Abstract
A presupposition of total unity between subsections of any audience (whether delineated by location, ethnicity or class) appears unwarranted; the precise extent to which children, youth and their parents, or members of different religious or national groups, share the same understandings of media texts can only be gauged via research into audience perceptions of specific texts within a given, and bounded, social context. Although notions of diaspora and hybridity are not discussed extensively in this book,1 inherent in the study of the meanings Hindi films hold for young British-Asian audiences is a sense of their experience as diasporic individuals.
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