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Transgressions in Toonland: Savita Bhabhi, Velamma and the Indian Adult Comic, co-written with Anirban K.Translating porn studies: lessons from the vernacular, co-written with Anirban K.“Un-sound” Sounds: Pornosonics of Female Desire in Indian Mediascapes, Music, Sound and Moving Image.Dossier on ZEE5, India for the Global Internet Television Consortium.Cinema and the Mask of Capital: Labor Debates in the Malayalam Film Industry, Studies in South Asian Film and Media.Satellites of Belonging: Televisual Infrastructures and the Gulf-Malayali, Middle East Journal of Culture and Communication 14(1-2), 81-111.Transnational Ethical Screens: Empathetic Networks in Malayalam Cinema from the Gulf, Film History: An International Journal.“Subjected to play: Power, Participation and Subjectivity in Gaming and Beyond” Spectator, 38 (1) Spring 2018.“South Asian Pornographies: Vernacular Formations of the Permissible and the Obscene,” Porn Studies.“South Asian Pornographies II,” Porn Studies, In-Progress.“Porn and Its Uses,” Special Issue for Synoptique: An Online Journal of Film and Moving Image Studies, Issue 9.2.
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South Asian Porno-cultures (Edited Collection, In-progress).Rated A: Soft-Porn Cinema and Mediations of Desire in India (Monograph-In-Progress).B.A English Literature, All Saints’ College, India, 2007.M.Phil., Center for Studies in Social Sciences, Calcutta (CSSSC), India, 2011.Ph.D, Division of Cinema and Media Studies, University of Southern California, 2020.Mini is an affiliate of Gender and Women’s Studies and Center for South Asia. Excerpts from the dissertation also received a Student Writing Prize awarded by the Society of Cinema and Media Studies (SCMS) and the Claudia Gorbman Award from the Sound and Music Studies Special Interest Group at SCMS.ĭr.
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Her dissertation research was funded by Social Science Research Council (SSRC), American Institute of Indian Studies (AIIS) and Asia Research Institute, NUS. Her research is based on the idea that while histories and cultures of sexuality are locally specific, they often travel and have impacts in worlds that are not immediate to them. Combining archival, ethnographic and textual analysis, she locates new imaginations of sexuality and politics in informal film practices and transnational flows. Second, using a combination of archival research, online ethnography and narrative analysis, she examines how the figure of the madakarani (sex-siren)-a sexually autonomous woman who is unabashed about her upward mobility, offers a new mode of looking at female pleasure and desire in the context of Indian cinema. First, she undertakes an ethnographic mapping of the actual spaces where these films were produced, and thereby account for the resistance, struggles and survival tactics employed by the technicians, filmmakers, actors and distributors. She engages a two-pronged strategy to explore soft-porn film’s production, circulation and exhibition history. Produced in the state of Kerala, Malayalam soft-porn films incorporated transgressive desires and non-normative sexual practices through narratives and production decisions that unsettled heteronormative patriarchy. Using archival and ethnographic methods, the project tracks the emergence of the genre in the South India-based Malayalam film industry from the 1970s-2000s, by focusing on the formation of media publics-relationships, formations and exchanges in the public sphere, facilitated by the affective power of media. Her current book project “Rated A: Soft-Porn Cinema and Mediations of Desire in India” examines the genre of soft-porn in India and how it impacts public discourse on sexuality, obscenity, sex-work and sex-education. Darshana Mini’s teaching and research lie at the intersection of gender, sexuality, transnational media, migrant media and screen cultures of South Asia.