In this article I engage with the insights that emerged through the making of Desiring Bollywood, a collaborative ethno-fiction project I produced in 2018. The project recruited academics, amateur actors, novice filmmakers, and enthusiastic university students to narrate the story of Jason, an aspiring actor and filmmaker from Nigeria who I first met in 2013 soon after his release from Tihar Prison in Delhi, India. My goals are two-fold: first, to share a few scenes from the film – embedded in this article as video clips – to broadly theorize the affordances and limits of what I call re-staging, the collaborative, performance-based multimodal method we devised and deployed to produce Desiring Bollywood. Second, and more central to the article, I aim to analyze these very same scenes to show how re-staging, as it offered participants involved in the project the opportunity to reflexively explore how Jason’s experiences of discrimination in Delhi and the aspirations and desires that led him there in the first place, create a rich site of analysis to engage with the nuances of anti-Black racism in India in a moment where ‘India-Africa’ economic relationships are on the rise.

中文翻译：

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渴望宝莱坞：重新上演种族主义，探索差异

在这篇文章中，我将探讨通过我在 2018 年制作的合作民族小说项目《渴望宝莱坞》的制作过程中出现的见解。该项目招募了学者、业余演员、新手电影制作人和热情的大学生来讲述杰森的故事，一位来自尼日利亚的有抱负的演员和电影制片人，我在 2013 年从印度德里的蒂哈尔监狱获释后不久就认识了他。我的目标有两个：首先，分享电影中的一些场景——作为视频剪辑嵌入在本文中——广泛地理论化我所说的重新上演的可供性和局限性，我们称之为协作的、基于性能的多模式方法。设计并部署以制作 Desiring Bollywood。其次，也是本文的核心，我的目标是分析这些完全相同的场景，以展示如何重新上演，