In Cleansing the Nation, Raka Shome explores the logics of governmentality of contemporary Hindu nationalism in India by advancing the concept of the “Hindu modern.” Analyzing a national cleanliness program and other development projects, Shome shows how the Hindu modern—a form of national governmentality that disciplines and regulates individual subjects to create desirable “clean” citizens—inscribes Hindu nationalism in India. Focused on security, progress, and development while celebrating and protecting the figure of the upper-caste Hindu woman, the Hindu modern works toward a religious and casteist cleansing of the nation that rewrites Indian modernity as a purified and cleansed Hindu modernity. It shores up caste and religious inequalities around who is authentically Indian, reproducing historical violence and exclusions of caste, gender, and religious minorities, especially toward Muslims, Dalits, and Adivasis. By outlining how the Hindu modern sutures Hindu-ness to the contemporary Indian national project of modernity, Shome helps us further understand projects of national purification and cleanliness within global populist authoritarian movements.

How do we experience disaster films in cinema? And where does disaster cinema come from? The two questions are more closely related than one might initially think. For the framework of the cinematic experience of natural disasters has its roots in the mid-eighteenth century when the aesthetic category of the sublime was re-established as the primary mode for appreciating nature's violent forces. In this book, the sublime is understood as a complex and culturally specific meeting point between philosophical thought, artistic creation, social and technical development, and popular imagination. On the one hand, the sublime provides a receptive model to uncover how cinematic disaster depictions affect our senses, bodies and minds. On the other hand, this experiential framework of disaster cinema is only one of the most recent agents within the historical trajectory of sublime disasters, which is traced in this book among a broad range of media: from landscape and history painting to a variety of pictorial devices like Eidophusikon, Panorama, Diorama, and, finally, cinema.