In this article, Shah creates a genealogy of documentary films on prostitution in India in order to extrapolate on her previous critique of the documentary Born into Brothels. Harnessing this method, she argues that the historical and political landscape which brought about such institutions as the International Center for Photography are integral to understanding these films. Shah critiques the discourse of “intervention, rescue and rehabilitation” depicted in the visual representation of Indian prostitution and concludes with an appeal for a broader critique of the “new cinematic canon on prostitution” in India.
Centering Devadasis and Tawaifs
