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Falling Apart Together
On Viewing Ali Atassi’s Our Terrible Country from Beirut
Ira J. Allen
Surveillance now is ubiquitous—each of us is decomposed along multiple axes into discrete data points, and then recomposed on screens and in combinatory algorithms that organize our life chances. Such surveillance is directly screened in popular culture, however, quite rarely. It is hard to see ubiquitous surveillance, and the harder something powerful is to see, the more powerful it tends to be. The essays of this Screen Shot offer perspective on various concrete instances of contemporary surveillance, both ubiquitous and granular, and in so doing offer tools for negotiating its suffusive presence in and organization of our lives.
Richard Allen and Ira Bhaskar
This article describes how Kamal Amrohi's Pakeezah distils the idioms of the historical courtesan film, poised as they are between the glorification of courtesan culture and lamenting the debased status of the courtesan; between a nostalgic yearning for the feudal world of the kotha and a utopian desire to escape from it. The article argues that Pakeezah self-consciously defines the particular “chronotope”, or space-time, of the historical courtesan genre by showing that nothing less than a transformation of the idioms of that genre is required to liberate the courtesan from her claustrophobic milieu—whose underlying state is one of enervation and death—into the open space and lived time of modernity.