Use this URL to cite or link to this record in EThOS:
Title: Fragmented memory, incomplete history : women and nation in war films of Bangladesh
Author: Akhter, Fahmida
ISNI:       0000 0004 6352 3976
Awarding Body: University of Essex
Current Institution: University of Essex
Date of Award: 2017
Availability of Full Text:
Access from EThOS:
Full text unavailable from EThOS. Thesis embargoed until 07 Jul 2022
Access from Institution:
The most important and celebrated chapter in the history of Bangladesh is its nine-month long Liberation War (Muktijuddho in Bengali) of 1971. My research explores the ways in which memories and histories of the war are shaped by the gender dynamics of nationalism in different periods through examining war-themed films of Bangladesh. By covering both mainstream and alternative war films produced just before, during and after the war, from 1970 to 2011, I trace the various ways in which men and women are represented in war films and construct the idea of nation. I also aim to unpack the politics and aesthetics of war films, contextualizing them as they intersect with the socio-historical contexts. Employing textual and visual analyses with using solid theoretical scholarship, both from the East and the West, concerning cinematic representation of the past, women and nation, I argue that the different power structures of men and women constructed in war films are in accordance with the dominant ideology of the society. The Liberation War was a people’s war, involving manifold participation of both men and women from different classes, religions and localities. Despite this reality, cinematic representations of the War have always portrayed the combat experience as an exclusively masculine enterprise. By contrast, women have been constructed in the films as passive victims or in subordinate roles. Woman is valorized in one instance, in her idealized portrayal as the ‘mother-nation’; this iconic projection of woman, however, highlights men’s heroic defence of their motherland. On the other hand, female rape victims in the war are framed as shame or dishonour for the nation and are offered a customary exclusion by suicide, death or occasionally by some other means at the end of the war films. I have argued that war films exclude the raped women from the narratives in order to maintain a perceived purity of the nationalist discourse, following the national politics, culture and historiography of Bangladesh.
Supervisor: Not available Sponsor: Commonwealth Scholarship Commission
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID:  DOI: Not available
Keywords: PN1993 Motion Pictures