| Popis: |
This chapter analyzes three Bombay melodramas: Mahesh Kaul's Gopinath (1948), Kamal Amrohi's Daera (1953), and Bimal Roy's Devdas (1955). These films represent the tragic denouement of their protagonists, bringing into sharp relief a particular melodramatic embodiment of gender and identity in Bombay cinema of the 1940s and 1950. The chapter addresses the following questions: What are the issues at stake? What is the historical conjuncture that pressures gender and genre to take such forms? What significances does the aesthetic mode employed here press forth from the situations that the films outline? What specific contours does the Indian melodramatic form take to signify its historical meanings? |
