Making the Family in Monsoon Wedding
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document in English
film studies
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published 03/06/2008
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SummaryMany a novice viewer of Bollywood movies has offered the comment that “they are all the same.” Such comments, of course, may be the result of an othering Gaze that, by paying attention to stylized ritual and ceremony, does not perceive subtle but important differences. On the other hand, filmmakers in the Bollywood tradition often have to work with a limited number of “stock” plots, characters, and music—but this comment can be made of Hollywood as well.
Compared to the homogeneity of both Hollywood and Bollywood, Mira Nair’s work in Monsoon Wedding is distinct and novel. Her hybrid Hindi-Punjabi-English dialogue and transnational characters are suitable material for her global audiences. Perhaps Nair’s awareness of a very broad audience inspired her to deal with “traditional” themes like love, marriage, and family, but by drawing attention to the constitutive forces behind these constructs, and within the context of a more inclusive and increasingly global India.
Compared to the homogeneity of both Hollywood and Bollywood, Mira Nair’s work in Monsoon Wedding is distinct and novel. Her hybrid Hindi-Punjabi-English dialogue and transnational characters are suitable material for her global audiences. Perhaps Nair’s awareness of a very broad audience inspired her to deal with “traditional” themes like love, marriage, and family, but by drawing attention to the constitutive forces behind these constructs, and within the context of a more inclusive and increasingly global India.
Table of Contents
- Total, Social, Phenomenal.
- Reversing Rituals.
- Divisions of Labor.
- Economic Entanglement.
- Agency as Gift.
- Inclusion via Alienation.
- Marking the 'Indian?.
- Power of the Director.
- Conclusion.
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