Abstract
A BBC news story claimed, “This is a New India story—cultures clashing because of the unprecedented access the internet gives both creators and audiences” (Basu, Viewpoint: why is Indian comedy kicking up a storm?. BBC News. http://www.bbc.com/news/world-asia-india-36466444, 2016). To take this as a cue, the new India story as narrated by the new Indian comedians has been a process that is punctuated by fixed notions of what Indian social life means today, which are easily identifiable in Bollywood representations, and by fluid ideas of identity and nation.
This chapter explores how the comedians narrate the nation using strategies of intertextuality and deconstruction and how this is received by the Facebook sample group of millennials in a context where discourses of censorship and free speech are gaining increasing prominence.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Notes
- 1.
This is a subject widely explored in a Being Indian originals documentary I Am Offended (2015).
- 2.
FIR (First Information Report) is a written document prepared by the police when they receive information about the commission of a cognisable offence prescribed in Section 154 of the Criminal Procedure Code, 1973. It is generally a complaint lodged with the police by a victim or by someone on his/her behalf (Commonwealth Human Rights Initiative).
- 3.
This is a play on the skin-lightening cream, Fair and Lovely.
- 4.
Literally translates as mother/daughter-in-law, this is a genre of Indian television soap operas that for a long time were hugely popular but widely analysed as a regressive and backwards portrait of the Indian family.
- 5.
The literal translation is Democracy be Damned.
- 6.
Also known as post-millennials, this is a demographic cohort consisting of those born in 1995 or later.
Bibliography
Appadurai, A. 1996. Modernity at Large: Cultural Dimensions of Globalization. Minnesota: University of Minnesota Press.
Apte, M. 1985. Humor and Laughter: An Anthropological Approach. Ithaca: New York University Press.
Bakhtin, M. 1984. Rabelais and His World translated by Hélène Iswolsky. Bloomington: Indiana University Press.
Basu, S. 2016. Viewpoint: Why is Indian Comedy Kicking Up a Storm?. BBC News. http://www.bbc.com/news/world-asia-india-36466444
BBC World Service. 2016. India: Comedy and Censorship. World Have Your Say, audio program. https://www.bbc.co.uk/programmes/p03w2vvx. Accessed 04.02.18.
Bhabha, H.K. 1994. The Location of Culture. London: Routledge.
Biswas, S. 2014. Bollywood Cleavage Row Shows India’s Crass Side. BBC News. http://www.bbc.co.uk/news/world-asia-india-29306346. Accessed 04.02.18.
Chandra, A. 2016. The Male Dominated World of YouTube India. Vidooly. https://vidooly.com/blog/male-dominated-world-of-YouTube-india-YouTube-category-demographics. Accessed 04.02.18.
Crabtree, J. 2015. A Comedy Roast Sparks an Indian Firestorm. Financial Times. https://www.ft.com/content/f9246e22-b04c-11e4-92b6-00144feab7de. Accessed 04.02.18.
Dalmia, V., and R. Sadana. 2012. The Cambridge Companion to Modern Indian Culture. Cambridge: Cambridge University Press.
Daube, M. 2009. Laughter in Revolt: Race, Ethnicity, and Identity in the Construction of Stand-Up Comedy. PhD Dissertation, Stanford University.
Dudrah, R. 2016. Rajinder Dudrah discusses Bollywood’s Global Influence. CGTN America. https://www.YouTube.com/watch?v=al0Ns750-kw. Accessed 01.06.18.
Garrison, L.T. 2012. Jay Hind! A Barrel of Lakhs for India. Split Sider. http://splitsider.com/2012/04/jayhind-a-barrel-of-lakhs-for-india/
Internet and Mobile Association of India.
Jeffrey, C. 2017. Modern India: A Very Short Introduction. Oxford: Oxford University Press.
Joshi, S. 2017. We Spoke to Four Standups on the Taboos in Indian Comedy. Times of India. https://timesofindia.indiatimes.com/tv/news/hindi/we-spoke-to-four-standups-on-the-taboos-in-indian-comedy/articleshow/61344108.cms. Accessed 04.02.18.
Kavoori, A.P., and A. Punathambekar. 2008. Global Bollywood. New York: New York University Press.
Limon, J. 2000. Stand-up Comedy in Theory, or, Abjection in America. Durham: Duke University Press.
Neale, S., and F. Krutnik. 1990. Popular Film and Television Comedy. London: Routledge.
Prasad, M.M. 2008. Surviving Bollywood’. In Global Bollywood, ed. A. Kavoori and A. Punathambekar. New York: NYU Press.
Schaefer, D., and K. Karan. 2013. Bollywood and Globalization: The Global Power of Popular Hindi Cinema. New York: Routledge.
Shifman, L. 2007. Humor in the Age of Digital Reproduction: Continuity and Change in Comic-Based Internet Texts. International Journal of Communication.
Shohat, E., and R. Stam. 1996. Unthinking Eurocentrism: Multiculturalism and the Media. London: Routledge.
Swarup, J., and L.M. Singhvi. 2006. Constitution of India Articles 1–22. New Delhi: Modern Law Publications.
Author information
Authors and Affiliations
Rights and permissions
Copyright information
© 2018 The Author(s)
About this chapter
Cite this chapter
Kay, K. (2018). Riffing India Comedy, Identity, and Censorship. In: New Indian Nuttahs. Palgrave Studies in Comedy. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-97867-3_2
Download citation
DOI: https://doi.org/10.1007/978-3-319-97867-3_2
Published:
Publisher Name: Palgrave Macmillan, Cham
Print ISBN: 978-3-319-97866-6
Online ISBN: 978-3-319-97867-3
eBook Packages: Literature, Cultural and Media StudiesLiterature, Cultural and Media Studies (R0)