Bollywood Research Articles

Deep learning based bi-polar sentiment classification of movie reviews in Hindi

With evolving technology, Hindi web content is growing considerably and catching popularity as the larger audience feels more connected and heard using their native language. A volcanic growth in online movie reviews (MRs) in Hindi has been observed lately; manually analyzing them is impossible. Hence, the research problem of automatic organization and classification of Hindi reviews is apparent as this can help viewers decide whether a movie is worth watching or not. This work focuses on developing a deep learning-based system for bi-polar sentiment classification of MRs for resource deficient language – Hindi. To this end, a primary Hindi movie review (MR) corpus is made and manually annotated with binary polarity class labels - positive or negative. The corpus is preprocessed using the preprocessing steps, and Random Word Embeddings (WEs) are utilized for feature extraction. This paper proposes an ensemble CNN_BiGRU, which is an integration of 1D CNN with BiGRU for the bipolar classification of Hindi MRs. To prove our ensemble’s efficacy; other widely used mainstream deep learning models (DLMs) such as Convolutional Neural Network (CNN), Recurrent Neural Network (RNN) based models – Gated Recurrent Unit (GRU), Long Short-Term Memory (LSTM), are also applied and compared with proposed ensemble using average classification accuracy. Empirical results show the effectiveness of the proposed ensemble in achieving a reasonably good average accuracy of 89.366%. The results indicate that proposed CNN_BiGRU compares favorably to the state-of-the-art DLMs applied and hence gives an effective solution for sentence-level bi-polar classification of MRs in a resource deficient scenario.

Indian Cinema: A Bridge of Identity for Indian Diaspora with Special Reference to Bollywood Movie Pardes

Films have always been a common source of education, entertainment, and information across the world. Here Beard states “films are among the most common artifacts of modern popular culture that generate and reflect diverse cultures and the traditional values of a society. Consequently films have become a major part of modern society, through which people are becoming aware of different cultures from all over the world”. The paper aims to study the cultural studies and seeks to explore the role of Bollywood movies especially with special reference to movie Pardes (1997), directed by Subash Ghai. These kinds of movies played an important role in identity construction of Indian diaspora across the world. Diaspora may use media products as a form of cultural maintenance for their roots. The interesting fact is that though sociological factors such as friends, family and peer groups always play an important role in making the Indian identity. Bollywood movies not only act as a bridge between home, homeland and diaspora but they also help them to transmit the values, culture and traditions. All these together play a significant role in maintaining their ‘Indianness’, in Abroad.

THE STRATEGIC ROLE OF VISUAL AND PERFORMING ARTS AS INSTRUMENTS OF INDIA’S SOFT POWER IN INTERNATIONAL POLITICS

The idea of soft power has become increasingly popular in the field of international relations, where cultural diplomacy is essential to influencing how the global community looks a country. India, with its vast and diverse cultural heritage, has strategically employed its visual and performing arts as critical instruments of soft power. From Bollywood films and classical dance forms like Bharatanatyam and Kathak to its traditional music and fine arts, India has utilized these art forms to project influence on the global stage. This research paper explores how these various artistic expressions not only serve as tools of India’s soft power but also foster diplomatic relationships, enhance bilateral ties, and build a positive international image. Additionally, the paper analyzes the historical roots of these cultural forms, their evolution over time, and their continued relevance in contemporary global diplomacy. By assessing case studies of India’s use of art and culture in fostering international partnerships and elevating its status in global governance, the study sheds light on how the arts contribute to India's foreign policy goals and solidify its presence in the complex realm of international politics.

Trajectories of Care: Representations of Empowered Mothering in Contemporary Bollywood

Mothering a child with disability increases caregiving responsibilities considerably, making the mother assume the role of the nurse, the therapist, and the educator. Uninterrupted care work, societal surveillance and prevalent stigma severely interfere with the mental, physical, and existential well-being of such mothers. Through a thematic analysis of select contemporary Bollywood films, this article maps the trajectories of care and examines the alternative mothering strategies adopted by mothers of children with disabilities to take care of their children and themselves. A critical examination of these on-screen mothers provides an insight into the shifting discourses of mothering practices in India.

Stalking: A Crime Normalized by Bollywood

The media has become so pervasive in our lives that it is impossible to avoid the ideas and messages that are being broadcast to us, even if we make a concerted attempt. The Bollywood business is a prime illustration of this, as it pervades practically every aspect of Indians’ lives. Bollywood is the world's largest film industry in terms of the number of movies produced annually in a single nation, with 364 movies being shown each year (2017). Thousands of people flock to theatres to see Bollywood films, which are well received throughout the country. Various scenes and songs from these films leave an impression on the audience and often these can be extremely negative. In several Bollywood movies, stalking is portrayed in a very normalized manner. These movies show that stalking a person without their consent is completely okay. These negative aspects in Bollywood movies have a strong impact on all who watch them and often the act of stalking is enacted by these very people in real life scenarios which leads to the commission of an even more gruesome crime. The author of this research paper will be analysing the normalization of stalking in Bollywood movies and songs. The author will be examining the effect this normalization by Bollywood has on people’s minds. The author will also be studying the concept of masculinity, hypermasculinity that is portrayed in Bollywood movies and how it affects the perception of men about women and stalking.

The exploitation of women: Narrative of oppressed women in movies

AbstractThe status of women in Indian society has been paradoxical emanating from a deeply embedded socially construed gender‐based exploitation owing to historical and sociological reasons. Moreover, the intersectionality of gender and caste has made them one of the marginalized social groups who experience discrimination, exclusion, and exploitation. Plethora of Bollywood movies, and regional cinema narrate the humiliation and exploitation of women in various spheres of their life. Some of the recent Bollywood and regional cinema has successfully attempted to highlight the gender‐based exploitation and exclusion. Therefore, drawing upon an Amazon web series ‘Dahad’ and a movie ‘Kathal‐a jackfruit mystery’ the paper tries to explore the struggle, exploitation, discrimination, aspiration, and assertion of women against existing social oppression. Taking the inferences from these two movies, the paper endeavors to seek the answer to the following questions: What are the nature and pattern of gender and caste‐based humiliation of women? How gender and caste intersect in their humiliation and social exclusion? How are women making their own struggle against gender oppression and exploitation in society? What is the tactic they use to negotiate gender discrimination? How are they asserting against gender‐based discrimination? How are they asserting their ‘agency’ in patriarchal and hierarchical society? What aspire and motivate them to fight for their dignity?

Knowledge Born through (In)Justice: Gender Testing, Imposed Humiliation, and Epistemic Interventions in the Indian Hindi Film Rashmi Rocket

Knowledge Born through (In)Justice: Gender Testing, Imposed Humiliation, and Epistemic Interventions in the Indian Hindi Film Rashmi Rocket

Unraveling Bollywood’s Propaganda: A Framework for Analysing Political Narratives in Indian Cinema

This research paper delves into the intricate relationship between Bollywood cinema and propaganda. Bollywood, India’s film industry, has been a powerful force in shaping national identity and cultural norms. However, as with any form of media, films can serve as vehicles for propagating ideologies and agendas. Against the backdrop of the Bharatiya Janata Party (BJP)-led government’s second tenure, marked by an upsurge in propaganda-laden films, this paper seeks to develop a comprehensive framework for evaluating propaganda elements in Bollywood movies. Drawing inspiration from Herman and Chomsky’s propaganda model and Matthew Alford’s adaptation of it for Hollywood, this research establishes the Bollywood propaganda model. The model comprises five key filters namely, concentrated corporate ownership, advertising, sourcing, flak and the enforcers and anti-‘other’ as a control mechanism. This research paper underscores the applicability of the propaganda model to Bollywood, shedding light on the industry’s role in shaping public perceptions and beliefs. While the model offers valuable insights, further research is needed to address the complexities and variations within the Bollywood film landscape comprehensively. Continuous exploration and refinement of the framework are essential for a more nuanced understanding of propaganda’s implications in Bollywood cinema.

The 1983 Cricket World Cup Victory and its Cinematic Representation

Cricket, which is very popular in India and often treated as a religion, has had a profound impact on the nation’s collective consciousness. The sport has the power to unite millions of people, transcending boundaries, and differences. A significant moment in the history of Indian cricket that brought the entire nation together was the 1983 Cricket World Cup victory. The Indian cricket team, captained by Kapil Dev, achieved an improbable triumph, defeating the mighty West Indies in the final. This historic cricket victory has been etched in the memory of every cricket-loving Indian and served as an inspiration for generations to come. The remarkable journey of the 1983 World Cup has been revisited and celebrated in the Bollywood movie ‘83, directed by Kabir Khan in 2021. This research will delve into the historical significance of India’s first Cricket World Cup victory and how the movie ‘83 captures the essence of that remarkable moment. It also sheds light on the connection of Bollywood and Indian cricket and will try to touch on various aspects related to this.

ASSESSING AUDIENCE RESPONSE TOWARDS COLORIZATION OF ICONIC BLACK-AND-WHITE BOLLYWOOD FILMS

In cinema, colors have significance on various levels, including the physical, psychological, and aesthetic. But adding color to black-and-white films so that they appear realistic to the majority of human observers was a significant challenge for the film industry in the 1980s, as it was a very difficult and time-consuming process. However, with the advancement of artificial intelligence and technical developments, the process of colorization has improved, which makes it possible to turn black-and-white films into vivid experiences in a matter of hours. Colorization performs by transferring out the luminance or scalar value, stored in each pixel of a B&W image to a three-dimensional color space.The objective of this research is to assess the reception of colorized versions of iconic black-and-white Bollywood films by contemporary audiences, particularly the younger generation. By employing a mixed methods approach that combines both qualitative and quantitative techniques, we explore whether the introduction of color through digital technology and recent artificial intelligence motivates the new generation to engage with these venerable classics.As case studies, five well-known Bollywood movies from various genres—Mughal-e-Azam (1960), Shree 420 (1955), Naya Daur (1957), Kala Pani (1958), and Dil Tera Deewana (1983)—were chosen. Short video montages featuring scenes from both the colorized and original black-and-white versions of these films were presented to undergraduate and postgraduate students at a university. Nonprobability purposive sampling was used to acquire the data, and a mixed-methods strategy was used to analyze it. The results show that colorization has a substantial effect on younger viewers, who have a greater desire to see these movies in color. This study highlights the evolving importance of colorization in preserving classic cinema and reviving its appeal to modern audiences. Although not devoid of controversies, the process of colorization has emerged as a means to bridge the generational gap in the appreciation of cinematic legacy.

From Orthodoxy to the Universal Logic of Human Rights: A Case Study of Film Thappad (The Slap)

Abstract This article analyses the film Thappad (The Slap) (2020) directed by Anubhav Sinha, which portrays slapping as a form of domestic abuse and a violation of women’s right to self-respect. This study investigates the incorporation of Universal Human Rights principles into the discourse of Hindi cinema. Through textual analysis of the film text, the paper examines how the film employs the language of rights as a counter-narrative against patriarchal ideologies, promoting gender equality and dignity within domestic settings. It argues that by countering the conservative cultural perspectives pertaining to spousal abuse through the discourse and philosophy of Human Rights, the film contributes to societal transformation. The paper identifies a shift in the film’s discourse from traditional, orthodox narratives to universal narratives centred around rights.

Representations of mothers having children with disability in Hindi cinema: a feminist thematic analysis

Societal notions of disability are riddled with negative stereotypes with Tragedy, Charity and Medical models being most prevalent in people’s consciousness. India’s Hindi film industry caters to a massive audience and its films play a significant role in reflecting social dynamics, including those around disability. This study used the critical-feminist thematic analysis framework to assess portrayed intersections between motherhood and disability in three successful films- Taare Zameen Par (2007), Paa (2009), Hichki (2018). Four primary themes emerged - (i) Motherhood and other identities, (ii) Mothers as sources of emotional support (iii) Mothers as advocates (iv) Role of mothers vis-a-vis fathers. The films’ protagonists were depicted as enduring several challenging circumstances and mothers played a pivotal role in providing their children safe spaces. While all mothers were supportive of their children, differences in their responses were grounded in their levels of awareness about disability and their financial independence. Implications are discussed.

Sexualized Objects and the Embodiment of Caste Honour: Rape in Dalit Women-centric Movies

Several popular Hindi movies feature attempted rapes and gang rapes, reinforcing the rape culture, which must be problematized. The study analyses selected movies and demonstrates that the caste and gendered form of sexual violence carries multiple levels, the nature of gang rape, rape as erotic entertainment, and an embodiment of caste honour with rape as an element of revenge. These elements are unique to Indian movies as they incite caste honours, and normalize sexual assaults, supporting and glorifying Indian rape culture. The study illustrates the awareness of the culture of caste and gendered honour-based dominant caste ideologies in selected movies and demonstrates how these can legitimize and encourage rape. This could lead to a better-integrated understanding of this rural rape culture. The study argues that the Indian mainstream film industry has mainly portrayed Dalit women’s rape and suggests Savarna filmmakers’ obedience to such portrayals has consequently intensified the hype and reproduction of rape culture in Indian society. Significantly, the last decade has witnessed noticeable accumulations in sexual violence against the subaltern Dalit women aggregated.

The Unforgettable Plight: Bollywood's Wilful Amnesia Towards Kashmiri Pandits

The delineation of Kashmiri Pandits in Bollywood cinema has been a subject of both intrigue and controversy. Bollywood has always been apathetic towards the Exodus of Kashmiri Pandits. To understand the significance of Bollywood's portrayal of Kashmiri Pandits, it is crucial to grasp the historical context. In the late 1980s and early 1990s, a wave of violent insurgency swept through the Kashmir Valley, leading to the displacement of thousands of Kashmiri Pandits. The paper will make an attempt to show how Bollywood has been extremely apathetic to the trauma and suffering of the Kashmiri Pandits, reflecting the bias and political agenda in not portraying the Multiple Exoduses of the Kashmiri Pandits at different points in time. The paper will compare different cinematic works revolving around the primary theme of Kashmir. The paper also attempts to analyse how most of the Bollywood movies centre around the other issues of Kashmir like insurgency and terrorism, and how they have deliberately blindfolded themselves towards the cause of the Kashmir Pandits.

Bollywood, Maratha imperialism and Hindu nationalism

ABSTRACT Critical scholars assert that the Bharatiya Janata Party is using commercial Hindi films, controlled by the censor board, to portray a ‘Hindu’ version of Indian nationality. Left-liberal intellectuals and activists further claim that Bollywood is also pandering to the diktats of the ruling party by making films which depict a right-wing version of Indian history. Films to a great extent define our social consciousness. This article attempts to show that the two films Bajirao Mastani and Panipat make a conscious attempt regarding the presentist use of medieval Indian history for furthering the process of national integration. Further, these two films partially challenge the patriarchal depiction of women in Indian society.

Social impact of biopic in Hindi cinema – social change and cultural practice

Biopic films in Hindi cinema are an important medium to present the life stories of individuals of personal and social importance, which have a significant impact towards social change and cultural practice. Through these films, society gets a true perspective of the contributions of those great individuals who take steps towards significant change in their fields. Biopics help reveal processes of social change. These films highlight various social issues, such as women's rights, racism, and personal freedom. He features stories of individuals who have inspired him to turn toward prosperity, social justice, and social change. Besides, cultural practice also has an important place in these films. These films present Indian culture, historical events, and cultural processes in a significant manner and sensitize the audience towards these issues. Through these, cinema supports the cultural heritage and sensitizes the Indian society towards its ideals and values. Hindi cinema biopics impact our society in a positive way through social change and cultural sadhana and give the audience a positive feeling towards solutions to social and cultural problems. These films encourage social change and enrich our cultural and social identity by presenting cultural heritage in a vibrant form.
 Abstract in Hindi Language:
 हिंदी सिनेमा में बायोपिक फिल्में व्यक्तिगत और सामाजिक महत्व के व्यक्तियों के जीवन की कहानियों को प्रस्तुत करने का महत्वपूर्ण माध्यम हैं, जो सामाजिक परिवर्तन और सांस्कृतिक साधना के प्रति महत्वपूर्ण प्रभाव डालती हैं। इन फिल्मों के माध्यम से समाज को उन महान व्यक्तियों के योगदान का सही दृष्टिकोण मिलता है जो अपने क्षेत्र में महत्वपूर्ण बदलाव की ओर कदम बढ़ाते हैं। बायोपिकेल सामाजिक परिवर्तन के प्रक्रियाओं को प्रकट करने में मदद करती हैं। ये फिल्में विभिन्न सामाजिक मुद्दों पर प्रकाश डालती हैं, जैसे कि महिला अधिकार, जातिवाद, और व्यक्तिगत स्वतंत्रता। उन्होंने ऐसे व्यक्तियों की कहानियों को प्रस्तुत किया है जिन्होंने उन्हें समृद्धि, सामाजिक न्याय, और सामाजिक परिवर्तन की ओर मोड़ने के लिए प्रोत्साहित किया है। साथ ही, इन फिल्मों में सांस्कृतिक साधना का भी महत्वपूर्ण स्थान है। ये फिल्में भारतीय संस्कृति, ऐतिहासिक घटनाओं, और कल्चरल प्रक्रियाओं को महत्वपूर्ण तरीके से प्रस्तुत करती हैं और दर्शकों को इन मुद्दों के प्रति संवेदनशील बनाती हैं। इनके माध्यम से सिनेमा सांस्कृतिक धरोहर का समर्थन करता है और भारतीय समाज को उसके आदर्शों और मूल्यों के प्रति संवेदनशील बनाता है। हिंदी सिनेमा के बायोपिकेल सामाजिक परिवर्तन और सांस्कृतिक साधना के माध्यम से हमारे समाज को सकारात्मक तरीके से प्रभावित करते हैं और दर्शकों को सामाजिक और सांस्कृतिक समस्याओं के समाधान के प्रति सकारात्मक भावना दिलाते हैं। यह फिल्में सामाजिक परिवर्तन को प्रोत्साहित करती हैं और सांस्कृतिक धरोहर को सजीव रूप में प्रस्तुत करके हमारी सांस्कृतिक और सामाजिक पहचान को समृद्ध करती हैं।
 Keywords: बायोपिक फिल्में, सामाजिक परिवर्तन, सांस्कृतिक साधना, बायोपिकेल, संवेदनशील, ऐतिहासिक घटनाएँ और भारतीय संस्कृति

Film(i) Culture after Film: Lip-sync Media and the Expanded Archive of Hindi Cinema

This article considers the remediation of Hindi cinema’s filmi culture in the citational practices of digital media. Foregrounding a case study of the lip-sync video on platforms such as Dubsmash and TikTok, it traces the formation of an expanded archive of Hindi cinema, one which reveals this cinema as less a canon of films than a repertoire of gestures, expressions and style offered up for use to a non-traditional cinephiliac public. The article argues, however, that such an archival view of a historical filmi culture is possible only because of the recession of a filmi culture organised around the sign of cinema to one organised around the sociality of platforms. Among other things, it attributes this shift to the passing of the masala film. The article then pays particular attention to this form as an assemblage of detachable parts primed for circulation. It finally addresses the emergence of a new industrial reflexivity in response to the currency of filmi style in an age of platforms.

From an ‘Imagined Landscape’ to Iconic Destination: Bollywood Film and Its Impact on Tourism

Tourism destinations are a product of the ‘brand personality’ of the space and depend on the cultural influence and collective consciousness. The tourists look for the emotional connection with the destination and re-imagine the self as part of larger community. Thus people’s choice of travelling gets influenced by the representation of the landscape on the screen enveloped in symbolic connotation, narrative emotion and cultural nostalgia. Being one of the biggest film industries all over the world Bollywood, has its own impact over the audience of India and also cater to the global market with specific agenda. The constant construction, reconstruction and representation of space in Bollywood films through its production promote ideology of consumption. With its ever growing market Bollywood film makes an impact over Indian Diaspora. The search for root and identity inspire the NRIs to travel back to the ‘Homeland’. Their journey back to new modern India is a voyage from West to East, Modern to Tradition, ‘Others’ to ‘Self’. Each space on screen put forward interpretations, specific to the character, local and identity. Travelling to a geographical landscape gets attached with the process of self discovery. The onscreen emotion engages in a conversation with the off screen domain as tourist destination. The Bollywood stars become the face of tourism industry. This paper critically examines the impact of film on tourism. How the Bollywood promotes tourism, plays a huge role in constructing the collective identity and influence the economic and social development.

Unveiling Gender Stereotypes: A Feminist Reading of the Film Bhumika

The present research paper is a feminist exploration of the critically acclaimed Hindi film, Bhumika (1977), set against the backdrop of Indian film industry, directed by Shyam Benegal, starring Smita Patil, Amol Palekar, Anant Nag, Naseeruddin Shah and Amrish Puri. The purpose of this study is to unveil gender stereotypes through the film narrative Bhumika from the feminist perspective. Besides, it delves mainly into the life and struggle of the female protagonist and a celebrated actress, Usha, who searches for her identity in a patriarchal realm. Hence, in the film Bhumika, Usha’s journey projects societal confinement and oppression as her image is an embodiment of her struggles against gender roles, showcasing how women were often silenced and how they were limited to their choices. Though, her narrative reflects the need for women’s empowerment in such a male chauvinistic world. With an application of feminist theories, the paper unearths how the film Bhumika is evident for both to reflect and to challenge the existing traditional gender norms in Indian Society. Apart from these, it examines Usha’s journey in terms of power and sexuality, highlighting her multifaceted role as a lens to investigate broader social causes. Thus, the findings of the study help for a better understanding of the intersection of cinema, gender, and society across the world highlighting the role of cinema as a medium for feminist discourse and social critique.

Anglo-Indian/Christian Middle-Class and Consumerist Modernity in the 1970s Hindi Cinema

The paper analyses class negotiations in Hindi films of the 1970s, which conflate Anglo-Indian identity, Christianity, and middle-class subjectivity in three distinct social forms, viz., middle-class cinema, mainstream cinema, and art-house cinema. Films of the 1970s employ the Anglo-Indian identity to map the negotiations taking place along the class boundaries of a feudal order and an emergent bourgeois order, rather than limited to being the “other.” The community’s mediations with consumerist modernity, which is a marker of the bourgeois lifestyle, and how it gets articulated in the public narratives about them become crucial as Anglo-Indians are identified with the values of the capitalist West and therefore also for being “icons of commodity culture” in the Hindi filmic world right from the 1920s and 30s. The paper examines how the cultural representation of the Anglo-Indian/Christian community in films of these three categories responded to the consumerist modernity of the times while negotiating class boundaries. The first section on middle-class cinema discusses Basu Chatterjee’s Baton Baton Mein (1979); the second section deals with K. S. Sethumadhavan’s mainstream film Julie (1975); and the third section on art-house cinema analyses Saeed Akhtar Mirza’s Albert Pinto Ko Gussa Kyun Aata Hai (1980).