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The Practice Of Everyday Life

随着营销环境的复杂化以及消费者需求的分散碎片化,一个营销活动的第一步不是“做”，而是“想”。营销人更多的是要去思考品牌对目标受众的意义为何？是否切中其关注的内容和核心需求？从目标受众的核心需求点出发,发现更多潜在需求。在找到潜在需求之后,下一步才是去考虑预算和投放等”做”的问题。

营销无界，Always on

Family television. Cultural power and domestic leisure.

CINEMA OF INTERRUPTIONS: ACTION GENRES IN CONTEMPORARY INDIAN CINEMA Lalitha Gopalan. London: BFI Publishing, 2002, 240 pp. Lalitha Gopalan's Cinema of Interruptions proposes a view of popular Indian cinema that challenges the perception that as a narrative form, Indian films have not fully achieved the seamlessness of Hollywood films. The author argues that Indian cinema, with its "interruptions" of song and dance numbers, its interval or intermission, and its censored scenes, has an aesthetic coherence that marks it as uniquely Indian. Ratherthan considering these pauses or "interruptions" as side trips away from the narrative cause-effect chain, Gopalan argues that filmmakers make these interruptions integral parts of the narrative. For example, she suggests that the interval has been used in a variety of ways, such as to launch a new sensibility or to suture two genres together. Under her analysis, the interval (or intermission) emerges as a structuring device, rather than simply a break in an over-long, undisciplined narrative. I believe this central argument, reflected in the book's title, is the strength and main contribution of her work. It offers a way of viewing Indian cinema on its own terms, ratherthan those of the unified narrative of Hollywood. Gopalan demonstrates a breathtaking command of film theory and employs a panoply of these ideas to contextualize events on the screen. She relies extensively on close readings of films, teasing out the narrative structure, images, and editing techniques that support herthesis. In her introduction, she outlines her reliance on psychoanalytic screen theory, which argues that narrative form produces an idealized position of spectatorship. She effectively employs Laura Mulvey's essay "Visual Pleasure and Narrative Cinema" to highlight the oftenoverlooked argument that the fetishization of the female body interrupts the diegesis. Gopalan uses several contemporary films to demonstrate her theory that the "constellation of interruptions" actually sutures together a narrative and makes these films uniquely Indian. Her first chapter examines a series of films that feature the figure of the avenging woman. Narrative interruptions are written into these films: Gopalan argues that the camera withdraws just before a sexually explicit act, a move that is akin to coitus interruptus and that is followed by shots of "waterfalls, flowers, thunder, lightning and tropical storms" (21), metonyms for the missing act. Gopalan notes that even though this withdrawal of the camera is required by state censors, the camera will often focus on the breasts and hips of the woman, thereby fetishizing and fragmenting her body. This heightened objectification of the woman is a "ruse to circumvent censorship, resorting once again to the woman's body," a way of displacing the responsibility for this move onto the state. Gopalan applies both Mulvey's theory and Carol Clover's work on the horror film to the rape-revenge film, a popular genre in India. She examines the spectatorial positions possible in such films; both masochistic and sadomasochistic pleasure is mobilized, first in the rape and then in the revenge. This chapter presents a compelling analysis of the position of women in this emotionally charged genre, and the author gets good traction in her use of theoretical tools. Her third chapter, which focuses on notions of masculinity, examines the films of J. P. Dutta, and Gopalan presents this as an exhumation of the auteur theory from its premature interment by Roland Barthes. She cites the recent work of scholars who use the theory, and she points out that Dutta's films, which are critically acclaimed for their distinctive style, are marketed using "Dutta" as a type of branding strategy to build box office. One troubling move in her selection of texts, however-and it damages both her argument about the "cinema of interruptions" and about the auteur-is that she admits she will not discuss the narrative structure of four of Dutta's films because they do not support her argument. …

Cinema of Interruptions: Action Genres in Contemporary Indian Cinema

The relationship between tourism and photography has long been subject to academic scrutiny. However, the extent research has adopted a primarily Western perspective, exploring the photographic pra...

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Towards an understanding of Chinese tourist photography: Evidence from the UK

This paper explores how the Bhojpuri music industry is catering to the needs of north Indian migrants in Mumbai, India. Bhojpuri is the dialect spoken by large numbers in the Indian states of Uttar Pradesh and Bihar. The influx of Bhojpuri speaking migrants to different parts of India has led to a demand for music that helps them remain anchored to their region. This study examines the content of music videos, CDs and cassettes, to show how tropes from the collective memory of migrants are embossed in the lyrics, while their aspirations are interwoven with an idyllic image of the home states. Ribaldry, folk music and topical issues are melded to create a familiar world. The result is a distillate of the region’s socio-cultural values. Meanwhile, the industry is creating a global identity for the migrants, connecting them to Bhojpuri diaspora across the world.

/pdf/music-for-the-migrant-s-soul-blending-the-traditional-with-v4bzl5qt9d.pdf

Music for the Migrant’s Soul: Blending the Traditional with the Topical…

Using Cultural Studies as the framework, this study investigates how north Indian migrants living in Kandivali east, Mumbai, exercise agency and appropriate Bhojpuri media texts to maintain their regional identity. Bhojpuri, a dialect of Hindi, has emerged as the lingua franca of these migrants hailing from the Indian states of Uttar Pradesh and Bihar. Beleaguered by the identity politics of the host city, the migrants turn to the Bhojpuri media to sustain the shared cultural beliefs that permeate their social relations. Familiar images in the media texts ensure continuity with tradition, feeding the resurgent pride of the community. The migrants’ aggressive defence of all things Bhojpuri, as well as their desire to sanitise Bhojpuri media of its bawdiness, is a manifestation of their embattled identities seeking validation. This article examines how the Bhojpuri media are intertwined with the migrants’ everyday realities. The media reinforce gender roles, alleviate anxieties and gratify desires vicarious...

The ‘Bhojpuriya’ Mumbaikar: Straddling two worlds

The exploratory research uses the framework of Communication Studies and Sociology to demonstrate how restructuring of social hierarchies impacts language use in the Business Communication class of...

Of Changing Needs and Mismatched Expectations: Teaching Business Communication in Indian Business Schools:

This article offers perspectives on those who control the Bhojpuri media industry in Mumbai, India, and delimit what is to be shown. Bhojpuri is a dialect of Hindi spoken in parts of the north Indian states of Uttar Pradesh and Bihar. The influx of migrants from these regions to different parts of India has led to a resurgence of interest in the Bhojpuri media, and has drawn fly-by-night operators to the industry. To cater to the migrants’ needs, ribald action romances are produced; but this very bawdiness hamstrings attempts to widen the audience base. The article examines the issues that plague the industry, and explores the ways in which the industry is struggling to carve a sanitized, yet distinctive identity. Keywords : Bhojpuri; media industry; ribald; sanitized; migrants

/pdf/sleaze-slur-and-the-search-for-a-sanitized-identity-bhojpuri-348b9pe60i.pdf

Madhusri Shrivastava

Papers

Music for the Migrant’s Soul: Blending the Traditional with the Topical…

The ‘Bhojpuriya’ Mumbaikar: Straddling two worlds

Of Changing Needs and Mismatched Expectations: Teaching Business Communication in Indian Business Schools:

Sleaze, Slur… and the Search for a Sanitized Identity: Bhojpuri Media at a Crossroads

Stealing My Thunder Systematically