Name : Jeel j. Vyas
Roll No : 10
Paper No : 15. Mass Communication And Mass Media
Class : M.A. Sem – 4
Topic : Effect of Globalization and representation of diaspora in Bollywood.
Enrolment No : 2069108420190045
College : Smt.S.B.Gardi Department of English
Email ID : jeelvyas15@gmail.com
Submitted : Department of English M.K.B.University
Abstract :
Globalization is a term used to describe how trade and technology have made the world into a more connected and interdependent place. Because of Globalization whole world become more connected. It not only has effect on economy of every country but also has effect on every aspect. The same way globalization have effect on the our film industry. And in India the largest film industry is Bollywood. So Bollywood can not stay away from this effect of the Globalization.
When we talk about Bollywood we must remembered that, Indian movie industry, notably Bollywood, has come a long way in the last two centuries. All in all, it has been a long story of nearly nine decades, with the early shaky screen images having been turned into a multi-pronged and vast economic empire. Today it is the biggest movie industry in the world in terms of number of films. The industry has produced approximately 27,000 feature films and thousands of documented short films.
When it comes to growth of Bollywood we see that Yash Chopra who is Bollywood’s most prolific film producer in his interview in Mumbai on 18 march 2006 say that,
“The barriers have been broken and the doors have been opened.”
We can see that the company which are belong to the Bollywood or who has connection with Indian film industry getting International significance. on the aim facility of the London Stock Exchange Indian film companies – Eros, Adlabs, India Film Company, and UTV have raised hundreds of millions of pounds from hungry institutional investors. When we talk about the Indian cinema industries we found that Bollywood has gone through tremendous change scenes it's beginning. So here first I will talk about it’s brief history that how this industry has gone through lots of changes and then I will try to look at the how Globalization and Bollywood is connected with each other. I will also try to look how this process of globalization has its effect on the bollywood. Also I have try to look some of the International good and remarkable as well as first things done by Bollywood.
Indian Movie industry has done great progress since the Motion picture first came to India in 1896 when the Lumiere brothers unveiled six silent short films in Bombay. India’s first feature film Raja Harishchandra (a silent movie) was released in 1913. The first ‘talkie’ released in India was Alam Ara in 1931. But the year of 1916 was remarkable because in this year Universal Pictures sets up Hollywood’s first Indian agency. In 1933 Sairandhri (Prabhat Studios, Pune) is arguably India’s first colour film (processed and printed in Germany). Here we see that this industry have good growth. So there are many people who wants to be part of this. Also people who are working in industry feel that we need people who don’t only want to work here but also have some good skills. So in order to get good skilled people they need to do somethings. So we see that fin 1960 the Film Institute of India is founded in Pune.
But as we know and see that every thing as two aspect so same way we see that this industry has an issue of the piracy. This problem coupled with lengthy legal and arbitration processes is seen as a deterrent to the fight against piracy. In addition to this the current Copyrights Act is also outdated in the terms of technological improvements and above all, it does not address the needs of the electronic media where the rates of piracy are among the highest today. So now a days industry try to find how to avoid that.
Globalisation has four aspects, namely, movement of goods, capital, technology and people across borders. In terms of movement of goods (i. e., movies) Indian movie industry has a long history of presence in the international market. Awara sent the Soviet Union and other Communist bloc countries crazy in the 1950s. Mehboob’s Aan had a French release after its premiere in London. So this is how we see that from era of 90s Bollywood movie stared getting there acknowledgement in international level.
Indian movie exports have grown for around 60% recently. The USA and Canada are two major export destinations accounting for 30 percent followed by the uk with 25% and Mauritius and Dubai with 10 percent each. Other major markets include South Africa, Russia, Fiji, New Zealand and Australia where there is numerous Indian diaspora present. Making a film for the diaspora market is a sure moneymaking venture if compared to filming for the Indian domestic market.
When we are talking about the globalization and Bollywood we must talk about the comment given by Dudrah. Without talking about his comment the talk is incomplete. When we look at his argument in this he says that,
“The use of referents from Hollywood cinema by Bollywood cinema and vice versa needs to be situated within the context of the globalisation of film.”
First, the context Dudrah places his discussion in is liberalization rather than globalization, creating the inference that he is conflating the two. Liberalization is the process of altering a given economic model so that it more closely conforms to models that arise from a distinctly European economic history. So here we can see that about what actually he is talking is that a unidirectional transfer of economic values. Secondly, while Dudrah does give lip service to the reflexivity of globalization through the ‘vice versa’ portion of his statement. But we found that while talking about that he has not provided any evidence.
Till this time whatever we have discussed that are on the terms of economy. But. While talking about the Globalization and we must not forget that Indian people are living all around the world. And Indian people always have fascination towards them. So while talking about Globalization and bollywood we must not forget them. So it is also become important to look at the representation of them in bollywood movies. To talk about that we can take reference of the Therwath. She is French journalist. Who talks about the representation of the Indian diasporic people in bollywood movies. She in her artical. ‘Shining Indians’: Diaspora and Exemplarity in Bollywood takes a detailed look at how the portrayal of Nonresident Indians (NRI), or Indians in diaspora, transformed during the years after liberalization. It was during this transition that NRI “ceased to be a symbol of the ‘Other’ and has become instead the prototype of the new Indian, globalized and modern, but always a nationalist at heart” . By taking this more positive role in the midst of liberalization, “the romantic or family comedies with a NRI hero sell ‘Brand India’ to the world while furthering the cause of capitalism and social conservatism in India” The cinematic representations of diasporic Indians served as “deterritorialized models of national identity”.
When we talked about this we found that The very first Indian documentary, shot in 1902, focused on a certain Mr. R. P. Paranjpye, a former scholar at Cambridge. But this take it’s high pick from three movie produced during 90s. The movies are ; Shakti Samanta, Purab or Paschim and Sangam. There is vast difference between the representation in film of Shakti Samanta and Purab or Paschim. In the film Shakti Samantha we see that hero was Shashi Kapoor he played the role of the Sam. Who is not Indian and is neither presented as a videshi [foreigner] nor as a pardesi [outsider]. Even though Sam is visibly Indian, speaks Hindi fluently and strongly defends the honour of Indians when arguing with his friend Michel, he introduces himself as a Frenchman as if his place of residence were a determining factor for defining his nationality.
On the other hand in film purab aur pushim we see that the emigrant, whose Indian origin is this time not denied, is presented in an extremely unfavourable light. The young hero played by Manoj Kumar is called Bharat [India] and quite explicitly embodies the nation. He visits London to meet the Sharmas, friends of his father. Mrs. Sharma, brought up in England, drinks, smokes and calls her husband ‘Darling’ which is against the Hindu ideology. According to Hindu ideology wife should not take name of his husband. Their daughter, Preeti, smokes and drinks like her mother, wears mini-skirts and, in a supreme gesture of acculturation, has dyed her hair blond. This is how we see that there is a vast difference between potential of NRI in both the films.
Therwath in her article further argues that film during the time of 1990s reflects the insidious change from a jus soli to a jus sanguini conception of citizenship. The migrant, promoted to the rank of blood brother, has therefore ceased to be a symbol of the ‘Other’ and has become instead the prototype of the new Indian, globalized and modern, but always a nationalist at heart. For instance, the rich American of Indian origin played by Amrish Puri in Subhash Gai’s Pardes sings ‘I Love My India’ and recites ‘Karam Mera India, Dharam Mera India, Vatan Mera India, Sajan Mera India. The same kind of example we can see in the movie like Dil Vale Dulhaniyaa Le Jayge and Kabhi Khushi kabhi Gam. In DDLJ we see that they talk with great emotion of ‘apna desh’ , ‘meri hi mitti’ , ‘hamare desh ki mitti’. Far from being isolated cases, these examples are representative of the ethnic nationalist discourse developed for the diaspora in films made during the years 1990-2000.
Not only use this kind of the words but dialogue from this film try to look at the ideology of Hindu and there feeling by using the words. The best example of this is from DDLJ. There was a scene in which Raj ( Saha Rukh Khan ) tells Simran ( Kajol ) that,
main janta hun ki tum mere bare mein kya sochti ho. Tum samajhti ho ki main bahut hi ghatiya kism ka awara larka hun. Par main itna bhi gira hua nahi hun Simran. Main ek Hindustani hun aur main janta hun ki ek Hindustani larki ki izzat kya hoti hai. Main sapne mein bhi tumhare sath aisi harkat nahi kar sakta
This kind of scene try to show that though they are living outside from the India but still they are Indian from there heart.
Expatriates portrayed in Bollywood films inform the relationship of most Indians with their non-resident alter egos and, through them, with the West and its economic model. The diaspora also represents a sizeable market for films whose protagonists are a definition or reaffirmation of the Indian identity transformed by globalization. However, while the agency of film financiers and government policies explains the advent of the NRI as a new 21st century Indian role model, it raises the inevitable question of reception.
By contrast to such flows, we can use the term global bridgeheads of people about the majority of the members of the Indian diasporas who strongly impact Bollywood’s development by staying put in USA, UK, or Canada while investing in Bollywood, consuming its products, and acting as its lead users.
In conclusion, the Bollywood case suggests that globalization can facilitate rather than inhibit cultural clusters in emerging economies. Globalization may help to channel talent and capital enhancing such clusters’ external economies, and it may facilitate development of new cultural products that can compete with Western styled products.
Bibliography :
Lorenzen, Mark. "Go West: The Growth of Bollywood." Creative Encounters Working (2009): 38.
Miller, Jonathan R. "The World and Bollywood: An Examination of the Globalization Paradigm." Anthós 7.1 (2015): 16.
Parekh, Parthiv N. The Globalization of Indian Cinema. February 2003. 06 March 2020 <http://www.khabar.com/magazine/editorial/the_globalization_of_indian_cinema.aspx>.
pillania, Rajesh k. The Globalization of Indian Hindi Movie Industry. 06 March 2020 <http://www.fm-kp.si/zalozba/ISSN/1854-4231/3_115-123.pdf>.
Therwath, Ingrid. Shining Indians’: Diaspora and Exemplarity in Bollywood. 4 2010. 06 March 2020 <https://journals.openedition.org/samaj/3000>.
Roll No : 10
Paper No : 15. Mass Communication And Mass Media
Class : M.A. Sem – 4
Topic : Effect of Globalization and representation of diaspora in Bollywood.
Enrolment No : 2069108420190045
College : Smt.S.B.Gardi Department of English
Email ID : jeelvyas15@gmail.com
Submitted : Department of English M.K.B.University
Abstract :
Globalization is a term used to describe how trade and technology have made the world into a more connected and interdependent place. Because of Globalization whole world become more connected. It not only has effect on economy of every country but also has effect on every aspect. The same way globalization have effect on the our film industry. And in India the largest film industry is Bollywood. So Bollywood can not stay away from this effect of the Globalization.
When we talk about Bollywood we must remembered that, Indian movie industry, notably Bollywood, has come a long way in the last two centuries. All in all, it has been a long story of nearly nine decades, with the early shaky screen images having been turned into a multi-pronged and vast economic empire. Today it is the biggest movie industry in the world in terms of number of films. The industry has produced approximately 27,000 feature films and thousands of documented short films.
When it comes to growth of Bollywood we see that Yash Chopra who is Bollywood’s most prolific film producer in his interview in Mumbai on 18 march 2006 say that,
“The barriers have been broken and the doors have been opened.”
We can see that the company which are belong to the Bollywood or who has connection with Indian film industry getting International significance. on the aim facility of the London Stock Exchange Indian film companies – Eros, Adlabs, India Film Company, and UTV have raised hundreds of millions of pounds from hungry institutional investors. When we talk about the Indian cinema industries we found that Bollywood has gone through tremendous change scenes it's beginning. So here first I will talk about it’s brief history that how this industry has gone through lots of changes and then I will try to look at the how Globalization and Bollywood is connected with each other. I will also try to look how this process of globalization has its effect on the bollywood. Also I have try to look some of the International good and remarkable as well as first things done by Bollywood.
Indian Movie industry has done great progress since the Motion picture first came to India in 1896 when the Lumiere brothers unveiled six silent short films in Bombay. India’s first feature film Raja Harishchandra (a silent movie) was released in 1913. The first ‘talkie’ released in India was Alam Ara in 1931. But the year of 1916 was remarkable because in this year Universal Pictures sets up Hollywood’s first Indian agency. In 1933 Sairandhri (Prabhat Studios, Pune) is arguably India’s first colour film (processed and printed in Germany). Here we see that this industry have good growth. So there are many people who wants to be part of this. Also people who are working in industry feel that we need people who don’t only want to work here but also have some good skills. So in order to get good skilled people they need to do somethings. So we see that fin 1960 the Film Institute of India is founded in Pune.
But as we know and see that every thing as two aspect so same way we see that this industry has an issue of the piracy. This problem coupled with lengthy legal and arbitration processes is seen as a deterrent to the fight against piracy. In addition to this the current Copyrights Act is also outdated in the terms of technological improvements and above all, it does not address the needs of the electronic media where the rates of piracy are among the highest today. So now a days industry try to find how to avoid that.
Globalisation has four aspects, namely, movement of goods, capital, technology and people across borders. In terms of movement of goods (i. e., movies) Indian movie industry has a long history of presence in the international market. Awara sent the Soviet Union and other Communist bloc countries crazy in the 1950s. Mehboob’s Aan had a French release after its premiere in London. So this is how we see that from era of 90s Bollywood movie stared getting there acknowledgement in international level.
Indian movie exports have grown for around 60% recently. The USA and Canada are two major export destinations accounting for 30 percent followed by the uk with 25% and Mauritius and Dubai with 10 percent each. Other major markets include South Africa, Russia, Fiji, New Zealand and Australia where there is numerous Indian diaspora present. Making a film for the diaspora market is a sure moneymaking venture if compared to filming for the Indian domestic market.
When we are talking about the globalization and Bollywood we must talk about the comment given by Dudrah. Without talking about his comment the talk is incomplete. When we look at his argument in this he says that,
“The use of referents from Hollywood cinema by Bollywood cinema and vice versa needs to be situated within the context of the globalisation of film.”
First, the context Dudrah places his discussion in is liberalization rather than globalization, creating the inference that he is conflating the two. Liberalization is the process of altering a given economic model so that it more closely conforms to models that arise from a distinctly European economic history. So here we can see that about what actually he is talking is that a unidirectional transfer of economic values. Secondly, while Dudrah does give lip service to the reflexivity of globalization through the ‘vice versa’ portion of his statement. But we found that while talking about that he has not provided any evidence.
Till this time whatever we have discussed that are on the terms of economy. But. While talking about the Globalization and we must not forget that Indian people are living all around the world. And Indian people always have fascination towards them. So while talking about Globalization and bollywood we must not forget them. So it is also become important to look at the representation of them in bollywood movies. To talk about that we can take reference of the Therwath. She is French journalist. Who talks about the representation of the Indian diasporic people in bollywood movies. She in her artical. ‘Shining Indians’: Diaspora and Exemplarity in Bollywood takes a detailed look at how the portrayal of Nonresident Indians (NRI), or Indians in diaspora, transformed during the years after liberalization. It was during this transition that NRI “ceased to be a symbol of the ‘Other’ and has become instead the prototype of the new Indian, globalized and modern, but always a nationalist at heart” . By taking this more positive role in the midst of liberalization, “the romantic or family comedies with a NRI hero sell ‘Brand India’ to the world while furthering the cause of capitalism and social conservatism in India” The cinematic representations of diasporic Indians served as “deterritorialized models of national identity”.
When we talked about this we found that The very first Indian documentary, shot in 1902, focused on a certain Mr. R. P. Paranjpye, a former scholar at Cambridge. But this take it’s high pick from three movie produced during 90s. The movies are ; Shakti Samanta, Purab or Paschim and Sangam. There is vast difference between the representation in film of Shakti Samanta and Purab or Paschim. In the film Shakti Samantha we see that hero was Shashi Kapoor he played the role of the Sam. Who is not Indian and is neither presented as a videshi [foreigner] nor as a pardesi [outsider]. Even though Sam is visibly Indian, speaks Hindi fluently and strongly defends the honour of Indians when arguing with his friend Michel, he introduces himself as a Frenchman as if his place of residence were a determining factor for defining his nationality.
On the other hand in film purab aur pushim we see that the emigrant, whose Indian origin is this time not denied, is presented in an extremely unfavourable light. The young hero played by Manoj Kumar is called Bharat [India] and quite explicitly embodies the nation. He visits London to meet the Sharmas, friends of his father. Mrs. Sharma, brought up in England, drinks, smokes and calls her husband ‘Darling’ which is against the Hindu ideology. According to Hindu ideology wife should not take name of his husband. Their daughter, Preeti, smokes and drinks like her mother, wears mini-skirts and, in a supreme gesture of acculturation, has dyed her hair blond. This is how we see that there is a vast difference between potential of NRI in both the films.
Therwath in her article further argues that film during the time of 1990s reflects the insidious change from a jus soli to a jus sanguini conception of citizenship. The migrant, promoted to the rank of blood brother, has therefore ceased to be a symbol of the ‘Other’ and has become instead the prototype of the new Indian, globalized and modern, but always a nationalist at heart. For instance, the rich American of Indian origin played by Amrish Puri in Subhash Gai’s Pardes sings ‘I Love My India’ and recites ‘Karam Mera India, Dharam Mera India, Vatan Mera India, Sajan Mera India. The same kind of example we can see in the movie like Dil Vale Dulhaniyaa Le Jayge and Kabhi Khushi kabhi Gam. In DDLJ we see that they talk with great emotion of ‘apna desh’ , ‘meri hi mitti’ , ‘hamare desh ki mitti’. Far from being isolated cases, these examples are representative of the ethnic nationalist discourse developed for the diaspora in films made during the years 1990-2000.
Not only use this kind of the words but dialogue from this film try to look at the ideology of Hindu and there feeling by using the words. The best example of this is from DDLJ. There was a scene in which Raj ( Saha Rukh Khan ) tells Simran ( Kajol ) that,
main janta hun ki tum mere bare mein kya sochti ho. Tum samajhti ho ki main bahut hi ghatiya kism ka awara larka hun. Par main itna bhi gira hua nahi hun Simran. Main ek Hindustani hun aur main janta hun ki ek Hindustani larki ki izzat kya hoti hai. Main sapne mein bhi tumhare sath aisi harkat nahi kar sakta
This kind of scene try to show that though they are living outside from the India but still they are Indian from there heart.
Expatriates portrayed in Bollywood films inform the relationship of most Indians with their non-resident alter egos and, through them, with the West and its economic model. The diaspora also represents a sizeable market for films whose protagonists are a definition or reaffirmation of the Indian identity transformed by globalization. However, while the agency of film financiers and government policies explains the advent of the NRI as a new 21st century Indian role model, it raises the inevitable question of reception.
By contrast to such flows, we can use the term global bridgeheads of people about the majority of the members of the Indian diasporas who strongly impact Bollywood’s development by staying put in USA, UK, or Canada while investing in Bollywood, consuming its products, and acting as its lead users.
In conclusion, the Bollywood case suggests that globalization can facilitate rather than inhibit cultural clusters in emerging economies. Globalization may help to channel talent and capital enhancing such clusters’ external economies, and it may facilitate development of new cultural products that can compete with Western styled products.
Bibliography :
Lorenzen, Mark. "Go West: The Growth of Bollywood." Creative Encounters Working (2009): 38.
Miller, Jonathan R. "The World and Bollywood: An Examination of the Globalization Paradigm." Anthós 7.1 (2015): 16.
Parekh, Parthiv N. The Globalization of Indian Cinema. February 2003. 06 March 2020 <http://www.khabar.com/magazine/editorial/the_globalization_of_indian_cinema.aspx>.
pillania, Rajesh k. The Globalization of Indian Hindi Movie Industry. 06 March 2020 <http://www.fm-kp.si/zalozba/ISSN/1854-4231/3_115-123.pdf>.
Therwath, Ingrid. Shining Indians’: Diaspora and Exemplarity in Bollywood. 4 2010. 06 March 2020 <https://journals.openedition.org/samaj/3000>.
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