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| 1 |
ID:
104305
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| Publication |
2011.
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| Summary/Abstract |
This analysis compares Indian and US perceptions of Bollywood. It is the first to provide such a comparison. Overall, the authors found that both Indian and US perceptions of Bollywood are positive and negative. On some dimensions, Indian and US perceptions differ sharply from each other; on other dimensions, a few similarities become apparent. Overall, Indian perceptions of Bollywood are both negative and positive. While their concept of Bollywood is perceived as demeaning, stereotyping of the Muslim culture, and alienating economically and culturally marginalised audiences, it is also recognised as treasuring India's national identity, portrayal of women in some circles (e.g., alcoholics attempting to become accepted into the chic and alluring society), Hindi traditional lifestyles, and lighthearted humor. While the Bollywood phenomenon has permeated many cultures worldwide, these cultures still differ in the way they perceive this rising Indian movie industry. Not only does this analysis serve to demonstrate many lessons in cross-cultural understanding; it also corroborates the fact that Bollywood embodies an emerging socio-economic current of globalisation. It is one of the largest movie industries in the world, producing about 1,000 movies a year, and it has heavily influenced Hollywood and other Western movie markets.
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| 2 |
ID:
185758
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| Summary/Abstract |
India’s mainstream film industry has increasingly fallen under the influence of the Hindu nationalist ruling party and its agenda. But a thriving, multilingual independent sector is producing creative counternarratives.
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| 3 |
ID:
100685
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2010.
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| Summary/Abstract |
This article propounds the thesis that Bollywood cinema, the modern Indian cinema based in Mumbai (Bombay) is a better guide to the realities of modern India than other, more scholarly works. The author, who distinguishes and describes a number of different types of Bollywood film, suggests that these films are an unparalleled guide to the thoughts, aspirations and attitudes of the hundreds of millions of members of the emergent middle classes. For example, their view of history is purveyed by the cinema, not by books written by academic historians; their attitudes to politics are formed by films, not by the speeches given by politicians.
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| 4 |
ID:
188752
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| Summary/Abstract |
Music has played an integral part in defining the sense of self for Punjabis at home as well as in the national and transnational diasporas. The images of the homeland have played a significant role in shaping the imagery of Punjabi music, therefore it is self-explanatory that Bollywood music has also incorporated a vast number of references to Punjabi localities when representing Punjab on screen. This paper investigates the representation of Punjab in Bollywood music through a textual analysis of a variety of Bollywood songs that discuss the imaginary and real landscapes of Punjab. I suggest that the image of Punjab has played an important role in post-liberalisation popular culture in India—however, the exact nature of this image has undergone significant change. Traditionally, the representation of Punjabi culture was tied to poetic and visual images of the landscape of Punjab and was used to evoke nostalgia and a bucolic idyll. However, recently, Punjabi culture has been dislocated from the land itself and represented as part of a global culture of aspiration and consumerism.
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| 5 |
ID:
192937
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| Summary/Abstract |
This cross-sectional study examines the acceptance of Indian cinema among Chinese cinephiles to determine how the audience perceives and is influenced after watching Indian films. Researchers surveyed the local Chinese audience and collected 2,129 valid self-structured e-questionnaires. Respondents belonged to Mainland China. Results showed significant characteristics that make Indian movies attractive to about 50% of the Chinese population. Findings also indicate that Chinese people still welcome good stories from India in blockbuster Bollywood films, despite tense Sino-Indian relations. Indian cinema plays a significant role as a soft power bridging both nations. The Indian film industry will continue to evolve to satisfy the audience’s needs in the future.
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| 6 |
ID:
085278
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| 7 |
ID:
162460
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| Summary/Abstract |
This article offers introductory remarks on the position of the Dalit in Indian cinema. It starts with the observation that the Indian film industry is an inherently caste-based, biased, mechanised product of technological industrialisation in which Dalit inclusion is not a moral concern. The mainstream film industry in India delivers the desires and principles of market and society by excluding a Dalit framework outright—a problem now being addressed by the entry of an explicitly Dalit cinema. By briefly looking at two films, Fandry (2013) and Sairat (2016), both written and directed by Dalit film-maker Nagraj Manjule, I offer a critical reading of ‘Dalit Cinema’. Taking the work of Manjule, a maverick film-maker who is establishing a new discourse of Dalit-centred socio-culturism, I demonstrate the extent to which caste narratives are absent in the Indian film industry.
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| 8 |
ID:
171298
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Tracing his encounters with one particular song during fieldwork on queer nightlife in Bangalore, the author argues for the usefulness of ethnography as a critical method for studying dance and other modes of fun, play and pleasure in South Asia. He argues that ethnography’s many modes (co-performance, interview, observation, auto-ethnography) evidence how expressive practices integrate into the multiple strata of everyday life and political-economy, and how these cultural expressions facilitate inventions of new selves and worlds. While popular, improvised and social dances are challenging to study given their ephemerality, ethnography deepens our understanding of them and allows us to engage in creative dialogue in fieldwork.
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| 9 |
ID:
190945
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This article analyzes the significant events that led to the emergence and growth of the online Indian audio-visual sector. The principal argument that drives this narrative is the co-evolution of Indian formal and informal media economies that led to the media industries’ digital transformation. Drawing on historical analysis of the Indian film and television industries, we argue that just as the informal means of finance, social relations, illegal cable and satellite distribution had a formative influence on how these industries formalized, the Indian online audio-visual sector is driven by distinctive formalization processes, led by creators who are engaging with both local and global UGC-led platforms as well as PGC-led portals. Using a critical media industries framework, with data gathered from semi-structured interviews with ‘above-the-line’ Indian online media practitioners together with trade press literature, we propose an analytical framework that incorporates both platforms and portals as industrial objects for mapping digital production cultures that originate as inherently informal.
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| 10 |
ID:
113860
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| Publication |
2012.
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| Summary/Abstract |
This article examines significant evidence of recent Bollywood influence on the Western movie industry, particularly Hollywood, and explores the implications of such developments in the context of globalisation. Within the ongoing globalisation of entertainment, a process that does not automatically lead to cultural Westernisation and uniformisation, Bollywood has by now become both a symbol of Indian cinema's circulation all over the world and the embodiment of non-monolithic globalisation. Bollywood is evidently not a homogenising influence that forces non-Indian cultures to embrace its cinematographic or musical norms and practices. Rather, it creates new hybrids. The article offers a framework for explaining the growing cultural and economic changes and movements of such non-hegemonic spreading of popular culture and identifies future agenda for research.
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| 11 |
ID:
187129
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India’s all-out war with Pakistan for the liberation of Bangladesh in 1971 may have been brief, but it came after a lengthy prelude. For months, New Delhi laboured to convince the world—especially the West—about the grim consequences of Islamabad’s oppressive bid to stomp out Bengali nationalism in East Pakistan. While there is adequate literature chronicling the diplomatic persuasion undertaken by India leading up to the war of 1971 and its military pursuits during the conflict, the academic interest in the civil society’s contribution to the cause appears insufficient. A dearth of retrospective case studies of India’s socio-cultural responses to its foreign affairs is, in fact, noticeable, especially in the discourse on Indian soft power. In an attempt to address this gap, by principally relying on the historical evaluative analysis of primary news reports, this article attempts to chronicle the contributions towards the cause of East Pakistan’s liberation by individual and collective civil society actors of Bombay (now Mumbai)—a cultural and commercial hub of India—focusing on the efforts of a dedicated volunteer-run committee for fundraising, the fraternity of the city’s Bollywood celebrities, and a few distinguishable films produced within it. In doing so, the potential of these actors to qualify as resources of India’s soft power during that tense year is also examined.
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| 12 |
ID:
104001
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| Publication |
2010.
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| Summary/Abstract |
This article examines the depiction of the Kashmiri protagonist in three popular Indian films, Roja (1992), Mission Kashmir (2000), and … Yahaan (2005), in order to argue for a new emphasis, cumulatively evident through these films, on the Kashmiri as Muslim in the history of Bollywood's long engagement with the Valley of Kashmir. In analysing closely the visual, narrative, cinematic and affective aspects of this development, and in contextualising it against global and local politics of Islam, the article aims to contribute to a better understanding of how Kashmir, and Islam, while topics with separate discursive genealogies within Bollywood, have converged decisively at a certain historical juncture so as to open up new possibilities for the ideological co-optation of the Kashmir conflict, and the place of Muslims in India, by the popular cinematic apparatus.
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| 13 |
ID:
117509
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| Publication |
2012.
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| Summary/Abstract |
India's growing profile on the global scene owes much to the vibrancy of its cultural and creative industries, media and telecommunications. This article analyses India's media in terms of four 'dividends' (and their corresponding deposits): democractic, diasporic, digital and demographic. Although the deficits produce considerable challenges, the dividends are stronger and the author is optimistic about India's capacity for development and ability to lead to globalisation with an Indian flavour. He reflects on India's potential contribution to international media studies, especially in relation to liberal pluralism, representation of Islam and discourses about development.
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| 14 |
ID:
126213
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| Publication |
2013.
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| Summary/Abstract |
The rape and killing of a student had led to criticism of the portrayal of women in films.
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| 15 |
ID:
190169
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| Summary/Abstract |
Newly emerging ‘social problem films’ on Kashmir appear as a shift from the conventional construction of Kashmir and Kashmiris in Bollywood. This study, through critical narrative analysis (CNA), examines the politics behind the representation of the ‘social problems’ of Kashmir in recent Hindi films. As the narratives of these films are marked by selectivity and arrangement of historical events, this study demonstrates that Orientalist tropes continue to figure in the films in new forms. It is demonstrated that the films, whose narratives are fully dedicated to the ‘inside’ of Kashmir, inflict layered violence against the actual political and historical realities of the region. While engaging with the colonial and post-colonial binary trope of people-versus-land, the films not only obfuscate the historical context, they vindicate an outside intervention by presenting an axiomatic image of the events, cut off from their socio-political and historical roots. The two films under scrutiny in this study are Haider (2014) and Laila Majnu (2018). The subject matter of both is Kashmiri youth, and far from unveiling the ‘youth problems’ of Kashmir, they end up constructing a fresh imagery in which the ‘psychotic’ behaviour and trauma of Kashmir’s ‘misguided’ youth is socially located and explained.
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| 16 |
ID:
093726
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| Publication |
2010.
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| Summary/Abstract |
Discussions of contemporary films and publications now illustrate the problematic terminology of terms like 'gay' or 'camp' in India, coupled with increasing speculation and reference to homosexuality. This article analyses media representations of Hindi cinema stars and highlights the emergence of some male stars as icons for gay communities within India and in the diaspora. Analysis of the way Bollywood celebrities are represented in India's press in-dicates that the media has been crucial for this emergence to occur. Focussing on Shah Rukh Khan, Bollywood's most recognisable and influential star today, the article argues that while a cult of interpretation surrounds Bollywood icons, there is a definite trend of stars confronting and negotiating sexually ambiguous spaces, both on screen and off. Media 'gossip' and specific public responses thus serve a variety of commercial as well as socio-cultural and wider political purposes.
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