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Indian films and Nigerian lovers: media and the creation of parallel modernities

Published online by Cambridge University Press:  07 December 2011

Brian Larkin
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Résumé

Cet article discute l'importance qu'ont les films indiens en révélant un aspect relativement ignoré dans le courant de culture transnational. La circulation de films indiens au sein du Tiers-Monde offre aux spectateurs Hausa une facon de s'engager imaginativement avec des formes de tradition différentes dès leurs tout en percevant une modernité qui vient sans la signification politique et idéologique de celle de l'ouest. Après avoir discussé les raisons pour la popularité des films indiens dans un context Hausa, cet article explique cet investissement imaginatif des spectateurs en examinant les histoires comme forme d'enquête sociale. Les jeunes hausa explorent les limites des attitudes acceptées des hausa envers l'amour et la sexualité à travers les histoires dans les films indiens et les histoires d'amour hausa (soyayya). Cet exploration a occasioné un débat public profond, comme les auteurs de soyayya ont été accusés de corrupter les jeunes hausa en empruntant des formes d'amour et relations sexuelles étrangères. Cet article maintient que cette controverse révèle une inquiétude plus générale à propos de la forme et de la direction de la culture nigérienne contemporaine. L'analyse des livres soyayya et des films indiens éclaircit le processus de remise en marche et d'indigénisation au niveau local du courant des média transnationaux qui a lieu dans les pays du Tiers-Monde et entre les pays du Tiers-Monde, perturbant les dichotomies entre l'ouest et le non-ouest, le coloniseur et le colonisé, la modernité et la tradition afin de voir comment les média crée des modernités paralléles. A travers le spectacle et la fantaisie, la romance et la sexualité, les films indiens procurent des avenues pour considérer ce qu'être moderne signifie et ce qui pourrait être la place de la société hausa au sein de la modernité. Pour les nigériens du nord, qui répondent à l'état nigérien, religieusement au Moyen Orient et à l'Afrique du Nord, économiquement à l'ouest, ou culturellement à la domination cinématographique de l'Inde, les films indiens sont juste une partie de l'hétérogénéité de la vie de tous les jours. Ils procurent une modernité parallèle, une façon de s'engager imaginativement avec la base sociale de la vie contemporaine qui est une alternative à l'influence de l'ouest séculaire qui se fait sentir un peu partout.

Type
Muslim audiences in Kano and Korhogo
Information
Africa , Volume 67 , Issue 3: Audiences in action , July 1997 , pp. 406 - 440
Copyright
Copyright © International African Institute 1997

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