Reference:
Golubkina S.E..
India in British cinematograthy of the late 1930–early 1940s (based on the films of Brothers Korda’s creative union)
// Man and Culture. – 2016. – ¹ 3.
– P. 105-115.
DOI: 10.7256/2409-8744.2016.3.18279.
DOI: 10.7256/2409-8744.2016.3.18279
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Abstract: Based on the analysis of several films made by the brothers Korda’s creative union in the late 1930s – early 1940s, the author considers the method of formation in them the image of India and its inhabitants, highlighting the stereotypes inherent in the discourse of Orientalism and the traditions of colonial binary logic. In a broad sense, the work refers to the ideology of British colonialism, which in Russian historiography developed primarily from written sources of the second half of the nineteenth century. A correlations between the film images and the previous literary tradition, the political strategies of the British Empire on the sunset of the colonial period and the official propaganda are traced. The author concludes that the approach to Indian theme meant the use of scenes, which would have been impossible to imagine in the European world. The exotic played the main role in escapistic in spirit, fantastic and adventure films «Elephant Boy» 1937, «the Drum» 1938, «The Thief of Bagdad» 1940 and «The Jungle Book» 1942. As a result, the image of India represented an image of the Other that did not imply compulsory negative characteristics. India in the Korda’s films is a special world with its own history, visual code and dictionary, which is far from the image of the country ready to obtain the independence from the British Empire.
Keywords: India, ideology, stereotypes, the image of the Other, orientalism, colonial discourse, British Empire, cinematography, Korda, Kipling
References:
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