Intimate Visualities And The Politics Of Fandom In India

In *Intimate Visualities and the Politics of Fandom in India*, Gerritsen explores the circulation of images of a movie star named Rajinikanth. Cities and towns in the south Indian state Tamil Nadu are consistently ornamented with huge billboards, murals and myriad posters featuring political leaders as well as movie stars. A selective part of these images is put up by their fan clubs. Tamil movie fans typically manifest themselves by putting up images of their star in public spaces and by generating a plethora of images in their homes. Gerritsen argues that these images are a crucial part of the everyday affective modes of engagement with family members and film stars but they are also symbolizing the political realm in which fans situate themselves. At the same time, Gerritsen shows how these image productions seem to concur with other visual regimes articulated in government restrictions, world class imaginaries and upper class moralities as presented on India's urban streets.

Tamil Cinema in the Twenty-First Century explores the current state of Tamil cinema, one of India’s largest film industries. Since its inception a century ago, Tamil cinema has undergone major transformations, and today it stands as a foremost cultural institution that profoundly shapes Tamil culture and identity. This book investigates the structural, ideological, and societal cleavages that continue to be reproduced, new ideas, modes of representation and narratives that are being created, and the impact of new technologies on Tamil cinema. It advances a critical interdisciplinary approach that challenges the narratives of Tamil cinema to reveal the social forces at work.

Based on over a decade of ethnographic fieldwork in the South Indian state of Tamil Nadu, Onscreen/Offscreen is an exploration of the politics and being of filmic images. The book examines contestations inside and outside the Tamil film industry over the question "what is an image?" Answers to this question may be found in the ontological politics that take place on film sets, in theatre halls, and in the social fabric of everyday life in South India, from populist electoral politics and the gendering of social space to caste uplift and domination. Bridging and synthesizing linguistic anthropology, film studies, visual studies, and media anthropology, Onscreen/Offscreen rethinks key issues across a number of fields concerned with the semiotic constitution of social life, from the performativity and ontology of images to questions of spectatorship, realism, and presence. In doing so, it offers both a challenge to any approach that would separate image from social context and a new vision for linguistic anthropology beyond the question of "language."

This work explores diverse cultural understandings of food practices in cities through the senses, drawing on case studies in the Americas, Asia, Australia, and Europe. The volume includes the senses within the popular field of urban food studies to explore new understandings of how people live in cities and how we can understand cities through food. It reveals how the senses can provide unique insight into how the city and its dwellers are being reshaped and understood. Recognising cities as diverse and dynamic places, the book provides a wide range of case studies from food production to preparation and mediatisation through to consumption. These relationships are interrogated through themes of belonging and homemaking to discuss how food, memory, and materiality connect and disrupt past, present, and future imaginaries. As cities become larger, busier, and more crowded, this volume contributes to actual and potential ways that the senses can generate new understandings of how people live together in cities. This book will be of great interest to students and scholars of critical food studies, urban studies, and socio-cultural anthropology.

How does food restore the fragmented world of migrants and the displaced? What similar processes are involved in challenging, maintaining or reinforcing divisions between groups coexisting in the same living place? Food Identities at Home and on the Move examines how ‘home’ is negotiated around food in the current worldwide context of uncertainty, mobility and displacement. Drawing on empirical approaches to heritage, identity and migration studies, the contributors analyse the relationship between food and the various understandings of home and dwelling. With case studies on sushi around the world, food as heritage in the Afghan diaspora and Mexican foodways in Chicago, these chapters offer novel readings on the convergence of food and migration studies, the anthropology of space and place and the field of mobility by focusing on how entangled stories of food and home are put on display for constructing the present and imagining the future.

In Doing Style, Constantine V. Nakassis explores the world of youth and mass media in South India, where what Tamil youth call “style” anchors their day-to-day lives and media worlds. Through intimate ethnographic descriptions of college life in Tamil Nadu, Nakassis explores the complex ways that acts and objects of style such as brand fashion, English slang, and film representations express the multiple desires and anxieties of this generation, who live in the shadow of the promise of global modernity. As Nakassis shows, while signs of the global, modern world are everywhere in post-liberalization India, for most of these young people this world is still very distant—a paradox that results in youth’s profound sense of being in between. This in-betweenness manifests itself in the ambivalent quality of style, the ways in which stylish objects are necessarily marked as counterfeit, mixed, or ironical. In order to show how this in-betweenness materializes in particular media, Nakassis explores the entanglements between youth peer groups and the sites where such stylish media objects are produced, arguing that these entanglements deeply condition the production and circulation of the media objects themselves. The result is an important and timely look at the tremendous forces of youth culture, globalization, and mass media as they interact in the vibrancy of a rapidly changing India.

In 2018 India's prime minister, Narendra Modi, inaugurated the world's tallest statue: a 597-foot figure of nationalist leader Sardar Patel. Twice the height of the Statue of Liberty, it is but one of many massive statues built following India's economic reforms of the 1990s. In Gods in the Time of Democracy Kajri Jain examines how monumental icons emerged as a religious and political form in contemporary India, mobilizing the concept of emergence toward a radical treatment of art historical objects as dynamic assemblages. Drawing on a decade of fieldwork at giant statue sites in India and its diaspora and interviews with sculptors, patrons, and visitors, Jain masterfully describes how public icons materialize the intersections between new image technologies, neospiritual religious movements, Hindu nationalist politics, globalization, and Dalit-Bahujan verifications of equality and presence. Centering the ex-colony in rethinking key concepts of the image, Jain demonstrates how these new aesthetic forms entail a simultaneously religious and political retooling of the “infrastructures of the sensible.”