A national cinema’s transnational aspirations? Considerations on “Bollywood”

Virdi, Jyotika

doi:10.1080/14746689.2017.1351785

Cited by 4 publications

(5 citation statements)

References 47 publications

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“…Southeast Asian countries (the largest importers) and countries with large Indian populations import movies in over 20 languages from the industry (Lee et al, 2013;Stephanie et al, 2012). Regional films like Tamil in Madras and Bengali films in Calcutta have helped India's film industry grow, according to Virdi (2017). Other regional film industries 132 produce Assamese, Bhojpuri, Gujarati, Kannada, Malayalam, Marathi, Punjabi, and Telegu films.…”

Section: Film Culture: Indiamentioning

confidence: 99%

“…In the 1990s, Bollywood reinvented national film with new theatrics (Prasad, 2008). Virdi (2017) thinks Indian cinema has permeated the international market, especially in the West, but popular Indian films, except for Slumdog Millionaire, have failed to become transnational phenomena. Indian global cinema emphasises national identity, unlike Western international cinema.…”

Section: Film Culture: Indiamentioning

confidence: 99%

“…Indian global cinema emphasises national identity, unlike Western international cinema. Thus, Indian movies should question its predominance (Virdi, 2017).…”

Section: Film Culture: Indiamentioning

confidence: 99%

“…Local viewers accepted Indian cinema's transformation due to this adaptation's veiled plot and narrative changes. Indian cinema's worldwide market expansion has been recognised by most countries, especially non-Western cultures, including Africa, Eastern Europe, and the Middle East (Virdi, 2017). The economy benefits most from international Indian films.…”

Section: Film Culture: Indiamentioning

confidence: 99%

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A Textual Analysis of Creative Multimedia Approaches in Tamil Movie Title Posters

Komalata,

Shyi Nian

2024

JCLC

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Creative multimedia refers to integrating different media elements, such as text, graphics, audio, video, animation, and interactive elements to convey a message, tell a story, or evoke emotions in a visually compelling and engaging way. Formation of Tamil movie titles is a crucial process of moviemaking because the director intends to reveal the essence of the movie itself, like a title of a journal article. Tamil cinema, also known as Kollywood, has faced a lot of controversies, and one of them is choosing the title of a film. These days, directors concentrate on movie titles with creative ideas to reach audiences. Therefore, this study intends to 1) analyse creative multimedia approaches in Tamil movie title posters and 2) reveal the meaning and storyline of the film from Tamil movie title posters. This descriptive qualitative study used Tamil movie titles (English version posters) using purposive sampling from the production’s official pages. The data support the findings of the formation of Tamil movie titles collaborating with creative multimedia approaches using textual analysis. Lately, directors or designers have been using creative multimedia approaches to attract the audience’s interest in the movie’s title from pre-production until release. The study disclosed that symbols and creative multimedia approaches became interesting domains to keep the titles intact. The findings help to extract the storyline by inserting creative multimedia into the titles so that the audience can presume the storyline, which attracts their attention and draws them into the theatres.

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Section: Film Culture: Indiamentioning

confidence: 99%

Section: Film Culture: Indiamentioning

confidence: 99%

“…Indian global cinema emphasises national identity, unlike Western international cinema. Thus, Indian movies should question its predominance (Virdi, 2017).…”

Section: Film Culture: Indiamentioning

confidence: 99%

Section: Film Culture: Indiamentioning

confidence: 99%

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A Textual Analysis of Creative Multimedia Approaches in Tamil Movie Title Posters

Komalata,

Shyi Nian

2024

JCLC

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“…However, with the economic liberalisation of 1991 begun the largescale corporatisation of the Hindi film industry leading to the christening of mass production of Hindi cinema as Bollywood (Punathambekar, 2013). With Bollywood making a substantial mark and Bombay evolving into the financial capital of the country as Mumbai lead to Bollywood, the popular Indian cinema to be theorized as a national cinema (Virdi, 2017). Resultantly, nuanced regional cinema fast disappeared under the magnanimous shadow of the Bollywood (Booth & Shope, 2014).…”

Section: Unpacking the 'Popular' In Pop Culturementioning

confidence: 99%

Popular Musics of India: An Ethnomusicological Review

Chakravarty

2019

J Ethn Cult Stud

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This article brings into discussion the presence of a contemporary popular music culture amongst globalised, urban, Indian youth which is perpetuated by Electronic Dance Music (EDM) festivals. This paper begins with the argument as to how there is no one monolithic popular music scene in India by presenting a historical analysis of a timeline for popular musics of India, a scene that has received scanty scholarly attention.

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China and Bollywood: The Potential for Building the World’s Largest Film Market

Karan

Schaefer

2020

China-India Relations

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A national cinema’s transnational aspirations? Considerations on “Bollywood”

Cited by 4 publications

References 47 publications

A Textual Analysis of Creative Multimedia Approaches in Tamil Movie Title Posters

A Textual Analysis of Creative Multimedia Approaches in Tamil Movie Title Posters

Popular Musics of India: An Ethnomusicological Review

China and Bollywood: The Potential for Building the World’s Largest Film Market

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