Bollywood Cinema

Mishra, V.

doi:10.4324/9780203951392

Cited by 16 publications

(11 citation statements)

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“…Furthermore, Mishra (2002) has amply discussed the becoming of Dadasaheb Phalke an iconic representation of local ethos in early cinema. So much so that it amounted to the epithet of ‘Phalke Muni’, and he was noted as saying, ‘my films are swadeshi in the sense that the capital, ownership, employees, and stories are all swadeshi.…”

Section: Melodramatic Local: Despite the Spectre Of Indian Cinemamentioning

confidence: 99%

Melodramatic South Asia: In Quest of Local Cinemas in the Region

Pathak

2017

Journal of Human Values

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What is remarkably unique of the popular cinema in the region of South Asia? How does it lead beyond the vexed notions of the contemporary milieu, namely, hybrid local? How does it transcend the idea of nationally restricted local too? Looking through eclectic motley of popular cinema in the region, this article seeks to unravel such questions with reflexive propositions. It paves the way to comprehend cinematic identity of the region with the adjective of ‘melodrama’, as perceived through the local sociocultural component. It is with the sweep of melodrama, arguably, that cinema of South Asia transcends the notions attached with the category of ‘local’. In this backdrop, this article moots a probing question: What is local in the regional cinemas? Does local mean merely a vexed category in contemporary context of transnational flow? Or there is more to the category of local, beyond the existing formulations? With these questions, this article seeks to participate in the available discourse showing the regional cinema underpinned by the essentially dynamic nature and scope of the local.

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Section: Melodramatic Local: Despite the Spectre Of Indian Cinemamentioning

confidence: 99%

Melodramatic South Asia: In Quest of Local Cinemas in the Region

Pathak

2017

Journal of Human Values

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“…They have to negotiate the marital ideals of compatibility, parity, and attraction they share with Portuguese friends with their mother's ambivalent messages of duty and sacrifice versus companionship and mutual respect. The paradigm of love marriage propagated by the Hindi film industry, itself strongly oriented by the key ingredients of a Western romance (Mishra, 2002), adds to all this. I am the sort of person who finds it difficult not to cook and clean for my husband and his family because my mother always taught me to do so.…”

Section: Aspiring To Companionship and Recognition In Marriage: New C...mentioning

confidence: 99%

Culture, ambivalence, and schismogenesis: Mothering double binds and gendered identities within Cape Verdean and Indian migrant families (Portugal)

Trovão

2016

Culture & Psychology

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This article offers a comparative analysis of two ethnographic case studies on double bind interactions within the mother-child relationship. In-depth interviews with, as well as participant observation among Cape Verdean and Indo-Mozambican migrant families settled in Portugal provide insight into the way in which mothering double bind interactions influence the dynamics of change and resistance involved in the gendered identities of their adult sons and daughters. In the analysis, we draw upon Bateson's dynamical theory about communication, as well as on theories of Psychological Anthropology that reiterate an intersecting dialectic of levels at which ambivalence exists and structures human experience. We argue that confusing or conflicting messages in the mother-child communication are an integral part of a differentiation process (schismogenesis) structured by socio-cultural contradictions that are yet amplified in a context of migration.

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“…Popular Indian cinema, or Bollywood, is one of the largest film industries in the world. Cinemas are said to be ‘the temples of modern India’ (Mishra, 2002, p. 3), with Bollywood producing more than 1000 films per year that are almost double the production of Hollywood (Diwanji, 2020). A simple search of Bollywood online will come up with hundreds of results that reveal how this popular Indian cinema has made its way into global mainstream consciousness (Schaefer & Karan, 2012).…”

Section: Introductionmentioning

confidence: 99%

“…China’s growing interest in Bollywood has taken Indian filmmakers and officials by surprise, making them scramble to find out the secret of success in the world’s second-biggest box office with more than 1.4 billion potential audiences (Laskar, 2018). Past research on the travels of Indian films to Fiji (Mishra, 2002), to Australia (Hassam & Paranjape, 2010), to Africa (Ebrahim, 2008), to the United States (Schaefer & Karan, 2012), and Malaysia (Devadas & Velayutham, 2012) have demonstrated the presence of and enthusiasm towards Bollywood films often in places with a certain number of Indian diaspora and South Asian population. Thus far, to the best of the researcher’s knowledge, the Chinese interest in Indian films is new and has remained underexplored.…”

Section: Introductionmentioning

confidence: 99%

The power of Bollywood: A study on opportunities, challenges, and audiences’ perceptions of Indian cinema in China

Hong

2021

Global Media and China

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India has long been known for its prestigious Mumbai-based film industry, namely Bollywood, and remains by far the largest producer of films in the world. With the growing global reach of Indian cinema, this study looks at an intriguing Indian-film fever over the last decade in the newly discovered market of China. Through examining key factors that make Indian films appealing to Chinese and exploring the opportunities and challenges of Indian cinema in China, this article draws upon insights gained from the narratives of local audiences. Data were collected from semi-structured interviews with 32 Indian-film audiences residing across 14 different cities in mainland China. Thematic analysis identified the following five appealing factors, which explain why the Chinese enjoy Indian films: content-driven story, social values, star power, audience reviews and cultural connections. While a comprehensive list of opportunities was derived showing the potential future of Bollywood in China, results found that China’s unique institutional context and an ongoing India–China geopolitical tensions also present challenges, which in turn add to the overall complexity of films’ success in the Chinese market. This article argues the powerful role of Bollywood in bridging cultures and improving India–China ties, as Indian films have made Chinese people more aware of India in a favourable way.

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Bollywood Cinema

Cited by 16 publications

References 0 publications

Melodramatic South Asia: In Quest of Local Cinemas in the Region

Melodramatic South Asia: In Quest of Local Cinemas in the Region

Culture, ambivalence, and schismogenesis: Mothering double binds and gendered identities within Cape Verdean and Indian migrant families (Portugal)

The power of Bollywood: A study on opportunities, challenges, and audiences’ perceptions of Indian cinema in China

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