The Spring Thunder. Revisiting the Naxal Movement in Indian Cinema

This article investigates why and how the Naxal movement, a Marxist-Leninist- Maoist armed revolutionary movement which emerged in May 1967 in India, has been repeatedly addressed, adapted, and accommodated in Indian cinema. As an organized political movement with speci c manifesto and visi...

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Main Author: Sanghita Sen
Format: Article
Language:English
Published: Milano University Press 2018-03-01
Series:Cinéma & Cie
Online Access:https://riviste.unimi.it/index.php/cinemaetcie/article/view/16582
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author Sanghita Sen
author_facet Sanghita Sen
author_sort Sanghita Sen
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description This article investigates why and how the Naxal movement, a Marxist-Leninist- Maoist armed revolutionary movement which emerged in May 1967 in India, has been repeatedly addressed, adapted, and accommodated in Indian cinema. As an organized political movement with speci c manifesto and vision of the nature of the state, the Naxal movement attempted to disrupt and dismantle the quasi- feudal Indian social structure and an oppressive Indian state that functioned still under colonial administrative regulation, as caretaker of interests of the powerful classes. In this article, I argue that the Naxal movement helped Indian cinema to map out the history and internal architecture of political dissent in post- independence India and construct a counter-nationalist discourse. The paper aims to evaluate how the Naxal Movement serves as a resource to represent the politics of dissent in India in the 1970s in parallel cinema and as a critique of the neo-liberal policies of the Indian State in the postmillennial Bollywood lms. It aims to analyse selected lms that deal with the Naxal/Maoist movements in India as a counter historiography.
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spelling doaj.art-4ec05c6025134a378bcb8207f8fec6092024-02-15T15:28:13ZengMilano University PressCinéma & Cie2036-461X2018-03-011830The Spring Thunder. Revisiting the Naxal Movement in Indian CinemaSanghita Sen0University of St Andrews This article investigates why and how the Naxal movement, a Marxist-Leninist- Maoist armed revolutionary movement which emerged in May 1967 in India, has been repeatedly addressed, adapted, and accommodated in Indian cinema. As an organized political movement with speci c manifesto and vision of the nature of the state, the Naxal movement attempted to disrupt and dismantle the quasi- feudal Indian social structure and an oppressive Indian state that functioned still under colonial administrative regulation, as caretaker of interests of the powerful classes. In this article, I argue that the Naxal movement helped Indian cinema to map out the history and internal architecture of political dissent in post- independence India and construct a counter-nationalist discourse. The paper aims to evaluate how the Naxal Movement serves as a resource to represent the politics of dissent in India in the 1970s in parallel cinema and as a critique of the neo-liberal policies of the Indian State in the postmillennial Bollywood lms. It aims to analyse selected lms that deal with the Naxal/Maoist movements in India as a counter historiography. https://riviste.unimi.it/index.php/cinemaetcie/article/view/16582
spellingShingle Sanghita Sen
The Spring Thunder. Revisiting the Naxal Movement in Indian Cinema
Cinéma & Cie
title The Spring Thunder. Revisiting the Naxal Movement in Indian Cinema
title_full The Spring Thunder. Revisiting the Naxal Movement in Indian Cinema
title_fullStr The Spring Thunder. Revisiting the Naxal Movement in Indian Cinema
title_full_unstemmed The Spring Thunder. Revisiting the Naxal Movement in Indian Cinema
title_short The Spring Thunder. Revisiting the Naxal Movement in Indian Cinema
title_sort spring thunder revisiting the naxal movement in indian cinema
url https://riviste.unimi.it/index.php/cinemaetcie/article/view/16582
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