The Magical Heritage of Hindi Movies
DOI:
https://doi.org/10.59817/cjes.v10i.283Abstract
In Salman Rushdie’s Shame the narrative epicenter is a mysterious town called Q where three mysterious sisters give birth to a son called Omar Khaiyam who, rather accidentally, goes on to meddle in the military affairs of Pakistan. The magical son of a-unit-of-three-mothers, Omar keeps claiming himself as a peripheral man, yet finds himself in the political mire notwithstanding the aesthetic reputation of his Persian namesake. While the blurring of boundaries between fantasy and reality is common in texts that espouse magic realism, seldom do we get to find serious academics adopting a “fantastical” approach in their critical analysis of real life phenomena. Anjali Gera Roy’s search for an Arab-Persian tradition in Hindi films exemplifies one such attempt.
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2019 Shamsad Mortuza
This work is licensed under a Creative Commons Attribution 4.0 International License.
All articles published in Crossings are licensed under a Creative Commons Attribution 4.0 International License