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The Last Tribe: Delhi At Eleven

The Last Tribe: Delhi At Eleven 464 D. Banerjee bride, alternately shy and pensive, through Aniket’s eyes: each frame resembles a still life. This film is lush with images, music and with bodies swaying to music, at rest, in motion and at play—corporeal filmmaking at its best. And, yet, violence is never too far beneath the surface: a young boy sings blithely of how he wants to kick and beat someone. The final film, Children At Home, by Shikha Kumar Dalsus, is outstanding in its portrayal of the rhythms of daily life in a home. It foregrounds how the temporalities and spaces of home—of domesticity, sociality and family—are suffused by media. A young boy watches a music video on a DVD player, his body rocking to the rhythms of the music. Television is central to these interior spaces. Holding pride of place next to the refrigerator, sitting cheek-by-jowl with religious icons and calendars, the television is turned on for most of the film. It is on when the family sits down to eat, when women are sewing and doing chores and when children do their homework. Television is ambient in this home: reality shows, film songs, scenes from soap operas fill its soundscapes. There has http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Asia Pacific Journal of Anthropology Taylor & Francis

The Last Tribe: Delhi At Eleven

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The Last Tribe: Delhi At Eleven

Abstract

464 D. Banerjee bride, alternately shy and pensive, through Aniket’s eyes: each frame resembles a still life. This film is lush with images, music and with bodies swaying to music, at rest, in motion and at play—corporeal filmmaking at its best. And, yet, violence is never too far beneath the surface: a young boy sings blithely of how he wants to kick and beat someone. The final film, Children At Home, by Shikha Kumar Dalsus, is outstanding in its portrayal of the rhythms of daily...
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Publisher
Taylor & Francis
Copyright
© 2014 The Australian National University
ISSN
1740-9314
eISSN
1444-2213
DOI
10.1080/14442213.2014.952061
Publisher site
See Article on Publisher Site

Abstract

464 D. Banerjee bride, alternately shy and pensive, through Aniket’s eyes: each frame resembles a still life. This film is lush with images, music and with bodies swaying to music, at rest, in motion and at play—corporeal filmmaking at its best. And, yet, violence is never too far beneath the surface: a young boy sings blithely of how he wants to kick and beat someone. The final film, Children At Home, by Shikha Kumar Dalsus, is outstanding in its portrayal of the rhythms of daily life in a home. It foregrounds how the temporalities and spaces of home—of domesticity, sociality and family—are suffused by media. A young boy watches a music video on a DVD player, his body rocking to the rhythms of the music. Television is central to these interior spaces. Holding pride of place next to the refrigerator, sitting cheek-by-jowl with religious icons and calendars, the television is turned on for most of the film. It is on when the family sits down to eat, when women are sewing and doing chores and when children do their homework. Television is ambient in this home: reality shows, film songs, scenes from soap operas fill its soundscapes. There has

Journal

The Asia Pacific Journal of Anthropology – Taylor & Francis

Published: Oct 20, 2014

References