Abstract
ABSTRACTUsing Mani Ratnam's 2004 Hindi and Tamil adaptations of the 2000 Mexican film, Amores perros, this article explores the adaptation of a transnationally successful film as a key strategy for film-makers seeking global audiences, a process that dialectically constitutes transnational film style in any given period. It considers the unique constraints Indian film-makers pursuing this strategy face, given the distance between Indian film conventions demanded by the local audiences and transnational conventions that might be more appealing to non-Indian audiences. Comparing the Hindi (Bollywood) and Tamil versions reveals textual traces of a hegemon-subaltern relationship among Indian film industries that reflects broader patterns, with Hollywood as a global hegemon. This comparison also reveals how the approximation of transnational style entails a corresponding diminishment of political content.
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