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| | "Salaam Bombay!" by Jyotika Virdi |
 | | The film evoked maximum involvement in the narrative line — the characters, the plot, what happened to whom, the personal relations between the children, the nameless prostitute and her relationship with her daughter. |
 | | By locating the film in the setting of a brothel and by dealing with pushers and prostitutes, the film engages us with institutions that are largely tangential to the lives of "children on the street of Bombay," to whom the film is dedicated. |
 | | Films like GANDHI, PASSAGE TO INDIA, and THE COLOR PURPLE are distributed widely among a western audience, partially leading to what Isaac Julien and Kobena Mercer call a "de-marginalizing" and "de-centering" of the traditional "center-margin" boundaries.[14] However, none of these films have been made by members of the groups they represent. |
| www.ejumpcut.org /archive/onlinessays/JC37folder/SalaamBombay.html (5245 words) |
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