Abstract
This paper examines the evolving representations of whiteness in Bollywood film through an exploration of the figure of the gori, or white woman. Coded as both essentially Other and desirable, this figure manifests Bollywood’s ambivalent relationship with whiteness, particularly as the industry attempts to formulate a sense of “Indianness” for diasporic audiences whose growth, in turn, parallels the increasing Westernization of the Indian heroine. This paper analyzes the framing of whiteness in popular Indian cinema from the 1930s to the present and explores how recent renderings of the gori figure are indiciative of Bollywood’s shifting cultural politics.
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