Reading India through Bollywood
Oxford University Press, Rs 695No one can accurately pin down the moment when the term Bollywood was first used. It is generally thought to have come into existence sometime in the late 1980s and then became voguish in the next decade or so. Nor can anyone agree on its definition. Some say it applies to the entire Hindi film industry, others say it is limited to the garish, kitschy cinema full of song and dance and overwrought emotions that is all around us today. Still others claim that it applies to the entire entertainment industry of which cinema is only a part.
By the mid-1990s, at a time when India was upbeat about economic liberalisation, the word with all its different implications became quite popular. The industry began looking at foreign markets, chiefly the vast numbers of Indians settled in UK, US and Canada. And then an interesting thing happened — even those who did not understand Hindi took to these films, and it began piquing the interest of academics. Today, a wide array of scholars, ranging from structuralists to post-modernists to ethnographers are studying and teaching Hindi cinema. Cultural studies departments worldwide offer courses in understanding Bollywood and the seminar/conference calendar to deconstruct Hindi cinema is quite busy.
One such conference-cum-festival was held in Abu Dhabi in November 2008. It was organised by the Indian embassy and as the then ambassador Talmiz Ahmad writes in his foreword in Beyond the Boundaries of Bollywood, the objective was to “present a glimpse of how India’s filmmakers have been exploring the nation’s contemporary challenge, particularly those pertaining to the evolution of our nationhood and our composite culture, the problems of poverty and oppression and the struggle of Indian women to assert their dignity...”
The papers presented at the conference, as collated in this volume, do not always fulfil that premise, but that should not matter. By itself, this is an interesting and intriguing collection of articles which covers a lot of ground. The same cannot be said about the quality; it ranges from the brilliant to the shoddy to the mystifying.
The book opens with academic Ravi Vasudevan’s analysis of the “Meanings” of Bollywood and it takes a 360 view in locating the transition of the Indian film industry — with its old style subjects, treatments and even economics — to the new “Bollywood”. Vasudevan accurately posits that the industry is very ambivalent about this instantly recognisable brand, which has troubling connotations since it implies that Indian cinema is nothing but a cheap and vulgar copy of Hollywood. Yet, there is no turning back now and the fact that even this book has the B-word in its title tells us something.
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Some say it applies to the entire Hindi film industry, others say it is limited to the garish, kitschy cinema full of song and dance and overwrought emotions that is all around us today. Still others claim that it applies to the entire entertainment

The fact that the songs play in the background act only to aid the narrative and pace of the film. Delhi Belly is not without its faults. I have to mention that it is not your typical Hindi film. Some will either love this or hate this.
Blake and Sankaran are collaborating to create a theme song for the movie called 'Bounce With Me,' a track with an intense electro-pop score complimented with modern lyrics sung in Hindi and English. Anup Sugunan, best known his appearance on season 1

Recent movies you have liked: Chak De India, Khosla Ka Ghosla, Rock On!! I like masala Hindi movies. Your nickname: Bobby. My friends now tease me and call me Bobby Bahl, Director. Your pet: A cocker spaniel called Khan. Like everyone in Delhi,

Distinctly South Indian in its sensibility and tone, Puri Jagannadh's film thinks it has brought back the 'Chora Ganga Kinaarewala' back to the big screen. Has it really? No and yes. Though it must be said that hardcore Bachchan fans, like yours truly,
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