Seminar paper from the year 2004 in the subject English Language and Literature Studies - Literature, grade: 2,0, University of Potsdam (Anglistik/Amerikanistik der Universität Potsdam), course: Britain meets India in Contemporary Film and Literature, 8 entries in the bibliography, language: English, abstract: The short story "My Son the Fanatic" by Hanif Kureishi was published in 1997. The short story deals with a family whose son changes into a radical, focusing on old traditions in a modern British society. Kureishi involves history, culture and everyday problems of "hybridity" in his works. In this work, you ́ll find a short introduction to Kureishi ́s life and work and also on Indian history. The following comparison of the short story with the screenplay points out the passages that have been changed and an interpretation is given, why this was probably done.
This provocative collection of short stories charts the growth of a generation from the liberating irreverence of the late 1970s to the dilemmas of responsibility and fidelity of the 1990s. The stories resonate with Hanif Kureishi's dead-on observations of human passion and folly, his brilliant depiction of seedy locales and magical characters, and his original, wicked sense of humor.
Winner of the Whitbread Prize for Best First Novel "There was one copy going round our school like contraband. I read it in one sitting ... I'd never read a book about anyone remotely like me before."-- Zadie Smith "My name is Karim Amir, and I am an Englishman born and bred, almost..." The hero of Hanif Kureishi's debut novel is dreamy teenager Karim, desperate to escape suburban South London and experience the forbidden fruits which the 1970s seem to offer. When the unlikely opportunity of a life in the theatre announces itself, Karim starts to win the sort of attention he has been craving - albeit with some rude and raucous results. With the publication of Buddha of Suburbia, Hanif Kureishi landed into the literary landscape as a distinct new voice and a fearless taboo-breaking writer. The novel inspired a ground-breaking BBC series featuring a soundtrack by David Bowie.
NAMED ONE OF THE BEST BOOKS OF THE YEAR BY San Francisco Chronicle • Newsweek/The Daily Beast • The Seattle Times • The Economist • Kansas City Star • BookPage On February 14, 1989, Valentine’s Day, Salman Rushdie was telephoned by a BBC journalist and told that he had been “sentenced to death” by the Ayatollah Khomeini. For the first time he heard the word fatwa. His crime? To have written a novel called The Satanic Verses, which was accused of being “against Islam, the Prophet and the Quran.” So begins the extraordinary story of how a writer was forced underground, moving from house to house, with the constant presence of an armed police protection team. He was asked to choose an alias that the police could call him by. He thought of writers he loved and combinations of their names; then it came to him: Conrad and Chekhov—Joseph Anton. How do a writer and his family live with the threat of murder for more than nine years? How does he go on working? How does he fall in and out of love? How does despair shape his thoughts and actions, how and why does he stumble, how does he learn to fight back? In this remarkable memoir Rushdie tells that story for the first time; the story of one of the crucial battles, in our time, for freedom of speech. He talks about the sometimes grim, sometimes comic realities of living with armed policemen, and of the close bonds he formed with his protectors; of his struggle for support and understanding from governments, intelligence chiefs, publishers, journalists, and fellow writers; and of how he regained his freedom. It is a book of exceptional frankness and honesty, compelling, provocative, moving, and of vital importance. Because what happened to Salman Rushdie was the first act of a drama that is still unfolding somewhere in the world every day. Praise for Joseph Anton “A harrowing, deeply felt and revealing document: an autobiographical mirror of the big, philosophical preoccupations that have animated Mr. Rushdie’s work throughout his career.”—Michiko Kakutani, The New York Times “A splendid book, the finest . . . memoir to cross my desk in many a year.”—Jonathan Yardley, The Washington Post “Thoughtful and astute . . . an important book.”—USA Today “Compelling, affecting . . . demonstrates Mr. Rushdie’s ability as a stylist and storytelle. . . . [He] reacted with great bravery and even heroism.”—The Wall Street Journal “Gripping, moving and entertaining . . . nothing like it has ever been written.”—The Independent (UK) “A thriller, an epic, a political essay, a love story, an ode to liberty.”—Le Point (France) “Action-packed . . . in a literary class by itself . . . Like Isherwood, Rushdie’s eye is a camera lens —firmly placed in one perspective and never out of focus.”—Los Angeles Review of Books “Unflinchingly honest . . . an engrossing, exciting, revealing and often shocking book.”—de Volkskrant (The Netherlands) “One of the best memoirs you may ever read.”—DNA (India) “Extraordinary . . . Joseph Anton beautifully modulates between . . . moments of accidental hilarity, and the higher purpose Rushdie saw in opposing—at all costs—any curtailment on a writer’s freedom.”—The Boston Globe
"Hanif Kureishi is a proper Englishman. Almost." So observes biographer Kenneth Kaleta. Well known for his films My Beautiful Laundrette and Sammy and Rosie Get Laid, the Anglo-Asian screenwriter, essayist, and novelist has become one of the leading portrayers of Britain's multicultural society. His work raises important questions of personal and national identity as it probes the experience of growing up in one culture with roots in another, very different one. This book is the first critical biography of Hanif Kureishi. Kenneth Kaleta interviewed Kureishi over several years and enjoyed unlimited access to all of his working papers, journals, and personal files. From this rich cache of material, he opens a fascinating window onto Kureishi's creative process, tracing such works as My Beautiful Laundrette, Sammy and Rosie Get Laid, The Buddha of Suburbia, London Kills Me, The Black Album, and Love in a Blue Time from their genesis to their public reception. Writing for Kureishi fans as well as film and cultural studies scholars, Kaleta pieces together a vivid mosaic of the postcolonial, hybrid British culture that has nourished Kureishi and his work.
The new edition of The British Cinema Book has been thoroughly revised and updated to provide a comprehensive introduction to the major periods, genres, studios, film-makers and debates in British cinema from the 1890s to the present. The book has five sections, addressing debates and controversies; industry, genre and representation; British cinema 1895-1939; British cinema from World War II to the 1970s, and contemporary British cinema. Within these sections, leading scholars and critics address a wide range of issues and topics, including British cinema as a 'national' cinema; its complex relationship with Hollywood; film censorship; key British genres such as horror, comedy and costume film; the work of directors including Alfred Hitchcock, Anthony Asquith, Alexander Mackendrick, Michael Powell, Lindsay Anderson, Ken Russell and Mike Leigh; studios such as Gainsborough, Ealing, Rank and Gaumont, and recent signs of hope for the British film industry, such as the rebirth of the low-budget British horror picture, and the emergence of a British Asian cinema. Discussions are illustrated with case studies of key films, many of which are new to this edition, including Piccadilly (1929) It Always Rains on Sunday (1947), The Ladykillers (1955), This Sporting Life (1963), The Devils (1971), Withnail and I (1986), Bend it Like Beckham (2002) and Control (2007), and with over 100 images from the BFI's collection. The Editor: Robert Murphy is Professor in Film Studies at De Montfort University and has written and edited a number of books on British cinema, including British Cinema and the Second World War (2000) and Directors in British and Irish Cinema (2006). The contributors: Ian Aitken, Charles Barr, Geoff Brown, William Brown, Stella Bruzzi, Jon Burrows, James Chapman, Steve Chibnall, Pamela Church Gibson, Ian Conrich, Richard Dacre, Raymond Durgnat, Allen Eyles, Christine Geraghty, Christine Gledhill, Kevin Gough-Yates, Sheldon Hall, Benjamin Halligan, Sue Harper, Erik Hedling, Andrew Hill, John Hill, Peter Hutchings, Nick James, Marcia Landy, Barbara Korte, Alan Lovell, Brian McFarlane, Martin McLoone, Andrew Moor, Robert Murphy, Lawrence Napper, Michael O'Pray, Jim Pines, Vincent Porter, Tim Pulleine, Jeffrey Richards, James C. Robertson, Tom Ryall, Justin Smith, Andrew Spicer, Claudia Sternberg, Sarah Street, Melanie Williams and Linda Wood.
Intimacy - now a film - analyzes the agonies and joys of being connected to another person. Jay, who is leaving his partner and their two sons, reflects on the vicissitudes of his relationship with Susan. This volume includes two short stories from Love in a Blue Time and Midnight All Day.
A powerful challenge to the way we understand the politics of race and the history of anti-racist struggle Whether class or race is the more important factor in modern politics is a question right at the heart of recent history’s most contentious debates. Among groups who should readily find common ground, there is little agreement. To escape this deadlock, Asad Haider turns to the rich legacies of the black freedom struggle. Drawing on the words and deeds of black revolutionary theorists, he argues that identity politics is not synonymous with anti-racism, but instead amounts to the neutralization of its movements. It marks a retreat from the crucial passage of identity to solidarity, and from individual recognition to the collective struggle against an oppressive social structure. Weaving together autobiographical reflection, historical analysis, theoretical exegesis, and protest reportage, Mistaken Identity is a passionate call for a new practice of politics beyond colorblind chauvinism and “the ideology of race.”
Eileen Battersby is the chief literature critic of The Irish Times and is, in the words of John Banville, 'the finest fiction critic we have'. But her first full-length book is not about international literature or the state of the novel. It is about dogs. Two dogs in particular, with the unlikely names of Bilbo and Frodo. She adopted the first from a horrible dog pound, and the second decided he liked her and moved in to join the family. She was in her very early twenties, an intensely serious student and runner who had just moved to Ireland from California. The dogs became her most loyal companions for over twenty years, witnesses to an often difficult human life and more important to her than most other humans. This book is about two animals with personalities, emotions and prejudices. It is unlike any other book ever written about dogs. It is not sentimental or twee. Battersby became intimately involved in the lives of these intelligent, shrewd creatures, and brings them to life with rare passion and insight. She writes honestly and movingly about the reasons why, for certain people - especially women - there is more integrity in the mysterious relationship with a mammal who cannot speak than there is in most of the relationships that human society has to offer.
