TAILIEUCHUNG - Who’s for ‘world cinema’?

Another trend to be examined in the depiction of female characters is the clear dichotomy which is followed. The woman is docile, domestic, honourable, noble, and ideal or she is the other extreme – wayward, reckless and irresponsible. Why does Bollywood shy away from taking the middle path? Where are women who are good or bad as per the situation they face in their lives? Where are the women who negotiate with troubles on a daily basis and emerge victorious? In David Dhawan‟s Biwi (1999), the wife played by Karishma Kapoor is shown to have sacrificed. | Who s for world cinema Michael Chanan 1. World Cinema is a highly ambiguous term which crept up on us on the model of world music which in turn originated as a marketing label devised by a bunch of music producers and their friends in a pub in North London in 1987 a catch-all to be used on shelf dividers in the record stores devised to try and exploit the proliferation of ethnic and other musics at the edges of the market. In the array of labels dividing up the displays in the DVD stores world cinema means Lirstly the stuff that isn t distributed by the majors although they know there s a niche market for such Lilms so they sometimes set up specialist distributors and labels . But actually by this criterion what world cinema consists in depends on where you are. In the UK for example it might mean foreign language Lilms but these are usually divided into European and nomEuropean and then there are separate sections for various niche genres. So if you were looking say for the Chilean Lilm Machuca Andrés Wood 2004 in the UK you d probably Lind it under World Cinema. But not in Spain where Latin America becomes invisible as a region because the Latin American Lilms distributed there are Spanish coproductions and get lumped in with Spanish Lilms. In the chain stores and franchises if it s there at all world cinema is an oddbin. In the Lield of Lilm studies it s an equally unstable term but in a different way. First it s much broader evidence the range of the papers being presented here . It includes for example cinemas and Lilms which never achieved conventional forms of international distribution but also overlooked aspects of the mainstream or unfamiliar angles on particular Lilms or stars or directors. It is not so much a body of work however as a certain approach which seeks to escape the bias of conventional scholarship against the marginal. It wishes to overcome the established model of centre and periphery in order to describe a multipolar and multicultural .

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