Seaside Resort as Entrapment and Escape in British Cinema

British cinema has portrayed seaside resorts throughout its history with much dedication. Films featured both residents and visitors, the providers and the consumers of the seaside experience decade after decade by focusing on the synergies between space and identity. This article explores Brighton Rock (John Boulting, 1948), The Entertainer (Tony Richardson, 1960), The Birthday Party (William Friedkin, 1968), Quadrophenia (Franc Roddam, 1979), Bhaji on the Beach (Gurinder Chadha, 1993), and Last Resort (Pawel Pawlikowski, 2000) as representative examples of how the motifs of escape and entrapment—as manifested in the pursuit of various imaginations, ideals, rites of passage and identity quests—changed through the decades that also saw a gradual decline in the popularity of seaside resorts. The fading reputation and eroding image of resorts is analyzed parallel with the identity crises of characters entrapped in subcultural, diasporic, and migrant environments. (ZsGy)

Bride and Prejudice sebagai Film Transnasional dan Heritage

Abstrak Fokus penelitian ini adalah membuktikan film Bride and Prejudice sebagai film bergenre transnasional dan heritage. Melalui proses produksi serta naratif film, ditemukan ciri-ciri film transnasional dan heritage pada Bride and Prejudice. Genre tersebut menjadi alat yang digunakan Gurinder Chadha untuk memperkenalkan India pada penonton universal, serta menjadi media penetrasi budaya India ke dunia internasional.---Abstrack This research focuses on prooving the evidences from the Bride and Prejudice films categorized as transnational and herritage genre. Through the production proses as well as film narrative, both films having characteristics as transnational and herritage film. The genre becomes the instruments to use Gurinder Chada to introduce India to the universal viewers, and become the media to penetrating Indian culture into the world.

Educational Attainment in the South Asian Diaspora: Representation of Gender Conflicts in Gurinder Chadha and Mira Nair’s Films

This article studies the representations that Mira Nair and Gurinder Chadha, film directors from the South Asian diaspora, offer to portray and denounce the educational attainment inequality suffered by women from the diaspora in the United Kingdom and the United States. The paper analyses how Chadha and Nair’s depictions challenge the socioeconomic structures that limit these characters both in their homelands and in the welcoming countries and how they disrupt the limiting structures imposed on them for being women.Key words: Gurinder Chadha, Mira Nair, diaspora, South Asian Subcontinent. Logros educativos en la diáspora del Subcontinente Surasiático: La representación de los conflictos de género en las películas de Gurinder Chadha y Mira Nair Resumen: Este artículo estudia las representaciones que las directoras de cine de la diáspora del Subcontinente surasiático Gurinder Chadha y Mira Nair realizan para presentar y denunciar la desigualdad que sufren las mujeres de esta diáspora en Reino Unido y Estados Unidos a la hora de acceder y elegir qué estudios realizar. Analizando algunos de sus personajes se demuestra que Chadha y Nair desafían el orden socioeconómico que limita a sus personajes tanto en sus comunidades como en el país que las recibe presentando mujeres transgresoras que rompen con las estructuras limitantes impuestas sobre ellas por el hecho de ser mujer.Palabras clave: Gurinder Chadha, Mira Nair, diáspora, Subcontinente Surasiático

Of Snake Dances, Overseas Brides, and Miss World Pageants

InPride and Prejudice, author Jane Austen shows us nineteenth-century British class hierarchy. On one level, this hierarchy is established through wealth and means, but on another, it is through differences between characters created by breeding and manners. In the book, conversations and habits are signs of these differences, and therefore, signs of worth. InBride and Prejudice: A Bollywood Musical, using the basic narrative of the novel, director Gurinder Chadha gives us a colorful picture of global-political economics. Differences between countries like India, Britain, and the United States are established through signs of wealth and consumerism, but also through dance and body movements. A Bollywood staple of song-and-dance is deployed here as a marker of difference between India and others, and between an old India with stifling economic practices and a new one that welcomes its tourists, investors, and bridegrooms with open arms and legs. While on the one hand, Chadha seems to consciously point out the problems of global economic inequality and imperialism, in other ways, she seems complicit in the plot to attract India's others to get a little taste of India, by using female bodies to construct a modern, seductive picture of the country.