Bollywood The History And Key Elements Of Bombay Cinema With An Excursus On Gurinder Chadha S Cross Cultural Film Bend It Like Beckham

Seminar paper from the year 2004 in the subject English Language and Literature Studies - Culture and Applied Geography, grade: 2,0 (B), Dresden Technical University (Institute for Anglistics), course: Hauptseminar Asian British Culture, language: English, abstract: “East is East, and West is West and never the twain shall meet!” (Rudyard Kipling) It cannot be denied that the division between these opposite cultural poles exists – but, when reflecting on the Bollywood subject, one has to disagree with this famous quotation by Rudyard Kipling as the Indian cinematic world proves that the East and the West can be in unison. The films of this branch are not only influenced by their homeland’s folk tradition, they are equally affected by MTV’s video styles, young fashion and – of course – Hollywood movies. Likewise, it is true that the Indian spirit has recently become perceptible in Western civilization. Nowadays’ music, clothi ng and film industry – to name just a few – seem to be more and more inspired by South Asian culture; Indian is said to be “the funkiest trend around”1 (Sardar, page 14-17). As we shall see, both poles approach one another. Is it any surprise then that especially non-resident Indians, living in the Western hemisphere, are the centre where both cultures meet? Indian-English director and producer Gurinder Chadha portrayed this mixture of Western elements and Bollywood flair successfully in her latest movie Bend it like Beckham (2002). Among other questions, for example those about the history of Bombay cinema, the film industry’s costs and contents of typical Bollywood epics, this paper will also deal – in an excursus – with this particular movie. Some general pieces of information about this special film industry might, first of all, provide readers with basic facts necessary for this subject. Every day, 11 million cinemagoers visit 13,000 cinemas across India and, what is more, thousands of Indian films are watched day by day by millions of non-resident Indians living abroad – generally, in the UK or the US. [...] 1 Examples for Bollywood slowly entering the western world can be easily displayed: Andrew Lloyd Webber successfully produced his new musical Bombay Dreams, Monsoon Wedding was a hit in Western cinemas, the album The very Best of Bollywood Songs recently reached the UK charts, the BBC’s advertising campaign includes colourful trailers with female Indian dancers and Pot Noodle even created a new flavour named Bombay Bad Boy (Sardar, page 14-17; Shamsie, page 26-29)!

The field of Bollywood studies has remained predominantly critical, theoretical and historical in focus. This book brings together qualitative and quantitative approaches to tackle empirical questions focusing on the relationship between soft power, hybridity, cinematic texts, and audiences. Adopting a critical-transcultural framework that examines the complex power relations that are manifested through globalized production and consumption practices, the book approaches the study of popular Hindi cinema from three broad perspectives: transcultural production contexts, content trends, and audiences. It firstly outlines the theoretical issues relevant to the spread of popular Indian cinema and emergence of India’s growing soft power. The book goes on to report on a series of quantitative studies that examine the patterns of geographical, cultural, political, infrastructural, and artistic power dynamics at work within the highest-grossing popular Hindi films over a 61-year period since independence. Finally, an additional set of studies are presented that quantitatively examine Indian and North American audience consumption practices. The book illuminates issues related to the actualization and maintenance of cinematic soft power dynamics, highlighting Bollywood’s increasing integration into and subsumption by globalized practices that are fundamentally altering India’s cinematic landscape and, thus, its unique soft power potential. It is of interest to academics working in Film Studies, Globalisation Studies, and International Relations.

Provides a resource on the development of popular cinema within India, with, of course, an emphasis on Hindi films produced in Bombay. Tracing the development of Indian popular cinema from the early twentieth century onwards, it allows users fully to comprehend the role of film and popular culture in colonial and independent India, the evolution and nature of different film genres, the importance of film music, and the great regional diversity 'Bollywood' encompasses

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