Ideology of the Hindi Film: A Historical Construction

Book•

Ideology of the Hindi Film: A Historical Construction

01 Jan 1998-

TL;DR: In this article, the authors treat Hindi film as a social institution which is a reflection of the current social and political formations and analyzes the role, function and ideology of Indian cinema.

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Abstract: The author treats the Hindi film as a social institution which is a reflection of the current social and political formations and analyzes the role, function and ideology of Indian cinema.

...read moreread less

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Journal Article•DOI•

The 'Bollywoodization' of the Indian cinema: cultural nationalism in a global arena

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Ashish Rajadhyaksha

01 Jan 2003-Inter-asia Cultural Studies

TL;DR: The "Bollywoodization" of the Indian cinema: cultural nationalism in a global arena as discussed by the authors is a classic example of such a phenomenon, and it can be traced back to the early 1990s.

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Abstract: (2003). The 'Bollywoodization' of the Indian cinema: cultural nationalism in a global arena. Inter-Asia Cultural Studies: Vol. 4, No. 1, pp. 25-39.

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247 citations

Additional excerpts

...See especially Prasad (1998) and Chakravarty (1993)....
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Book•

Beyond Bollywood: The Cultural Politics of South Asian Diasporic Film

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Jigna Desai

16 Dec 2003

TL;DR: Beyond Bollywood as mentioned in this paper explores the hybrid cinema of the "Brown Atlantic" through a close look at films in English from and about South Asian diasporas in the United States, Canada, and Britain, including such popular films as My Beautiful Laundrette, Fire, Monsoon Wedding, and Bend it Like Beckham.

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Abstract: Beyond Bollywood is the first comprehensive look at the emergence, development, and significance of contemporary South Asian diasporic cinema From a feminist and queer perspective, Jigna Desai explores the hybrid cinema of the "Brown Atlantic" through a close look at films in English from and about South Asian diasporas in the United States, Canada, and Britain, including such popular films as My Beautiful Laundrette, Fire, Monsoon Wedding, and Bend it Like Beckham

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182 citations

Journal Article•DOI•

The diaspora comes home: Disciplining desire in DDLJ:

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Patricia Uberoi¹•Institutions (1)

University of Delhi¹

01 Nov 1998-Contributions to Indian Sociology

TL;DR: In this paper, the authors analyse two popular Hindi films of the mid-1990s, Dilwale dulhania le jayenge (DDLJ) and Pardes, that thematise the problems of transnational location in respect of courtship and marriage.

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Abstract: A significant new development in the field of Indian family and kinship, and one which has so far barely been addressed in the sociology of India, is the internationalisation of the middle-class family. This paper analyses two popular Hindi films of the mid-1990s, Dilwale dulhania le jayenge (DDLJ) and Pardes, that thematise the problems of transnational location in respect of courtship and marriage. The two films share a conservative agenda on the family, but differ in their assessment of the possibility of retaining Indian identity in diaspora. DDLJ proposes that Indian family values are portable assets, while Pardes suggests that the loss of cultural identity can be postponed but ultimately not avoided. These discrepant solutions mark out Indian popular cinema as an important site for engagement with the problems resulting from middle-class diaspora, and for articulation of Indian identity in a globalised world.

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100 citations

Cites background from "Ideology of the Hindi Film: A Histo..."

...…typically focussed on women’s sexuality, has been a fairly consistent theme in Indian commercial cinema and other media of popular culture over the last half century or so (see, e.g., Chakravarty 1996: esp. ch. 8; Prasad 1998: esp. ch. 4; Rangoonwalla 1979: 47; Thomas 1985, 1996; Vasudevan 1995)....
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...…and ultimately resolve through a variety of narratival strategies the concerns, anxieties and moral dilemmas of the everyday life of Indian citizens (e.g., Chakravarty 1996: 16, 99, 132, 210; Dickey 1993: ch. 8, 1996; Kakar 1981, 1989: ch. 3; Nandy 1995; Prasad 1998: 97, 163; Thomas 1996, etc.)....
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...That is, they are significant pointers to the film’s broader ideological agenda (see Prasad 1998)....
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...I; Prasad 1998: esp....
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...See Prasad 1998: esp. ch. 2; also Thomas 1985: 122ff. 313 has persuaded her conservative and authoritarian father to allow her to go on a European holiday with her girl-friends, before returning to Punjab for an arranged marriage with Kuljeet (Parmeet Sethi), son of her father’s old friend, Ajit…...
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Journal Article•DOI•

Breakout from Bollywood? The roles of social networks and regulation in the evolution of Indian film industry

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Mark Lorenzen¹, Florian Taübe²•Institutions (2)

Copenhagen Business School¹, European Business School London²

01 Sep 2008-Journal of International Management

TL;DR: In this paper, the authors combine evolutionary perspectives with social network theory in order to explain the recent growth of a prolific and changing indigenous industry in an emergent economy, namely the Indian film industry in Mumbai, India, Bollywood.

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72 citations

Cites background from "Ideology of the Hindi Film: A Histo..."

...Concerning qualitative secondary data, it lies within cultural studies, anthropology or sociology rather than economics or management (see e.g. Rangoonwalla, 1975; Ramachandran, 1985; Valicha, 1988; Kazmi, 1998; Garga, 1996; Gokulsing and Dissanayake, 1998; Nandy, 1998; Prasad, 1998; Vasudevan, 2000; Dwyer and Patel, 2002; Kabir, 2001; Misra, 2002; Rajadhyaksha and Willemen, 2002; Kaur and Sinha, 2005; Dudrah, 2006)....
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Journal Article•DOI•

Dreaming the Nation: Domestic dramas in Hindi films post-1990

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Sheena Malhotra¹, Tavishi Alagh•Institutions (1)

California State University, Northridge¹

01 Apr 2004-South Asian Popular Culture

TL;DR: In this paper, the authors argue that this trend in Hindi cinema post-1990 reflects the significant socio-political (rise of the Hindutva movement) and economic changes (liberalising of the economy) that have taken place in India during this time Domestic Hindi film dramas post 1990 display a remarkably consistent pattern in producing a monolithic Indian identity that is Hindu, wealthy and patriarchal in nature.

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Abstract: Hindi cinema has functioned as a site for the production and exploration of national identities and ideologies in the popular imagination An examination of some of the most successful films of the 1990s (Hum Aapke Hain Kaun, Dilwale Dulhaniya Le Jayenge, Pardes, Kuch Kuch Hota Hai, etc) reveals the emergence of the domestic drama as a highly popular genre wherein a troubling new construction of Indian identity emerges This new construction is one that considerably narrows the diversity, multiplicity and secular constructions of Indian identities in previous decades We argue that this trend in Hindi cinema post-1990 reflects the significant socio-political (rise of the Hindutva movement) and economic changes (liberalising of the economy) that have taken place in India during this time Domestic Hindi film dramas post-1990 display a remarkably consistent pattern in producing a monolithic Indian identity that is Hindu, wealthy and patriarchal in nature We find that the terrain of who gets included in th

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44 citations

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Ideology of the Hindi Film: A Historical Construction

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Cites background from "Ideology of the Hindi Film: A Histo..."

Cites background from "Ideology of the Hindi Film: A Histo..."

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