ABSTRACT

Lollywood, or Lahore-based film industry, rarely explores the uneasy topic of the Partition. Hardly a dozen films could be produced in the last seven decades on the Partition. However, a few Lollywood productions – notably Punjabi-language Kartar Singh (1959) – either exploring the Partition or set in the context of the Partition, have surprisingly departed from business-as-usual and state-sponsored discourses whereby India/Hindu is otherified and villainized. It is even more interesting, this paper notes, that all the productions examined for this study drew huge audiences and were indeed successful ventures in terms of popularity. Hence, the contention of this paper is that Lollywood has reproduced as well as resisted the official narratives on the Partition. Arguably, the Partition in Pakistani films has been delineated in its complexity. Most importantly, these productions approach the plight of women with a humanist viewpoint. Methodologically, this paper establishes its argument through a discourse analysis of four films.

摘要

Lollywood 或以拉合尔为基地的电影业很少探讨分区这个令人不安的话题。在过去的七年里，几乎没有十几部电影可以在分区上制作。然而，一些 Lollywood 作品——尤其是旁遮普语的 Kartar Singh (1959)——无论是探索分区还是设置在分区的背景下，都令人惊讶地偏离了印度/印度教被其他化的一切照旧和国家支持的话语并被反派。更有趣的是，本文指出，为这项研究检查的所有作品都吸引了大量观众，并且在受欢迎程度方面确实是成功的冒险。因此，本文的论点是 Lollywood 复制并抵制了有关分区的官方叙述。可以说，巴基斯坦电影中的“分裂”是以其复杂性来描述的。最重要的是，这些作品以人文主义的观点接近女性的困境。在方法论上，本文通过对四部电影的话语分析来确立其论点。