Abstract
Abstract: In Indian diasporic cinema, arranged marriage is typically represented as a repressive system that makes women victims of an uncompromising heteropatriarchy. Mira Nair’s The Namesake (2006), however, reimagines the relationship between love and arranged marriage for Indian diasporic subjects. By adopting the framework of transnationalism, Nair’s film creates a dynamic dialogue between convention and contemporaneity, home and away. More specifically, it revises the role of the immigrant wife by giving her equal access to transnational mobility. Nair thus transforms the diasporic conjugal relationship into a desi hybrid, an arranged-love marriage, shaped by mobility and fluidity.
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