On fire

GLQ

Volumn 4, Issue 4, 1998, Pages 631-636

  Gopinath, Gayatri ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 32744455784     PISSN: 10642684     EISSN: 15279375     Source Type: Journal    
DOI: 10.1215/10642684-4-4-631     Document Type: Article

References (15)

1. Martin F. Manalansan IV, "In the Shadows of Stonewall: Examining Gay Transnational Politics and the Diasporic Dilemma," in The Politics of Culture in the Shadow of Capital, ed. Lisa Lowe and David Lloyd (Durham, N.C.: Duke University Press, 1997), 487. An earlier version of this essay appeared in GLQ 2 (1995): 425-438
2. E.g., one critic writes that "Fire is a plea for women's self-determination that ⋯ will probably strike viewers in this country as a bit obvious"
3. Walter Addeago, "'Fire' Cool to State of Marriage in India," San Francisco Examiner, 26 September 1997, C7).
4. Similarly, other critics describe the film as taking place within the "suffocatingly masculine" and "pre-feminist" culture of contemporary India
5. see, e.g., Owen Gleiberman, "Take My Wife: 'Fire,' a Tale of Illicit Lesbian Love in India, Evokes the Early Days of American Feminism," Entertainment Weekly, 12 September 1997, 110).
6. Roger Ebert, "'Fire' Strikes at Indian Repression," Chicago Sun Times, 17 September 1997, 38.
7. See Margaret McGurk, "Tradition Broken in Indian Tale of Forbidden Love," Cincinnati Enquirer, 16 January 1998, W26.
8. Bill Morrison, "Women on the Verge of a Cinematic Breakthrough," News and Observer (Raleigh, N.C.), 21 November 1997, WUP10.
9. Shoma Chatterjee, "One Sita Steps beyond the Lakshmanrekha," Calcutta Telegraph, 12 January 1997.
10. See Ismat Chughtai, The Quilt and Other Stories, trans. Tahira Naqvi and Syeda S. Hameed (New Delhi: Kali for Women, 1990).
11. Ginu Kamani, "Interview with Deepa Mehta," Trikone Magazine, October 1997, 11-13.
12. Brian D. Johnson, "Forbidden Flames," McLean's Magazine, 29 September 1997, 86.
13. Various feminist critics argue that anticolonial nationalism in India constituted itself through the construction of the Indian woman as a modern national subject who nevertheless acts as "the guardian of national culture, indigenous religion and family traditions."
14. See, e.g., Kumari Jayawardena, introduction to Feminism and Nationalism in the Third World, rev. ed. (London: Zed, 1986), 14.
15. This question becomes all the more urgent given the proliferation of queer-themed films made by Indian directors who self-consciously proclaim their own heterosexuality and rarely show their films in the very national sites in which they are set; clearly, such films are made with an international film festival audience in mind. The Square Circle (dir. Amol Palekar, 1997) and Darmiyaan (dir. Kalpana Lajmi, 1997) are but two recent instances.