College of Liberal Arts
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Browsing College of Liberal Arts by Author "Arora, Anupama"
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Item Filming women: A conversation with Alankrita Shrivastava(2022) Arora, Anupama; Sanos, Sandrine; Siddiqui, GoharAnupama Arora, Sandrine Sanos, and Gohar Siddiqui (JFS): You have spent almost two decades in the film industry, and we thought we would begin by asking you about your journey as a filmmaker in the industry, and especially as a feminist filmmaker. Alankrita Shrivastava (AS): I moved to Bombay [Mumbai] in 2003 and I started assisting Mr. Prakash Jha on the film, Gangaajal (Holy Water, 2003).1 I was a sort of trainee or intern. I had just finished my Master's in Mass Communication from Jamia Milia University (in New Delhi); and I had moved to Bombay after that. I worked as an assistant director on several of Mr. Jha’s films such as Apharan (Abduction, 2005) and Rajneeti (Politics, 2010). And, in between, I was an executive producer on two films (Dil Dosti Etc, Love and Friendship, 2007; Khoya Khoya Chand, Lost Moon, 2007). I also made a short film in the meantime called Open Doors. While I was working on Rajneeti, there was a four-month gap in the schedule, and that’s when I shot my first feature film, Turning 30. Everyone thought I was crazy in just going ahead and shooting a film in that time frame. The film was produced by Mr. Jha.Item Quiet rebellions: An interview with Gothataone Moeng(2023) Arora, Anupama; Sanos, SandrineIn “Botalaote,” the opening story to Gothataone Moeng’s debut collection of short stories, we first encounter the protagonist Boikanyo in the warmth of her mother’s presence in the kitchen, where “doors slammed in her wake. In the kitchen, dishes clattered, hot cooking oil splattered, and the aroma of frying potatoes rose” (1). In her old bedroom, her aunt Lydia coughs and sweats her devastating illness: “Above the blanket, her head poked out. What used to be a full head of hair was now just dust-brown and reddish fibers” (6). At the end, Boikanyo reflects on the world of her small rural hometown, its “juxtaposition of school and cemetery” (26), where her “chest ached with the frustration” of not being able to attend a local wedding (8). There is neither lesson nor catharsis but the ordinariness of a life shaped by contradictions, what remains unsaid, and the ways women must navigate the norms that bear upon their lives.