Free ebooks ==> www.ebook777.com www.ebook777.com Free ebooks ==> www.ebook777.com The Magic of Bollywood Free ebooks ==> www.ebook777.com Thank you for choosing a SAGE product! If you have any comment, observation or feedback, I would like to personally hear from you Please write to me at contactceo@sagepub.in —Vivek Mehra, Managing Director and CEO, SAGE Publications India Pvt Ltd, New Delhi Bulk Sales SAGE India offers special discounts for purchase of books in bulk We also make available special imprints and excerpts from our books on demand For orders and enquiries, write to us at Marketing Department SAGE Publications India Pvt Ltd B1/I-1, Mohan Cooperative Industrial Area Mathura Road, Post Bag New Delhi 110044, India E-mail us at marketing@sagepub.in Get to know more about SAGE, be invited to SAGE events, get on our mailing list Write today to marketing@sagepub.in This book is also available as an e-book ii The Magic of Bollywood www.ebook777.com Free ebooks ==> www.ebook777.com The Magic of Bollywood At Home and Abroad Edited by Anjali Gera Roy Free ebooks ==> www.ebook777.com Copyright © Anjali Gera Roy, 2012 All rights reserved No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage or retrieval system, without permission in writing from the publisher First published in 2012 by SAGE Publications India Pvt Ltd B1/I-1 Mohan Cooperative Industrial Area Mathura Road, New Delhi 110 044, India www.sagepub.in SAGE Publications Inc 2455 Teller Road Thousand Oaks, California 91320, USA SAGE Publications Ltd Oliver’s Yard 55 City Road London EC1Y 1SP, United Kingdom SAGE Publications Asia-Pacific Pte Ltd 33 Pekin Street #02-01 Far East Square Singapore 048763 Published by Vivek Mehra for SAGE Publications India Pvt Ltd, typeset in 10.5/12.5pt Adobe Garamond by Tantla Composition Pvt Ltd, Chandigarh and printed at Chaman Enterprises, New Delhi Library of Congress Cataloging-in-Publication Data The magic of Bollywood : at home and abroad / edited by Anjali Gera Roy p cm Includes bibliographical references and index Motion pictures—India. Motion picture industry—India. Motion pictures, Hindi. I Roy, Anjali Gera PN1993.5.I8M325 791.430954—dc23 2012 2012007429 ISBN: 978-81-321-0732-3 (HB) SAGE Production Team: Neelakshi Chakraborty, Puja Narula Nagpal and Anju Saxena Disclaimer: All images used in the cover of this book are for representative purpose only and are solely owned by the respective copyright owners www.ebook777.com Free ebooks ==> www.ebook777.com Contents List of Tables ix List of Abbreviations xi Foreword by Ishtiaq Ahmed xiii Acknowledgments xvii CHAPTER Introduction Anjali Gera Roy Part I Brand Bollywood and the New Bollywood Film CHAPTER Mainstream Hindi Cinema and Brand Bollywood: The Transformation of a Cultural Artifact M K Raghavendra CHAPTER Post-national B(H)ollywood and the National Imaginary Meena T Pillai 27 42 Part II Bollywood’s Soft Power: Some Facts and Figures CHAPTER Bollywood and Soft Power: Content Trends and Hybridity in Popular Hindi Cinema David J Schaefer and Kavita Karan 57 Free ebooks ==> www.ebook777.com CHAPTER A Regional Mosaic: Linguistic Diversity and India’s Film Trade Sunitha Chitrapu 81 Part III Indian Films’ Traditional Markets: South Asia, Southeast Asia, Africa, and Russia CHAPTER “Dada Negativity” and Pakistani Characters in Bollywood Films 107 Kamal ud Din and Nukhbah Taj Langah CHAPTER Soft Power and Pakistani Viewers Shahnaz Khan 125 CHAPTER Bollywood Film Culture in Indonesia’s Mediascapes Shuri Mariasih Gietty Tambunan 144 CHAPTER Indian Films in the USSR and Russia: Past, Present, and Future Elena Igorevna Doroshenko 161 CHAPTER 10 Indophilie and Bollywood’s Popularity in Senegal: Strands of Identity Dynamics Gwenda Vander Steene CHAPTER 11 “Bollywoodization” as (H)Indianization? Bangladesh Film Industry under National Protection Zakir Hossain Raju vi The Magic of Bollywood www.ebook777.com 178 193 Free ebooks ==> www.ebook777.com Part IV New Territories: Bollywood in the West— Australia, Canada, and Europe CHAPTER 12 From Tawa’if to Wife? Making Sense of Bollywood’s Courtesan Genre Teresa Hubel CHAPTER 13 Bollywood in da Club: Social Space in Toronto’s “South Asian” Community Omme-Salma Rahemtullah 213 234 CHAPTER 14 Bollywood Internet Forums and Australian Cultural Diplomacy 254 Andrew Hassam CHAPTER 15 Addressing the Nonresident: Soft Power, Bollywood, and the Diasporic Audience Adrian Athique 277 CHAPTER 16 Bollywood’s Circuits in Germany Florian Krauss 295 About the Editor and Contributors 318 Index 323 Contents vii Free ebooks ==> www.ebook777.com www.ebook777.com Free ebooks ==> www.ebook777.com List of Tables 4.1 T-Tests Comparing Indigenous versus Exogenous Content Levels for All DVD Chapters 4.2 Perceptions by Location 4A.1 Intercoder Reliability 4A.2 Random Sample Films List 4A.3 Breakdown of the Respondents’ Demography 5.1 Indian States Market Size and Film Production 5.2 Persons of Indian Origin around the World (Top 25 Countries—Reproduced from the Report of the High-level Committee) 5.3 Indian Language Speakers in the United States 5.4 Share of Indian Films on British Charts (by Language) 5.5 Revenue Share of Indian Films on British Charts (by Language) 5.6 Share of Indian Films on Malaysian Charts (by Language) 69 73 76 77 78 92 94 96 97 98 99 Free ebooks ==> www.ebook777.com Teresa Hubel is Associate Professor of English at Huron University College, the University of Western Ontario, London, Ontario, Canada She is the author of Whose India? The Independence Struggle in British and Indian Fiction and History (1996) Currently she has been working on a series of essays on early Indian women writers in English, while also finishing her new book about the white working classes of colonial India Kavita Karan, Ph.D from the University of London, 1994, is Associate Professor in the School of Journalism at Southern Illinois University, USA She graduated from the London School of Economics and Political Science, UK, specializing in political communication She has published articles in journals and chapters in books She has edited the book Cyber Communities in Rural Asia: A Study of Seven Countries (2004), and co-edited the book Commercializing Women: Images of Asian Women in the Media (2008) Shahnaz Khan is Professor of Women & Gender Studies and Global Studies at Wilfrid Laurier University, Canada She has published extensively on Muslim women in Canada, the Zina Ordinance in Pakistan, and representations of Muslims in Hindi cinema She is the author of Aversion and Desire: Negotiating Muslim Female Identity in the Diaspora and Zina, Transnational Feminism and the Moral Regulation of Pakistani Women Her articles have appeared in Signs: Journal of Women in Culture and Society, Feminist Studies and Feminist Review Florian Krauss completed his Ph.D dissertation, discussing Bollywood among immigrants in Germany, in 2011 Currently Krauss is working in the project “Climate Media Factory” from Film & Television University, Potsdam, and Potsdam Institute for Climate Impact Research (PIK), Germany A part of the project is the scheduled Indian–German platform “Tell Your City” that will bring together writers and experts from both countries Nukhbah Taj Langah received her Honors, Masters, and Ph.D degrees from University of Buckingham, University of Warwick, and University of Leeds (all in the UK), respectively She returned to Pakistan in 2008 and joined the English department at Forman Christian College University, Lahore, as Assistant Professor She has published various book chapters and articles in anthologies and international academic journals and has 320 The Magic of Bollywood www.ebook777.com Free ebooks ==> www.ebook777.com co-translated a chapbook titled Noshi Gillani: Poems (2008) with the British translator Lavinia Greenlaw Her latest book is titled Poetry as Resistance: Islam and Ethnicity in Postcolonial Pakistan (2012) Meena T Pillai is the Director, Centre for Comparative Literature, and Associate Professor at the Institute of English, University of Kerala, Thiruvananthapuram, India She was a Fulbright Fellow to the Ohio State University, USA; Shastri Indo-Canadian Institute Fellow to the Mel Hoppenheim School of Cinema at Concordia University, Montreal, Canada; and a Commonwealth Fellow at the University of Sussex, UK Her publications include Modern American Fiction: The Novel of Terror (2005), Rohinton Mistry: An Anthology of Recent Criticism (Co-edited, 2007), and Women in Malayalam Cinema: Naturalising Gender Hierarchies (2010) M K Raghavendra is a film scholar who received the Swarna Kamal for Best Film Critic in 1997 He was awarded a Homi Bhabha Fellowship in 2000–2001 He is also the author of Seduced by the Familiar: Narration and Meaning in Indian Popular Cinema (2009), 50 Indian Film Classics (2009) His third book, Bipolar Identity: Region, Nation and the Kannada Language Film (2011) has recently been published Omme-Salma Rahemtullah is a Ph.D candidate in Sociology at York University, Toronto, Canada Her research is in the areas of postcolonial theory, nationalism, and cultural studies Her dissertation focuses on cultural productions of the South Asian diaspora as it relates to identity, belonging, and race, specifically on the narratives of South Asian women in Tanzania and how their subjectivities are informed by discourses of modernity and migration She has also published on the South Asian diaspora in Canada Zakir Hossain Raju is Associate Professor of Film and Media Studies at Independent University, Bangladesh (IUB) He obtained Ph.D in Cinema Studies from La Trobe University, Melbourne, Australia, in 2005 He taught at Monash University campuses in Malaysia and Australia for five years He also taught at La Trobe University in Australia and University of Dhaka in Bangladesh He is the author of Bangladesh Cinema and National Identity: In Search of the Modern? (forthcoming) He has published many articles on Asian cinemas in various journals and anthologies About the Editor and Contributors 321 Free ebooks ==> www.ebook777.com David J Schaefer, Ph.D from the Ohio State University, Columbus, USA, 2001, is Professor in the Department of Communication Arts at Franciscan University of Steubenville, Ohio, USA He is a member of the Phi Kappa Phi National Honor Society, the International Communication Association, the Communication Institute for Online Scholarship, the Asian Media Information and Communication Centre, and serves on the Board of Directors for Urban Mission Ministries In addition, he was awarded a Fulbright lecturing-research grant to Singapore in 2004–2005 to study media literacy trends in Asia Gwenda Vander Steene is a Ph.D candidate at the University of Ghent, Belgium She has been working on globalization and dance in Senegal, with two cases: Sabar dancing and Bollywood dancing The first is analyzed in its relation to gender and “glocalization,” and the second as an expression of “parallel modernities” of globalization flows that go “South–South” (India–Africa), drawing a different picture than the classical “North–South” globalization theories Besides, she is a dancer and teaches Indian dance and yoga Her dance and yoga websites are respectively www.danceyourlife.com and www.beyondbody.be (www mysticyoga.net if off line) Shuri Mariasih Gietty Tambunan is Lecturer in the English Department, University of Indonesia Currently she is in the process of completing her Ph.D from the Department of Cultural Studies, Lingnan University, Hong Kong, and her research focus in on transnational flow of East Asian television dramas in Indonesia within the context of cultural globalization She received her Masters degree in Cultural Studies from the University of Indonesia (2007) and the University of Groningen, the Netherlands (2010) 322 The Magic of Bollywood www.ebook777.com Free ebooks ==> www.ebook777.com Index 21 Cineplex, Indonesia, 151 1942: A Love Story (1994), 29 Aa Ab Laut Chalen (1999), 45 Aaja Nachle (2007), 235 Abedin, Vashkar, 206 abhinaya (the art of expression), 223 Acid Factory, 47 Adarsh, Taran, 50–52 Adil, Omer, 127 Afro-American rap, 290 Ahmed, Sara, 245 Alam, Iftekharul, 201 Al-Fatiha (international human rights organization), 242 Alliance for South Asian AIDS Prevention (ASAAP), 240 Aman ki Asha (Hope for Peace 2010), 14 Amar Prem (1971), 218, 229 Amin, Mehvash, 129 Anand, Dev, xiv, 38 Andaz (1949), xiv, 77 Angaar (1992), 108 Anglophone Indian class, 39–40 Appadurai, Arjun, 59, 155, 158, 193, 277, 279–280, 286 Arabic films, 182–183 Arora, Poonam, 214, 216 Arsenal (state-funded theater in Berlin), 299 art films, 152, 297 Australia Bollywood and Australian soft power, 256–260 Bollywood Internet Forums and Australian cultural diplomacy, 262–270 impact of Indian films on tourism, 255 nonresident Indians (NRIs) and their support to Indian film crews, 260–262 share of Indian films in, 98–99 Australia International Cultural Council (AICC), 256 Avatar (2010), 166, 259 Awaara (1951), xiv, 10, 162, 166, 297 B4U (television channel), 305 Bachchan, Amitabh, 13, 20, 36–38, 58, 152, 169, 254 Bachna Ae Haseeno (2008), 269 Free ebooks ==> www.ebook777.com Baiju Bawra (1952), xiv Bangladesh film industry ban on theatrical screening of Bollywood films, 194, 204 battle against Bollywoodization, 208 Bengali-Muslim identity, 197 Bollywood-copied films, 203 Bollywood films through three nationalist moments (1972– 2011), 197–198 first nationalist moment (1972), 198–200 second nationalist moment (1983), 201–205 third nationalist moment (1997), 205–208 capacity-based tax, 202 circulation of Bollywood films on videotape, 203 film production, 199 and influence of Bollywood at the turn of the century, 196–197 modus operandi of, 205 “pay-per-viewer” taxation system, 202 plagiarism from Bollywood films, 205 soft power of, 208–209 “vulgar” films, 207–208 Barnouw, E., 86–87, 89 Baudrillard, Jean, 40–41 Bend It Like Beckham (2002), Besharam South Asian club history of, 239–241 as a space of “South Asian” identity, 241–244 Bhagavad Gita, 163, 168 Bhangra Moves, 238 Bhattacharyya, Gargi, 287 Bhatvadekar, Harischandra, 86 Biswas, Dilip, 201 black money, 89, 199, 204 Blavatskaya, Elena, 163 Blue, 47 Bollywood Banter, 51 Bollywood Cinema: Temples of Desire, Bollywood films, xv attractions of, 8–11 and Australian soft power, 256– 260 brand image of, 7–8, 30–33 domestic Indian market, 81–82 economic liberalization, impact of, 29 emergence as global and local global brand, 17 filmmaking, style of, 11 German TV versions of, 311 Hindu family values, 10 ideology of, 130–134 and India’s role as a cultural emitter, 146–149 in Indonesia See Indonesia, Bollywood films in influence of globalization on production of, 63 influence on international relations and foreign policy, 15 overseas spectator profile of, 30–31 Pakistani characters in See Pakistani characters in Bollywood films Pakistani viewers of, 137 past of, 27–30 patterns related to, 83 in Russia/USSR See Russia/USSR, Bollywood films in Senegal See Senegal, Bollywood’s popularity in soft power of See soft power of Bollywood 324 The Magic of Bollywood www.ebook777.com Free ebooks ==> www.ebook777.com traditional themes, 30, 34 in year 2009, 57–59 Bollywood Hollywood (2002), Bollywood Hungama, 50 Bollywood lässt Alpen glühen (German TV movie), 312–313 Bollywood power, notion of, 3–6 “Bollywood’s Transnational Flows and Its Role in Promoting India Canada Relations,” xvii Bombay (1995), 108 Bombay Dreams (2004), 32 Booth, Gregory D., 216 Border (1997), 28–29, 111 Bose, Christina, 298, 311 Bound to Lead: The Changing Nature of American Power (1990), Boyle, Danny, 58 Brah, Avtar, 238, 260 Brand Bollywood, 7–8, 19, 21, 32, 39–40, 132, 304 Brazilian telenovelas, 184 Breton, André, 116 budgets for Indian film industry, 91–93 cable television, 90, 206 Canada Besharam South Asian club history of, 239–241 as a space of “South Asian” identity, 241–244 Bollywood as signifier in cultural studies, 237–238 Multiculturalism Act of Canada (1971), 246 multiculturalism, discourse of, 244–250 racist violence, 247 South Asian communities in, 236–237 Cantonment Act of 1864, for controlling profession of tawa’if during British Raj, 221 capital-intensive cinema, 42 Central Board of Film Certification, 87 Chak De! India (2007), 263, 265 Chandni (1989), 173 Chaudhvin ka Chand (1960), 130 Chhalia (1960), 108 Chitrapu, Sunitha, 16 choreography, 17, 31 Chori Chori Chupke Chupke, 154 cineplex, concept of, 151 classical arts, as content in Indian films, 66, 75 Community in Hindi cinema, depiction of, 28–30, 35 Contagious Diseases Act of 1865, for controlling profession of tawa’if during British Raj, 221 contemporary popular culture, as content in Indian films, 66 content analysis of Indian films coding scheme for, 65 external content components, 66 Indian content components, 66 intercoder reliability, 76 methods for, 64 phases of, 65 random sample films list, 77 respondents’ demography, breakdown of, 78 results of, 68–71 survey of, 67–68 variables and operational definitions, 65–68 Coolie (1983), 302 Index 325 Free ebooks ==> www.ebook777.com “copycat” product of Bollywood films, 154–155 Crane, Diana, 144 Crash (2005), 268 Crook (2010), 269 cultural emitter, notion of, 146–149 cultural globalization, 60, 144 India’s position in the discourse of, 146–149 cultural invasion of soft power, 139–143 cultural nationalism, 31, 197 culture capital, 42 Cunningham, Stuart, 286–287 cyberspace networks, 50 Dada’s negativity, 116, 122 Damini (1993), 34 Dance Dance (1987), 170, 172 Dangdut, 153–154 Darr (1993), 175 Das Indische Grabmal (1959), 164 David, Bettina, 151, 153, 157 Deedar (1951), xiv Deewaar (1975), 28 Delhi Belly, 194 Department of Foreign Affairs and Trade (DFAT), Australia, 256 Der Tiger von Eschnapur (1959), 164 Desh Pardesh (Canadian arts festival), 239–240 devadasis, 220, 229 Devdas (2002), 91, 169 Dhaka Film Exhibitors’ Group, 205 Dharma Productions, 304 Dhoom (2004), 304 “diasporic desire” theory, 262, 286 digital copy media, 206 Dil Chahta Hai (2001), 46, 50–54 Dil Ka Rishta (2003), 304 Dil Se (1998), 175–176 Dil to Pagal Hai (1997), 52 Dilwale Dulhania Le Jayenge (1996), 33–35, 45, 52, 174–176, 195, 283, 310 Disco Dancer (1982), 170–172, 201 Disneyland, 40–41 Do Bigha Zamin (1953), 297 Domashny (Russian state-owned television), 174 Don—The King Is Back (2011), 299–300 Doroshenko, Elena, 18–19 Dostana (2008), 46, 47, 308 Dost-Dushman (1977), 200, 201 D’Silva, Rensil, 113, 118, 120, 131 dubbing industry, 19, 169 Dudrah, Rajinder, 3, 9, 282–283, 286–287 DVD chapters analysis of, 65 artistic expression among, 71 t-tests comparing indigenous vs exogenous content levels for all, 69–70 Economic and Political Weekly, 14 economic liberalization in India, 29, 44, 64 Ekushey Television (ETV), 196 England Returned (1921), 86 English soap opera, 184 entertainment industry, soft power of, 60 Eros International, 300 family films, 152, 156, 195, 304– 305, 311 Fanaa (2006), 108, 120, 131 Federation of Western India Cine Employees Association, 254 Feeling Asian Modernities: Transnational Consumption 326 The Magic of Bollywood www.ebook777.com Free ebooks ==> www.ebook777.com of Japanese TV Dramas, 145 feminist film theory, 226 fiction in Hindi cinema, collapse of, 37–39 Filmfare, 312 Filmfare Awards ceremony, 36 film festivals, 7, 256, 298 film industry, corporatization of, film policy in India, 88–89 film production, in different languages, 82–83 economic implications of, 83 film production infrastructure, 86, 100 film production, in Indian languages budgets for, 91–93 effect of World War I and II on, 86 financial issues, 89 history of, 86–88 policies associated with, 88–89 size of production output, 90–91 sources of revenue, 89–90 films and television programs, international trade in, 83–85 finance, film, 89 Fiza (2000), 131 foreign direct investment, 64 Foundas, Scott, 58 Frez, Ilya, 164 FunkAsia, 239–240 Gadar: Ek Prem Katha (2001), 107 Gandhi, Mahatma, 163 Ganguly, Dhiren, 86 Ganti, T., 140, 197 Germany adaptation, interpretation, circuite beyond the cinematic text, 309–314 Bollywood lässt Alpen glühen (German TV movie), 312 cinema halls screening Indian films, 297–301 DVDs and videos, 301–305 German TV versions of Hindi films, 311 nonresident Indians (NRIs), 303 televisions, 305–309 Unterschichtenfernsehen (television program), 306 Ghatak, Ritwik, 204, 297 Ghulam-e-Musthafa (1997), 108 Giroux, Henry A., 50 global cinema revenues, 82 Global Culture: Media, Arts, Policy, and Globalization, 144 globalization, dimensions of, 61 global tourism, 75 Glocal practices, 60, 75 Gopal, Sangita, 47 Gopinath, Gayatri, 238, 241, 243, 251 Grewal, Inderpal, 44 Grobal practices, 60, 75 gross state domestic products (GSDPs), 95 Gul, Shahzad, 126, 128 Hage, Ghassan, 247–248 Hall, Stuart, 243, 286, 304 hard power of Bollywood notion of, 3–6 vs soft power, 14–15 Heyy Babyy (2007), 254, 260, 265 Hindi films See Bollywood films Hindi film viewers factors influencing, 72 perceptions by location, 73–74 survey of, 71–72 Index 327 Free ebooks ==> www.ebook777.com Hindu nationalism, 126, 133, 141, 261 Hindustan Ki Kasam (1999), 108, 109–112, 114, 116, 121–122 Hindutva See Hindu nationalism Hitopadesha, 164 Hollywood films, xiv, xvi, 9, 11, 43, 60, 82, 88, 93, 156, 230 Hollywood studio revenues’ from international markets, 88 home market model, for international trade in media products, 83–84 Howard, John, 257 Hum Aapke Hain Koun ! (HAHK, 1994), 28, 34 Hum Dil De Chuke Sanam (1999), 34, 46 Humlog (1951), xiv Hutchinson, Mark, 116, 118 Imaginasia, 32 Inden, Ronald, 282 India Brand Equity Foundation (IBEF), 278 India Motion Pictures Agreement (1992), 88 Indian (1996), 255 Indian cinema See Bollywood films Indian Cinema Circuits, 311 Indian cinematic exports, 5, 6, 19, 93–95 to African countries, 181–182 earnings, 30–31 Indian Council for Cultural Relations (ICCR), 256 Indian film industry See also Pakistani film industry attitude towards Pakistan, 111 budgets for, 91–93 film production in Indian languages See film production, in Indian languages film production output, size of, 90–91 Indian states market size and film production, 92 share of Indian films in Australia, 98–99 Malaysia, 99–100 United Kingdom (UK), 97–98 United States of America (USA), 95–97 sources of revenue for, 89–90 Indian geography, as content in Indian films, 66 Indian language film production See film production, in Indian languages Indian political nationalism, as content in Indian films, 66 India’s film trade, economics of, 83 India Shining, 17 Indo-Eastern culture, as content in Indian films, 66 Indonesia, Bollywood films in advent of, 150–151 identification and distancing in consuming, 155–158 influence of Hindu culture and, 156 Kuch Kuch Hota Hai (KKHH), 152 popularity of, 150 visibility of, 149–155 Indophilie community level, 190–191 concept of, 178–179, 183 as means to create identity dynamics, 189–191 Pinxten’s notion of identity, 189 Indosiar, 151, 155 Indus (Hindu) (2010), 176 328 The Magic of Bollywood www.ebook777.com Free ebooks ==> www.ebook777.com International Berlin Film Festival, 298–300 international geography, as content in Indian films, 66 International Monetary Fund (IMF), 134 international trade, in films and television programs, 83–85 Internet Movie Database forum, 257, 264–266 I Proud to be an Indian (2004), 268–269 Iranian cinema, xiv Ishqiya (2010), 139 Istri Untuk Suamiku (Indonesian film), 154 Iwabuchi, Koichi, 145 Jagte Raho (1956), 10, 297 Jamaican Dub, 290 Jayakar, K P., 85 Jodhaa Akbar (2008), 133 Jolly, Gurbir, 237 A Journey Beyond Three Seas (Khozheniye za tri morya), 162 Jungle Book, 164 Kaal (2005), 304 Kabhi Alvida Naa Kehna (2006), 29, 175–176 Kabhi Alvida Naa Kehna (KANK, 2006), 29, 175–176 Kabhi Khushi Kabhie Gham (2001), 52, 152, 175, 299 Kabul Express (2006), 1, 123 Kabuliwala (1961), 108 Kal Ho Na Ho (2003), 52, 174, 176, 303, 304, 311 Kal Kissne Dekha (2009), 264 Kapoor, Raj, xiv, 161, 164, 166, 169, 172, 174–175, 297 Karma Collective, 239, 241–243 Kashmir Ki Kali (1964), 108 Kazmi, Fareed, 225, 227 Khamosh Pani, 129 Khan, Amir, 38, 40, 136, 254, 304 Khan, Farah, 33, 35–36, 300–301 Khan, Kabir, Khan, Shahrukh, 1, 13, 18, 33, 35–38, 40–41, 132, 162, 174–176, 193, 196, 283, 296, 299–300, 303–313 Khilona (1970), 214, 215, 219 Khozhdeniye za tri morya (Pardesi, 1957), 163 Khuda Key Liye, 129 Koi Mil Gaya, 155, 304 kotha, 215, 219, 221–222, 224–225 Krishnaswamy, S., 86–87, 89 Kuch Kuch Hota Hai (1998), 46, 52, 152, 304, 309, 311 Kumar, Dilip, xiv, 38–39, 130 Kurbaan (2009), 108, 109, 112–117, 121, 131, 132, 141 Lagaan (2001), 28, 63, 298, 309 la langue, concept of, 180 Lamhaa (2010), 108 Lang, Fritz, 164 Larkin, Brian, 10, 131, 136, 182, 186–188, 296 laws and legislations, for controlling profession of tawa’if during British Raj Cantonment Act (1864), 221 Contagious Diseases Act (1865), 221 Lee, John, 14 Lefebvre, Henri, 19, 243 Liberty Entertainment Group, 240 linguistic nationalism, 87 live-in relationships theme, in Hindi cinema, 52 Index 329 Free ebooks ==> www.ebook777.com LOC: Kargil (2003), 108 Love Aaj Kal (2009), 138 Love Story 2050 (2008), 257, 264 Maciszewski, Amelia, 224, 232 Mahabharata (Indian television series), 151 Mahabharata, The (religious book), 164, 168 Main Aisa Hi Hoon (2005), 173 Main aurr Mrs Khanna (2009), 262, 268 Main Hoon Na (2004), 175, 301, 307 Malaysia, share of Indian films in, 99–100 Malbon, Ben, 242 Manushi (2004), 32 Maqbool (2009), 308 masala films, 225, 311 Masala Mixx (South Asian radio music show), 242 Medvedev, Dmitry, 176 Mehta, Nalini, 43 Mehta, Sukehtu, 149 Mela (1948), xiv Mere Mehboob (1963), 130 Mishra, Vijay, 2, 262 Mission Kashmir (2000), 108, 303 modern institutions, as content in Indian films, 66 Mohabbatein (2000), 34, 152, 175, 304 Monsoon Wedding (2001), Moorti, Sujatha, 47 Mother (1926), 164 Mother India (1957), 28, 162, 164, 187, 298 Moulin Rouge (2001), 11 Mowgli series (1967–1970), 164 Mughal-e-Azam (1960), 223 Mujhse Shaadi Karogi (2004), 308 Mulvey, Laura, 226 My Name Is Khan (2010), 13–14, 173, 175, 300 Nala Damayanthi (2003), 264, 266, 270 Namastey London (2007), 266, 269 national identity, films depicting issue of, 52–53 National Identity in Indian Popular Cinema, 1947–1987, 216 Navarasa, concept of, 167 negative language, 117–119 Nehru, Jawaharlal, 134 Nikaah (1982), 130 Nikitin, Afanasy, 162–163 Nine Months (British comedy flick), 52 non-Indian political nationalism, as content in Indian films, 66 nonresident Indians (NRIs), 2, 44, 303 Bollywood spectatorship, 287 cultural identity and “diasporic” consumption of Indian films, 285–290 dual-citizenship scheme, 281 ethnicity and cultural influence, relation between, 290–292 soft power of Bollywood and, 279–285 support to Indian film crews in Australia, 260–262 nontraditional Bollywood consumers (NBC), 296, 314 Nye, Joseph, xiii, 3–4, 8, 14–16, 21, 58, 60, 125, 141, 195, 231, 277–279, 287 obsession, concept of, 118 Of Silk Saris and Mini Skirts: South Asian Girls Walk the Tightrope of Culture, 242 330 The Magic of Bollywood www.ebook777.com Free ebooks ==> www.ebook777.com Oldenburg, Veena Talwar, 221, 224 Om Shanti Om (2007), 30, 33, 35–38, 175, 300 Once Upon a Time in Bollywood: The Global Swing in Hindi Cinema, 237 Paheli (2005), 176 Pakeezah (1971), 214, 215, 218–219, 223 Pakistani characters in Bollywood films, 107–109 Hindustan Ki Kasam (1999), 109–112 Kurbaan (2009), 112–117 negative language, 117–119 sufi love and symbols, 119–121 Pakistani film industry, 126–130 See also Bangladesh film industry; Indian film industry and ban on Indian films, 127–128 challenges of modernity, 136–139 and ideology of Indian films, 130–134 overseas distributorship processes, 127 pleasures of Bombay Cinema, 134–136 pornographic films, 132 quality of films, 129 song-and-dance sequences, 128 Pande, Mrinal, 222 Pardes (1997), 45, 52, 163, 175 Partition (2007), 107 Peepli Live (2010), 299 People of Indian Origin (PIO), 31, 282 personal observations scale, 68, 171 Pestal, Birgit, 300, 304–305 Phir Bhi Dil Hai Hindustani (2000), 46, 175 Pinxten, R., 179–181, 189 plagiarism from Bollywood films, 205 Povinelli, Elizabeth, 249–250 Prasad, Madhava, 2, 15, 136 Pravasi Bharatiya Divas, 281 Pravasi Bharatiya Samman, 281 principal component factor analysis, for Hindi film viewers, 71 Production of Space, The, 243 Quebec sovereigntist movement, 246 Qureshi, Regula Burckhardt, 222, 225 Rab Ne Bana Di Jodi (2008), 175– 176 Race (2008), 30 Radio Sénégal, 183 Raghavendra, M K., 17, 19–20 Rajadhyaksha, Ashish, 2–3, 10, 19, 61, 194, 197, 296 Raja Jani (1972), 166 Ramayana (Indian television series), 151 Ramayana, The (religious book), 164, 168 Ramchand Pakistani, 129 Ramoji Film City, 63 Ranciere, Jacques, 12 Rangan, Baradwaj, 43 Rang De Basanti, 304, 308 Rangeela (1995), 36 Rapid Eye Movies (REM), 18, 299– 301, 303–305, 307–312, 314 Ray, Manas, 287 Ray, Satyajit, 297 Ready, 194 regional language film production, 87 Rerikh, Nikolay, 163–164 Reyes, Eric, 251 Rikki-Tikki-Tavi (1965), 164 Index 331 Free ebooks ==> www.ebook777.com Road to Sangam (2009), 141 Rogers Communication Inc., 246 Roja (1992), 14, 108 Roy, Anjali Gera, 5, 231, 238, 313 Rudd, Kevin, 254–255 Russian school of acting, 170 Russia/USSR, Bollywood films in 1950s, 162–166 1960s–1980s, 166–170 1980s–1990s, 170–173 1990s–2010, 173–176 Awaara (1951), 162, 166 Domashny (state-owned television), 174 Khozhdeniye za tri morya (Pardesi, 1957), 163 Mother India (1957), 162 popularity of, 162 Seeta aur Geeta (1972), 166 Shree 420 (1955), 162 Yash Raj–Yash/Karan Johar phenomenon, 173 Sadma (1983), 172 Sahni, Balraj, xiv Salaam Namaste (2005), 46, 52–54, 254–255, 257, 265–267, 269 Sangam (1964), 166, 176 Sangdil (1952), xiv Sarfarosh (1999), 108 Sargam (1979), 166, 168, 170 satellite rights, 62, 90 satellite television, 52, 194, 196, 205–206, 306 Satya (1998), 29 Satyam Shivam Sundaram (1978), 169 Saussure, Ferdinand de, 180 Scandinavian film industry, 87 SCTV television station, 154 Seeta aur Geeta (1972), 166, 168, 170–171 Senegal, Bollywood’s popularity in advent of Indian films, 182–183 appeal to Senegalese audience, 184 and association with importance of family values, 188 beauty and melodrama associated with, 184–186 clothing and style labeled style indou (“Hindu dress style”), 187 and discourse on similarities, 186–187 Faỗon de vivre (ways of living), 187 Fulani origin and their love for Bollywood, 188 identity dynamics field, 181–189 theory, 179–181 Indophilie concept of, 178–179, 183 as means to create identity dynamics, 189–191 language similarities and, 188 outside Senegal, 188–189 two approaching culturalities and identity construction, 187 Sengupta, Somini, 58 sexuality in Hindi films, influence on Pakistani society, 137–139 Shah Rukh Khan: In Love with Germany (interview-based documentary), 312 Shakti the Power (2002), 169 Sholay (1975), 200–201, 203, 306 Shree 420 (1955), 162, 165–166, 170, 297 Sikh Federation of Australia, 260 silent film production, 86 See also sound film production sinetrons, 154–155 Singh is Kinng (2008), 254 332 The Magic of Bollywood www.ebook777.com Free ebooks ==> www.ebook777.com Singh, Manmohan, 125–126, 141, 231, 254, 278, 282 Singhvi Report (2001), 281 Siwek, S E., 82–84 Slumdog Millionaire (2009), 11, 57–58, 141 soft power of Bollywood as an instrument, 6–7 brand image and, 7–8 content analysis and survey of methods for, 64 phases of, 65 variables and operational definitions, 65–68 cultural invasion, 139–143 definition of, 60 in era of globalization, 59–61 in grassroots Bangladesh, 207 vs hard power, 14–15 vs imperialization, 61–64 many faces of, 15–21 and nonresident subjects, 279–285 notion of, 3–6, 58–59, 278 survey, 67–68 working of, 12–14 Soft Power: The Means to Success in World Politics, soirées indous, 179, 185, 189–190 sound film production, 87 See also silent film production “South Asian” communities in Canada, Bollywood’s identity with, 236–237 Spiderman III, 60 Srinivas, Tulasi, 146–148 Stardust, 312 stranger fetishism, notion of, 245 Straubhaar, Joseph D., 145 Sufi theme in Bollywood films, 119–121 Survival International, 259 Swades (2004), 301, 304 Swaraj, Sushma, 281 Tagore, Rabindranath, 163 Tandoori Love (2008), 312 Taqdeer (1943), 29 Ta Ra Rum Pum (2007), 269, 307 Tawaif (1985), 215 tawa’if films, 213–219 courtesan heroines in, 216, 218 female protagonists, 216 female sexuality, depiction of, 230 feminist film theory, 226 historical culture, depiction of, 219 men and women, characterizations of, 229 musical patronage, 232 obsession and contempt for the tawa’if, 220 portrayal of life in the kotha, 215, 219 representation of the tawa’ifs, 215 tawa’ifs during British Raj, life of, 221–222 womanhood, depiction of, 218 Taxi Driver (1954), xiv Television in India, 43 Televisi Pendidikan Indonesia (TPI), 151 Tere Bin Laden (2010), 123 Tere Pyar Main (2000), 128 Terpikat (2002), 154 Tharoor, Shashi, 4–5, 8, 15, 17, 59, 62, 64, 74, 195, 256–257, 259, 261, 278, 312 Titanic, 63, 152 Titas, 204 Tollywood, Tolstoy, Leo, 163 Toronto South Asian Review, The, 237 Tor zum Himmel (2003), 312 Index 333 Free ebooks ==> www.ebook777.com Tourism Australia, 255, 257, 271 traditional institutions, 65 as content in Indian films, 66 levels of practices, 75 traditional themes, 30, 34 Train to Pakistan (1998), 107 Trimurti (1995), 169 t-tests comparing indigenous vs exogenous content levels for all DVD chapters, 69–70 Twentieth Century Fox, 300 UFO (2010), 155 Umrao Jaan (2006), 215, 218–219, 223, 229–230 United Kingdom (UK) Indian language speakers in, 97–98 revenue share of Indian films on British charts (by language), 98 share of Indian films on British charts (by language), 98 United States of America (USA), 95–97 Indian language films in, 96 Indian language speakers in, 96 Unterschichtenfernsehen (German TV program), 306 Upkar (1967), 28, 109 urban lifestyles, 72, 75 Utsav (1985), 218, 219 Vasudevan, Ravi, 15–16, 31, 48, 148, 195, 311 Vedas, 163 Veer-Zaara (2004), 12, 107, 108, 152, 304 video channels, 205–206 Village Voice, 58 Virdi, Jyotika, 53 “vulgar” films, 207–208 Wake Up Sid, 47 Waterman, D., 85 Wenner, Dorothee, 298 Western cultural practices, as content in Indian films, 66 Wildman, S S., 82–84 Yahaan (2005), 108 Yash Raj Films, 123, 174, 283, 304 You Wouldn’t Even Dream of It (1980), 164 Zee TV (television channel), 90, 305 Zia, General, 127, 201 Zizek, Slavoj, 44 334 The Magic of Bollywood www.ebook777.com ... established the alliance of cultural practices and nationalist aspirations The identity of the cultural artifact with the form of the nation-state highlighted by Prasad facilitates the conflation of the. .. pleads that ? ?the question of the relationship between aesthetics and politics be raised at this level, the level of the sensible delimitation of what is common to the community, the forms of its... ideological state apparatus for the production of the nation and the national subject becomes visible The exposition of Hindi cinema’s appropriation and complicity in the production of the nation established