Kamala hassan talks about "cultural terrorism" what about his films?
let me share an old article by Ravi vasudevan on' Hey ram'
quote: " The flashback devoted to Muslim mob frenzy in Kamal Hasan’s film has in some fundamental sense broken certain rules for how communal conflict is represented in popular Indian cinema.
Its extended, graphic description of Muslim bloodlust and sexual assault on Hindu women goes against the particular secular discretion of popular film in avoiding the attribution of ‘first blood’; on the other hand, it is a commonplace of popular Hindu perception and memory, however, distorted this may be, and has always been used to justify retaliatory violence.
It would have been courageous had the director taken this commonsense head-on, to substantially challenge the view, or at least counterpoint it with parallel, unmotivated Hindu bestiality, through the anomie which governs riot situations.
Later, the turning point in Ram’s development, his conversion after the meeting with Amjad and defence of the embattled Muslim community, is particularly offensive. For, in the name of a more humane perspective, the narrative action merely underlines the prevailing Hindutva ideology that the Hindu nation will provide protection to the minority from majoritarian extremists."
let me share an old article by Ravi vasudevan on' Hey ram'
quote: " The flashback devoted to Muslim mob frenzy in Kamal Hasan’s film has in some fundamental sense broken certain rules for how communal conflict is represented in popular Indian cinema.
Its extended, graphic description of Muslim bloodlust and sexual assault on Hindu women goes against the particular secular discretion of popular film in avoiding the attribution of ‘first blood’; on the other hand, it is a commonplace of popular Hindu perception and memory, however, distorted this may be, and has always been used to justify retaliatory violence.
It would have been courageous had the director taken this commonsense head-on, to substantially challenge the view, or at least counterpoint it with parallel, unmotivated Hindu bestiality, through the anomie which governs riot situations.
Later, the turning point in Ram’s development, his conversion after the meeting with Amjad and defence of the embattled Muslim community, is particularly offensive. For, in the name of a more humane perspective, the narrative action merely underlines the prevailing Hindutva ideology that the Hindu nation will provide protection to the minority from majoritarian extremists."
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