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Larkin article

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Department
Anthropology
Course
ANTB20H3
Professor
Girish Daswani
Semester
Fall

Description
Indian Films and Nigerian Lovers Media and the Creation of Parallel Modernities by Brian Larkin - Hausa watching Indian movies in cinema - Sing the songs with tweaking a few words in order to praise to the Prophet Mohammed - Stickers everywhere - Their stars, their fashion, music and stories are everywhere - Indian films provide Hausa men and women an alternative world, where they may imagine other forms of fashion, beauty, love and romance, coloniality and post-coloniality - Dominance of western media – Hollywood films  cultural imperialism - Hausa watch these for what reason since they cannot understand and it is of a different culture and religion - Influence of Indian films on Hausa social life through the medium of Hausa love stories - The popularity of Indian films in Nigeria is concerned with the circulation of media within and between non-western countries, an aspect of transnational cultural flows that has been largely ignored in recent theories of globalization - Indian films offer an imagination to the Hausa people that will engage in forms of a tradition that are different from their own at the same time as conceiving of a modernity that comes without the political and ideological significance of that of the west Parallel Modernities - “parallel modernities” to refer to the coexistence in space and time of multiple economic, religious and cultural flows that are often subsumed within the term “modernity” - Linked with appadurai’s term “alternative modernities” but different because it links the emergence of alternative modernities with increased deterritorialisation of the globe and movement of people, capital and political movements across cultural and national boundaries - Deteritorrialisation is important, but the experience of parallel modernities is not really linked with the needs of relocated populations for contact with their homelands - Hausa people are not relocated, but in their own homeland and creating imaginations of other cultures as part of their daily lives - Examining the significance of Indian film in an African context and the process of identification by which the ideas, values and aesthetics of another culture are incorporated within an African quotidian - *appadurai argues that the new cosmopolitanism brought on by the movement of people and capital in the contemporary era has created a deterritorialised world that has new significance for the understanding of media and of imagination o Media brings about an interconnection between different people who can consider an alternative life not by their own experience but by the experiences brought to them through international mass media - The concept of imagination as outlined by appadurai is helpful in gaining insight into pleasures that Indian films offer Hausa viewers - The concept of imagination also provides a theoretical way of understanding the complicated identifications of the audiences and cultural forms that cross expected racial, cultural and national lines - For Hausa viewers, Indian films provides a parallel modernity with the western society – this gives them the idea of changing social life but keeping cultural values intact - Hausa viewers feel they can relate to the people in the films of whether they should listen to their parents or marry who they want or if they should speak English or their language - Situated between Nigerian “tradition” and Western “modernity” Indian films and Hausa Viewers - Indian films are cheaper, but it is agreed that it’s not just for economic reasons but symbolic and cultural terms - Don’t understand the language (on TV there are no subtitles) but they still watch it - They can still tell the main plot of the movie - Mora
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