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Indie ReframedWomen's Filmmaking and Contemporary American Independent Cinema$
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Linda Badley, Claire Perkins, Michele Schreiber, and Michele Schreiber

Print publication date: 2016

Print ISBN-13: 9781474403924

Published to Edinburgh Scholarship Online: May 2017

DOI: 10.3366/edinburgh/9781474403924.001.0001

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From Documentary to Fictional Realism: Mira Nair’s Documentary Roots, Fictional Home and Production Politics

From Documentary to Fictional Realism: Mira Nair’s Documentary Roots, Fictional Home and Production Politics

Chapter:
(p.171) 10. From Documentary to Fictional Realism: Mira Nair’s Documentary Roots, Fictional Home and Production Politics
Source:
Indie Reframed
Author(s):

Sarah Projansky

Kent A. Ono

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9781474403924.003.0011

This chapter demonstrates how the transnational figure and twenty-seven-year career of Mira Nair is prototypical of female independent practitioners who negotiate diverse issues of identity and politics in their films and working practices. As an Indian filmmaker with a production company based in New York City, Nair makes films that cross multiple borders, whether of nation, race, class, sexuality or genre, to promote social activism. Highlighting her documentary film production, methods and career-long investment in non-profit organisations, Projansky and Ono explore how even her popular fictional features such as Monsoon Wedding (2001) or Vanity Fair (2004) share political and socially confrontational methods with her outreach programs.

Keywords:   Mira Nair, transnational identity, border crossing, race, class, sexuality, genre

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