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Abstract

Cinematic works around indigenous lives in India have long been marginalized within the scope of “film as an entertaining art form.” Striking a balance between a faithful rendition of an indigenous community and the infusion of entertainment seemed impossible within the Indian film industry until Kantara struck the silver screen. Since its release, the film has been subjected to constructive and positive criticism, but the representation of women in the film has either remained unattended to or viewed negatively. This research paper intends to approach the use of indigenous media and epistemology in the film as a symptomatic representation of fourth cinema and then to address the representation of women from the perspective of faithful representation and indigeneity.

Author Biography

Argha Basu is currently working as a UGC-JRF scholar in the Department of Humanities and Social Sciences, Indian Institute of Technology, Patna (India). Prior to this, he worked as an Assistant Professor in the Department of Basic Engineering Sciences and Humanities Netaji Subhash Engineering College. His area of interest includes dystopian fiction, South-Asian fiction, feminist epistemology, and contemporary feminist theory.

Priyanka Tripathi is an Associate Professor of English in the Department of Humanities and Social Sciences, Indian Institute of Technology, Patna (India). She is also the co-executive editor of the Journal of International Women’s Studies. IASH, University of Edinburgh, has awarded her a Visiting Research Fellowship (2022-23). She works in the area of Gender Studies, South Asian fiction, GeoHumanities and graphic novels. Her email id is priyankatripathi@iitp.ac.in. Her ORCID iD is https://orcid.org/0000-0002-9522-3391

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