The Framework of Diasporic Cinema

(Mira Nair; SCS Films)

Representation in the form of simply having a character that looks like a minority group isn’t enough. As people of ethnic backgrounds continue to gain widespread attention in entertainment, it’s important to take a step back and recognize the current state of representation in media. This piece focuses specifically on Indian-American representation in entertainment since that is the only subject that I can afford to write about through my own experiences. Indian-American, and more broadly, Indian diasporic representation in film and television is nothing new. Ranging from stereotypes like Apu from The Simpsons and Raj from The Big Bang Theory to more introspective narratives like Bhaji on the Beach (dir. Chadha, 1993) and The Namesake (dir. Nair, 2006), and even odd Indie films such as American Desi (dir. Pandya, 2001) and Green Card Fever (dir. Rajasekharuni, 2003), Indian representation in the media has been as significant as that of any other ethnic group. However, recent years seem to have distanced critical stories that shine a light on aspects of the diaspora that previous films and shows were successful in presenting. Films by Mira Nair and Gurinder Chadha were able to present the struggles of first- or second-born South Asians in locations outside of their homeland. By showcasing struggles that viewers part of that group felt, we were able to relate to them more as opposed to current representation which seems to step away from those narratives. This piece takes a detailed look at the films of both Nair and Chadha and why the need to return to those stories is imminent now more than ever.

(Mira Nair; Fox Searchlight)

According to Jorge Diego Sánchez in his article, “Representation of Gender Conflicts in the Films by Gurinder Chadha and Mira Nair,” he notes that “diaspora is a space in constant transformation where cultures are in contact and where art offers a possibility to illustrate the centripetal and centrifugal forces, ‘modalities and specificities’, which determine the experience of migration.” Diasporic films from directors like Nair and Chadha primarily focus on the issues of what it’s like acclimating to a societal environment wherein you’re the outsider. Through films like Bend It Like Beckham (dir. Chadha, 2002) and Mississippi Masala (dir. Nair, 1991), the desire to upkeep tradition and the homeland are apparent in the generation that migrated, however, the conflict arises as the next generation (usually born outside of the homeland) struggle on where to place their identities and combat becoming the “Other.” An important aspect of globalization, immigration to the West catapulted in the 80s and 90s. Filmmakers like Nair and Chadha themselves are byproducts of migration to the West and their films have reflected the fight to fit in after being displaced from your home country either willingly (for economic gain) or by force (through political upheaval). However, once settled in the West, individuals find themselves on the doorsteps of yet another obstacle: whether or not to assimilate themselves within the dominant group and if so, to what degree. For the newer generation born within the societal constructs of the new country, balancing the duality between home and the outside by developing a homogeneous identity, becomes the central conflict both internally and externally throughout many diasporic films. This need for creating a homogeneous identity is presented through two theoretical analyses within the field of social sciences as described by Bisin et.al., in their analysis “Bend it Like Beckham: Ethnic Identity and Integration” (2010). Both cultural conformity through which the “ethnic identity is reduced by neighborhood integration, which weakens group loyalties and prejudices” and cultural distinction wherein “ethnic minorities are more motivated in retaining their own distinctive cultural heritage the more integrated the neighborhoods are where they reside and work” act as conceptual frameworks to understand the conflicts that arise within both Nair’s and Chadha’s films. Both directors’ films provide an arch through which the primary characters begin their journey among cultural conformity and then conclude at cultural distinction. However, what sets both of these directors’ films apart from others that represent struggles of the Indian diaspora is that both conceptual frameworks intermingle at the narrative’s conclusion. In The Namesake, Gogol and his sister, Sonia, separate themselves from their heritage through adapting more easily pronounceable names, speaking primarily in English, listening to “American” music, and even though the way they dress and their group of friends. Although after a trip to India and their father’s death, both begin embracing their culture after realizing they’re losing their sense of self by conforming to the larger society. While their mother, Ashima, tries to keep their culture intact as they’re growing up, Gogol doesn’t realize the distance that he put between his parents and their culture (i.e., what his parents know and are used to) and himself and his proposed accepted culture (i.e., American culture / what he knows and is used to). Once Gogol’s father dies, he begins to slowly embrace his Indianness while also containing his American side. Meeting his mother and sister at the airport when coming home for his father’s funeral, we hear Gogol speak Bengali for the first time, signaling the beginning of his acceptance. Gogol’s initial juxtaposition of both cultures distorts the connection between his parents and the larger diasporic society. The attainment of balancing between both allows him to understand the struggles his parents underwent after migrating to the US and his parents’ consistent emphasis on retaining their culture while being away from home. This sense of double consciousness where the individual is a byproduct of two cultures assists in establishing a new culture where the individual can fit into and be a part of both. In “Diaspora and Double Consciousness,” Samir Dayal notes that this duality within the diaspora “entails an emancipation from a merely nationalistic or infranational pedagogic mindset” therefore allowing the two cultures to intertwine seamlessly and not feel as if you belong here nor there. This transience between both cultures also plays into Nair's use of airports throughout the film, moving back and forth between New York and Calcutta, resulting in the characters finding similarities between both places to feel at home.

(Gurinder Chadha; Bend It Films)

As a part of the diaspora and most importantly, being first-generation, we are in a unique position where we are exposed to both cultures, and finding our footing within either may be difficult. As Gurinder Chadha presents in Bend It Like Beckham, the dichotomy between your heritage and your home culture can pose multiple struggles. Jess’ passion for football is initially criticized by her parents, however the reasoning isn’t necessarily due to adhering to tradition, at least not regarding her father’s disdain. As a slight subplot to the narrative, Chadha exposes the political upheaval that took over parts of London in the 80s where the Punjabi and other Indian populations were demeaned and ostracized from many parts of society. Jess’ father taps into this when her coach comes to convince her parents to allow her to play for the Hounslow Harriers. Jess’ father recalls him not being given the chance to play for the British cricket team because he was Punjabi and an immigrant. However, Jess, being born and raised in the UK and not having those struggles with overt racism until an opponent throws a racial slur at her during a match, doesn’t find that to be a valid excuse. In her article, “The Politics of Location: Ethnic Identity and Cultural Conflict in the Cinema of the South Asian Diaspora,” Shoba S. Rajgopal justifies Jess’ initial disassociation from past racial experiences her community has undergone because “the younger generation has no qualms about breaking the boundaries, but that is precisely because they identify themselves more with Britain than with their original ancestral homeland.” Jess’ mother tries to make her a “typically Punjabi girl” by teaching her how to make Aloo Gobi and wear ethnic clothes, which plays into the cultural distinction framework that even while being away from your native home, the community still tries to uphold their traditions in a new place. Even though Jess tries to break away and push boundaries that her parents aren’t used to, she eventually transforms her identity and integrates both her Indianness and Britishness into one.

This amalgamation of two cultures can be difficult and poses numerous struggles, trying to fit in and adhere to the expectations of both. However, the films of Nair and Chadha have presented the uniqueness of our cultural distinctions and the possibility of combining both to create a new cultural subset. Therefore, I propose that films such as Nair’s and Chadha’s continue since the struggles to connect both cultures still exist and no other work has been able to perfectly portray the duality that we experience. In fact, not only do these works represent us and understand the struggles we face, but as G. Balirano mentions in “Indian Diasporic Aesthetics as a Form of Translation,” “these hybrid productions can be approached as sites that re-inscribe dominant ideologies, thereby potentially contributing to social change and countering commonly disseminated negative narratives or images, or simply images produced by ‘outsiders.’” These films allow us and others to comprehend the internal and external conflicts we face by trying to appease and accept both cultures. In an interview, Nair states that by being a part of the diaspora, “you are either 'this or that'. But we were never this or that. We were always interwoven.” And by seeing ourselves represented in mainstream pop culture that doesn’t accentuate our cultures or continue on with harmfully negative stereotypes, we can continue to see ourselves on screen that we can relate to.