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
Modern Slavery and the Re-description of People (and Democracy) in Spain and Chile
of 1848, El Pueblo (The people) echoed Lamennais's ideas and words, in their publishing, aiming to “turn the people's slavery into his sacred sovereignty.” 49 This feeling was also disseminated in the press through political iconography. As can be