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商品の説明
内容説明
Men in India are attracted to Hindi films partly because of their attraction to depictions of modern lifestyles. Dern DEGREESD'e argues that films help men handle their ambivalence about modernity by rooting their sense of Indianness in women's acceptance of traditional food habits, clothing, and gender subordination. The book is one of the first ethnographic studies of filmgoing and one of the first to focus on mainstream male audiences.
Dern DEGREESD'e considers the effects of films' eroticization of domination and submission on men's sexuality. The study provides ethnographic support for Mulvey's argument that filmgoing prompts men to make women the object of a controlling look. The book shows how films invent new ideologies of male dominance by associating Indianness with limitations on women's movements, and by portraying men as rational and modern, and women as emotional and traditional. One of the first ethnographic studies of filmgoing and one of the first to focus on mainstream male audiences, the book contributes to a rethinking of some key arguments in media studies. While media studies have rightly focused on how films prompt men to gaze at women, this study shows that films simultaneously encourage men to see themselves as the object of controlling looks. Dern DEGREESD'e exposes as one-sided the scholarly emphasis on how Indians value hierarchy and group guidance, asserting that Indian films instead celebrate individualism and love.
Book Description
Men in India are attracted to Hindi films partly because of their attraction to depictions of "modern" lifestyles. Derne argues that films help men handle their ambivalence about modernity by rooting their sense of "Indianness" in women's acceptance of traditional food habits, clothing, and gender subordination. The book is one of the first ethnographic studies of filmgoing and one of the first to focus on mainstream male audiences.
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カスタマーレビュー
Amazon.com で最も参考になったカスタマーレビュー (beta)
Amazon.com:
2件のカスタマーレビュー
1 人中、1人の方が、｢このレビューが参考になった｣と投票しています。
A smart analysis of an understudied aspect of culture
2004/4/9
形式:ハードカバー
The movie industry in India is the world's largest. Steve Derne's book takes this idea and runs with it, using the film industry as a lens for focusing on Indian men's ideas about gender. It's a commonplace that, while people might not talk about their personal attitudes with a stranger, they are more than willing to discuss similar issues in their favorite films, and thus this report (as the very good previous review shows) reveals some surprising insights about how Indian men perceive the construction of masculinity.
This book, unlike many sociological texts, is both scholarly and readable, and would make a good addition to undergraduate or graduate courses in area and gender studies. Highly recommended.
1 人中、1人の方が、｢このレビューが参考になった｣と投票しています。
Indian masculinity in the cinema screen and aisles
2003/12/18
形式:ハードカバー|Amazonが確認した購入
Of the Indian Americans with whom I attended high school, only the women watched Indian films. With their dancing, singing, and bright colors, Indians of both genders somewhat equated them with American soap operas or musicals. However, in this text, Derne states that the majority of Indian filmgoers are male and film is a critical vehicle by which they define and develop their masculinity.
Derne does an expert job in showing that even outside of America, movies and pop culture are major societal forces. He excellently demonstrates how the dynamics in the theater are just as important as what happens on screen. He does a great job in discussing inconsistency. For example, he illustrates that male filmgoers in the subcontinent love films where authority is challenged, yet resist attempting it in real life.
Due to culturally-based gender segregation, Derne wouldn't have been allowed to interview female cineastes. Therefore this is another men's studies text by default. Still, I really appreciated this look into Indian masculinity. Women readers and feminist critics should not feel alienated here: Derne does discuss women and their film attendance habits frequently.
Derne barely mentions the US or UK at all. He never implies that Indian film is a response to British imperialism or postcoloniality. He never mentions the cultural imperialism of the US. Bollywood (a term he doesn't really employ) is not considered an imitation of Hollywood. In fact, he states that most Indians feel that US films are too short. This book placed a population of color in the center and out of the margins in phenomenal ways.
Some of the comments on gender are shocking. On the one hand, Indian women are forced, and often wish, to constantly stay modest and avoid public spheres. Modesty about sexual matters is emphasized by most of the male interviewees. Yet at the same time, Derne states that directors have said no Indian company would invest in a film without a rape scene. If the US is so risque, why do American films avoid rape and Indian film emphasize it? I guess gender relations and gender-based inequality are truly culturally variant.
Derne cites Dickey, an author that studied filmgoing in South India so much that he almost seems like he plagiarized that text. There is not a single photo in this book: a sign that he didn't want the text to be just another cultural studies rag. The conclusion is merely a rehash of the previous chapters.
I hope more books on Indian men will be produced. This was a great first effort.
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