This is a chapter from the edited collection Jews, Muslims and Mass Media: Mediating the \u2018Other\u2019. In this chapter, Dwyer primarily examines the \u201cview of the Indian Muslim as Other and not an authentic Indian citizen, by looking at India\u2019s \u2018other\u2019 national cinema, the so-called \u2018Hindi\u2019 film.\u201d Her essay centers on how the meaning of the words \u201cHindu\u201d and \u201cHindustan\u201d are manipulated by forms of nationalism, Hindutva in particular,\u00a0to be conflated with the idea of the Hindu: \u201ca person following certain beliefs and practices; and the othering of the Muslims: their treatment and representation in Hindi film over the decades. She spends the last section of her chapter discussing \u201cthe courtesan film\u201d\u2014how the prevalent courtesan figure found in all Indian cultural texts seeps into Hindi films, informing us of the \u201c\u2018othering\u2019 not only of the Muslim but of the Muslim women in particular.\u201d Dwyer notes that the courtesan figure who \u201cpours out her grief for the love she is denied in tears, poetry, and dance,”\u00a0although a romantic, tragic figure, becomes an agential source of power spanning all films. Drawing parallels with the ghazal and other historical dimensions emerging from linear history, she discerns this genre of courtesan film as a space for nostalgia for a \u201clost Islamic world.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"
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