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South Asian Popular Culture Volume 18, 2020 - Issue 3
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Research Article

Her trip abroad: Middle-class travels and feminism in women-centric popular Hindi movies

Hawon KuDepartment of Asian Languages and Civilizations, Seoul National University, Seoul, KoreaCorrespondence[email protected]
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Pages 217-226 | Published online: 08 Sep 2020

Works cited

  • Arora, A. “Nobody Puts Rani in a Corner: Making of the New Indian Woman in Queen(2014).” South Asian Popular Culture 17.2 (2019): 145–57. doi:10.1080/14746689.2019.1613783.
  • Channa, S. Gender in South Asia: Social Imagination and Constructed Realities. Cambridge University Press, 2013.
  • Chatterjee, S. “‘English Vinglish’ and Bollywood: What Is ‘New’ about the ‘New’ Woman?” Gender, Place & Culture: A Journal of Feminist Geography 23.8 (2016): 1179–92. doi:10.1080/0966369X.2015.1136816.
  • Das Dasgupta, S. “Feminist Consciousness in Woman-centered Hindi Films.” The Journal of Popular Culture 30.1 (1996): 173–89. doi:10.1111/j.0022-3840.1996.00173.x.
  • “English Vinglish Inspired by My Mom: Gauri Shinde.” Hindustan Times. (2012, August 14). Retrieved from https://www.hindustantimes.com.
  • Gopinath, S., and S.J. Raj. “Gender Construct as a Narrative and Text: The Female Protagonist in New-generation Malayalam Cinema.” South Asian Popular Culture 13.1 (2015): 65–75. doi:10.1080/14746689.2014.1000648.
  • Gupta, S. “Kahaani, Gulaab Gang and Queen: Remaking the Queens of Bollywood.” South Asian Popular Culture 13.2 (2015): 107–23. doi:10.1080/14746689.2015.1087107.
  • Hancock, M. “Gendering the Modern: Women and Home Science in British India.” Gender, Sexuality and Colonial Modernities. Ed. A. Burton. Routledge, 1999. 148–60.
  • Kapoor, H., P.H. Bhuptani, and A. Ageswaran. “The Bechdel in India: Gendered Depictions in Contemporary Hindi Cinema.” Journal of Gender Studies 26.2 (2017): 212–26. doi:10.1080/09589236.2015.1102128.
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  • Mukherjee, S. Women and Resistance in Contemporary Bengali Cinema: A Freedom Incomplete. Routledge, 2016.
  • Prasad, M. M. “Realism and Fantasy in Representations of Metropolitan Life in Indian Cinema.” Journal of the Moving Image 2 (2014): 71–82.
  • Rajan, Gita, and Jigna Desai, eds. Transnational Feminism and Global Advocacy in South Asia. Routledge, 2013.
  • Sharpe, J. “Gender, Nation, and Globalization in Monsoon Wedding and Dilwale Dulhania Le Jayenge.” Meridians: Feminism, Race, Transnationalism 6.1 (2005): 58–81. doi:10.2979/MER.2005.6.1.58.
  • Uberoi, P. “Aspirational Weddings: The Bridal Magazine and the Canons of ‘Decent Marriage’.” Patterns of Middle Class Consumption in India and China. Eds. P. van der Veer and C. Jaffrelot. Sage, 2008. 230–62.
  • Virdi, J. The Cinematic Imagination: Indian Popular Films as Social History. Permanent Black, 2003.

Filmography

  • Dilwale Dulhania Le Jayenge. Dir. Aditya Chopra. Yash Raj Films, 1995. Film.
  • English Vinglish. Dir. Gauri Shinde. Hope Productions, 2012. Film
  • Kal Ho Naa Ho. Dir. Nikkhil Advani. Dharma Productions, 2003. Film.
  • Kuch Kuch Hota Hai. Dir. Karan Johar. Dharma Productions, 1998. Film.
  • Mirch Masala. Dir. Ketan Mehta. 1987. Film.
  • Queen. Dir. Vikas Bahl. Viacom 18 Motion Pictures & Phantom Films, 2014. Film.

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