Fabulous Usha Iyer with the Flintstones
From Chapter 5
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Indian Sound Cultures, Indian Sound Citizenship addresses the multifaceted roles sound plays in Indian cultures and media, and enacts a sonic turn in South Asian Studies by understanding sound in its own social and cultural contexts. "Scapes, Sites, and Circulations" considers the spatial and circulatory ways in which sound "happens" in and around Indian sound cultures, including diasporic cultures. "Voice" emphasizes voices that embody a variety of struggles and ambiguities, particularly around gender and performance. Finally, "Cinema Sound" make specific arguments about film sound in the Indian context, from the earliest days of talkie technology to contemporary Hindi films and experimental art installations.
Integrating interdisciplinary scholarship at the nexus of sound studies and South Asian Studies by questions of nation/nationalism, postcolonialism, cinema, and popular culture in India, Indian Sound Cultures, Indian Sound Citizenship offers fresh and sophisticated approaches to the sonic world of the subcontinent.
From Chapter 5
Fig. 1. Album cover art depicting Uthup as a live performer
From Chapter 5
Fig. 2. Still from Standing By (2015) depicting Uthup onstage
Fig. 1. Transcription of “Ghar Aaja Pardesi.” (Musical Transcription by the author)
Fig. 2. Musical transcription of “Mere Khwabon Mein.” (Transcription by the author)
Fig. 3. Musical transcription of “Ho Gaya Hai Tujhko.” (Transcription by the author)
From Chapter 10
Fig. 4. Musical transcription of “Tujhe Dekha To Yeh Jaana.” (Transcription by the author)
Fig. 1 “Made in India” Csystophone sound film equipment sold alongside RCA Photophone equipment. (Filmland 3, no. 122 [August 13, 1932]: 23)
Fig. 2. Advertisement for the Motiograph recording and projection device, which was sold in India, Burma, and Ceylon. (Filmland 3, no. 127 [1932])
From Chapter 11
Fig. 3. RCA recorder used by Sree Bharat Lakshmi Pictures, Kolkata