Sangita Gopal

Biographic Data

ID3742952
NAMESangita Gopal
GIVEN NAMESSangita
FAMILY NAMEGopal
SIGNATUREGOPAL S
AFFILIATIONSUniversity of Oregon
VERIFIEDNo
TOTAL WORKS9
TOTAL CITATIONS7
AUTHOR COUNT9
EDITOR COUNT0
FIRST PUBLICATION YEAR1969
LATEST PUBLICATION YEAR2024
H-INDEX2

  • Two Waves of the Neo-Ottoman Invasion: The Turkish Dizi and Pakistani TV Drama

    Open AccessSangita GopalARTICLEBioScope South Asian Screen Studies2024

    This article explores the dynamics of transnational media formation by comparing the reception of Turkish television serials ( dizis) in Pakistan with how Turkey is signified in dramas produced in Pakistan and set in Turkey/Pakistan. It identifies two phases to suggest that when the dizi first arrives in Pakistan, the values and visibilities projected on Turkish serials remain ‘foreign’ and ‘other’ to many audiences, even if their flawless presen…

  • Media Meddlers

    Sangita GopalARTICLEFeminist Media Histories2019

    This article explores and historicizes the rise of the woman filmmaker in India in the late 1970s and the 1980s in two overlapping domains: a vastly expanded communications infrastructure, including the spread of television, and second wave feminism. It takes as a case study the media maker Sai Paranjpye, whose eclectic career across a range of media—theater, TV, cinema, print—in multiple formats—ad films, documentaries, educational shorts, TV fi…

  • The Audible Past, or What Remains of the Song-Sequence in New Bollywood Cinema

    Sangita GopalARTICLENew Literary History2015Cited by: 3

    The Audible Past, or What Remains of the Song-Sequence in New Bollywood Cinema Sangita Gopal (bio) Jia zhangke’s platform (2000) is a film set in the late 1970s–1980s, the decade in which Den Xiaoping’s new economic policies were transforming coastal China but outlying provinces like Shanxi were still geographically, economically, and culturally distanced from these seismic changes.1 This uneven development is vividly grasped in a scene, early in…

  • Bollywood in Drag: Moulin Rouge! and the Aesthetics of Global Cinema

    Sangita Gopal, Sujata MoortiARTICLECamera Obscura Feminism Culture…2011

  • Sealed with a Kiss: Conjugality and Hindi Film Form

    Sangita GopalARTICLEFeminist Studies2011

    In the final sequence of Danny Boyle's 2008 film, Slumdog Millionaire, Jamal and Latika's lips freeze in a brief on-screen kiss. Almost immediately, Boyle goes to credits intercut with a Bollywood-style song and dance number that enacts how this kiss feels to the long-suffering, long-sepa rated sweethearts. This couple is twice constituted—first through a kiss and then in the performance register of the romantic duet. By formally separating the k…

  • Intermedia emergence: The fourth screen

    Rajinder Dudrah, Sangita Gopal et al.ARTICLESouth Asian Popular Culture2010References: 1

    We live today, in the Diaspora, and on the subcontinent enwrapped in increasingly instantaneous media flows. Yet this is not a more complex media ecology than that which prior generations experienc

  • The Look in Ruins: Naipaul's Enigma of Arrival and the Dialectics of Seeing

    Sangita GopalARTICLESouth Asian Review2005Cited by: 1References: 4

    (2005). The Look in Ruins: Naipaul's Enigma of Arrival and the Dialectics of Seeing. South Asian Review: Vol. 26, 'V.S Naipaul: His ideas, work and art'. Guest Edited by P. A. Chauhan, pp. 338-357

  • Hindu Buying/Hindu Being: Hindutva Online and the Commodity Logic of Cultural Nationalism

    Sangita GopalARTICLESouth Asian Review2003Cited by: 3

    (2003). Hindu Buying/Hindu Being: Hindutva Online and the Commodity Logic of Cultural Nationalism. South Asian Review: Vol. 24, Globalization and Diaspora, pp. 161-179

  • Moderates and Extremists in the Indian Nationalist Movement 1883–1920 , by D. Argov, Asia Publishing House, Bombay 1967, Rs. 25.00

    Open AccessSangita GopalARTICLEThe Indian Economic & Social…1969