Bollywood Research Articles

Sites of the past: The historical film and Bollywood’s encounter with Europe

The genres of historical films have gained ascendance in the Bollywood industry in recent years. I examine four Bollywood films that narrativize biographies of unusual figures located in Europe in the past. Gold and Sardar Udham stage Europe of the 1930s and the 1940s, a period marked by the Second World War and anti-colonial movements. The flow of production practices reveals the layers of ‘artifice’ involved in producing locations during the inter-war years. The narratives of Bell Bottom and 83, on the other hand are located in Britain of the 1980s. Here, strategies like play with colour tones, differential use of focus, and accented use of old cars, infrastructures, costumes and props help in creating a stylized retro look. I will argue that the material and the immaterial get intertwined with each other through the mobilization of archival photographs, infrastructure, radio broadcasts, newsreel footage and sound media.

‘I am in love, I am in love, I am in looove!’: The visual economy of the Indo-Swiss-film–tourism complex around 20001

In the wake of such blockbuster films as Dilwale Dulhania Le Jayenge (DDLJ) film-related travel from India has become an important economic factor in the tourist industry in Switzerland, to the point where the luxury suite in one of the most prestigious five-star hotels in the country is now dedicated to the style and memory of pioneer producer Yash Chopra. Tracing the romance between commercial Hindi cinema and Switzerland from the 1980s to 1990s onwards, the Chopra suite in the Viktoria Jungfrau hotel in Interlaken can also be read as an indicator of an important cultural constellation: a composite style in visual and design culture.

Surfacing the occulted Islam in Imtiaz Ali’s Jab Harry Met Sejal: Or, some small joys of data hunting in big AI today

This is a methodological article consisting of two parts – the first part, demonstrates the methodologies of online research done towards annotating the multiple European locations in the Bollywood film Jab Harry Met Sejal (JHMS) made in 2017, followed by a second part that provides a commentary on the ideological subtext of the film gleaned from the online research work done. The presentation of online work consists of matching material available on the web – film location websites, imdb.com, images, maps and texts in the main with the imagery presented in the film. This seeks to emphasize the remarkable possibilities of using basic online research to analyse film content to a degree of considerable density and complexity, a development that improves day by day. Indeed, the ‘surface’ reading of locations as imagery when matched with other online resources such as Wikipedia entries on various aspects of film imagery allow for a very rich interpretation of the underlying ideational and ideological intention of films.

Portrayal of Sex Workers in Hindi Cinema

Abstract: This paper will study the different aspects in which prostitution has been portrayed in the Indian cinema. Bollywood has mostly been infamous in its portrayal of women characters in general. There is primarily a stereotypical, misogynistic outlook in the way female prostitutes are perceived in art, whether it be literature or cinema. Along with this, there has been an overt romanticisation of female prostitutes over the decades. This paper is an attempt to portray the different aspects of prostitution as reflected in the journey of Hindi cinema from as early as the 1950s. The criteria of analysis for this paper will majorly be two dimensional. Firstly, to contrast movies from different eras;from black and white movies such as Pyaasa[1957] to movies as modern as Gangubai Kathiawadi[2022]. The motive to inculcate this criteria is to highlight the slight evolution in the representation of female prostitutes; from the continuous trope of ‘damsel in distress’ who has a heart of gold to the girlboss of modern Indian cinema.

Encoding material female bodies through cosmetic surgeries: a study of cultural economy and the biometric dynamics of Indian Hindi film stars

The emergence of new body technologies has led to the deconstruction of a cosmetically enhanced celebrity body into a bioinformational data-self, which becomes a surveilled subject quantified through biometric proximity....

LIHAAF (THE QUILT) A STUDY FROM SHORT STORY TO CINEMATIC APPROPRIATION: OBSCURING THE FEMALE RELATIONSHIP

The concept of homosexuality has generated considerable debate over the years, but it has failed to establish itself as a rigid identity. Until recently, the voices of homosexuals remained unheard. More specifically, Ismat Chughtai was the first female author to explore lesbianism. The society hesitated to accept them and disguised their identity by tormenting them with traditions or feelings. Adhering to the theme of representing the subaltern, this paper attempts to read between the lines of Ismat Chughtai's short story Lihaaf (The Quilt) in order to discern a woman's blossoming same-sex relationship. Through the protagonist Begum Jaan, Chughtai focuses on life's essential elements: society and the individual. As the tale unfolds, she uncovers two significant aspects of her life: her husband's interest in men and her own interest in women. Frequently, societal pressure prevents an individual from embracing his or her sexuality. The paper addresses the concept of self through the lens of a wife and lesbian who celebrates her identity despite living in a traditional patriarchal society. Ultimately, it mediates the concept of self-reconstruction and condemns the stereotypical identity imposed by society. The study raises concerns about a society that plays an essential role in the subjugation of women and homosexuals by denying them fundamental rights. The fact that Lihaaf was adapted from a seminal work of feminist literature from the subcontinent lends the novel some merit. This paper also examines how the short story-to-screen adaptation rewrites Lihaf to conceive a different queer female desire possibility. I shall discuss how the film disturbs the voyeuristic, heteronormative position of the masculine viewer. It also interprets the film as an intervention in the homosexual representational norms of mainstream Hindi film.

Portrayal and Perception of Male Chauvinism and Gender Superiority in Hindi Cinema: A Case Study of the Film ‘Animal’

The article discovers the portrayal of male chauvinism and gender superiority in contemporary Hindicinema, with a specific focus on the prominent film “Animal.” The objective of the analysis is to expose thesubtle manner in which gender dynamics are portrayed, highlighting how patriarchal ideals and stereotypesare upheld in the Hindi films’ narrative. This paper critically examines the film’s narrative choices,characterizations, and societal implications, addressing the extent to which it reinforces or challengesprevailing gender norms. The directed by Sandeep Reddy Vanga, sparked considerable controversy forits representation of a toxic character that glorifies toxic masculinity and chauvinistic behavior. The studydeals with a case study of the “Animal,” directed by Sandeep Reddy Vanga, which is analyzed for its potentialevolution or continuity of gender portrayals in Hindi cinema. Released in 2023, this film presents anopportunity to explore whether the industry has progressed in its representation of gender dynamics or ifpersisting patterns of male chauvinism and gender superiority prevail. The research paper shall explore thesociocultural impact of these films’ media analysis (Eminent digital media reviewers), investigating theirpotential influence on shaping perceptions of masculinity and femininity in the audience. By examiningcharacter motivations, power dynamics, and the broader context of the stories, the study aims to contributeto a nuanced understanding of how Hindi cinema reflects and influences societal attitudes toward genderroles (Sanchari Mukhopadhyay, 2021). The main aim of the study how digital news media comprehendthe narrative of the ‘Alpha Male’ angle.

The Influence of Bollywood Movies on the representation of Indian Indentured Labourers in Mauritian Media and Culture

This study explores the influence of Bollywood movies on the representation of Indian indentured labourers in Mauritian media and culture. The research investigates the ways in which Bollywood movies have impacted the depiction of Indian Indentured labourers in Mauritian society, and how this representation has changed over time. The study utilizes a qualitative method, including questionnaires, relevant literature reviews, and content analysis of popular Bollywood films and Mauritian media. The findings indicate that Bollywood movies have had a significant impact on the representation of Indian indentured labourers in Mauritian media and culture. While earlier representations of indentured labourers in Mauritian media were largely negative and stereotypical, Bollywood movies have played a key role in challenging these stereotypes and promoting a more positive image of the Indian community in Mauritius. The study highlights the importance of media representation in shaping cultural perceptions and argues that Bollywood movies have played a vital role in promoting a more nuanced and positive image of Indian indentured labourers in Mauritian society. The study concludes by discussing the implications of these findings for future research and for promoting cultural diversity in Mauritian society.

Portrayal of Muslim Female Character: A Critical Study of Bollywood Movie Raees

The Indian film industry provides a huge source of entertainment to the masses not only in India but also across the borders as well. With the help of artistic fictional expressions, it not only caters to locating facts and realities in the contemporary social structure but also has the undeniable capacity to persuade viewers in a certain way. Indian cinema or “Bollywood” has marked its place in the minds of its consumers and consequently restyled their perceptions about the world around them. There is a variety of subjects, issues and cultures that are projected by the Indian cinema. Amongst them, the portrayal of Muslim females has been the popular theme of Indian cinema. However, Muslim characters like women remain subject to bias. To dissect this phenomenon in Bollywood, present study is an attempt to examine the depiction of Muslim women in Bollywood. For this purpose, Movie, “Raees” (2017) has been selected. Norman Fairclough’s three-dimensional model of Critical Discourse Analysis (2003) used as the methodological framework. Under the theoretical realm of framing theory, this study focuses on the portrayal of the female character in the Bollywood movie Raees. The study concludes that Muslim women are being portrayed as disconnected from their religious beliefs. Keywords: Framing, Muslim women, Critical discourse analysis, Bollywood, Raees,

The Application of Subtitle Translation Characteristic Culture in Journey to the West from the Skopos Theory

In the current era, cross-cultural communication has become an important issue in today's society. Film art communication is one of the effective ways of cross-cultural communication, such as the Hollywood movies, India's Bollywood films and so on. It not only attracted the attention of the world for the film itself; but more importantly it attracts the attention of the national culture around the world. In the communication of film art, subtitle translation builds a bridge between different languages and countries so subtitle translation plays a very important role in the communication of film art. This paper uses the movie Journey to the West as an example and analyzes the full application of Skopos theory and translation strategies in the subtitle translation of this film. Film of Chinese culture subtitles translation is mainly reflected in the local dialect, literary classics and some contemporary cultural vocabulary. The analysis of this paper shows that subtitle translation plays an important role in film culture.

Savage Desires: Afghanistan as a Site for Othering in Dharmatma and Khuda Gawah

This paper aims to explore how Afghanistan is represented in two mainstream Bollywood films from the pre-9/11 period using Orientalism as a theoretical framework. While much literature exists on Afghanistan being Orientalized in Hollywood films, Bollywood representations of Afghanistan have not been studied from similar critical lenses. With the recent takeover of Afghanistan by the Taliban after a twenty-year-long war, it is more urgent than ever today to examine Bollywood representations of Afghanistan given the crucial importance of India as a key geopolitical entity in the region. The paper shall study two films from the pre-9/11 period in order to understand if Bollywood has Orientalized the region like mainstream Hollywood films. Bollywood films well known for taking their influences from Hollywood productions, make it likely to be the case.

Cinematic Contrasts: Gender Dynamics In Workplace Leadership

With a focus on the contemporary dynamics of gender roles and expectations at workplaces, this THEMATIC ANALYSIS aims to examine the contrasting depictions of male and female characters in positions of power and authority. Study analyses a curated selection of 10 Bollywood movies from various genres between 2013 and 2023, and sheds light on gender depiction in workplace leadership and the underlying societal narratives. It delves into the nuanced characterizations, narratives, and storytelling techniques employed to depict workplace authority from male and female perspectives. The study illuminates how cinematic portrayals of gender-centric power dynamics in work settings have evolved and shaped audience perceptions, societal expectations, and aspirations. Furthermore, it explores whether the films reinforce or challenge conventional gender stereotypes. The findings provide valuable insights into the evolving gender role dynamics, power, and leadership in Indian popular culture and lay the groundwork for future research and dialogue on gender equality at workplaces and in media representation. Keywords: gender roles, movies, leadership, gender stereotypes, societal norms

Cinematic Contrasts: Gender Dynamics in Workplace Leadership

With a focus on the contemporary dynamics of gender roles and expectations at workplaces, this THEMATIC ANALYSIS aims to examine the contrasting depictions of male and female characters in positions of power and authority. Study analyses a curated selection of 10 Bollywood movies from various genres between 2013 and 2023, and sheds light on gender depiction in workplace leadership and the underlying societal narratives. It delves into the nuanced characterizations, narratives, and storytelling techniques employed to depict workplace authority from male and female perspectives. The study illuminates how cinematic portrayals of gender-centric power dynamics in work settings have evolved and shaped audience perceptions, societal expectations, and aspirations. Furthermore, it explores whether the films reinforce or challenge conventional gender stereotypes. The findings provide valuable insights into the evolving gender role dynamics, power, and leadership in Indian popular culture and lay the groundwork for future research and dialogue on gender equality at workplaces and in media representation.

Emotional Tears and Racial Stigma in Orson Welles's Othello and Vishal Bhardwaj's Omkara

Abstract On the basis of two film adaptations of Shakespeare's Othello, Orson Welles's (1952/1955) Othello and Vishal Bhardwaj's Omkara (2006), this article focuses on Othello's emotional tears, and how they mitigate, or not, the effects of racial stigmatization. The “Othello dilemma,” as I call it, refers to how Othello continues to be understood as an example of his race, rather than as an individual. How do the two films deal with this dilemma? This article draws on current research in cognitive neuroscience to underscore the pro-social function of emotional tears. Both films avoid direct views of Othello's tears but evoke lachrymal emotion to produce broader interpretations of the play, which is relevant to contemporary concerns. In black and white, Orson Welles uses Soviet montage to depict Othello's loneliness, which authenticates his grief, while Vishal Bhardwaj's colorful Bollywood film shifts attention to stigmatization on account of gender bias, invoking an array of culture-specific norms and values.

Intersections and the becomings of disabled and queer subjectivities in Margarita with a Straw

This article aims to explore the affective capacities of the non-lesbian and lesbian, non-disabled and disabled, moving and fleeting bodies of Laila Kapoor, who suffers from cerebral palsy, in the 2014 Hindi film Margarita with a Straw. The study examines the ontology of Laila’s disabled and sexualized body that is entangled in an assemblage of relations of other human (characters Dhruv, Nima, Jared and Khanum) and non-human (architectural space, wheelchair, laptop, voice aggregator and music) bodies in the film. Drawing on the concept of assemblage, this article examines the affective flows, desire and becomings of disabled and queer bodies within Margarita with a Straw. It demonstrates how the discursive, material, post-human subjectivity of disabled and queer bodies in the film manifests the potential to destabilize the notion of what a body is by continuously negating the social disavowal of bodies through new emergent potentials, capacities and assemblages.

Female Fandom and the Anxieties of Agency: A Feminist Reading of the Indian Female Fan in <i>Guddi</i> (1971)

Academic research on fandom has sometimes stereotyped female fans, potentially influenced by the gendered dichotomy in fan studies. In the context of Indian fan discourses, there has been insufficient academic engagement with gender which poses a significant gap that requires attention. This article explores the intersection of gender, specifically focusing on women, in Indian fan studies. Through a feminist lens, the article undertakes a textual analysis of Hrishikesh Mukherjee’s <i>Guddi</i> (‘The Doll’, 1971), possibly the first Hindi film to diegetically represent a female fan. The study examines how the film portrays female fandom and yet acknowledges that it falls short in successfully dismantling the pathologising stereotypes associated with femininity. Nevertheless, the film successfully initiates a dialogue on the presence and importance of female fan practices in India. It explores how the film acts as a catalyst for a narrative that highlights the agentic potential of fandom. Additionally, the article delves into the broader implications of the film within Indian fan studies, including its capacity to challenge gender norms and inspire further research on female fan practices in the context of Indian cinema.

Gender Politics and Stereotypes in Bollywood Films Dhrishyam 1 and 2<b></b>

Indian cinema is one of the most influential and powerful tools for addressing various social issues via the medium of a screenplay. The Indian film industry, commonly known as Bollywood, is one of the largest and most prolific film industries (Pillania 115) in the world. This article aims to explore Gender Roles and Stereotypes prevalent in Bollywood films, through an in-depth analysis of the popular films Dhrishyam 1 and 2, hereafter referred to as the Dhrishyam film series. By examining the portrayal of lead characters, the study aims to shed light on the ways in which Indian cinema perpetuates societal norms and biases. Through a combination of qualitative content analysis and audience reception analysis, the research provides empirical evidence to support the claim that Indian films, including the “Dhrishyam” film series, contribute to the diffusion of gender stereotyping, consolidating unreasonable societal expectations. With a focus on the intersectionality of gender, identity, and culture, this study aims to provide a comprehensive understanding of the complex relationships between Indian cinema and societal constructs, leading to critical insights into theneed for more diverse and inclusive portrayals in the film industry.

A Comparative Analysis of RK Narayan's "The Guide" and Bollywood's "Guide"

Literary adaptations have been predominant in cinema for decades, with stories being reconceptualized for the film to captivate audiences in new ways. Indian cinema is no exception to this and one such well known adaptation is RK Narayan's novel The Guide into a film. This paper delves into the transformation of R K Narayan's novel "The Guide" into the epochal Bollywood film "Guide" directed by Vijay Anand. Through a comparative analysis, this study explores the differences and similarities between the two, examining how the cinematic adaptation reshapes the narrative, characters, themes, and overall essence of Narayan's original work. By dissecting the creative choices made in bringing the novel to life on screen, this paper aims to highlight the nuances of adaptation in Indian cinema.

Portrayal of blood and transfusion in Bollywood movies

Portrayal of blood and transfusion in Bollywood movies

Beyond good and evil: imagined nation in Hindi films

ABSTRACT The influence of Indian films on popular culture and the influence of dominant political ideology on Indian films are interspersed with dialectical variations. Although a binary representation of these subtleties remains elusive, while promoting ideological superstructures in society, ‘the relatively mixed, confused, incomplete, or inarticulate consciousness' is replaced with a ‘generalised system'. In practice, the tendencies governing public emotions during moments of crisis are employed as tropes in Bollywood films. However, the ontology of political underpinnings and subversive ideological possibilities that enmesh lived experiences remain smothered by an unproblematic representation of historical events. With this rationale, the paper analyses three Bollywood films Panipat (2019), Tanhaji (2020) and Samrat Prithviraj (2022). These films seem to auger the idea of Dharma and Ramrajya in the construction of a Nation catering to the populist notion of a safe and secure nation under just Hindu rule. The paper argues that these films cater to the framework of historiography promulgated by the colonial historians on one hand; and function as a contrapuntal response to the ideological moorings of the leaders of the All-India Muslim League. This objective is achieved by a stereotypical and binary projection of good and evil by glossing over the ‘mixed consciousness’.