The erotics of the wet sari in Hindi films1

South Asia: Journal of South Asia Studies

Volumn 23, Issue 2, 2000, Pages 143-160

  Dwyer, Rachel ^a  

^a UNIVERSITY OF LONDON   (United Kingdom)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 85008770541     PISSN: 00856401     EISSN: 14790270     Source Type: Journal    
DOI: 10.1080/00856400008723418     Document Type: Article

References (23)

1. Michael Coulson, Three Sanskrit Plays (London, Penguin Books, 1981), p. 48.
2. Linda Lynton and Sanjay K. Singh, The Sari: styles-patterns-history-techniques (London, Thames and Hudson, 1995).
3. Emma Tarlo, Clothing matters: dress and identity in India (London, Hurst & Co., 1996).
4. Ania Loomba, ‘The long and saggy sari’, Independent India, Vol. 8, no. 3, Special Issue, Women: a cultural review (Oxford, Oxford University Press, 1997), pp. 278-92.
5. Rachel Dwyer, All you want is money, all you need is love: sex and romance in modem India (London, Cassell, 2000).
6. Christopher Pinney, ‘Public, popular and other cultures’. Forthcoming in R. Dwyer and C. Pinney (eds), Pleasure and the nation: the history, consumption and politics of public culture in India (Delhi, Oxford University Press, 2000).
7. Christophe Jaffrelot, The Hindu nationalist movement and Indian politics, 1925 to the 1990s (London, Hurst & Co., 1996).
8. Rachel Dwyer, ‘Bombay ishtyle: clothing in the Hindi cinema’. Forthcoming in S. Bruzzi and P. Church Gibson (eds) Fashion culture (London, Routledge, 2000).
9. Tapti Guha-Thakurta, ‘Clothing the goddess: the modem contestation over representations of Devi’, in V. Dehejia (ed.), Devi, the great goddess: female divinity in South Asian art (Washington, D.C., Arthur M. Sackler Gallery, Smithsonian Institution, 1999).
10. Rachel Dwyer, ‘Representing the Muslim: the “courtesan film” in Indian popular cinema’, in T. Parfitt (ed.), Imagining the other: representations of Jews, Muslims and Christians in the media (London, Curzon, 2001).
11. R. Dwyer, All you want is money, all you need is love: sex and romance in modem India (London, Cassell, 2000).
12. Patricia Uberoi, ‘Dharma and desire, freedom and destiny: rescripting the man-woman relationship in popular Hindi cinema’ in M. Thapar (ed.) Embodiment: essays on gender and identity (Delhi, Oxford University Press, 1996), pp. 145-71.
13. Kush Varia, ‘Celebrating sexualities in Indian cinema’. Programme notes for Bombay Exposé, special event at the thirteenth London lesbian and gay film festival (London, British Film Institute, 1999).
14. Bunny Reuben, Raj Kapoor: the fabulous showman (New Delhi, Indus, 1995), p. 285.
15. Judy F. Pugh, ‘Into the almanac: time, meaning and action in north Indian society’, Contributions to Indian Sociology, Vol. 17, no. 1 (1983), pp. 27-49.
16. Susan S. Wadley, ‘The rains of estrangement: understanding the Hindu yearly cycle’, Contributions to Indian Sociology, Vol. 17, no. 1 (1983), pp. 51-77.
17. Rachel Dwyer, The poetics of devotion: die Gujarati lyrics of Dayaram, 1777-1852, lyric 60 (London, Curzon, 2000).
18. Ravi Vasudevan, ‘The melodramatic mode and commercial Hindi cinema’, Screen, Vol. 30, no. 3 (1989), pp. 29-50.
19. Mahesh Bhatt, ‘Sex in Indian cinema: only bad people do it’, in K. Singh and S. Dé (eds), Uncertain liaisons: sex, strife and togetherness in urban India (New Delhi, Viking, 1993), p. 119.
20. Ashish Rajadhyaksha and Paul Willemen, An encyclopaedia of Indian cinema (London, British Film Institute, 1999, 2ndedn). p. 439.
21. T. J. S. George, The life and times of Nargis (New Delhi, Indus, 1994), p. 134.
22. Roland Barthes, The pleasure of the text, Introduction by Richard Howard (New York, Hill and Wang, 1975).
23. Carol J. Clover, ‘Introduction’ in P. Church Gibson and R. Gibson (eds) Dirty looks: women, pornography, power (London, British Film Institute, 1993), p. 1-4.