Aditi SarkaR
Biographic Data
| ID | 8833457 |
|---|---|
| NAME | Aditi SarkaR |
| GIVEN NAMES | Aditi |
| FAMILY NAME | SarkaR |
| SIGNATURE | SARKAR A |
| AFFILIATIONS | Independent researcher |
| ORCID | 0009-0002-4079-3685 |
| VERIFIED | No |
| TOTAL WORKS | 2 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 2 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2026 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 0 |
The rape-trick and the casteed gaze
This article examines Arundhati Roy’s Mother Mary Comes to Me (2025) as an intermedial critique of gendered violence in South Asian cinema. Reading the memoir as a spectator’s manifesto, it explores cinema’s pedagogy of fear, Roy’s critique of Bandit Queen (1994) as a ‘rape-trick,’ and the mediatization of political violence. Drawing on feminist film theory, postcolonial spectatorship, and the concept of the casteed gaze, the article argues that …
The Somatic Archive
This article examines Banu Mushtaq’s Heart Lamp: Selected Stories through the concept of the somatic archive, a living ledger of unpayable juridical debt inscribed on wives’ bodies through the convergence of Islamic marriage law, reproductive governance, and domestic discipline in Kannada Muslim spaces. Reading six stories through feminist somaesthetics, biopolitics, necropolitics, and Kristevan abjection, it argues that South Asian women’s domes…
No prominent works on this page.
The rape-trick and the casteed gaze
This article examines Arundhati Roy’s Mother Mary Comes to Me (2025) as an intermedial critique of gendered violence in South Asian cinema. Reading the memoir as a spectator’s manifesto, it explores cinema’s pedagogy of fear, Roy’s critique of Bandit Queen (1994) as a ‘rape-trick,’ and the mediatization of political violence. Drawing on feminist film theory, postcolonial spectatorship, and the concept of the casteed gaze, the article argues that …
The Somatic Archive
This article examines Banu Mushtaq’s Heart Lamp: Selected Stories through the concept of the somatic archive, a living ledger of unpayable juridical debt inscribed on wives’ bodies through the convergence of Islamic marriage law, reproductive governance, and domestic discipline in Kannada Muslim spaces. Reading six stories through feminist somaesthetics, biopolitics, necropolitics, and Kristevan abjection, it argues that South Asian women’s domes…
South Asian Cinema and Culture (2 works) · Anthropological Studies and Insights (1 work) · Cinema and Media Studies (1 work) · Debt (1 work) · Global South (1 work) · Identity (music) (1 work) · Inscribed figure (1 work) · Islam (1 work) · Islamic Studies and History (1 work) · Masculinity (1 work)