logo
Danny Boyle: Slumdog Millionaire was cultural appropriation

Danny Boyle: Slumdog Millionaire was cultural appropriation

Telegraph8 hours ago

Danny Boyle has said his hit film Slumdog Millionaire was cultural appropriation.
The British director, who also made the films Trainspotting and 127 Hours, said that he was proud of Slumdog Millionaire, but that 'you wouldn't even contemplate doing something like that today'.
The 2008 Oscar-winning movie, which Boyle directed, follows the story of a boy from the slums of Mumbai who is one question away from winning the Hindi version of Who Wants to Be a Millionaire?, before being arrested on suspicion of cheating.
It was shot in Mumbai, partly in Hindi, and used a local crew, but the award-winning director said he couldn't make it today.
He would instead be 'looking for a young Indian filmmaker' to direct the picture, because his directing of the film was 'cultural appropriation'.
He told The Guardian on his press tour for the horror film 28 Years Later: 'That kind of cultural appropriation might be sanctioned at certain times, but at other times it cannot be. It wouldn't even get financed.
'We wouldn't be able to make that now. And that's how it should be. It's time to reflect on all that. We have to look at the cultural baggage we carry and the mark that we've left on the world.'
He said it was a 'flawed method' because it was filmed by 'outsiders'.
'At the time it felt radical. We made the decision that only a handful of us would go to Mumbai.
'We'd work with a big Indian crew and try to make a film within the culture. But you're still an outsider. It's still a flawed method. Even if I was involved, I'd be looking for a young Indian filmmaker to shoot it.'
The film premiered at the 2008 Telluride Film Festival and won eight Oscars at the 2009 Academy Awards, including those for best picture and best director, as well as several BAFTA awards and Golden Globes.
It was also a box office hit, making $378 million worldwide on a reported $15 million budget.
Speaking about his directorial choices in the interview, Boyle explained: 'I value the popular audience. I believe in popular entertainment.
'I want to push the boat out, but take the popular audience with me.'
Elsewhere, he discussed his direction of Isles of Wonder, the opening ceremony of the 2012 London Olympics that featured Daniel Craig as James Bond and the late Queen Elizabeth II.
The film, which was a celebration of British culture, also featured the National Health Service, Shakespeare, the Sex Pistols and Windrush migrants.
However, Boyle said his 'biggest regret' was not featuring the BBC in it more, saying if he were to do it again he would 'big up' the 'precious' national broadcaster.
He said: 'My biggest regret was that we didn't feature the BBC more. I was stopped from doing it because it was the host broadcaster.
'Every other objection, I told them to go f--- themselves. But that one I accepted and I regret that now, especially given the way that technology is moving.
'The idea that we have a broadcaster that is part of our national identity, but is also trusted around the world and that can't be bought, can't be subsumed into Meta or whatever, feels really precious.
'So yeah, if I was doing it again I'd big up the BBC big time. Everything else I'd do exactly the same.'

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

My 11-year-old son stole this manga book from me — it's that good
My 11-year-old son stole this manga book from me — it's that good

Times

timean hour ago

  • Times

My 11-year-old son stole this manga book from me — it's that good

Osamu Tezuka is revered as the 'godfather of manga'. When the Astro Boy creator died at the age of 60 in 1989 he left behind a legacy as one of the most influential cartoonists, but he also left one of his beloved characters without an ending. Unico is a 'brave, young unicorn' cursed to forget his identity, so he travels through space and time, spreading love wherever he goes, always on the run from the jealous gods and monsters who seek to destroy him. Unico first appeared in a manga magazine in the 1970s, but the series was never concluded. Now the baton — or should that be the magical, glowing unicorn horn? — has been passed to the American writer Samuel Sattin and two Japanese artists, Chifuyu Sasaki and Naoko Kawano, better known by the name Gurihiru, who have been given permission to complete Unico's story in a rebooted series. The result is enchanting. Dropped by his protector, the West Wind, during a storm, Unico falls through the sky and wakes up in an abandoned factory town where he meets a resourceful mouse named Garapachi. In this strange, gloomy world he befriends Chiko, a sickly girl who lives with her grandfather. Unico learns that his new friends are trapped by Mother, 'the sinister robot who controls the town factory'. Mother is a great villain — imagine an AI nanny gone bad. She is a pointy, floating drone, no bigger than two paper hats stuck together, yet manages to be completely menacing. The artists have done justice to the cinematic sweep of Tezuka's work. It's not for nothing that he was admired by Stanley Kubrick, Akira Kurosawa and Guillermo del Toro. The artwork does all the emotional heavy lifting in the same way an orchestral score does in a film. The action leaps through multiple dimensions, from the gloomy, foreboding world of the factory to the celestial realm of the evil goddess, Venus, who brings a henchman back from the dead to hunt down poor Unico. Even the corny dialogue works: ''Why have I been awakened?' asks Iver, the resurrected ruler of the Red Forest. 'I have a task for you,' explains the goddess. 'There is a unicorn who imperils my reign. You will hunt him and kill him, but most importantly you will bring me a piece of his horn.'' This is the second volume of the series, but each one works as a standalone. Dav Pilkey, the creator of Dog Man, called it 'a spellbinding masterpiece' but don't take his word for it. No sooner had he finished it the first time, my 11-year-old son stole my review copy 'because I want to read it again'. • Read more book reviews and interviews — and see what's top of the Sunday Times Bestsellers List Unico: Hunted (Volume 2), for ages 8+, by Osamu Tezuka, Samuel Sattin and illustrated by Gurihiru (Scholastic £10.99 pp224). To order a copy go to Free UK standard P&P on orders over £25. Special discount available for Times+ members

Ghibli's midlife crisis: as beloved Japanese studio turns 40 will the magic fade?
Ghibli's midlife crisis: as beloved Japanese studio turns 40 will the magic fade?

The Guardian

time3 hours ago

  • The Guardian

Ghibli's midlife crisis: as beloved Japanese studio turns 40 will the magic fade?

Disney, Pixar … Ghibli. For its legions of admirers, the Japanese studiohasn't just held its own against the American powerhouses, it has surpassed them with the impossible beauty of its hand-drawn animation and its commentary on the ambivalence of the human condition. Although he would refuse to acknowledge it, much of Studio Ghibli's success is down to one man: Hayao Miyazaki, a master animator whose presence towers over the studio's output. Making a feature-length anime the old-fashioned way may require a large and multitalented cast, but Miyazaki is the thread running through Ghibli's creative genius. Now, as the studio marks its 40th anniversary, it faces an uncertain future, amid renewed speculation that its figurehead auteur really has wielded his pencil for the last time. Roland Kelts, a visiting professor at the school of culture, media and society at Waseda University, said Ghibli had failed to anticipate a time when Miyazaki, who is 84, would no longer be at the helm, even after the succession question grew more urgent following the death in 2018 of co-founder Isao Takahata. Instead, the studio shifted its focus to commercial activities. 'The studio failed to produce heirs to Miyazaki and Takahata, and now it's a merchandising monster,' says Kelts, author of Japanamerica: How Japanese Pop Culture Has Invaded the US. In 2013, Miyazaki announced that he would no longer make feature-length films, citing the difficulty of living up to his own impossibly high standards. But four years later, Ghibli said its co-founder had had a change of heart and would make 'his final film, considering his age'. The result was The Boy and the Heron, winner of the 2024 Academy Award for best animated film. While Ghibli performs alchemy on the screen, there is nothing it can do to shapeshift itself clear of the march of mortality: Miyazaki's main colour designer, Yasuda Michiyo, whose work appeared in most of his films, died two years before Takahata, while another co-founder, producer Toshio Suzuki, is 76. As a result, the studio is finally looking ahead to a future without its leading creative light, notwithstanding persistent rumours that Miyazaki is not quite done yet. 'Miyazaki is 84 and may not have time to make another movie,' says Kelts. The studio was formally established by Miyazaki, Suzuki and Takahata in 1985 – a year after it released the post-apocalyptic Nausicaä of the Valley of the Wind. It has since become a cultural phenomenon, winning an Oscar in 2003 for Spirited Away, and a second Oscar in 2024 for The Boy and the Heron. Told through the prism of the fantastical, and featuring characters and themes that defy the pigeonholing that underpins much of Hollywood's output, Studio Ghibli's films are widely considered masterpieces of their genre, earning two Oscars and the devotion of millions of fans across the world. Watching a Ghibli movie is like reading literature, says Miyuki Yonemura, a professor at Japan's Senshu University who studies cultural theories on animation. 'That's why some children have watched My Neighbour Totoro 40 times,' she says. 'Audiences discover something new every time.' In some ways, Ghibli shares certain values with Disney, says Susan Napier, a professor of Japanese studies at Tufts University in the US, believes. 'Both are family oriented, insist on high production standards and have distinctive worldviews. 'But what is striking about Ghibli is how for the last 40 years the studio has reflected and maintained a set of values and aesthetics that are clearly drawn from its founders and not from a corporate playbook,' adds Napier, author of Miyazakiworld: a Life in Art. Miyazaki has made no secret of his progressive politics, informed by his experience living through conflict and postwar austerity, and has publicly criticised attempts by conservative politicians to revise Japan's war-renouncing constitution. His films address the themes of war and the environment, but stop short of distilling the narrative into a simple battle of good versus evil. The Boy and the Heron, for example, opens with Mahito Maki, the 12-year-old protagonist, losing his mother in the US's aerial bombardment of Tokyo in March 1945, in which an estimated 100,000 people died. However, Ghibli's decades of independence ended in 2023 when the studio was acquired by Nippon TV – a move that the studio conceded came amid uncertainty over its future leadership. Speculation that Miyazaki's eldest son, Goro, was heir apparent has dampened since the latter voiced doubt about his ability to run the studio alone, and amid reports that artistic differences had contributed to 'strained' relations between father and son. Now it will be up to Nippon TV to develop a pool of directors to gradually replace the old guard, including those with expertise in computer animation, considered anathema to Ghibli's fierce commitment to hand-drawn frames. Ghibli has at least overcome its squeamishness towards broadening its commercial brief. The Ghibli Museum has been a huge success since it opened in western Tokyo in 2001, while visitors flock to Ghibli Park in central Japan, whose launch in 2022 was seen as an acknowledgment by the studio that it needed to build a brand that went beyond film-making. Now Ghibli merchandise is ubiquitous, from My Neighbour Totoro T-shirts and cuddly character toys to high-end leather handbags inspired by Spirited Away and Levi's branded Princess Mononoke jackets. Totoro, Miyazaki's 1988 film set in 1950s rural Japan, was turned into a play by the Royal Shakespeare Company in 2022. Last year a stage adaptation of Spirited Away received a four-star review in the Guardian. While computer-generated animation and AI make the painstaking, aesthetically stunning animation that Ghibli is renowned harder than it was a generation ago, Napier is not convinced the octogenarian auteur is ready to retire. 'I can't imagine someone like Miyazaki, with his intellectual and artistic vivacity, simply being content to sit around, so who knows?' Agence France-Presse contributed reporting

Serpents to saints: The fascinating journey of India's spiritual art
Serpents to saints: The fascinating journey of India's spiritual art

BBC News

time5 hours ago

  • BBC News

Serpents to saints: The fascinating journey of India's spiritual art

A new exhibition at the British Museum in London showcases the rich journey of India's spiritual art. Titled Ancient India: Living Traditions, it brings together 189 remarkable objects spanning can explore everything from 2,000-year-old sculptures and paintings to intricate narrative panels and manuscripts, revealing the stunning evolution of spiritual expression in from the Indian subcontinent underwent a profound transformation between 200BC and AD600. The imagery which depicted gods, goddesses, supreme preachers and enlightened souls of three ancient religions - Hinduism, Buddhism and Jainism - was reimagined from symbolic to more recognisably deriving from human the three religions shared common cultural roots - worshipping ancient nature spirits such as potent serpents or the feisty peafowl - they negotiated dramatic shifts in religious iconography during this pivotal period which continues to have contemporary relevance two millennia apart."Today we can't imagine the veneration of Hindu, Jain or Buddhist divine spirits or deities without a human form, can we? Which is what makes this transition so interesting," says Sushma Jansari, the exhibition's exhibition explores both the continuity and change in India's sacred art through five sections, starting with the nature spirits, followed by sub-sections dedicated to each of the three religions, and concluding with the spread of the faiths and their art beyond India to other parts of the world like Cambodia and China. The centrepiece of the Buddhist section of the exhibition – a striking two-sided sandstone panel that shows the evolution of the Buddha - is perhaps the most distinguishable in depicting this great side, carved in about AD250, reveals the Buddha in human form with intricate embellishments, while on the other - carved earlier in about 50-1BC - he's represented symbolically through a tree, an empty throne and sculpture - from a sacred shrine in Amaravati (in India's south-east) - was once part of the decorative circular base of a stupa, or a Buddhist monument. To have this transformation showcased on "one single panel from one single shrine is quite extraordinary", says Ms Jansari. In the Hindu section, another early bronze statue reflects the gradual evolution of sacred visual imagery through the depiction of goddesses. The figure resembles a yakshi - a powerful primordial nature spirit that can bestow both "abundance and fertility, as well as death and disease" - recognisable through her floral headdress, jewellery and full it also incorporates multiple arms holding specific sacred objects which became characteristic of how Hindu female deities were represented in later centuries. On display also are captivating examples of Jain religious art, which largely focus on its 24 enlightened teachers called tirthankaras. The earliest such representations were found on a mottled pink sandstone dating back about 2,000 years and began to be recognised through the sacred symbol of an endless knot on the teachers' chest. The sculptures commissioned across these religions were often made in common workshops in the ancient city of Mathura which the curators say explains why there are marked similarities between other shows on South Asia, the exhibition is unique because it is the "first ever" look at the origins of all three religious artistic traditions together, rather than separately, says Ms addition, it carefully calls attention to the provenance of every object on display, with brief explanations on the object's journey through various hands, its acquisition by museums and so show highlights intriguing detail such as the fact that many of the donors of Buddhist art in particular were women. But it fails to answer why the material transformation in the visual language took place."That remains a million-dollar question. Scholars are still debating this," says Ms Jansari. "Unless more evidence comes through, we aren't going to know. But the extraordinary flourishing of figurative art tells us that people really took to the idea of imagining the divine as human." The show is a multi-sensory experience - with scents, drapes, nature sounds, and vibrant colours designed to evoke the atmospherics of active Hindu, Buddhist and Jain religious shrines."There's so much going on in these sacred spaces, and yet there's an innate calm and serenity. I wanted to bring that out," says Ms Jansari, who collaborated with several designers, artists and community partners to put it together. Punctuating the displays are screens displaying short films of practicing worshipers from each of the religions in Britain. These underscore the point that this isn't just about "ancient art but also living tradition" that's continuously relevant to millions of people in the UK and other parts of the globe, far beyond modern India's exhibition draws from the British Museum's South Asian collection with 37 loans from private lenders and national and international museums and libraries in the UK, Europe and India. Ancient India: Living Traditions is showing at the British Museum, London, from 22 May to 19 October. Follow BBC News India on Instagram, YouTube, X and Facebook.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store