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
The Construction of Boyhood through Corporal Punishment and Educational Discipline in Taare Zameen Par
. “ Merit and Opportunity in the Child-Centric Nationalist Films of the 1950s .” Pp. 123 – 144 in Narratives of Indian Cinema , ed. Manju Jain . New Delhi : Primus Books . Chattopadhyay , Saayan . 2011 . “ Boyhood, Ideology and Popular Hindi Cinema
Reinhart Koselleck's Lava Memories and Conceptual History
Margrit Pernau and Sébastien Tremblay
: Anger in Popular Hindi Cinema,” Contributions to the History of Concepts 7, no. 2 (2012): 52–77, https://doi.org/10.3167/choc.2012.070203 . Jennifer Millam and Alan Maddox, “Visual and Aural Intellectual Histories: An Introduction.” Intellectual