By Anustup Basu
This examine tracks the evolution of 'Bollywood kind' in renowned Indian cinema among 1991 and 2004. In addressing the social, political and fiscal implications of this cinematic revolution, Basu unearths the frontier of modernisation within the subcontinent this present day and explains how a few positive aspects of Bollywood can truly be hooked up to conservative Brahminical imaginations of sophistication, caste, or gender hierarchies.This complete account of present-day India stuck among courageous new silicon valleys and farmer suicides will entice teachers and scholars alike throughout a vast variety of disciplines, together with movie, cultural and postcolonial experiences.
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Additional info for Bollywood in the Age of New Media: The Geo-televisual Aesthetic
31. We do see postulated resolutions in other popular cinemas of the world, for instance in the climax of Steven Spielberg’s Indiana Jones and the Last Crusade (1989). 32. In this context one can mention the numerous films on the snake-man transmogrification myth. See, for instance, Manjunath Pendakur, Indian Popular Cinema (2003). indd 39 11/08/2010 15:13 40 bo l l ywo o d in the a g e o f n e w m e di a 33. Apart from a horizontal dispersal of energies of war and peace in the form of identical twins, the star double role assemblage can also be deployed in a vertical axiomatic of the generational conflict (as a particular instance of the so-called traditional-modern dialectic).
In Vijay Reddy’s Teri Meherbaniyan (By Your Grace) (1985), video footage of the killing (a recording performed by destiny itself, since no one was “manning” the camera) and the memory of the faithful dog come together to create an avenging agency. Sometimes postulation can be an ensemble of body, matter, space, and the Word (prayer that ascends to the heavens) that can affect decisive transformation; in Desai’s Coolie (1983), the blessed air of Haji Ali’s dargah the holy shroud that magically envelops the hero’s body and the recited Qur’anic verses render him immune to the three bullets that hit him.
However, what if, as in the case of Kaadalan, the narrative of the film is nothing special? That is, the story is inconsequential as a socially symbolic act, and at times quite regressive in its sexist ideological bearings? Why should more importance be accorded to the part than the whole, the assembling process rather than the narratological one? That is because, as mentioned earlier, Indian cinema is as much a perpetually assembling field of phenomena as is the Indian modernizing process itself.