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Movies and globalization
Effect of globalization on bollywood films in india
Globalization in indian cinema
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Dilwale Dulhaniya Le Jayenge (1995) and Kabhie Khushi Kabhie Gham (2005) were movies that highlighted a very interesting phenomenon; the expatriate Indian. A more colloquially used term would be the NRI (non- resident Indian). Featuring the protagonists as NRIs wasn’t common until the early 1990’s. Before that the NRIs were shown as antagonists with bad morals and poor ethics. It was definitely a big change in Hindi cinema when this new representation took place.
All along throughout the 1960’s 1970’s and 1980’s Hindi cinema handled issues on the progress of the nation. It touched upon topics of citizenship and the economic growth of India. It showed how Indians were trying their best to come out of the previous years of British oppression. As the 1990’s began, there was an introduction of a new string of movies, showing individualism. These weren't about the growth of the nation, but were about the flaws in the nation, people’s search for better lifestyles and better employment. These desires provoked them into escaping to foreign countries like Britain andthe United States.
Themes based on globalization in Hindi cinema have been happening throughout the decades. During the 1960s and 1970s period of Hindi cinema, movies were more nationalistic, as Indian politics was going through a period of isolationism. The 1990s was when the nation opened up to international investments. Its economic dependence on the diaspora started to slowly increase. There was a string of big budget films in Bollywood that were also known as the “KJo” films. They consisted of some of Bollywood’s biggest stars, had lavish sets, big houses and expensive cars. Examples of such movies were Diwale Dulhaniya Le Jayenge (1995) and Kabhie Khushi Khabie Gh...
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...nymore, directors feel more comfortable discussing issues of religion, gender and sexuality in NRI centric movies rather than the movies shown to be based in India.
This brings me to my last point about how globalization in India is affecting the Bollywood. It’s focusing on it market audience and is mainly targeting the Indian Diaspora. The new ‘patriarch figure”, the new romance and the acceptance of the expatriate Indian, are all happenings which we can directly link to the economic liberalization that has taken place in India today. Just as the NRI investments become more important to the Indian government; the NRI stories take the forefront in Hindi cinema as well.
I conclude by saying that this new trend of focusing on the Indian Diaspora will be a huge part of Bollywood as the entire Indian nation continues through this era of culturally globalization.
Sharpe, Jenny. “Gender, Nation, and Globalizaion in Monsoon wedding and Dilwale Dulhania Le Jayenge.” Meridians: Feminism, Race, Transnationalism 6.1 (Oct. 2005): 58-81.Web. 23 May 2014: .
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.
In Mira Nair’s film, The Namesake, the disparate cultures of India and America affirms to the binary paradigm of “the one” and “the other”, manifesting the dominance of one from the other and its impact to influence and cause cultural and identity issues. The collision of the two cultures forms a process of trying to construct an identity and a destruction of an ethnic identity, with different factors to consider such as space and other sociocultural codes. This film about the Indian American also shows the concept of model-minority image, standards and expectations imposed to Asian Americans. The Namesake embodies the cultural and identity issues of an Asian American, particularly the Indian Americans, exemplifying the experiences of the intersection of contrasting cultures, marginalization, generation conflicts and identity crisis.
“But as far as media presenting an authentic, subjective Indian experience, there has been little progress (Meyer, Royer 89).”
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.
The Absolutely True Diary of a Part-Time Indian is a novel written by Sherman Alexie, loosely based on Alexie's own life. The novel is about a 14-year-old boy, Arnold Spirit, and his life living as a Native American during his first year of high-school. During the story, Arnold decides to switch schools in order to escape the hopelessness of the Spokane Indian Reservation. Within the novel, the setting changes from Arnold Spirit’s home on the Spokane Indian Reservation, Wellpinit High School, and Reardan High School. The multiple settings within the book help build the plot, establish characters, and add suspense to the story.
This issue comes up in the episode when the producer of Three Buddies says that he can’t cast both Dev and Ravi as that would run the risk of the show being seen as an “Indian Show”. The producer is afraid of over representing the Indian population. In reality studies have shown that as of 2008 Asian actors only accounted for 3.8% of film and television roles. Still the producer wouldn’t cast two Indian characters on one show because he believed that would risk not being able to appeal to a mass audience and “A television network’s first concern affecting program decisions is risk
Fifteen years ago, South Korean cinema was in precipitous decline. It was facing deadly competition from Hollywood as import barriers were dismantled, and had almost no export market. Today, South Korean cinema is widely considered the most successful and significant non-Hollywood cinema anywhere in the world today. It is successful both in the domestic market, and internationally. This essay sets out to understand this phenomenon. First, it attempts to trace South Korean cinema’s comeback story. I feel a need to do this because I find that so many of my South Korean friends and colleagues are reluctant to admit this, or focus solely on the problems the industry is facing in the future. There may be worries about the future and there may be “ifs” and “buts” about the present state of the South Korean film industry. But we should start out by acknowledging its success.
Indian movies began production in the beginning of the 20th century and were, much like American films, in black and white. The very first movie produced with sound was Alam Ara which was released in 1931 and was directed by Ardeshir Irani. The first color Hindi movie was released in 1937 which is known to be the starting of the “golden Age “of the Indian film industry. It was referred as the golden age due to the release of many classical Indian music and popular films being released. In the 1970s, Indian film industry beat United States as the largest producer of movies in the world. Since then, it has become its own identity and is now termed as “Bollywood” which is mere combination of two words, Bombay (now known...
Ali Fazal a renown Indian actor once said, “Now, there doesn't have to necessarily be a white man in the lead role. That's the way forward. That's diversity. It's cool if an Indian is playing the lead role in a Hollywood project, and we should be proud of this.” All these years the movie industry has been thriving with the same characters and had a dire need for diversity.
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
As time goes on a gap is created between the past generations and the current generations. This gap between men in the 1950s and the men now (2009) are similar and different in terms of the roles they play, their attitudes towards society, women and work, and their identities. The root to the generation gap in India is due to the influence of media especially television and movies have caused people to look up to the characters and strives to act like them, which reinforce gender stereotypes and identities. For example, Love Aaj Kal, an Indian movie released in 2009 is a contrast of couples in the 1980s and present day. In the movie one of the actors says, “Aaj ke ladke bauth modern aur independent ho gaye hai. Hum aare zamane mein baath hi kuch aur thi” (Veer Singh). In translation, it means that, “Boys these days are very modern and independent. In our time things were different”(Veer Singh). The following are many different ways to interpret what the actor was trying to say about men then and now in regards to roles, attitudes and their identities.
India is one of the Eastern countries most easily influenced by Westernisation. Many things that were once seen as taboo in India are now acceptable. An example is in Hindu dialect movies. Kissing on-screen was seen as a big “no-no”, yet in the new age of Indian movies, it is not uncommon to see mild nudity and sexual scenes. Another noticeable trait was how they used to dress in the movies. Girls normally wore Indian garments. However, it has now changed. Girls wear a lot more revealing and evocative clothing. In older Indian movies, it was a rare occurrence for the actors and actresses to use more than a handful of English words when speaking. It has now completely changed in recent years of Indian cinema. This is much to the dismay of avid Indian movie watchers who prefer a more cultures view of India. They feel that there is a loss of authenticity. This shows the impact that A...
The Hindi Cinema has a long distance to cover when it comes to the poignant or nuanced portrayal of sexual minorities. Sexual minorities have always been at the margins in terms of their representation in the Hindi film industry. The issue of homosexuality has always been mocked upon or treated in the most insensitive way one can imagine in Hindi films. Ruth Vanita argues that though there is history of same sex male bonding in Hindi films but issue related to homosexuality have not been treated explicitly and properly in the films. Recently, many parallel film makers have tried to portray the realist aspects of Queer sexuality but the mainstream Hindi cinema still lags behind. The mainstream cinema seems to side line queer sexuality by making fun of it or making it an object of disgust. Ruth Vanita’s queer reading of Hindi cinema shows that same-sex male bonding has evidently existed in Hindi films. Mainstream actors singing songs like, “yeh dosti hum nhi chhodenge. Todenge dum magar tera saath na chhodenge” and “yaari hai imaan mera yaar meri zindagi” are explicitly hinting at the same-sex bond that seems unbreakable. For a long time Bollywood has believed in creating a picture of relationships that exist only in black or white, the concept of grey has either been absent or misrepresented.