Abstract
This essay offers a preliminary study of the cultural translation practices by young Tibetan exilic filmmakers in India, whose films, rather than rejecting the masala formula offered by Bollywood, have tentatively adapted it to the expectations of a Tibetan diasporic audience looking for a cinema capable of attending to the escapist needs of their minds while simultaneously catering to the intimate dreams of their hearts. I contend that Tashi Wangchuk and Tsultrim Dorjee’s first long feature Phun Anu Thanu (Two Exiled Brothers, 2006) is as an original film that presents a new offer on the menu of Tibetan diasporic films, a kind of spicy curry that has been advocated as a timely necessity and a yet-to-be-fulfilled desire.
Highlights
The exile mix of Tibetan, Hindi, and English is something I like to call ‘Thinglish’ untraditional, but it works
Keeping in mind what we have argued about minor transnationalism and the creolisation of languages and aesthetics, I look at the rhizomatic cross-fertilisation between
While the researches of Anna Morcom (2009) inside Tibet have highlighted the growing consumption of Bollywood films and Hindi songs among Tibetans in China, where such cultural products have come to be seen as an instance of the exotic/erotic Other across the border, on one side, and as a sort of ‘sacred commodity’ from the holy land of the Buddha to be surreptitiously consumed inside China, on the other, very little has been written on the connection between the pleasure of watching Hindi language films among Tibetans in exile and the elaboration of Tibetan diasporic aesthetics and, we may add, of complex cinematic sensibilities
Summary
The exile mix of Tibetan, Hindi, and English is something I like to call ‘Thinglish’ untraditional, but it works.
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