‘Dangerous Play’ – Masculinity and punishment in Anurag Kashyap’s No Smoking: Exploring spectacles of sexuality and surveillance in modern India

In this article, I will discuss Anurag Kashyap’s film No Smoking (2007) in order to explore questions about the nature and limits of masculinities in contemporary India and the ways in which these are refracted through representation in certain kinds of newly emerging popular cinema. In studying a film that seems to capture in the space of two hours a confusing and bewildering proliferation of sexed images (that are nonetheless, and significantly, not really about sex ), I study the devices that popular cinema, in a putatively globalized India, seems to adopt and manoeuvre in order to come to terms with its complex identity, and in doing so what systems of traditional heteronormativity and masculinity it reinforces and/or dispels.

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Publication Details

Journal
Studies in South Asian Film & Media
Published
2025-04-01
DOI
https://doi.org/10.1386/safm_00093_1
Primary Topic
South Asian Cinema and Culture
Type
article
Field-Weighted Citation Impact
0.00
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article

‘Dangerous Play’ – Masculinity and punishment in Anurag Kashyap’s No Smoking: Exploring spectacles of sexuality and surveillance in modern India

Trina Nileena Banerjee
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Studies in South Asian Film & Media
South Asian Cinema and Culture
article

‘Dangerous Play’ – Masculinity and punishment in Anurag Kashyap’s No Smoking: Exploring spectacles of sexuality and surveillance in modern India

Trina Nileena Banerjee
article en

Abstract

In this article, I will discuss Anurag Kashyap’s film No Smoking (2007) in order to explore questions about the nature and limits of masculinities in contemporary India and the ways in which these are refracted through representation in certain kinds of newly emerging popular cinema. In studying a film that seems to capture in the space of two hours a confusing and bewildering proliferation of sexed images (that are nonetheless, and significantly, not really about sex ), I study the devices that popular cinema, in a putatively globalized India, seems to adopt and manoeuvre in order to come to terms with its complex identity, and in doing so what systems of traditional heteronormativity and masculinity it reinforces and/or dispels.

Studies in South Asian Film & MediaVol. 17(1)
Centre for Studies in Social Sciences Calcutta (IN)
Openalex Percentile: Top 80%
South Asian Cinema and Culture
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