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DOI | 10.1080/17450918.2024.2309896 |
Hamlet at the Himalayan Border: Frontier Imaginaries in Hu Xuehua's Prince of the Himalayas and Vishal Bhardwaj's Haider | |
Lee, Jason Eng Hun | |
发表日期 | 2024 |
ISSN | 1745-0918 |
EISSN | 1745-0926 |
英文摘要 | This article discusses Hu Xuehua's Prince of the Himalayas (2006) and Vishal Bhardwaj's Haider (2014) across overlapping local, regional and (inter)national imaginaries of Tibet and Kashmir, and considers the possibilities of rendering the story and circumstances of Hamlet legible within these borderland contact zones. With their exotic backdrop of snowy mountains, rugged frontiers and majestic rivers, these two films can be seen recreating a troubling politics of appropriation at a time of renewed tensions in the Himalayan region. I argue that despite using Shakespeare's cultural capital to depict local conditions and affirm their own political agency, Hu and Bhardwaj's ultimate rejection of Hamlet's revenge motif continue to challenge domestic and international viewers, particularly in their attempts to situate these films within a heterogeneous national cinema encompassing minority cultures in New Chinese Cinema and Bollywood respectively. |
英文关键词 | Postcolonial Shakespeare; Asian Shakespeare; Bollywood; New Chinese Cinema; Kashmir; Tibet |
语种 | 英语 |
WOS研究方向 | Literature ; Theater |
WOS类目 | Literature, British Isles ; Theater |
WOS记录号 | WOS:001155764600001 |
来源期刊 | SHAKESPEARE
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文献类型 | 期刊论文 |
条目标识符 | http://gcip.llas.ac.cn/handle/2XKMVOVA/309962 |
作者单位 | Hong Kong Baptist University |
推荐引用方式 GB/T 7714 | Lee, Jason Eng Hun. Hamlet at the Himalayan Border: Frontier Imaginaries in Hu Xuehua's Prince of the Himalayas and Vishal Bhardwaj's Haider[J],2024. |
APA | Lee, Jason Eng Hun.(2024).Hamlet at the Himalayan Border: Frontier Imaginaries in Hu Xuehua's Prince of the Himalayas and Vishal Bhardwaj's Haider.SHAKESPEARE. |
MLA | Lee, Jason Eng Hun."Hamlet at the Himalayan Border: Frontier Imaginaries in Hu Xuehua's Prince of the Himalayas and Vishal Bhardwaj's Haider".SHAKESPEARE (2024). |
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