Nehruvian Ghosts
Kamal Amrohi’s Film, Mahal (1949)
Bibliographic Data
| ID | 11015705 |
|---|---|
| Authors | Margrit Pernau (0000-0002-8392-3454, Max Planck Institute for Human Development, corresponding author) |
| Year | 2024 |
| Volume | 47 |
| Issue | 1 |
| Pages | 35-49 |
| Publication date | 2024-01-02 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | South Asia Journal of South Asian Studies (JOURNAL) |
| Journal identifiers | ISSN: 0085-6401 • E-ISSN: 1479-0270 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/00856401.2024.2280340 |
| OpenAlex | W4389656209 |
| Language | EN |
| References cited | 6 |
The Nehruvian era has been seen as marked by the focus on sovereign human agents, no longer dependent on non-humans and their powers to achieve self-defined goals.This reinforced the distinction between humans and their others, notably ghosts and otherworldly creatures.However, this article argues, this exorcism was less successful than often assumed.A close reading of the film Mahal (directed by Kamal Amrohi in 1949) shows that ghosts were not only present at a narrative level, but also continued to establish their presence, right at the centre of the modern medium of the film and amongst filmmakers committed to the Nehruvian project
Archaeology · Art · Creatures · Exorcism · Focus (optics · Literature · Narrative · Natural (archaeology · Optics · Physics · Political science · Reading (process · Visual arts · History · Law · South Asian Cinema and Culture · South Asian Studies and Conflicts · South Asian Studies and Diaspora
| Highly cited | No |
|---|