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And to prove more than this depraved denial of our own racism, here's another look at the frankly bizarre and racist photoshoot that Filmfare did with sara Ali Khan.
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The images were published by Filmare and also shared by Khan herself on social networks. But the first cover of Filmfare's star-kid may not have gone as planned. As soon as the images appeared, people began to notice the complete redundancy of the man accompanying the actor on some of the photos.
The shoot was shot in Kenya and photographer Rohan Shrestha also invited local Masai tribespeople to participate.
If looks could kill … #SaraAliKhan Absolute Stunner in this new photo of our last cover session.
Watch this space to see more exclusive photos of the session. pic.twitter.com/HezQdrRuqA
– Filmfare (@filmfare) February 26, 2019
The only problem is that the pictures posted on social media have made the local Masais very accessory, rendered visually intense by the colors and clothes that they wear and their striking features. There was no reason why a Masai in particular was jumping behind Sara Ali Khan, wearing a cane, wearing a snake print adventure dress.
As soon as the photo was published, people pointed out obvious racism. The use of cultural motifs to make photos and other visually rich and layered artwork is not new. Nor should cultural artifacts and symbols be appropriated to give a touch of exoticism to a product. And the photographs are probably the worst of them, much like the Filmfare photoshoot.
Has anyone really approved this for publication? In 2019? Should not you know better? People and cultures are not accessories that you need to own. Disgusted.
– SparkleMcSnowflake❄️ (@ Anjaani07) February 27, 2019
Africans are not accessories! Ok
– Javeria Siddique (@javerias) February 27, 2019
What is the concept of this shoot? People of other cultures and ethnicities are not props
– silhan (@ whitelily22) February 26, 2019
Here is an overview of what happened behind the scenes of Sara Ali Khan #Filmfare Cover shooting. pic.twitter.com/SGqLNjkBaT
– Filmfare (@filmfare) Feb. 27, 2019
The problem of carefully prepared and color-corrected images is not there. 39, use of the premises per se, but the dehumanization way they were used. In the photos, Khan as a subject fails to badimilate in the background. It does not look like a part of culture or geography.
When the Masai tribe member jumps behind a scowling Khan, he loses the character of a human being who is more than a calendar motive. It is reduced to a piece of exotica coated with a shawl, added to a photo to bring out the important contrast between the background and the actual subject.
To put it more simply, the use of Masai folklore on the photo is reminiscent of one of the effects created by tribal wall hangings in an otherwise Victorian room. He stinks visual imperialism in photography. The worst is that this type of appropriation is repeatedly called and yet, artists continue to use this tactic to increase the artistic shock value of their art
Many Westerners have begun to apologize for such forgetfulness. Think of Gigi Hadid's apology for appropriating Italian skin tones for a Vogue or Vogue shoot apologizing for giving Kendall Jenner an afro in a recent cover. The model Karli Klauss was also excused after being scandalized by her filming under the Oriental Geisha theme for Vogue, who appears to be an ordinary delinquent in the category of cultural insensitivity. But closer to home, artists such as Daboo Ratnani shamelessly use cultural symbols as props, as in the recent Shraddha Kapoor photo shoot in which the actor was photographed under an Indian headdress. ] Nowadays, with so much discussion about sensitivity, diversity and appropriation, the people involved in filming have a slightly mediocre taste for feigning ignorance about these issues.
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