Jayeeta Saha - Academia.edu (original) (raw)
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Papers by Jayeeta Saha
The paper is a comparative study of certain thematic attributes of migrant or diasporic identitie... more The paper is a comparative study of certain thematic attributes of migrant or diasporic identities, from an individual’s journey to a new land to the post colonial understanding of transnational immigrants through three films of Mira Nair which are located in three different eras. Kama Sutra is set in the 16th century precolonial India, Salaam Bombay in a postcolonial 20th century Indian slum in Bombay and The Namesake in a post capitalist world, where time shifts back and forth and the lives of two first-generation immigrants from Kolkata, India to the United States and their American born children Gogol and Sonia are depicted through the movie- it is based on the novel by the same name by Indian diasporic writer Jhumpa Lahiri. Finally, I have attempted to explain how this diasporic discourse generated through the films is a result of how a diasporic film maker of Indian origin wishes to portray her own homeland to the Western audience, and whether certain anxieties in representations are ultimately resolved through her films or not.
The paper is a comparative study of certain thematic attributes of migrant or diasporic identitie... more The paper is a comparative study of certain thematic attributes of migrant or diasporic identities, from an individual’s journey to a new land to the post colonial understanding of transnational immigrants through three films of Mira Nair which are located in three different eras. Kama Sutra is set in the 16th century precolonial India, Salaam Bombay in a postcolonial 20th century Indian slum in Bombay and The Namesake in a post capitalist world, where time shifts back and forth and the lives of two first-generation immigrants from Kolkata, India to the United States and their American born children Gogol and Sonia are depicted through the movie- it is based on the novel by the same name by Indian diasporic writer Jhumpa Lahiri. Finally, I have attempted to explain how this diasporic discourse generated through the films is a result of how a diasporic film maker of Indian origin wishes to portray her own homeland to the Western audience, and whether certain anxieties in representations are ultimately resolved through her films or not.