Cinema as Family Romance
Cinema as Family Romance
This chapter explores the extent to which the traumas of the 1970s were displaced onto the family and crisis in the political culture of popular Hindi cinema. It considers the blockbuster trilogy: Deewaar (1975), Trishul (1978), and Shakti (1982). The narrative of Deewaar, which focuses on child violence, is widely understood to symbolize the States upon its citizens. The narratives of Trishul and Shakti exposed both the cinemas social work in India and the social work it did for the nation. The chapter proposes the social function of cinema as Family Romance, where India’s nation plays the role of the mother and the family plays the role of the India’s nation.
Keywords: 1970s, Hindi cinema, Deewaar, Trishul, Shakti, social function, Family Romance
Columbia Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.
Please, subscribe or login to access full text content.
If you think you should have access to this title, please contact your librarian.
To troubleshoot, please check our FAQs, and if you can't find the answer there, please contact us .
