Abstract
Popular Indian cinema provides a test case for examining the limitations of Gilles Deleuze's categories of movement-image and time-image. Due to the context-specific aesthetic and cultural traditions that inform popular Indian cinema, although it appears at times to be both movement- and time-image, it actually creates a different type of image. Analysis of Toofani Tarzan (1936) and Dilwale Dulhania Le Jayenge (1995) demonstrates how, alternating between a movement of world typical of the time-image, and a sensory-motor movement of character typical of the movement-image, popular Indian cinema explores the potential fluxing of identities that emerge during moments of historical complexity.
| Original language | English |
|---|---|
| Pages (from-to) | 25-48 |
| Journal | Deleuze Studies |
| Volume | 2 |
| Issue number | 1 |
| DOIs | |
| Publication status | Published - Jun 2008 |
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