Spectres of Sentimentality: the Bollywood Film

Ideology and Representation of the Nation: Aggressor and Transgressor in Film Sarfarosh

“…There are many Bollywood films of this melodrama subgenre such as Pukar (call), Zameen (Earth), Fanaa, Fiza, Roja (Rose), Mission Kashmir (Mission Kashmir), Deewar (Wall), Sarhad Par (Across the Border), Border (Border), Refugee (Migrants), Main Hoon Na (I am here to help) and Bombay (Bombay) to name a few, which are perceived as fostering hatred in the public sphere, in fact harmless and only maximize profits due to Bollywood widespread global presence (Dudrah, 2008;Mehta, 2005;Mishra, 2009;Novak, 2010;Schaefer & Karan, 2010).…”

“…Nevertheless, in addition to this, as perceived and motivated by the economic liberalization and free media exchange, Urdu language may be the last stronghold and source of survival in Bollywood cinema (Aneesh, 2010;Virdi, 2003). The increasing global popularity of Bollywood films is due to the song and dance sequences and is the contribution of the Parsee theatre and Urdu language (Dudrah, 2008;Mehta, 2005;Mishra, 2009;Novak, 2010;Schaefer & Karan, 2010). About hegemony, Storey (2006) argued that the production and reproduction of the idea of bourgeoise class intends not to ‗force consciousness' of the masses, but to get consnetof the people for ‗getting allied with the interest of the hegemonic alliance of ‗power bloc'.…”

Globalisation Of Popular Culture: From Hollywood To Bollywood

“…Bollywood is the name of the mainstream Indian movie industry based in Mumbai (Dwyer, 2006) and is fi rst of all a national centre of Indian fi lm production, which also occurs in other major locations in India. Bollywood is in many ways a culturally dominant force in modern India (Mishra, 2009;Rajadhyaksha, 2009;Rajadhyaksha and Willemen, 2002). Evidently, it has had huge impact on various forms of identity construction at national, regional, local and individual levels.…”

“…Bollywood goes back to the beginnings of cinema in India with D.G. Phalke's Raja Harishchandra in 1913(Mishra, 2009. In the 1930s, Bollywood developed a handful of studios which by the early 1940s produced around two third of Bollywood's 150-200 annual fi lms (Barnouw and Krishnaswamy, 1963).…”

“…Notably, numerous Muslim producers, writers, lyricists and actors have signifi cantly contributed to popular Indian cinema and continue to do so (see Chopra, 2007). Although the language used in Bollywood movies is a blend of Hindi and Urdu (spoken by a little more than 50 per cent of India's 1.2 billion people), Bollywood's presence and impact have been quite dominant in India and in the Indian diaspora worldwide (Mishra, 2009) and have increased the reach of Hindi/Urdu as a global lingua franca. With its growing international effect on movies, music, dance and various forms of artistic expression, Bollywood has created its own robust global brand and its own big business, attracting colossal investments (Lorenzen, 2009).…”