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April 5, 2017 | Media Studies | By admin | 0 Comments

By Shanti Kumar

Shanti Kumar's "Gandhi Meets major Time" examines how cultural imaginations of nationwide identification were reworked by means of the swift development of satellite tv for pc and cable tv in postcolonial India. to judge the growing to be impact of overseas and family satellite tv for pc and cable channels due to the fact that 1991, the ebook considers quite a lot of fabrics together with modern tv programming, old files, felony files, coverage statements, educational writings and journalistic debts. Kumar argues that India's hybrid nationwide identification is manifested within the discourses present in this number of empirical resources. He deconstructs representations of Mahatma Gandhi because the Father of the state at the state-sponsored community Doordarshan and people chanced on on Rupert Murdoch's megastar television network.This booklet heavily analyzes print ads to track the altering prestige of the tv set as a cultural commodity in postcolonial India and examines exposure brochures, promotional fabrics and programming schedules of Indian-language networks to stipulate the position of vernacular media within the discourse of digital capitalism. The empirical proof is illuminated through theoretical analyses that mix assorted techniques equivalent to cultural stories, poststructuralism and postcolonial feedback. Shanti Kumar is an assistant professor of verbal exchange arts on the collage of Wisconsin, and coeditor of "Planet television: a world tv Reader". this can be a quantity within the sequence "Popular tradition and Politics in Asia Pacific", edited by means of Poshek Fu.

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Additional info for Gandhi Meets Primetime: Globalization and Nationalism in Indian Television

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Is There an Indian Community of Television? ” A. K. 44 Extending Ramanujan’s dramatic exercises in theatrical performances to the realm of electronic media, I add a fifth question to focus attention on the role of television in mediating collective imaginations of nationalism in postcolonial India. ” in five different ways: Is there an Indian community of television? Is there an Indian community of television? Is there an Indian community of television? Is there an Indian community of television?

Thus, the contentious struggle between the forces of Hindutva and secularism has generated a powerful momentum that has the potential to appropriate alternative imaginations of nationalism—based on gender, class, caste, religion, region, language, and so on—into its hegemonic fold. In this struggle, the distinctions between the religious ideals of Hinduism and the political ideologies of nationalism are blurred both on and off screen, and sometimes quite literally so, as in the case of the television series Mahabharat.

33 When the Congress Party government had officially sanctioned the broadcast of Ramayan, it had hoped to use its religious appeal for the more secular necessities of gaining votes in the elections by attracting a broad base of Hindu viewers into its nationalist fold. However, it did not anticipate that a marginal opposition party, the Bharatiya Janata Party (BJP), would reap the benefits instead. 34 In the short term, the BJP and its Hindu nationalist allies, such as the Rashtriya Svyamsevak Sangh (RSS) and the Vishwa Hindu Parishad (VHP), effectively used the popularity of the Ramayan serial to draw the attention of television viewers to their demand for the construction of a temple of Ram at the disputed mosque site in Ayodhya.

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