Spandan Bhattacharya
Biographic Data
| ID | 6736731 |
|---|---|
| NAME | Spandan Bhattacharya |
| GIVEN NAMES | Spandan |
| FAMILY NAME | Bhattacharya |
| SIGNATURE | BHATTACHARYA S |
| AFFILIATIONS | Birla Institute of Technology and Science - Hyderabad Campus |
| ORCID | 0009-0000-4133-2093 |
| VERIFIED | Yes |
| TOTAL WORKS | 7 |
| TOTAL CITATIONS | 2 |
| AUTHOR COUNT | 7 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2016 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 1 |
Decolonising Film Pedagogy from an Indian Classroom
This article is a critical introduction to a roundtable discussion on the question of pedagogy in Film and Media Studies. Occasioned by a discussion of a film studies textbook produced in India, which focused on the questions of decolonisation of pedagogic resources as well as a consideration of how film studies is taught in different parts of the world. Participated in by scholars based in the US, the UAE and India, the roundtable also highlight…
Screening regions, sightseeing the cities: Touristy gaze, Tollywood aesthetics and the making of a new Bengali-ness in Barfi
Transgressing Boundaries, Transforming Film Culture(s): Tales of Bedeni and the Constructs of Female Performer Figure in the 1990s Bengali Cinema
Bedeni film emerged as a film genre centred on the snake worship cult and the figure of the bedeni/snake charmer woman after the phenomenal popularity of Beder Meye Josna (Panu, 1991). In this article, I consider how bedeni’s figuration disrupted the idea of the bhadra heroine of Bengali cinema, a figure of polish and restraint, and offered new understandings of ‘public women’. I study constructs of bedeni as a sexualised female performing figure…
Disco flamboyance, performative masculinities and dancer heroes of Bengali cinema
In this paper, I attempt to study the different determinants of cinematic masculinities, the gendered bodies of male performer figures and their changing patterns with reference to film dance from the 1980s-1990s period of Bengali popular cinema. This paper explores how the inclusion of performative male bodies in the dance numbers brought a distinct imagination of masculinity and flamboyance, thereby disrupting the established idea of the bhadra…
Reading Anandalok: Obscenity, cinema and other ‘prohibitive’ pleasures in 1970s–1990s Bengali print culture
I always had an interest in film magazines, since I was in sixth or seventh standard in school. I would go to the library and sneak into the film magazine sections. I used to buy Anandalok from the
The action heroes of Bengali cinema: Industrial, technological and aesthetic determinants of popular film culture, 1980s – 1990s
In this article, I attempt to understand the emergence of a new form of masculinity, class character and gendered bodies of Bengali film heroes during the1980s and 1990s. The article reads the industrial, technological and aesthetic determinants of this figuration of action heroes in the 1980s–1990s and demonstrates how through this figuration, the representations of class in popular Bengali cinema attained a complex phase. A study of these figur…
Watching Zindagi: Pakistani social lives on Indian TV
In this paper, we study some of the politics involved in representing neighbouring country Pakistan with reference to the launching of a new television channel in India, Zindagi/Life. Zindagi was launched on 23 June 2014 and owned by the Zee Entertainment Enterprises Ltd. which airs syndicated television shows from Pakistan. Zindagi became the first ever general entertainment channel (GEC) in India to air syndicated content from Pakistan. Our pap…
The action heroes of Bengali cinema: Industrial, technological and aesthetic determinants of popular film culture, 1980s – 1990s
In this article, I attempt to understand the emergence of a new form of masculinity, class character and gendered bodies of Bengali film heroes during the1980s and 1990s. The article reads the industrial, technological and aesthetic determinants of this figuration of action heroes in the 1980s–1990s and demonstrates how through this figuration, the representations of class in popular Bengali cinema attained a complex phase. A study of these figur…
Watching Zindagi: Pakistani social lives on Indian TV
In this paper, we study some of the politics involved in representing neighbouring country Pakistan with reference to the launching of a new television channel in India, Zindagi/Life. Zindagi was launched on 23 June 2014 and owned by the Zee Entertainment Enterprises Ltd. which airs syndicated television shows from Pakistan. Zindagi became the first ever general entertainment channel (GEC) in India to air syndicated content from Pakistan. Our pap…
Watching Zindagi: Pakistani social lives on Indian TV
In this paper, we study some of the politics involved in representing neighbouring country Pakistan with reference to the launching of a new television channel in India, Zindagi/Life. Zindagi was launched on 23 June 2014 and owned by the Zee Entertainment Enterprises Ltd. which airs syndicated television shows from Pakistan. Zindagi became the first ever general entertainment channel (GEC) in India to air syndicated content from Pakistan. Our pap…
The action heroes of Bengali cinema: Industrial, technological and aesthetic determinants of popular film culture, 1980s – 1990s
In this article, I attempt to understand the emergence of a new form of masculinity, class character and gendered bodies of Bengali film heroes during the1980s and 1990s. The article reads the industrial, technological and aesthetic determinants of this figuration of action heroes in the 1980s–1990s and demonstrates how through this figuration, the representations of class in popular Bengali cinema attained a complex phase. A study of these figur…
Reading Anandalok: Obscenity, cinema and other ‘prohibitive’ pleasures in 1970s–1990s Bengali print culture
I always had an interest in film magazines, since I was in sixth or seventh standard in school. I would go to the library and sneak into the film magazine sections. I used to buy Anandalok from the
Transgressing Boundaries, Transforming Film Culture(s): Tales of Bedeni and the Constructs of Female Performer Figure in the 1990s Bengali Cinema
Bedeni film emerged as a film genre centred on the snake worship cult and the figure of the bedeni/snake charmer woman after the phenomenal popularity of Beder Meye Josna (Panu, 1991). In this article, I consider how bedeni’s figuration disrupted the idea of the bhadra heroine of Bengali cinema, a figure of polish and restraint, and offered new understandings of ‘public women’. I study constructs of bedeni as a sexualised female performing figure…
Disco flamboyance, performative masculinities and dancer heroes of Bengali cinema
In this paper, I attempt to study the different determinants of cinematic masculinities, the gendered bodies of male performer figures and their changing patterns with reference to film dance from the 1980s-1990s period of Bengali popular cinema. This paper explores how the inclusion of performative male bodies in the dance numbers brought a distinct imagination of masculinity and flamboyance, thereby disrupting the established idea of the bhadra…
Screening regions, sightseeing the cities: Touristy gaze, Tollywood aesthetics and the making of a new Bengali-ness in Barfi
Decolonising Film Pedagogy from an Indian Classroom
This article is a critical introduction to a roundtable discussion on the question of pedagogy in Film and Media Studies. Occasioned by a discussion of a film studies textbook produced in India, which focused on the questions of decolonisation of pedagogic resources as well as a consideration of how film studies is taught in different parts of the world. Participated in by scholars based in the US, the UAE and India, the roundtable also highlight…
South Asian Cinema and Culture (7 works) · Sociology (6 works) · Art (5 works) · Bengali (5 works) · Cinema and Media Studies (5 works) · Linguistics (4 works) · Literature (4 works) · Movie theater (4 works) · Philosophy (4 works) · Aesthetics (3 works)