The article advocates the importance of studying conceptual meaning and change in modern mass media and highlights the significance of conceptual intermediality. The article first analyzes anger in Hindi cinema as an audiovisual key concept within the framework of an Indian national ideology. It explores how anger and the Indian angry young man became popularized, politicized, and stereotyped by popular films and print media in India in the 1970s and 1980s. The article goes on to advocate for extending conceptual history beyond language on theoretical grounds and identifies two major obstacles in political iconography: the methodological subordination of visuals to language in the negotiation of meaning, and the distinction of emotion and reason by assigning them functionally to different sign systems.
Anger in Popular Hindi Cinema
State of the Art
Rajamani's dissertation on the angry young man in Telugu cinema even more specifically argued for integrating the visuals of films into conceptual history. In a close analysis of pictures and sounds, she shows how film scenes are part of a larger semantic
Human mobility and building inclusive societies
time, and I became an angry young man because I dislike wastefulness. In the mid 1970s I found myself as a student in Chicago. For the first time I could see South Africa from outside. There I became aware of geological timescales when I took a short
The Construction of Boyhood through Corporal Punishment and Educational Discipline in Taare Zameen Par
.” Thymos: Journal of Boyhood Studies 5 , no. 2 : 138 – 151 . Chattopadhyay , Saayan . 2013 . “ Mythology, Masculinity and Indian Cinema: Representation of ‘Angry Young Man’ in Popular Hindi Films of 1970s .” Media Watch 4 , no. 1 : 30 – 41