By S. Banaji
Interpreting 'Bollywood' explores the connections among representations of gender, sexuality and ethnicity in Hindi movies, socio-political contexts and the development of gender, sexual and ethnic id by way of younger viewers contributors in India and the united kingdom. prolonged excerpts from in-depth interviews with younger audience, observations and unique photos offer interesting and detailed insights approximately spectatorship in addition to fabric for comparability with theories approximately Hindi movie and experiences of movie audiences and pop culture world wide.
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Additional resources for Reading 'Bollywood': The Young Audience and Hindi Films
Taking the view that Hindi films are a major ‘cultural and ideological force’ and are nothing if not political (1999: 16), he argues that they do not merely reflect social reality but also construct it. Proposing understandings of both ‘language’ and ‘reality’ which owe much to post-structuralism and to the writings of Raymond Williams, Kazmi suggests that Hindi films are a linguistic and cultural expression of the battle over meanings and values which takes place in every society between members with different concerns and interests.
Were these viewers so different from their Indian counterparts? Did they go to the cinema for such different reasons? Did they, any more than members of comparable social classes in Indian audiences, want to see representations of India and the diaspora consciously exorcised of poverty and social injustice? Did all British-Asian youth – including second-generation Pakistanis, Indians from the Caribbean, Africa, India and elsewhere, Bangladeshis and Nepalis – who watch Hindi films respond to them so similarly that a new category of film, the NRI romance, had to be made and repeatedly remade to satisfy their (implicitly patriarchal and materialistic) longings and tastes?
In Chori Chori Chupke Chupke (By Theft, Softly, Softly, Abbas Mastan 2001), beset by off-screen scandals due to allegations of corrupt financing and the investigation of these allegations, impersonation is carried so far that even the foetus inside a woman’s womb becomes the double of another inconceivable but much believedin child and is blessed in a ceremony of astounding, if rather surreal, seriousness. If many successful Hindi films (cf. Trishul (1978), Maine Pyar Kiya (1989) and Lagaan, (2001)) are about nothing else, then, they do seem to be about the construction of a dream-space which cuts across class boundaries, where aspiration and desire blend with blunt scepticism and common sense to reiterate the possibility, even the probability of true love, family harmony and justice for all.
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