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Title: OF CHAI-PAU’S AND CHANDNI BARS: DESTINY’S CHILDREN IN FILMS FROM INDIA
Authors: Dr. Asmita Boral
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Dr. Asmita Boral Assistant Professor of English, Shibpur Dinobundhoo Institution (College),Howrah, West Bengal, India
MLA 8 Boral, Dr. Asmita. "OF CHAI-¬PAU’S AND CHANDNI BARS: DESTINY’S CHILDREN IN FILMS FROM INDIA." Int. j. of Social Science and Economic Research, vol. 3, no. 12, Dec. 2018, pp. 7539-7546, ijsser.org/more2018.php?id=551. Accessed Dec. 2018. APA 6 Boral, D. (2018, December). OF CHAI-¬PAU’S AND CHANDNI BARS: DESTINY’S CHILDREN IN FILMS FROM INDIA. Int. j. of Social Science and Economic Research, 3(12), 7539-7546. Retrieved from ijsser.org/more2018.php?id=551 Chicago Boral, Dr. Asmita. "OF CHAI-¬PAU’S AND CHANDNI BARS: DESTINY’S CHILDREN IN FILMS FROM INDIA." Int. j. of Social Science and Economic Research 3, no. 12 (December 2018), 7539-7546. Accessed December, 2018. ijsser.org/more2018.php?id=551.
References [1]. Masquelier, Adeline, ed. Dirt, Undress and Difference: Critical Perspectives on the Body’s Surface. Bloomington: Indiana University Press, 2005. Print. [2]. Nussbaum, Martha C. Hiding from Humanity: Disgust, Shame and the Law. Princeton: Princeton University Press, 2004. Print. [3]. Nietzsche, Friedrich. Beyond Good and Evil: Prelude to a Philosophy of the Future. Trans. R. J. Hollingdale. London: Penguin, 1990. Print. [4]. From the Margins: Bodies Beings and Genders, Vol. II, No I, February, 2002. Ed. Anirban Das. Kolkata: Anup Dhar, 2002. Print. [5]. Miller, William Ian. The Anatomy of Disgust. Cambridge: Harvard University Press, 1997. Print.
Abstract: Children, if one can indeed generalize them, are the closest to ‘nature’, and as yet unshaped by culture. Among the first freedoms they enjoy is the freedom from social codes and ‘morality’, and they are the only humans deemed ‘beyond good and evil’. But the ways of the world demand that they be ‘civilized’, ‘socialized’ and put under constraints and discipline, or there will be anarchy. The few films I focus on here present a collage of Mumbai’s seedy underbelly and marginalized, orphaned children’s encounters with ‘evil’. Terry Eagleton maps the course of evilas one from substance to nothingness, from being to a sense of non--being or absence, from Eros or the drive to life, to Thanatos, or the death drive, in psychoanalytical terms.i But for the street children in these films, and in real life on the streets of India’s metropolises, ‘evil’ is often the only way of asserting being in the Cartesian sense, asserting I am, for otherwise they are invisible, all too dispensable, otherwise they cease to exist.

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