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Gotowe bibliografie tematyczne / Mira Nair's Films

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Gotowa bibliografia na temat „Mira Nair's Films”

Autor: Grafiati

Data publikacji: 3 czerwca 2025

Data aktualizacji: 31 lipca 2025

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Artykuły w czasopismach na temat "Mira Nair's Films"

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Sharma, Alpana. "Body matters: The politics of provocation in Mira Nair's films." Quarterly Review of Film and Video 18, no. 1 (2001): 91–103. http://dx.doi.org/10.1080/10509200109361515.

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Reimer, Mavis. "On Location: The Home and the Street in Recent Films about Street Children." International Research in Children's Literature 5, no. 1 (2012): 1–21. http://dx.doi.org/10.3366/ircl.2012.0040.

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More than twenty narrative films about street children have been produced in more than a dozen countries over the three decades since the UN International Year of the Child in 1979. This paper looks closely at seven of these films (Hector Babenco's Pixote, Mira Nair's Salaam Bombay!, Larry Clark's Kids, Nabil Ayouch's Ali Zaoua, Gerardo Tort's De la Calle, Siddiq Barmak's Osama, and Danny Boyle's and Loveleen Tandeen's Slumdog Millionaire), outlining a number of their recurrent themes and techniques, including the use of Neorealist principles of filming; the presence of screens in the profilmi

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Abdul, Jaleel KV. "'DISPLACEMENT' AND ITS AFTERMATH IN DIASPORA: A STUDY ON MIRA NAIR'S FILMS MISSISSIPPI MASALA AND THE NAMESAKE." International Journal of Research - Granthaalayah 5, no. 6 (2017): 331–38. https://doi.org/10.5281/zenodo.821362.

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Diaspora, one of the major disciplines in post-colonial studies, extensively deals with migration, displacement and its consequences. The idea of displacement tells that it may occur in two ways voluntary and involuntary. While involuntary (forced) displacement happens due to the natural calamities, political, social, religious turmoil and what not, voluntary displacement, more over psychologically, takes place due to mainly aspiration for better life, globalization and its offshoots. Though the displacement helped to have developments in all fields to the diasporic people as well as the peopl

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García, Juan David. "Educational Attainment in the South Asian Diaspora: Representation of Gender Conflicts in Gurinder Chadha and Mira Nair’s Films." RAUDEM. Revista de Estudios de las Mujeres 3 (May 23, 2017): 117. http://dx.doi.org/10.25115/raudem.v3i0.623.

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Abstract: This article studies the representations that Mira Nair and Gurinder Chadha, film directors from the South Asian diaspora, offer to portray and denounce the educational attainment inequality suffered by women from the diaspora in the United Kingdom and the United States. The paper analyses how Chadha and Nair’s depictions challenge the socioeconomic structures that limit these characters both in their homelands and in the welcoming countries and how they disrupt the limiting structures imposed on them for being women.Key words: Gurinder Chadha, Mira Nair, diaspora, South Asian Subcon

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Jaleel, Abdul. "‘DISPLACEMENT’ AND ITS AFTERMATH IN DIASPORA: A STUDY ON MIRA NAIR’S FILMS MISSISSIPPI MASALA AND THE NAMESAKE." International Journal of Research -GRANTHAALAYAH 5, no. 6 (2017): 331–38. http://dx.doi.org/10.29121/granthaalayah.v5.i6.2017.2035.

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Diaspora, one of the major disciplines in post-colonial studies, extensively deals with migration, displacement and its consequences. The idea of displacement tells that it may occur in two ways voluntary and involuntary. While involuntary (forced) displacement happens due to the natural calamities, political, social, religious turmoil and what not, voluntary displacement, more over psychologically, takes place due to mainly aspiration for better life, globalization and its offshoots. Though the displacement helped to have developments in all fields to the diasporic people as well as the peopl

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Rozprawy doktorskie na temat "Mira Nair's Films"

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Moreira, Alexandra Sofia Gouveia Coelho. "Social awareness in selected films by Mira Nair." Master's thesis, Universidade de Aveiro, 2010. http://hdl.handle.net/10773/2846.

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Mestrado em Estudos Ingleses<br>O presente trabalho propõe-se a analisar três filmes de diferentes períodos da carreira de Mira Nair, Salaam Bombay!, Monsoon Wedding e The Namesake. Para dar cumprimento a esta tarefa procedo a uma contextualização histórica da vida e obra da realizadora desde o seu nascimento até á actualidade. Seguidamente, procedo à análise de aspectos de consciência social e os meios técnicos utilizados por Mira Nair para chamar atenção para os aspectos sociais nos seus filmes, tais como a importância do uso da cor, a música, a abertura dos filmes, as performances dos actor

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Van, Lill Hilda. "Exploring issues of identity and belonging in the films of Mira Nair : Salaam Bombay!, Mississippi Masala and Monsoon Wedding." Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/4316.

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Thesis (MDram (Drama))--University of Stellenbosch, 2010.<br>ENGLISH ABSTRACT: The aim of this thesis is to study the themes of identity and belonging in the films of Mira Nair. Three films form the basis of this study namely Salaam Bombay!, Mississippi Masala and Monsoon Wedding. The approach is thematic, i.e using the film to explore different socio-political themes of identity rather than looking at the methodology she uses as a filmmaker. The analysis of each of the three films looks at a particular form of identity namely national, cultural or personal identity, and makes reference

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Moodley, Subeshini. "Postcolonial feminisms speaking through an 'accented' cinema : the construction of Indian women in the films of Mira Nair and Deepa Mehta." Thesis, 2004. http://hdl.handle.net/10413/1037.

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This thesis proposes that the merging of the theories of ‘accented’ cinema and postcolonial feminisms allows for the establishment of a theoretical framework for the analysis of (what will be argued for) an emerging postcolonial feminist film practice. In An Accented Cinema: Exilic and Diasporic Filmmaking (2001), Hamid Naficy argues that even though the experiences of diaspora and exile differ from one person to the next, films produced by diasporic filmmakers exhibit similarities at various levels. These similarities, he says, arise as a result of a tension between a very distinct connection

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Książki na temat "Mira Nair's Films"

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Ahmed, Omar. Studying Indian Cinema. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733681.001.0001.

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This book traces the historical evolution of Indian cinema through a number of key decades. The book is made up of 14 chapters with each chapter focusing on one key film, the chosen films are analysed in their wider social, political and historical context whilst a concerted engagement with various ideological strands that underpin each film is also evident. In addition to exploring the films in their wider contexts, the book analyses selected sequences through the conceptual framework common to both film and media studies. This includes a consideration of narrative, genre, representation, aud

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Ho, Jennifer. Southern Eruptions in Asian American Narratives. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037832.003.0009.

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This chapter discusses the emergence of Asian American literature and film about the South as they disrupt multiple narratives about race relations and racial subjectivity. It particularly studies Susan Choi's novel The Foreign Student (1998), Mira Nair's feature-length film Mississippi Masala (1992), and Paisley Rekdal's creative nonfiction collection of autobiographical essays, The Night My Mother Met Bruce Lee: Observations on Not Fitting In (2000). Asian American stories set in the South erupt the myth of imaginary lines between the past and present, arguing that the inclusion of Asian Ame

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Części książek na temat "Mira Nair's Films"

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Ahmed, Omar. "Reality of the Dispossessed." In Studying Indian Cinema. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733681.003.0010.

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This chapter describes how addressing the issue of poverty has been a continuous feature of Indian cinema. Mira Nair's award-winning directorial debut Salaam Bombay! (1988), depicting the lives of Bombay's impoverished street children, is one of the most moving Indian films of the 1980s. It was also one of the few Indian films to find an international, largely arthouse, audience while launching the career of diaspora film-maker Mira Nair, who resides in America. The chapter deals with Indian diaspora cinema and Mira Nair as a female director. It also examines the production history of the shoo

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Hollyfield, Jerod Ra'Del. "Imperial Vanities: Mira Nair, William Makepeace Thackeray and Diasporic Fidelity to Vanity Fair." In Framing Empire. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474429948.003.0005.

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Mira Nair has built her career on films that contribute to the Indian identity in diaspora and attest to the prominence of Indian filmmakers in international cinema. For a filmmaker so concerned with the relationships between American and Indian heritage, Nair’s adaptation of William Makepeace Thackeray’s 1847-1848 novel Vanity Fair (2004) appears as an outlier. However, this chapter argues that Nair’s film maintains overarching fidelity to the source text’s plot as a strategy to imbue the narrative with an Indian perspective. Nair subtly rewrites the text by eliminating the novel’s omniscient

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Roberts, Gillian. "The Empire Gazes Back? The Portrait of a Lady and Vanity Fair." In Race, Nation and Cultural Power in Film Adaptation. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781474483537.003.0002.

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This chapter discusses the effects that foregrounding a settler-colonial or postcolonial positioning in the framing or selection of elements from the literary source has on the adaptation of canonical literary texts. It engages with the transnationalism of filmmaking at the same time as it addresses the specificities of national film industries and the national and cultural contexts in which individual filmmakers operate. Focusing on Australia-based New Zealander Jane Campion’s 1996 adaptation of Henry James’s The Portrait of a Lady and Indo-American director Mira Nair’s 2004 adaptation of Wil

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Projansky, Sarah, and Kent A. Ono. "From Documentary to Fictional Realism: Mira Nair’s Documentary Roots, Fictional Home and Production Politics." In Indie Reframed. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474403924.003.0011.

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This chapter demonstrates how the transnational figure and twenty-seven-year career of Mira Nair is prototypical of female independent practitioners who negotiate diverse issues of identity and politics in their films and working practices. As an Indian filmmaker with a production company based in New York City, Nair makes films that cross multiple borders, whether of nation, race, class, sexuality or genre, to promote social activism. Highlighting her documentary film production, methods and career-long investment in non-profit organisations, Projansky and Ono explore how even her popular fic

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Hai, Ambreen. "Conclusion." In Postcolonial Servitude. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197698006.003.0009.

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Abstract The conclusion summarizes the key findings of the book and draws out some of their implications. It discusses briefly some recent texts that follow upon the servitude fiction discussed in this book, including a film adaptation of The White Tiger. It broadens the scope of the book by elaborating on some films that are doing analogous work to the servitude fiction that is the focus of this book: Mira Nair’s Monsoon Wedding, and Rohena Gera’s Sir. It concludes with a brief consideration of recent activist efforts to change cultural attitudes and labor laws in India, Pakistan, Sri Lanka,

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Mendes, Ana Cristina, and Karen Bennett. "Refracting Fundamentalism in Mira Nair’s The Reluctant Fundamentalist (2012)." In American Cinema in the Shadow of 9/11. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474413817.003.0006.

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In Chapter Five Mendes and Bennett argue that while Mira Nair's 2012 adaptation of Mohsin Hamid's 2007 award winning novel The Reluctant Fundamentalist also places the experience of a Muslim, Changez Khan (Riz Ahmed), at the centre of the narrative, this is problematicised by the compromises of adapting the complicated and morally ambiguous source on which it is based for the demands of the mainstream market. Mendes and Bennett concede that The Reluctant Fundamentalist is a rare example of an American film which breaks free of the America-centric view of the 'War on Terror' and in doing so des

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