| Popis: |
This chapter will examine female deviancy in Bombay cinema in terms of the social norms broken by women that then invite narrative punishment, containment or expulsion from the social group in Achhut Kanya (1936); Meera (1945; 1947); Dillagi (1949); Tarana (1951), Mirza Ghalib (1954); Heer (1956). Remarkably, even while the narrative outcome may uphold acceptable social structures, the intense melodramatic articulation of feminine desire not only questions gender norms, but also creates a powerful affective and emotional surplus that remains unaccommodated. Using the Indian cinematic melodramatic form, especially music, songs and a stylized, saturated mise-en-scene, the discussion will address the unrealizable emotion of desire that is particularly affective. It is through this articulation of gender identities and historical (im)possibilities that the paper will examine how the Hindustani cinema of Bombay responded to the normal and the deviant in Indian society. |
