The contemporary Indian state is exemplified by contradictions. Its workings are marked by a simultaneous retreat and deepening of state power under neoliberalism as well as burgeoning governmentalities that both produce and police political dissent. Such framings of the state problematize received political wisdom on the relations between centre and margin, state and government, citizen and subject. Anthropological approaches to the state map out its complex organizational logics, which are further embedded in the exercise of power and violence. Drawing on such approaches, this article examines the 2012 Indian film Shanghai, directed by Dibakar Banerjee. Based on Greek author Vassilis Vassilikos’ 1966 novel Z, Shanghai represents the contemporary neoliberal Indian state’s workings in the fictitious periurban town of Bharatnagar, slated to become a world-class Special Economic Zone. However, when a left-wing activist opposing land acquisition is fatally injured in an ‘accident’, a state bureaucrat’s investigation unravels how the onward march of pragati (‘progress’) is undergirded by violence. Taking Shanghai as an example of ‘realist fiction’, I examine both representations and realities of the neoliberal Indian state using a thick and nuanced reading of the film’s narrative, cinematic details, context and characters, situating them in anthropological discussions on the state and its margins in contemporary India.
Power Sector Reforms and Performance Assessment of Power Sector Utilities of Uttar Pradesh
