His intelligent forbearance and (flexible) sense of timing have been exemplary. I shudder to think what Ken Wissoker, editor-in-chief at Duke University Press, must have thought over the years as my talk about what this project might eventually turn out to be meandered inconclusively and the viiiīar tab mounted. More generally, it has been an incomparable privilege to be part of the Department of Anthropology at the University of Chicago, which despite all the bromides about the ‘‘life of the mind,’’ really does nurture intellectual vitality in the finest sense. I also want to acknowledge two sets of extraordinarily useful comments by anonymous reviewers. For critical readings of the manuscript as it emerged, as well as for support, conversation, and illumination over the past few years, I want to thank Hussein Agrama, Brian Axel, Amita Baviskar, Lauren Berlant, Amahl Bishara, Rob Blunt, Dominic Boyer, Nusrat Chowdhury (Cosmo says thanks, too), Jean Comaro√, Lauren Coyle, Vikram Doctor, William Elison, Kie Ellens, Judy Farquhar, Leela Gandhi, Sangita Gopal, Thomas Blom Hansen, Keith Hart, Jim Hevia, Laura-Zoë Humphreys, Raminder Kaur, John Kelly, Shekhar Krishnan, Brian Larkin, Rochona Majumdar, Joe Masco, Meredith McGuire, Meg McLagan, Madan Mohan, Raj Mohoni, Christian Novetzke, Anand Pandian, Chris Pinney, Sean Pue, Arvind Rajagopal, Andy Rotman, Danilyn Rutherford, Adam Smith, Martin Stokes, Eli Thorkelson, Ananya Vajpeyi, Rihan Yeh, Karin Zitzewitz, and especially Dipesh Chakrabarty, John Comaro√, Shannon Dawdy (who got the last word), Dianna Frid, Don Reneau, and Jeremy Walton. At the same time, it does o√er opportunities to interlace the rigors of labor with the deep pleasures of friendship.
A scholar’s work, particularly in the writing phase, is often solitary if not solipsistic. The fundamental importance of material from their collection to my projects over the years makes it all the more mortifying that they were somehow omitted from my acknowledgments last time. I spent countless days absorbed in their clippings files for my first book, Shoveling Smoke (2003), and again for this one. I owe John D’Souza and the others at the Centre for Education and Documentation in Mumbai and Bangalore a double expression of gratitude. Debashree Mukherjee dug up valuable material in Delhi early on. For nimble archival assistance I would like to thank the sta√ at the Maharashtra State Archives in Mumbai, the National Archives of India in New Delhi, and the India O≈ce Library at the British Library in London, as well as Jim Nye at the Regenstein Library at the University of Chicago. The Sathe family has for years o√ered me the warmth and comfort of a home away from home in Mumbai. Anand Awasthi, Udita Jhunjhunwala, and Jerry Pinto made some invaluable in. Sebastian, Kalpana Sharma, Rakesh Sharma, Saurabh Shukla, Rohan Sippy, Sunhil Sippy, the late Vijay Tendulkar, and Paromita Vohra. Karanjia, Girish Karnad, Anurag Kashyap, Anupam Kher, Ram Madhvani, Anjali Monteiro, Pritish Nandy, Kiran Nagarkar, the late Pramod Navalkar, Pramila Nesargi, Anand Patwardhan, Adi Pocha, P. Jayasankar, Ammu Joseph, Vikram Kapadia, the late B. In India, I was fortunate enough to speak with Javed Akhtar, the late Vijay Anand, Shabana Azmi, Nupur Basu, Dev Benegal, Shyam Benegal, Rahul Bose, Anupama Chopra, Bishakha Datta, Shobhaa De, Anil Dharker, Shanta Gokhale, the late M. The lifeblood of any ethnographic project is, of course, the kindness of all those interlocutors who submit to the anthropologist’s ill-formed questions and impertinent conjectures with grace, patience, and wit. I have had plenty of opportunities to reflect on the preposterous timescale of academic production and to marvel at the willingness, nevertheless, of so many people to engage so generously with such an apparently open-ended and uncertain endeavor.
Obscene Tendencies: Censorship and the Public Punctum 190Ī great many debts have accumulated over the near decade that it has taken me to research and write this book. Quotidian Eruptions: Aesthetic Distinction and the Extimate Squirm 156 We Are the Law!: Censorship Takes to the Streets 115 Who the Hell Do the Censors Think They Are?: Grounds of the Censor’s Judgment 76 Performative Dispensations: The Elementary Forms of Mass Publicity 29
Library of Congress Cataloging-inPublication Data appear on the last printed page of this book.ĬONTENTS Acknowledgments vii INTRODUCTION
#EVERYBODY EVERYBODY SONG IN COMMERCIALS POOLSIDE PRO#
© 2013 Duke University Press All rights reserved Printed in the United States of America on acid-free paper ! Designed by Amy Ruth Buchanan Typeset in Minion Pro and Monotype Gill Sans by Keystone Typesetting, Inc. CINEMA AND THE OPEN EDGE OF MASS PUBLICITYĭuke University Press Durham & London 2013
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