Disgust is universal to humans across the globe in its broader aspects and localised and individualistic in its specific locus and formations. In general, the emotion of disgust is that it works as an anchor against existential dread, the anxiety of death (angst), and the fear of loss of meaning (abject). It is disgusting to look at rotting bodies or slimy, sticky, throbbing, odorous things because it reminds us of the insignificance of life itself. Objects of disgust are rude organic (...) and cosmic reminders of our very anthropocentric and vainglorious conceptions of the self as Being-in-the-World (In-der-Welt-sein). However, disgust is also deeply embedded with networks of social and political power and is used as a tool in encounters with the other. The other target of this disgust could be from the categories of other gender, race, caste, class, and sexualities. This paper tries to engage with a few of those categories in order to understand how disgust as an emotion has both an existential and socio-political charge in-itself. It then tries to analyse Subimal Mishra’s works through the lens and posits the possibility of using disgust as a literary device. (shrink)

The following Introduction briefly traces, albeit in jarring cuts, the evolution of caste question and its relationship with Indian cinema. It also tries to point out some aspects of Indian film theory, its lacunae and hopes that some of the questions raised here may give rise to future works by other (better) theorists. Pre-Independence cinema in India rarely addressed caste question, and if it did, then it was through an abstract global humanist lens. This tendency to address caste through a (...) hollow and empty shell of a theoretical model unfortunately has stuck around even in these times, and only found newer ways to reinvent itself in Neoliberal times. To understand the reason of Indian cinema’s lack of addressing caste more directly and pointedly, it has to be seen as part of a historical process. Only then can we see the history of ideology that is “outside of itself”, that is, in the material conditions that made possible Indian caste-society as well as its cine-culture. It also tries to raise questions about the film form, and its many possibilities of experimentation with the caste question (i.e. both in ideological and experiential possibilities). Lastly, it introduces some of the key works in this issue. Of course, with the hope that the readers will forgive and give respite to the many lacuna of the issue, as well as the Editor himself. (shrink)

During the last years of 1990s and the beginning of the millennia, North Bengal was shaken from its mundane reality right into a middle of a rebellion. With tears of history and warcries of the present, Kamtapur movement revealed itself. In this paper I have tried to locate the social, political, and ideological inclinations that are present within the movement. On one hand my paper intends to critique the presence of what can be called Kochbehar nationalism based on the memory (...) of a pre-independence princely state, on the other hand I am also critiquing the trends and aftermaths of Leftist politics that has been assimilated into the movement itself. While the presence of these two different and to an extent contradictory political thoughts are present within the movement; I have also taken up these new trends in the lights of anarchist tendencies which put more importance on quasi-separations from dominant power centres than class-determinism alone, of course followed by a goal for local empowerment. (shrink)