Abstract
ABSTRACT As a relatively new category in academia, discourses on Indian Fan culture, both digital and non-digital, are filled with apprehensive perforations. Rapid globalization and the digitization of media have enabled western fan practices as well as a scholarship to permeate into Indian culture but with a twist of patriarchy fused into it. Despite the involvement of female fans in the first wave of western fan practices, feminist cultural studies rarely found a place within fan studies. This article analyses two films Fan (2016) and Mohanlal (2018), set against the backdrop of culturally diverse regional fandoms to critique the gendered heterogeneity within Indian fandom. While the films selected for analysis ostensibly seem to celebrate the rich culture of media fans in India, nonetheless, they also serve as controlling images that reinstate the hermeneutical injustice perpetrated on female fans, thus marginalizing them. This article aims to tease out the epistemic injustice embedded in the gendered space of Indian fandom and calls attention to the need of establishing a feminist standpoint in the discourse.
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