Recasting Feminine Identity in Assamese Cinema: Joymoti

Recasting Feminine Identity in Assamese Cinema: Joymoti

Rinku Pegu
ISBN13: 9781799835110|ISBN10: 1799835111|ISBN13 Softcover: 9781799835127|EISBN13: 9781799835134
DOI: 10.4018/978-1-7998-3511-0.ch002
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MLA

Pegu, Rinku. "Recasting Feminine Identity in Assamese Cinema: Joymoti." Handbook of Research on Social and Cultural Dynamics in Indian Cinema, edited by Santosh Kumar Biswal, et al., IGI Global, 2020, pp. 14-22. https://doi.org/10.4018/978-1-7998-3511-0.ch002

APA

Pegu, R. (2020). Recasting Feminine Identity in Assamese Cinema: Joymoti. In S. Biswal, K. Kusuma, & S. Mohanty (Eds.), Handbook of Research on Social and Cultural Dynamics in Indian Cinema (pp. 14-22). IGI Global. https://doi.org/10.4018/978-1-7998-3511-0.ch002

Chicago

Pegu, Rinku. "Recasting Feminine Identity in Assamese Cinema: Joymoti." In Handbook of Research on Social and Cultural Dynamics in Indian Cinema, edited by Santosh Kumar Biswal, Krishna Sankar Kusuma, and Sulagna Mohanty, 14-22. Hershey, PA: IGI Global, 2020. https://doi.org/10.4018/978-1-7998-3511-0.ch002

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Abstract

Rarely would an auteur choose a female protagonist as the lead character for one's debut film. In 1935, Jyoti Prasad Agarwal chose a historical figure of Ahom princess Joymoti as the central character for the first Assamese film. Was it enough to portray an Ahom princess as the lead character, or was it lending the historical figure a new perspective? During the stated period in Assam, the cult of Joymoti had gathered momentum. In this discourse, much emphasis was given on Joymoti sacrificing her life rather than revealing the whereabouts of her husband Prince Gadapani to the state authorities. This chapter seeks to explore how the social status of women was addressed and tackled in the film.

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