Abstract
Abstract The new technologies of television viewership following the digital turn have introduced new anxieties and possibilities. While new screen cultures facilitate a transnational viewership, the importance of ethically and morally grounded representations cannot be overstated. In this context, Delhi Crime, the Emmy award-winning Indian series based on the Delhi gang rape and murder of a 23-year-old woman in Delhi, will be instrumental in informing the ethico-political concerns that ought to be prioritized while representing the subaltern subject and the novel socialites fashioned through the new viewership patterns. This article attempts to understand the way in which the emerging screen economies provide new terrains for ethical representation and engendering digital publics. Thus, this article is interested in understanding the intersection of media ecologies and ethico-political concerns to introduce new dialectical possibilities.
Highlights
The new technologies of television viewership following the digital turn have introduced new anxieties and possibilities
Delhi Crime, the Emmy award-winning Indian series based on the Delhi gang rape and murder of a 23-year-old woman in Delhi, will be instrumental in informing the ethico-political concerns that ought to be prioritized while representing the subaltern subject and the novel socialites fashioned through the new viewership patterns
The virtual socialites introduced by the new screen economies refer to a transnational viewing public and to the modern digital publics that cohere around shared ethico-moral concerns
Summary
Emmy-winning Indian series based on the Nirbhaya gang rape and murder in 2012, in order to understand the way in which the series attempts to critique gender violence through its tone of moral panic. While television is a domesticated medium, as it controls the viewing practices within the domestic space,[7] the changing screen cultures initiated by the digital turn and the proliferation of online platforms for the dissemination and consumption of media content, suggest the shifting spatial reconfiguration by these new technologies of viewing. In this context, it becomes imperative to think about the processes through which viewing spaces simultaneously straddle between the private and public territories through techno-mediated screen economies. The article discusses the ways in which Delhi Crime navigates the transnational spaces of spectatorship by cautiously maintaining the ethical and aesthetic balance in the representation, and the modern publics that it mobilizes through new modalities of viewing
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