Papers by Thangkhankhup Hanghal
![Research paper thumbnail of [Draft] Limlaak: A Photographic History of Lamka](https://attachments.academia-assets.com/120463197/thumbnails/1.jpg)
This paper presents a preliminary account of the development of photography in Lamka, an erstwhil... more This paper presents a preliminary account of the development of photography in Lamka, an erstwhile conglomeration of hamlets, now the second-largest town, in the southern region of Manipur. Through the examination of archival materials, personal collections, and oral histories, the study charts the progression of photography from its initial adoption to its current trajectories in expressing indigenous tribal culture. It focuses on "Lengkhawm: Lamka Remembered," an exhibition organized by This is Lamka in collaboration with the India International Centre, New Delhi in July 2024, as a case study; situating the research within the broader theoretical context of the intricate relationship between the oral and the visual. Viewing the "camera as witness" captures how the cosmopolitan embrace of photography enables an "epistemic disobedience" in expression and documentation. Against the grain of its colonial origins, it argues how local eyes transform and claim the apparatus as a means of indigenous agency. By “listening to the images,” it problematizes the categories of “indigenous” and “tribal,” often accompanied by racial undertones and power hierarchies. Through the analysis of significant photographs, key figures, studios, and technological advancements that influenced the local photographic scene, the study not only aims to address a significant gap in India's — and a larger South Asian — photographic history but also provides insight into the interplay of oral and visual methods of preserving memory.
![Research paper thumbnail of [Draft] #YouTubeNewWave](https://attachments.academia-assets.com/120463123/thumbnails/1.jpg)
The emergence of digital technology has revolutionized how we interact with and consume cinema. T... more The emergence of digital technology has revolutionized how we interact with and consume cinema. The #YouTubeNewWave is an internet-based film and artistic movement that has risen in reaction to the phenomenon known as the "Beastification" of YouTube, inspired by the immense popularity of MrBeast, the current most-subscribed creator on the platform (as of September 2024). This movement is distinguished by its "cinematic" approach to online video guided by a theme of "wholesome" content. Creators within this movement employ artful shots, deliberate pacing, and a focus on storytelling to construct compelling narratives using readily available technology, as opposed to relying on expensive professional equipment. In this paper, I will examine the influence of YouTube on traditional filmmaking, the emergence of new storytelling and narrative styles within the platform, and the role of YouTube in shaping film culture and identity. To bring back the question of — What is cinema? How does it maintain its distinction from, and within, different platforms? The paper delves into the tension between quality and popularity by navigating the complexities of a homogenized view of the internet. Through a critical analysis of the "YouTube New Wave" and its wider implications, this paper aims to contribute to the ongoing discourse surrounding the evolution of cinema in the context of new screen formats, the transformation of the film industry due to digital technology, and how creators leverage online platforms for the production and dissemination of their work.
![Research paper thumbnail of [Draft] Zomi Kahi, Zumpih Kei Ning: A Study of Gam Ngaih Laa and Resistance](https://attachments.academia-assets.com/120462975/thumbnails/1.jpg)
This paper explores gam ngaih laa, also known as ram ngaih hla, which refers to the landscape son... more This paper explores gam ngaih laa, also known as ram ngaih hla, which refers to the landscape songs of the Zo ethnic tribes of Manipur, Mizoram, and the neighboring regions of Myanmar and Bangladesh. While these songs are performed in diverse settings to elicit different emotional responses, this study explores their use as a form of resistance amidst the ongoing ethnic conflict that began in Manipur on May 3, 2023. How do folk songs serve as a medium for resistance in contemporary times? Why do songs remain an intrinsic part of evoking tribal identity? And why do these songs hark back to the land? By analyzing the lyrics of popular songs, this research aims to highlight the prominent themes of land and how modern influences have blended folk and popular genres. The paper also examines the impact of different musical styles and their socio-political contexts, revealing how the culture of resistance transcends genres to go beyond the festival setting and explore how gam ngaih laa serves as a channel for the Zo tribes to assert their “Zo-ness.”
![Research paper thumbnail of [Draft] Interweaving Traditions: The Artistic and Cultural Resonance of
Pleating in the Buddhist Sculptures of Gandhara and Issey Miyake’s Pleats
Please Line](https://attachments.academia-assets.com/120462938/thumbnails/1.jpg)
This paper explores the significance of pleats in Gandhara Buddhist sculptures and their conceptu... more This paper explores the significance of pleats in Gandhara Buddhist sculptures and their conceptual relation to the philosophy of freedom of movement. By examining the intricate pleating techniques employed in creating Gandhara sculptures, this study highlights how these ancient artisans achieved a sense of dynamism and fluidity in stone, mirroring the philosophical underpinnings of Buddhism that emphasize liberation and the transcendence of physical limitations. The study looks at the intersection of stone and fabric by analyzing the pleated draperies of Gandhara sculptures to establish a sense of fashion influences and practices of the time. Furthermore, the research explores the innovative pleating techniques of fashion designer Issey Miyake (1938-2022), to engage its readers with the contemporary significance of artistic practices. It delves into the technical aspects of pleating in sculpture and fashion design, revealing how textile manipulation can convey philosophical ideas and cultural values. Miyake's Pleats Please line, renowned for its aesthetic appeal and functional design, encapsulates a modern interpretation of freedom and movement, echoing the ancient Gandhara philosophy through the medium of fabric. This research underscores the enduring nature of pleats, highlighting their significance beyond mere ornamentation to embody a deeper resonance with bodily emancipation.
![Research paper thumbnail of [Draft] Not Just Another Bollywood Bad Guy: Examining the Subversive Stardom of Danny Denzongpa](https://attachments.academia-assets.com/120462857/thumbnails/1.jpg)
This paper examines the stardom of actor Danny Denzongpa and his iconic villain roles to shed lig... more This paper examines the stardom of actor Danny Denzongpa and his iconic villain roles to shed light on issues of representation, identity, diversity, and cultural tokenism in Indian cinema. As one of the few successful actors from Sikkim in Bollywood, Denzongpa's career provides a revealing case study of how minority identities are often stereotyped and exoticized on screen. Through close analysis of his famous villain characters like Thakur Ranjit Singh in Dhund (1973), Kancha Cheena in Agneepath (1990), and Katya in Ghatak: Lethal (1996), the paper argues that Denzongpa's “non-Indian” identity was frequently tokenized and equated with villainy or foreignness. His distinctive appearance and Nepali heritage marked him as an outsider, allowing him to effectively embody the archetype of the threatening, evil "Other." However, this typecasting also reflects the limited and problematic representation of Northeast identities in Bollywood. While Denzongpa's success was groundbreaking, it did not necessarily lead to a more humanized, inclusive representation of Northeastern stories and characters in mainstream Hindi films. The paper concludes by advocating for greater diversity and authenticity in Bollywood's depictions of marginalized identities.
![Research paper thumbnail of [Draft] Go Corona Go!: Performing Bhakti in Digital Publics](https://attachments.academia-assets.com/120462699/thumbnails/1.jpg)
This paper explores the COVID-19-induced transformation of bhakti in digital spaces. Utilizing Ch... more This paper explores the COVID-19-induced transformation of bhakti in digital spaces. Utilizing Christian L. Novetzke's framework of “publics” (2007, p. 259), the study examines the audience of bhakti and the transformation of the “space of worship” (Prasad, 2009, p.11) into a form of digital performativity or online bhakti (Warrier, 2014). In addition, Yancey Strickler's "The Dark Forest Theory of the Internet" is employed to analyze the implications of digital visibility and privacy on bhakti practices online (2019). Through content analysis, this paper investigates how these platforms facilitate an alternate expression of bhakti, focusing on the dynamics of community engagement, spiritual intimacy, and the challenges the digital divide poses. This paper examines how digital practices during the COVID-19 pandemic have created new performative publics, negotiated between visibility and privacy, and enabled subaltern expressions of sovereignty and community. It reflects on the implications for the evolving relationship between bhakti, media, and society in the digital age.
Uploads
Papers by Thangkhankhup Hanghal