A whole new transnational economy of production, distributon and reception emerging through Hmong dubbing of Bollywood films is fascinating. Why only Bollywood when a sizeable Tamil and Telugu film collection is also available for reimagining? (pirated copies from desi grocery stores for example). How does this nuance the discourse about “Bollywood shining” and its global reach? it would be interesting to look at what films are being dubbed? I wonder if the 90s and beyond, i.e. NRI cinema is more favorable for dubbing, not just because they are more easily available but also because of the narratives of home, homeland and diaspora. I can’t wait to see if DDLJ has been dubbed. A film set in London and Punjab, second generation BritAsians played by Mumbai-based Indian actors, pirated copy in the US Midwest, dubbed into a Hmong narrative and maybe available on youtube?— there is pleasure in just imagining these new circuits of culture
I am not sure if indeeed there’s “no place for cultural taboo in cyberspace”. Nevertheless I see the point being made about the use of Web technologies to talk about an issue that has been silenced. In talking about their victimization, is there a critque of masculinity and patriarchy? It is also interesting to talk about this in terms of the transnational space of the Web both in terms of enabling the building of politics based on shared alliances and solidarity on the one hand and in recasting the discourse of ‘rape’ by embodying it through the women’s voices and narratives. While the Zapatistas might not have won “complete victory” their use of the Internet did inspire several other activist uses of the Web
The emergence of “brown” Muslim bodies on mainstream US and UK entertainment TV is functioning crucially to define what is “American/British” and what is ” foreign.” I agree with the comment that is important to examine representational practices of dominant programming and locate them within the distinct histories of representing “race” on US and UK televison. in the US for example, the brown muslim body has been key to reinforcing a normative white masulinity in the action/adventure genre. (much like in videogames).
I’m curious: did the Hmong diaspora focus mainly on dubbing Bollywood films, or did they dub a wide range of films—American, French, etc.? And if they focused mostly on Bollywood, why? What is/are the bridge/s between Hmong and Hindi? In order to read the dubbing, I think we would need to situation the practice, taking into account the producers point of view as well as the production itself.
in looking at both of these clips, in comparison to the one from monday, it is interesting to note the differences and similarities to the production of programming in the US. the differences in history of migration, colonialism, and class create different agendas. and yet the heightened visibility and need to reconcile or contain “brown” muslim bodies is probably and increasing similarity for dominant programming.
I’d be interested to see how much it modifies the behaviors of the male perpetrators. It appears that talking about rape will definitely weaken the social taboo. But to what extent will cyberactivism support the prosecution of rapists? Is this the first step—engaging the diaspora to create a space for dialogue which then leads to further support of larger agendas such as the International Criminal Court? Or, does the power of cyberactivism stop at removing social stigma? The Zapatistas utilized the power of ICT to bring their movement into the international arena. The move helped keep the Zapatistas alive, but it hasn’t brought them complete victory. What are the long-term effects of cyberactivism for victims of war-time rape?
the anchor’s stress on “finally” bhangra album sleeve art has entered the mainstream as artwork is provocative. While the interviews he conducted offered some rich analyses and complexity, the framing itself I thought reduced the subject to a discourse of departure (possibly) and (most certainly) arrival— from the street to the art gallery, from rural Punjabi to hip BritAsian, from the margins to the mainstream.
I think what we are witnessing is the development of ‘cyberactivism’ by the indigenous people who have been victims of atrocities and have not been able, until now, thanks to ICT, to have a conversation with the world about their predicaments. There is evidence of a dialogue between the homeland and diaspora on this issues but the level of engagment is still low because of the challenges of the global digital divide.
A troubling predicament. Is this then a case of the diaspora reshaping the homeland or is there evidence of a dialogue between the homeland and diaspora as working together on an issue such as this?
The pop culture vs. high art dialectic is well-worn, and makes for easy analysis for the general audience. This clip goes beyond that discussion by introducing the idea of album covers containing a cultural history. By bringing in media studies analyses, the audience may start to see that the diaspora is a much more complex world—that’s much better than the aestheticized framing of British Bhangra as album cover art and sparkly costumes.