From Superman to Shahenshah: Stardom and the Transnational Corporeality of Hrithik Roshan

Bose, Nandana

doi:10.1057/9781137349781_9

Cited by 4 publications

(1 citation statement)

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“…Recent scholarship on star figures include the analyses of the Anglo-Indian dancer/vamp Helen (Basu 2013), the networked stardom of Shah Rukh Khan in the digital era (Chakravarty 2013), and the transnational corporeality of Hrithik Roshan (Bose 2013). This article is the first academic study of the emerging stardom of Vidya Balan, and represents an early intervention in understanding how a female star in a predominantly male-oriented industry has successfully positioned herself in post-millennial Hindi cinema as a result of the conjuncture of favourable industrial and technological changes: radical transformations in the modes of exhibition and spectatorial practices; shifts in cinephilia driven by urban youth audiences, their leisure activities, and rising disposable incomes, tastes, and exposure to world cinema; the increasing importance of transmedia marketing and promotions; and the establishment of new production houses that have encouraged a new generation of young directors and scriptwriters to create substantive female characters bestowed with narrative agency.…”

Section: Brief Literature Review Of Indian Star Studiesmentioning

confidence: 99%

‘Bollywood’s fourth Khan’: deconstructing the ‘hatke’ stardom of Vidya Balan in popular Hindi cinema

Bose

2014

Celebrity Studies

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This article, seeking to address a gap in the study of post-millennial female stars in popular Hindi cinema, examines the reasons behind the rising stardom of Vidya Balan, tagged as 'the fourth Khan' in the Bombay film industry. It represents an early intervention in understanding how a female star in a predominantly male-oriented industry has become a 'gamechanger' as a result of the conjuncture of favourable industrial and technological changes, and transforming spectatorial tastes and practices. These include radical changes in the sites of exhibition such as the multiplex; shifts in cinephilia driven by urban youth audiences; distinctive marketing and promotional strategies that have partially engendered Balan's 'hatke'/offbeat stardom; and the establishment of new production houses that have encouraged a new generation of young directors and scriptwriters to create substantive female characters endowed with narrative agency and a feminist sensibility. It also argues that Balan's stardom is an intriguing anomaly when compared with her female contemporaries in terms of her performance style, consistent box-office success, and choice of unconventional roles that have narratively reduced the male hero to a formality.

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Section: Brief Literature Review Of Indian Star Studiesmentioning

confidence: 99%