Abstract
ABSTRACTThis article examines a recurrent film motif across a number of South Asian films, mostly called Mela. It also offers some observations on melas, actual and allegorical, as represented in films but often seeming to exceed their containment in context so as to say more about the conviviality of life, where this is at issue, where life is at a juncture in need of resolution within the cycle of becoming. The issues of violence, loss, national identity, politics of interpretation and repetition in ideology are canvassed. While the essay is focused upon Mela films themselves, and South Asian film more broadly, it has of course been important to note work by scholars such as M. Madhava Prasad, Ashish Rajadhyaksha, Anjali Gera Roy, Tejaswini Niranjana, Gayatri Chakravorty Spivak and the help of my students, some of whom are named below.
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