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This book discusses the role of television drama series on a global scale, analyzing these dramas across the Americas, Europe, Asia, Australia, and Africa. Contributors consider the role of television dramas as economically valuable cultural products and with their depictions of gender roles, sexualities, race, cultural values, political systems, and religious beliefs as they analyze how these programs allow us to indulge our innate desire to share human narratives in a way that binds us together and encourages audiences to persevere as a community on a global scale. Contributors also go on to explore the role of television dramas as a medium that indulges fantasies and escapism and reckons with reality as it allows audiences to experience emotions of happiness, sorrow, fear, and outrage in both realistic and fantastical scenarios.
In late nineteenth-century South Asia, the arrival of print fostered a dynamic and interactive literary culture. There, within the pages of Urdu-language periodicals and newspapers, readers found a public sphere that not only catered to their interests but encouraged their reactions to featured content. Cosmopolitan Dreams brings this culture to light, showing how literature became a site in which modern daily life could be portrayed and satirized, the protocols of modernity challenged, and new futures imagined. Drawing on never-before-translated Urdu fiction and prose and focusing on the novel and satire, Jennifer Dubrow shows that modern Urdu literature was defined by its practice of self-critique and parody. Urdu writers resisted the cultural models offered by colonialism, creating instead a global community of imagination in which literary models could freely circulate and be readapted, mixed, and drawn upon to develop alternative lines of thinking. Highlighting the participation of readers and writers from diverse social and religious backgrounds, the book reveals an Urdu cosmopolis where lively debates thrived in newspapers, literary journals, and letters to the editor, shedding fresh light on the role of readers in shaping vernacular literary culture. Arguing against current understandings of Urdu as an exclusively Muslim language, Dubrow demonstrates that in the late nineteenth century, Urdu was a cosmopolitan language spoken by a transregional, transnational community that eschewed identities of religion, caste, and class. The Urdu cosmopolis pictured here was soon fractured by the forces of nationalism and communalism. Even so, Dubrow is able to establish the persistence of Urdu cosmopolitanism into the present and shows that Urdu’s strong tradition as a language of secular, critical modernity did not end in the late nineteenth century but continues to flourish in film, television, and on line. In lucid prose, Dubrow makes the dynamic world of colonial Urdu print culture come to life in a way that will interest scholars of modern Asian literatures, South Asian literature and history, cosmopolitanism, and the history of print culture.
Suitably Modern traces the growth of a new middle class in Kathmandu as urban Nepalis harness the modern cultural resources of mass media and consumer goods to build modern identities and pioneer a new sociocultural space in one of the world's "least developed countries." Since Nepal's "opening" in the 1950s, a new urban population of bureaucrats, service personnel, small business owners, and others have worked to make a space between Kathmandu's old (and still privileged) elites and its large (and growing) urban poor. Mark Liechty looks at the cultural practices of this new middle class, examining such phenomena as cinema and video viewing, popular music, film magazines, local fashion systems, and advertising. He explores three interactive and mutually constitutive ethnographic terrains: a burgeoning local consumer culture, a growing mass-mediated popular imagination, and a recently emerging youth culture. He shows how an array of local cultural narratives--stories of honor, value, prestige, and piety--flow in and around global narratives of "progress," modernity, and consumer fulfillment. Urban Nepalis simultaneously adopt and critique these narrative strands, braiding them into local middle-class cultural life. Building on both Marxian and Weberian understandings of class, this study moves beyond them to describe the lived experience of "middle classness"--how class is actually produced and reproduced in everyday practice. It considers how people speak and act themselves into cultural existence, carving out real and conceptual spaces in which to produce class culture.
The history of Pakistan, created as a new nation state in 1947, placing it in the context of the region's four-thousand-year-old pre-colonial heritage. Also focus on Pakistan's religion and society, the state and the military, popular culture, language and literature, as well as its relationship with the rest of the world
Providing a critique of a common scholarly tendency in the field of popular Indian cinema, this text argues that Indian cinema cannot be understood in terms of a national paradigm, but must instead be considered as a field of visual and cultural production that interlinks diverse sites, in India and beyond.
What does it mean to be a Pakistani? Can it mean more than one thing? And what do others think it means? Ziauddin Sardar explores what makes a Pakistani, and whether it's something one wants or ought to be. Reflecting on his culture and heritage through tales of the Pakistanis in his life, A Person of Pakistani Origins is a whirlwind tour of dueling poets, Bollywood films, a bookish auntie who harbors feminist urges, and a vanishing uncle who reappears miles away. Thoughtful and generously laced with humor, this book delves deep into Pakistan's eclectic culture, and the humble insanity of everyday life for a person of Pakistani origins. Sardar richly celebrates the importance of where we come from, and of who we become.
For Jayeeta (in her own words), Imran Khan, has been her ‘source of sustenance’ ever since she was a young girl. Moreover, since then she had nurtured the dream to meet her idol, but on her own mettle. JAF! is the story of that quest. As you turn the pages of JAF! I can guarantee that you will identify with Jayeeta’s quest and willingly become a part of it. For, inside each one of us resides a fan who, too, would someday share a similar story.
“Picture abhi baaki hai mere dost”; “Don ko pakadna mushkil hi nahi namumkin hai”; “Jo main bolta hun, Woh main karta hun. Jo main nahi bolta woh main definitely karta hun” Lines from well-remembered films (or ‘dialogues’ as we call them), are part of the currency of our everyday speech. Climactic scenes are unforgettably etched in our minds. Yes, we don’t just watch movies, we internalize them. How many times, have you selected a movie shuffling through multiple reviews and ratings only to find that what you see on screen is very different from what you were led to believe? You wonder if they were written more objectively and someone like you could tell what to expect? Here is an attempt to do just that. First Day, Last Show takes you through an engrossing journey of movies seen through the eyes of a common cinemagoer. The book is a bouquet of impressions about films gathered over a period of four years. You will relate to these views easily, even if you have not seen or heard about the movie earlier. All you need is to be a fairly regular cinema goer. If you love movies, you will love reading First Day, Last Show.
Satan-Allah (95% of Allah) is total lies, total deceit, and total betrayal. Any truth of any kind from any source anywhere in this world is not acceptable to Allah. All truth of all truthful people will not convince one Muslim to say sorry. A slave has no right to say sorry as long as he follows his masters orders. Allah has systematically annihilated, eliminated, killed, converted, kicked out, and simply wiped out about 300 million human beings in the last 1,400 years. That is why we have slaves (Muslims) everywhere.