Cultural Interpretations/Representations in Film of the Indian Diaspora

Abstract

Moving away from fictional representation which by its nature works through a multiple discourse, this essay turns to the world of films made by Indians living abroad which represent the homeland in a visual medium. More compact and concrete this long distance view is at times full of stereotypes of home cultures. The paper asks several questions—why do they choose to project the negativity of their inheritance—of crisis, of wrong turns and mishaps? Does their distance privilege them with a sharper insight? Are these films directed at cultural analysis and critiquing or at a western audience? Does this mode of representation define the homeland differently than fiction? One of the most important concerns for the filmmaker is viewership—is it located in India or located abroad? Diaspora films can be classified into three main categories: the in-between films where a constant negotiation goes on between home and the outside, between inherited values and social practiced then the second category borders on this but is a curious bizarre mix laden with stereotypes—in general a fun film, self-mocking in its tone, the third category is of the films wholly located in India and concerned with its socio-economic realities. Towards this end several films are analysed in order to explore the different strategies they work with and the cultural analysis they offer alongside their struggles in different society.