Imagine watching an action film in a small-town cinema hall in Bangladesh, and in between the gun battles and fistfights a short porgraphic clip appears. This is kwn as a cut-piece, a strip of locally made celluloid porgraphy surreptitiously spliced into the reels of action films in Bangladesh. Exploring the shadowy world of these clips and their place in South Asian film culture, Lotte Hoek builds a rare, detailed portrait of the production, consumption, and cinematic pleasures of stray celluloid. Hoek's invative ethgraphy plots the making and reception of Mintu the Murderer (2005, pseud.), a popular, Bangladeshi B-quality action movie and fascinating embodiment of the cut-piece phemen. She begins with the early scriptwriting phase and concludes with multiple screenings in remote Bangladeshi cinema halls, following the cut-pieces as they appear and disappear from the film, destabilizing its form, generating controversy, and titillating audiences. Hoek's work shines an unusual light on Bangladesh's state-owned film industry and popular practices of the obscene. She also reframes conceptual approaches to South Asian cinema and film culture, drawing on media anthropology to decode the cultural contradictions of Bangladesh since the 1990s.
Lotte Hoek is a lecturer in social anthropology at the University of Edinburgh. She received her Ph.D. from the Amsterdam Institute for Social Science Research, and her research focuses on visual culture and the anthropology of media.