Dancing Gender on Camera: The Case of Joyland and Chitrangada: The Crowning Wish
Abstract
This paper analyzes two films: Rituparno Ghosh’s ‘Chitrangada: The Crowning Wish’ and Saim Sadiq’s ‘Joyland’ to argue how cine-dance can discern a potent feminist spectatorship in the context of popular Bengali and Pakistani cinema. Drawing from Gayatri Gopinath’s conceptualization of “unruly visions” and Alexander Nevill’s “performative materiality”, the article examines the role of camera and lighting, and demonstrates some of the crucial ways in which the two films reposition cine-dance from a spectacle of passive consumption to an active site of “unruly” vision making.
Keywords: cine-dance, spectatorship, queer dancing body, Chitrangada: The Crowning Wish, Joyland
How to Cite:
Chatterjee, V., (2026) “Dancing Gender on Camera: The Case of Joyland and Chitrangada: The Crowning Wish”, The International Journal of Screendance 16(1). doi: https://doi.org/10.18061/screendance.6301
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