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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:
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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