Mímesis y recepción del cine de Bollywood en el ámbito audiovisual occidentalentre la ironía orientalista y el compromiso transnacional

  1. Roncero, Israel
Journal:
Secuencias: Revista de historia del cine

ISSN: 1134-6795

Year of publication: 2012

Issue Title: El Nuevo Bollywood

Issue: 36

Pages: 96-117

Type: Article

More publications in: Secuencias: Revista de historia del cine

Abstract

This paper analyzes the interplay of both Western audiovisual landscape and Bollywood cinema, cultural contexts that are constantly polluting each other, but due to the asymmetry of the different political categories of origin, a critical analysis that helped us to determine what the political consequences are when a peripheral cinema imitates a globally entitled cinema would be required. To achieve this, once drawn the media and cultural landscape of this cinematic dialogue, we will illustrate the effects of Western mimesis of India products with the study of a particular case. This detailed analysis will allow us to establish two distinct interpretative hypotheses that will attempt to determine whether Western mimesis of Bollywood cinema is an ironic appropriation that subtracts the value of the cited product or, conversely, a hybrid product with the vocation of achieving a transnational dialogue.

Bibliographic References

  • BAUDRILLARD, Jean, El complot del arte (Buenos Aires, Amorrortu Ediciones, 2006). BENJAMIN, Walter, Discursos interrumpidos I (Buenos Aires, Taurus, 1989). BOURRIAUD, Nicolas, Postproducción (Buenos Aires, Adriana Hidalgo, 2004).
  • CHAUDHURI, Shohini, Contemporary World Cinema: Europe, Middle East, East Asia, South Asia (Edimburgo, Edinburgh University Press, 2005). ELENA, Alberto, Los cines periféricos (Barcelona, Paidós, 2009). «(Des)encuentros: viaje a los cines del Sur (Discusión)» (L’Atalante, n.º 9, enero 2010), pp. 56-67.
  • EZRA, Elisabeth y ROWDEN, Terry (comps.), Transnational Cinema: The Film Reader (Londres, Routledge, 2006).
  • GOKULSING, K. Moti y DISSANAYAKE, Wimal, Indian Popular Cinema (Wiltshire, Trentham, 2004).
  • THUSSU Daya Kishan, «The Globalization of Bollywood – The Hype and Hope», p.111 [Traducción del autor].
  • HANSEN, Miriam, Babel and Babylon: Spectatorship in American Silent Film (Cambridge, Harvard University Press, 1999).
  • HIGBEE, Will y HWEE LIM, Song, «Concepts of Transnational Cinema: Towards a Critical Transnationalism in Film Studies» (Transnational Cinemas, volumen 1, n.º 1, 2010), pp. 7-21.
  • HJORT, Mette, «On the Plurality of Cinematic Transnationalism», en Natasha Durovicova y Kathleen Newman (comps.), World Cinemas, Transnational Perspectives (Nueva York, Routledge, 2010).
  • KAVOORI, Anandam y PUNATHAMBEKOR, Aswin, «Introduction: Global Bollywood», en Anandam Kavoori y Aswin Punathambekor (comp.), Global Bollywood (Nueva York, NYU Press, 2008).
  • MILLER, Toby, NITIN, Govil, MCMURRIA, John y MARXWELL, Richard, El Nuevo Hollywood. Del imperialismo cultural a las leyes del marketing (Barcelona, Paidós, 2001).
  • MAALOUF, Amin, Identidades asesinas (Madrid, Alianza, 1998). OWENS, Craig, «El discurso de los otros: Las feministas y el postmodernismo», en Hal Foster (comp.), La postmodernidad (Madrid, Akal, 2001). PENDAKUR, Manjunath Indian Popular Cinema. Industry, Ideology and Consciousness (Cresskill, New Jersey Hampton Press, Inc, 2003).
  • SAID, Edward, Orientalismo (Barcelona, Debolsillo, 2004). SPIVAK, Gayatri, «Can the Subaltern Speak?», en Cary Nelson y Lawrence Grossberg (comps.), Marxism and the Interpretation of Culture (Urbana, University of Illinois Press, 1988).
  • THUSSU, Daya Kishan, «The Globalization of Bollywood – The Hype and Hope», en Anandam Kavoori y Aswin Punathambekor (comps.), Global Bollywood (Nueva York, NYU Press, 2008).
  • VIRDI, Jyotika y CREEKMUR, Corey K., «India: Bollywood’s Global Coming of Age», en Anne Tereska Ciecko (comp.), Contemporary Asian Cinema. Popular Culture in a Global Frame (Nueva York, Berg Publisher, 2006).