What is it about?
This article analyzes Anik Dutta’s Bhooter Bhabisyat (2012), a political horror satire to consider how the film’s eclectic music spanning different periods, musical styles, and languages, helps transcend its regional/class/caste/ethnic/religious boundaries and makes the film a performative text of political resistance.
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Why is it important?
Reading film songs, in the heavily regulated cinema space of India, as voices from below is especially important at a time when the Hindutva movement has strengthened its efforts to establish Hinduism as the true locus of national identity by ideologically and physically targeting Muslims, Christians, Dalits, and women.
Perspectives
I had a lot of fun writing this article and learned so much in the process of doing research. It took me in directions I never expected to go and helped me learn things that I never knew needed to be learned. I am so happy with what I learned and discovered. Now I look at cinema and film songs with renewed interest and new lenses.
Dhrubaa Mukherjee
Read the Original
This page is a summary of: Singing-in-between spaces: Bhooter Bhabisyat and the music transcending class conflict, Studies in South Asian Film & Media, February 2021, Intellect,
DOI: 10.1386/safm_00034_1.
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