1 online resource (xvii, 243 pages) : illustrations, digital ; 24 cm
文字
text
無媒介
computer
成冊
online resource
說明
text file PDF
附註
1. Introduction -- 2. From Partition to Hegemony: Bangladesh and Bangladeshi Films in the South Asian Context -- 3. Ethnographic Fieldwork: The Self as an Informant and an Observer -- 4. The Political Economy, Materiality and the Visceral Experience of Cable Television -- 5. The Cultural Economy of the CD/DVD Store and the Creation of Space -- 6. Culture of Copying and Copying of Culture: Media "Piracy" in Bangladesh -- 7. Belonging to Class: Hindi Film and the Formation of Middle Class Audience in Bangladesh -- 8. Negotiating Mediated Modernity and Culture: When "Soft Power" Becomes Hard -- 9. Bollywoodization or Ghettoization?: The Bangladeshi Dream Factory is in Disarray -- 10. Summary and Conclusion
'Rahman's book offers us some rich insights about the workings of cultural hegemony of Bollywood cinema in Bangladesh, not least relating to middle class media consumption practices. This book is a welcomed addition to the literature on film and media studies in the Bangladesh and popular Indian cinema contexts.' - Professor Rajinder Dudrah, Birmingham City University, UK 'In the world of film scholarship, as in the world(s) of South Asian popular culture, Bollywood has enjoyed a hegemonic position. Rahman's work opens a unique window on the social, political, academic, technological and cultural dynamics of that hegemony. He provides a long-needed voice for Bangaladeshi film culture and film industry.' - Professor Gregory D Booth, The University of Auckland, New Zealand 'In an engaging and comprehensive manner the book provides an overview of the circulation of Bollywood films in Bangladesh and their impacts on society and culture industry. A must read for anyone interested in exploring the relationship between film consumption, cultural hegemony and social inequality.' - Professor Kristin Skare Orgeret, Oslo Metropolitan University, Norway This book examines the circulation and viewership of Bollywood films and filmi modernity in Bangladesh. The writer poses a number of fundamental questions: what it means to be a Bangladeshi in South Asia, what it means to be a Bangladeshi fan of Hindi film, and how popular film reflects power relations in South Asia. The writer argues that partition has resulted in India holding hegemonic power over all of South Asia's nation-states at the political, economic, and military levels-a situation that has made possible its cultural hegemony. The book draws on relevant literature from anthropology, sociology, film, media, communication, and cultural studies to explore the concepts of hegemony, circulation, viewership, cultural taste, and South Asian cultural history and politics. Harisur Rahman is Assistant Professor at North South University in Dhaka, Bangladesh. His research interests include Film, Media, Communication and Cultural Studies, Media Anthropology, Business Anthropology, Advertising Research, Material Culture, Globalization, Consumer Culture, Visual Culture, South Asian Media and Cultural Politics
