The 'Bollywoodization' of the Indian cinema: cultural nationalism in a global arena

Rajadhyaksha, Ashish

doi:10.1080/1464937032000060195

Cited by 223 publications

(96 citation statements)

References 2 publications

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“…This is the primary producer and exporter of the pop culture that is distributed, legally or otherwise, and consumed regionally. In the case of South Asia, the dominant player is Bollywood (Rajadhyaksha 2003). In mainland Southeast Asia, Thai pop culture is well received in Laos and areas bordering Myanmar (Jirattikorn 2008) and Cambodia.…”

Section: Pop-culture Regionalismmentioning

confidence: 99%

Inter-Asia referencing and shifting frames of comparison

Huat¹

2015

The Social Sciences in the Asian Century

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Section: Pop-culture Regionalismmentioning

confidence: 99%

Inter-Asia referencing and shifting frames of comparison

Huat¹

2015

The Social Sciences in the Asian Century

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“…Since Indian or Hollywood movies mostly remain unchanged across countries, international brands, even if placed in local media through cablecast or broadcast, may serve as a global marketing strategy (Gould, Gupta, & Grabner-Krauter, 2000). It is for this reason that since the last few years, multinational brands have looked to Indian movies to reach the Indian market (Rajadhyaksha, 2003).…”

Section: Brand Placement In Indian Moviesmentioning

confidence: 99%

Consumer Response to Brand Placement in Movies: Investigating the Brand-Event Fit

Nagar

2016

Vikalpa: The Journal for Decision Makers

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Attitude towards the Brand includes research articles that focus on the analysis and resolution of managerial and academic issues based on analytical and empirical or case researchMovies offer the perfect media site for placement of brands as part of the emerging marketing strategy. Although attempts to analyse brand placements have been made in the past, the same needs more attention in the Indian context. Given the exposure of Indian audiences to both national and international entertainment industry, it is only reasonable to expect the entertainment event context to have an impact on consumers' evaluation of the brands placed in each context.The present research attempts to extend the applicability of the idea of fit, which was till now largely confined to sponsorship and subjects it to the exploration of finding a fit between brands and specific events, in particular, movies. Because the link between country of origin of the entertainment event (national/international) and brand, placement is a relevant area of speculation, the present research aims to study this relationship within the national/international context. Results of an experimental study among 120 respondents are as follows:• Brands placed in a national event will create more positive brand evaluations in terms of positive attitude towards the placed brand and intention to purchase than brands that are placed in an international event.• When the presence of a brand is consistent with the context in which it is placed, it would evoke more positive attitudes and behaviour than an incongruent placement.• Evaluation of results further reveals that although a brand that fits well with the context in which it is placed generates a positive evaluation of the placed brand, the condition of a brand-event misfit in a Hollywood context will create more negative evaluations among the Indian audiences than if such a disconnect appeared in a Hindi film. In other words, a brand may have more to lose in case of a misfit with the international entertainment event than with a national entertainment event.Based on the findings of the present study, it is suggested that multinational brands must look at the Indian movies as a suitable medium for reaching out to the prospective buyers as Indians have become consumers of global brands and thus pose to be a huge market for global brands.

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“…Rajadhyaksha (2004), for instance, speaks of the "Bollywoodization" of Indian cinema, and Thussu (2009) There is a consensus, though, that Bollywood is best exemplified by the blockbuster Hindi films of the mid-1990s, released immediately after the "liberalization" or opening up of the Indian economy to foreign investments, and more importantly, of the national government's declaration that cinema is an "industry" and is therefore entitled to assistance from financial institutions like banks and insurance companies and to approach the stock markets for public participation as shareholders. Films targeted at the affluent overseas Indian proliferated during the first decade of the new millennium; so did academic research, largely by Indians of the diaspora, on this new type of audiovisual culture.…”

Section: The Many Meanings Of "Bollywood"mentioning

confidence: 99%

“…Indeed, it is the devotee who looks up to the gods and takes their darshan (Sanskrit, "blessed vision", "divine gaze"). For some anthropologists and film scholars (e. g. Babb 1981, Eck 1998, Prasad 1998, Rajadhyaksha 2004) the concept of "darshan" is central to popular Indian/Hindu visual culture; it is used primarily in religious contexts though also in some secular contexts. It points to the relationship between the visual object and the viewer/spectator.…”

Section: Early Indian Cinemamentioning

confidence: 99%

“…To Thussu (2013), this "field" has "remained predominantly critical, theoretical and historical in focus," but what the author overlooks is that it is pretty narrow in scope, restricted as it is to Bollywood, the "export-oriented transmedia product" (Dwyer & Pinto 2011: xiv) with its focus on the North-Indian Hindu family, its traditions and its values. For Rajadhyaksha (2004), Bollywood is not just a product but an "ensemble of interests that govern the contemporary entertainment industry, where film is only one element, even if from which other entertainment and consumer sectors -television, music, advertising, fashion and websites -derive cultural capital" (Vasudevan 2011, 8), For Rajadhyaksha, the typical Bollywood film addresses a family audience, though since the late 1990s it has been mainly feeding "the nostalgia industry" (Rajadhyaksha 2004, 137) of the Indian diaspora. He points out that in the 1950s, the Indian State regarded cinema as the repository of national cultural values, and attributed to it a nationalist function, namely, that of national integration.…”

Section: The Many Meanings Of "Bollywood"mentioning

confidence: 99%

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The 'Bollywoodization' of Popular Indian Visual Culture: A Critical Perspective

Kumar

2014

tripleC

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Abstract:The roots of popular visual culture of contemporary India can be traced to the mythological films produced by D. G. Phalke during the decades of the 'silent' era from 1912 to 1934. The era of the "talkies" of the 1930s ushered in the "singing'" or musical genre, which together with Phalke's visual style remains the hallmark of Bollywood cinema. The history of Indian cinema is replete with films made in other genres and styles (e. g., social realism, satires, comedies, fantasy, horror, or stunt) in the numerous languages of the country. However, it is the popular Hindi cinema (now generally termed Bollywood) that has dominated national Indian cinema and its audiovisual culture. It has hegemonized the entire film industry as well as other popular technology-based art forms including the press, radio, television, music, advertising, the worldwide web, the social media, and telecommunications media. The form and substance of these modern art forms, while adapting to the demands of the new media technologies, continued to be rooted in the visual arts and practices of folk and classical traditions of earlier times.

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The 'Bollywoodization' of the Indian cinema: cultural nationalism in a global arena

Cited by 223 publications

References 2 publications

Inter-Asia referencing and shifting frames of comparison

Inter-Asia referencing and shifting frames of comparison

Consumer Response to Brand Placement in Movies: Investigating the Brand-Event Fit

The 'Bollywoodization' of Popular Indian Visual Culture: A Critical Perspective

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