Priya Jaikumar
Biographic Data
| ID | 5396212 |
|---|---|
| NAME | Priya Jaikumar |
| GIVEN NAMES | Priya |
| FAMILY NAME | Jaikumar |
| SIGNATURE | JAIKUMAR P |
| AFFILIATIONS | Priya Jaikumar, University of Southern California, Los Angeles, USA. |
| ORCID | 0000-0003-3891-4994 |
| VERIFIED | Yes |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 3 |
| WORKS AS AUTHOR | 5 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2003 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 1 |
Media and extraction
This short essay is a polemical exploration of recent scholarship on media and resource extraction, with remarks on the necessary revisions this work entails to the purview and practice of studying cinema and media. Drawing on emergent works that elucidate the significance of media’s embeddedness in extractivist logics, we reflect on the ideas that propel them and the future conversations we hope they will provoke. As old disciplinary configurati…
Space
Haveli
The vernacular architectural style of the haveli in India is defined by social historian Sarah Tillotson as a “distinguishable type of inward looking courtyard house” prevalent in precolonial North India. Havelis lost their ability to function as efficient domiciles with the decline of the Mughal empire, under which a hierarchical, patriarchal system of aristocratic patronage and indirect landownership once flourished, to be replaced by indigenou…
Sabu's Skins
More Than Morality
By all accounts, during the 1920s and 1930s the British India government's interest in Indian film audiences was governed by racial anxiety rather than a desire for economic profit. The state seemed preoccupied with the content of North American films viewed by Indian audiences rather than with flooding India's market with British films. One is provoked to ask why a state, constituted on the strength of its exploitation of Indian raw materials an…
More Than Morality
By all accounts, during the 1920s and 1930s the British India government's interest in Indian film audiences was governed by racial anxiety rather than a desire for economic profit. The state seemed preoccupied with the content of North American films viewed by Indian audiences rather than with flooding India's market with British films. One is provoked to ask why a state, constituted on the strength of its exploitation of Indian raw materials an…
Sabu's Skins
More Than Morality
By all accounts, during the 1920s and 1930s the British India government's interest in Indian film audiences was governed by racial anxiety rather than a desire for economic profit. The state seemed preoccupied with the content of North American films viewed by Indian audiences rather than with flooding India's market with British films. One is provoked to ask why a state, constituted on the strength of its exploitation of Indian raw materials an…
Sabu's Skins
Haveli
The vernacular architectural style of the haveli in India is defined by social historian Sarah Tillotson as a “distinguishable type of inward looking courtyard house” prevalent in precolonial North India. Havelis lost their ability to function as efficient domiciles with the decline of the Mughal empire, under which a hierarchical, patriarchal system of aristocratic patronage and indirect landownership once flourished, to be replaced by indigenou…
Space
Media and extraction
This short essay is a polemical exploration of recent scholarship on media and resource extraction, with remarks on the necessary revisions this work entails to the purview and practice of studying cinema and media. Drawing on emergent works that elucidate the significance of media’s embeddedness in extractivist logics, we reflect on the ideas that propel them and the future conversations we hope they will provoke. As old disciplinary configurati…
Art (3 works) · Cinema and Media Studies (3 works) · Computer Science (2 works) · History (2 works) · History (2 works) · Literature (2 works) · Movie theater (2 works) · Philosophy (2 works) · Political science (2 works) · Sociology (2 works)