Talk:Deepa Mehta

Wiki Education Foundation-supported course assignment

This article is or was the subject of a Wiki Education Foundation-supported course assignment. Further details are available on the course page. Student editor(s): Urmichatterjee. Peer reviewers: Cbschramm.

Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 19:54, 17 January 2022 (UTC)

Wiki Education Foundation-supported course assignment

This article is or was the subject of a Wiki Education Foundation-supported course assignment. Further details are available on the course page. Student editor(s): Leeds.bois.114. Peer reviewers: Mossadeghx, LoDups.

Above undated message substituted from Template:Dashboard.wikiedu.org assignment by PrimeBOT (talk) 19:12, 16 January 2022 (UTC)

Background, Themes, Interviews

Hi,

I think that these sources could be relevant to DEEPA MEHTA in terms of looking at her background and work as a female filmmaker more critically and in depth.

What to add + Sources:

Turkienicz, Rachel. An Interview with Deepa Mehta, YouTube, 12 Aug. 2009, www.youtube.com/watch?v=zHxkLbY_vsA. In one of her interviews, Mehta goes into length about why she uses children/youth as her main characters and the intersection between innocence and reality. I believe that this is important to a lot of her films, especially the trilogy. Earth, for example, is told through the narration of Lenny. Water revolves around the fate of Chuhiya. In these films, respectively, children are hit with reality and form a deeper understanding with the politics of nationalism and religion. So, in the section dedicated to the trilogy/thematic elements, I believe it is important to have a section talking about Mehta's perspective on the inclusion of children in her films.

John, Mathew P., and Robert K. Johnston. "The Elements Trilogy: A Cultural Critique of India." In Film as Cultural Artifact: Religious Criticism of World Cinema, 61-82. Minneapolis: Augsburg Fortress, Publishers, 2017. doi:10.2307/j.ctt1kgqtvf.10. This source looks at Deepa Mehta as an auteur in great detail. It examines the Elements trilogy in depth, with sections dedicated to all three of the films. One of the aspects I was looking forward to was a look into the "voice of feminism" in her films. The way Mehta addresses women in her films can go either way on the scale. On one hand, she portrays female struggles in different aspects of Indian society; sexuality, nationality, and religion. And it is this struggle that ultimately displays their strength. But on the other hand, there are arguments that Mehta focuses on women as hopeless victims in the Indian society. It would be interesting to write more about this debate.

Jazeera , Al. One on One with Deepa Mehta, YouTube, 6 Mar. 2009, www.youtube.com/watch?v=jpyFmmwxcUM. This interview goes into detail on not only the Elements Trilogy, but other films made by Mehta like Heaven on Earth which starts discourse on domestic violence. But most importantly, it talks about Mehta's identity as an indo-canadian filmmaker and how that plays into her role as a filmmaker. The current article on Mehta mentions her background but does not go into what she has to say about it and its influence on her art. In this interview by Al Jazeera, she talks about how it's never been about the 'east' or 'west' for her as she has been born and brought up in a dichotomous culture. She talks about her own history with the India-Pakistan-Bangladesh partition and how that played a role in her film Earth. She also talks about her role as a director not belonging to either Hollywood or Bollywood; industries that follow certain formulas when it comes to filmmaking, and the effect it had on her work getting financed. She takes the example of Fire, the first film in the trilogy, by talking about its financial struggles and the attention it received only after it's controversial success- which is when she caught the eye of investors and distributors.

Subeshini Moodley. "Postcolonial Feminisms Speaking through an 'Accented' Cinema: The Construction of Indian Women in the Films of Mira Nair and Deepa Mehta." Agenda: Empowering Women for Gender Equity, no. 58 (2003): 66-75. http://www.jstor.org.proxy.library.emory.edu/stable/4548098. This article talks a lot about diasporic films produced in the transition between cultures and societies. It defines 'accented' cinema in relation to postcolonial feminism. The article is also broken down into the introduction, body, and a very strong conclusion where the writer draws from quotes from her sources. It would be more helpful if she had more primary sources, as they seem to be mostly secondary sources. But her take on diasporic films and the portrayal of postcolonial feminism in Mehta's work is profound.

Uraizee, Joya. "Gazing at the Beast: Describing Mass Murder in Deepa Mehta's Earth and Terry George's Hotel Rwanda." Shofar28, no. 4 (2010): 10-27. http://www.jstor.org.proxy.library.emory.edu/stable/10.5703/shofar.28.4.10. This article just looks at Mehta's work in her film Earth, which is my personal favorite in the entire trilogy. I was most intrigued by this article because when we talk about Mehta's work we most often look at just Water, which happens to be the most recent film in the trilogy, or Fire , which is the first and most controversial film in the trilogy. Earth is, most often, overlooked and I would love to pay more attention to it because it starts a discourse on one of the most important, tragic, and historical events that took place and redefined India in almost all possible ways. The only thing I did not like about the article is the way it's been defined as a 'love-story gone sour', which isn't what the film focuses on at all. — Preceding unsigned comment added by Urmichatterjee (talk • contribs) 22:21, 5 March 2018 (UTC) Urmichatterjee (talk) 05:47, 23 April 2018 (UTC)

Birth

This article states she was born in 1949.... which is correct? gren グレン 21:21, 16 March 2006 (UTC)

"Criticism"

I'm going to remove the section entitled "Criticism," as the plagiarism accusation is already mentioned under the subsection on Fire, and the somewhat circular phrasing concerning alleged controversies is redundant. Until a more substantively documented claim surfaces, I don't feel the existence of this section (in its current form) contributes anything to the article. 74.112.110.95 21:23, 23 September 2006 (UTC)

Exclusion (2014)

I'm not sure where this date comes from. I only found one article from 2006 discussing the film's pre-production, but I get the impression the project has been shelved. Her current project is Beeba Boys. — Preceding unsigned comment added by 76.9.40.220 (talk) 16:03, 30 September 2014 (UTC)

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"Exclusion (film)" listed at Redirects for discussion

The redirect Exclusion (film) has been listed at redirects for discussion to determine whether its use and function meets the redirect guidelines. Readers of this page are welcome to comment on this redirect at Wikipedia:Redirects for discussion/Log/2024 October 24 § Exclusion (film) until a consensus is reached. Bearcat (talk) 17:17, 24 October 2024 (UTC)