-and-roll rhythm, as the guitars and trumpets continue to blare out in contrast to the soft and intimate voice of Mohammad Gnost see Figure 1.

I think Mark, like me, looked at shows—any shows—as a chance to take on a completely new appearance. Remediation helps us reconsider the role of the subject in studies of circulation and cultural globalization. He argues cosmooplitanism including the videoclip of that song as part of the opening scene of Ghost Cosmopolitanixm allows for the theme of otherness to be presented coined into the viewer early in the movie. Contemporary subjects live much of their lives through media.

After cutting back and forth a few times between the magical Indian dance club and these colorless domestic scenes, we focus in on one of the suburban windows and we discover Enid, a somewhat somber and intense teenage girl, in a red graduation gown in front of her television. This site uses cookies.