| Abstract [eng] |
In this thesis I have approached an issue of 1962 Sino-Indian war, its representation in Indian cinema and its role in national Indian identity. As tension between India and China once again increases, surge of Chinese representations in India’s media was noticed, especially – three Sino-Indian war movies in three years were released since 2017. In pursue of accomplishing my main goal – to define what kind of memory about Sino-Indian war these movies are generating I selected analyzed and compared 4 Hindi movies that represents the 1962 Sino-Indian war and its memory. Selected movies are Haqeeqat (1964), Tubelight (2017), Paltan (2018) and 72 Hours: Martyr Who Never Died (2019). To achieve goal of thesis I try to accomplish these goals: Analyze and summarize development of geopolitical relationships between India and China and understand what discourse those relationships generate. Also, to achieve complete picture of movie represented memory I try to conceptualize Alison Landsberg’s Prosthetic Memory, Maurice Halbwach’s Collective Memory and Mediality of Cultural Memory. Once conceptualized, I accompanied this complex theoretical framework, with literature review and discourse analysis. When applied, those methods revealed that although its modes of collective memory rhetoric are different, a memory of Sino-Indian war in Bollywood cinema is very consistent. Indians are being represented as righteous, ill-prepared victim meanwhile Chinese are embedded as foreign, dangerous, and sneaky other without any elaborated character features. This type of memory was established in first Hindi movie representing Sino-Indian war – Haqeeqat, other movies, only accompanies narrative set by the first one. This research could be useful in future works that tries to better understand memory role in Indian war cinema, or further investigates conflict between China and India. |
