Film is not only a piece of art but also a tool of social reform as it expresses the feelings of humans and their idea of contemporary society. Films are the mirror that reflects the society.
Also they reflect the changing scenario of politics and economy in India over the decades. Talk of the rise of middle class or the emergence of small town India or the gradual breakdown of the old feudal order or of despair, anger, alienation and separation or of resurrection, a new resurgence and a new confidence. You will see them in the screen of Bollywood and other regional industries.
Bollywood also reflects the transformation of the Indian psyche from a post-colonial pastiche of different politeness of the 1950s to the confident global Indian of
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A strong schizophrenic decade the 90s witnessed a churn in politics, economics and society that would often transport India to the very age of despair. The decade saw a transformation in yet unemployed and poor hero into a rich and confident personality. Coming to political scenario, India was confronted with new villain, terrorism, which was reflected in films like Roja, Maachis, Sarfarosh and Dil Se. Mumbai riots and bomb blasts were acutely pained in movie like Bombay.
In the new millennium, the world came to terms with a cocky. India bulging with a bare chest confidence. Sex was no longer a taboo and we had movies like Murder and Khwahish. On the other hand, masterpiece like Company and Satya were denoting the stronghold of underworld while Ganga Jal and Omkar showed the rule of bahubalis. If Dil Chahta Hai echoed self-assured, cool and keep smiling, live-today mantra of Indian youth, black, Corporate, Lage Raho Munaa Bahi and Black Friday vindicated that even Bollywood films can deal the complex issues. Lakshya and Rang De Basanti depicted the maturing of the young Indians ready to die for a national cause. Thus, one can say that a movie is not only a visual treat to its audience but it also an account of the societal, economic and political setup in which a person’s is
One could easily dismiss movies as superficial, unnecessarily violent spectacles, although such a viewpoint is distressingly pessimistic and myopic. In a given year, several films are released which have long-lasting effects on large numbers of individuals. These pictures speak
fragmented by the interruptions of song and dance, lending a sense of unreality. I believe Mira Nair successfully achieved her aim to make a Bollywood film on her own terms. As a director, she effectively combined the techniques of sound, editing, costume, colour and location to produce a fairly unique Bollywood film. Her message of the continuing modernisation of India, and her criticisms of both the societies she illustrates in the film comes across clearly, as do the more controversial points she brings up that Bollywood, as a film industry, does not typically address. Its appeal and effectiveness can be measured by the huge range of global audiences it has attracted, both Western and Eastern, which indicates that she accomplished her goal of making a realistic movie, breaking the traditional Bollywood mould.
Since the creation of films, their main goal was to appeal to mass audiences. However, once, the viewer looks past the appearance of films, the viewer realizes that the all-important purpose of films is to serve as a bridge connecting countries, cultures, and languages. This is because if you compare any two films that are from a foreign country or spoken in another language, there is the possibility of a connection between the two because of the fact that they have a universally understanding or interpretation. This is true for the French New Wave films; Contempt and Breathless directed by Jean-Luc Godard, and contemporary Indian films; Earth and Water directed by Deepa Mehta. All four films portray an individual’s role in society using sound and editing.
...by standards set by the West. Remove the music and cut the length. of Bollywood films, although making them more accessible to the South. Asian diaspora and western markets, in short, change the entire Bollywood paradigm. Bollywood culture appears to be a definitive element in helping to define and shape the identities of the South.
Turner, Graeme. Film as a Social Practice. 3rd ed. of the year. London: Routledge, 1999.
...n acts even in the face of danger not due to an artistic principle, but due to the need to put food on the table for her family. Even though Gittoes arguments fall short, the Taliwood film industry should be encouraged. As Shah Rukh Kahn, a famous Bollywood actor and director in India said in an interview for NPR on Bollywood films “"Our fantasies are about earning a good living, having maybe a car — not two. Getting an education for your kids. Our fantasies are not about getting to be president of the country, to sit in a rocket and go and break a meteor. Our fantasies are very real.” A movie obtains popularity not because it is foremost trying to change culture, but because it reflects of the hopes, desires and fantasies of their audience. Free expression of common hopes, desires and fantasies will provide the a true bridge between the Western and the Pashtun.
The postmodern cinema emerged in the 80s and 90s as a powerfully creative force in Hollywood film-making, helping to form the historic convergence of technology, media culture and consumerism. Departing from the modernist cultural tradition grounded in the faith in historical progress, the norms of industrial society and the Enlightenment, the postmodern film is defined by its disjointed narratives, images of chaos, random violence, a dark view of the human state, death of the hero and the emphasis on technique over content. The postmodernist film accomplishes that by acquiring forms and styles from the traditional methods and mixing them together or decorating them. Thus, the postmodern film challenges the “modern” and the modernist cinema along with its inclinations. It also attempts to transform the mainstream conventions of characterization, narrative and suppresses the audience suspension of disbelief. The postmodern cinema often rejects modernist conventions by manipulating and maneuvering with conventions such as space, time and story-telling. Furthermore, it rejects the traditional “grand-narratives” and totalizing forms such as war, history, love and utopian visions of reality. Instead, it is heavily aimed to create constructed fictions and subjective idealisms.
In the 1900s, most women were housewives and only cared for their husbands' needs, however, Mrs. Mary Maloney and the Landlady chose a different path for themselves. Murder. Mary Maloney and the Landlady both seemed like perfectly normal, respectable women. That is until Mary killed her husband out of rage, and the Landlady started talking about her missing guests. Mary's husband came home one night, announcing that he would be leaving her.
The movie reflects lots of culture shocks between West and East countries. These culture shocks all because people have diverse norms, attitudes and behaviors. Indian do not eat beef as cow is sacred in India. In Indian, the slaughter of cows is illegal. For example, Tod can not be brought Cheese burger with money. Cow is threated sacred and thus beef is not eaten. Meanwhile, we can see that America and India have different attitude in marriage. In America, people has freedom to choose their way to live and love is basis of marriage. In India, get marriage without love is usual. For
Rao, S. (2007). The globalization of bollywood: An ethnography of non-elite audiences in india. The communication Review, 10(1), 57-76. doi: 10.1080/10714420601168491
Across the globe watching movies started as an asylum for the working class, but slowly the ideas being portrayed onscreen have evolved resulting in movie going to become almost religious. Movies have the ability to leave us in awe as a result of their ability to give us a glimpse of a dream, however unrealistic. I myself am a huge fan of the film industry. I started to feel a certain reverence for it because of the way it inspired me to dream and gave birth to my ambitions. This ultimately led to me to go into an in depth investigation of whether I was the only one who felt this way and what affects had been created because of this feeling.
Cinema has a place in many people’s hearts. There’s some unique feeling about going to the movies with buttery popcorn and watching your favorite actors put their heart and soul into their work. However, cinema has a place in our society beyond just pretty faces and good cinematography; it can drastically tell us a lot about us, and the society we live in. It can reveal truths about ourselves that we are often too uncomfortable or too unaware of to recognize.
‘Then came the films’; writes the German cultural theorist Walter Benjamin, evoking the arrival of a powerful new art form at the end of 19th century. By this statement, he tried to explain that films were not just another visual medium, but it has a clear differentiation from all previous mediums of visual culture.
This total idea of challenging and creating a new identity may seem quite a utopian concept but it is not so impossible. The present paper will illustrate the writings of Mridula Garg and Arundhati Roy. The characters in their work are not extraordinary and utopian but common people like us whom we can come across in our day today life. Here for the purpose of analysis Garg’s three short stories have been chosen. They are: Hari Bindi, Sath Saal Ki Aurat and Wo Dusri.