By Kush Varia
While we've familiarize yourself with the belief of "Bollywood" right here within the West, we all know little concerning the industry's movies past a definite party of kitsch. Bollywood, the newest in Wallflower Press's brief Cuts introductory sequence, surveys this variety of filmmaking from its origins in colonial instances to the current, tracing its influence on either the Indian and international mind's eye. Chapters discover the background and workings of the undefined, the narratives and aesthetics of its movies, kinds in the style, the cultural connotations of particular characters, its larger-than-life stars, and its hybrid and extraordinary fan cultures. Readings of well known and commonly to be had motion pictures illustrate the significance of the cinema's conventions, which diversity from romantic clichés to a relentless negotiation among culture and modernity.
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Extra resources for Bollywood: Gods, Glamour, and Gossip
This would have been particularly poignant considering the political inclination of the industry and also because of the increasing religious sectarianism between Hindus and Muslims within the socio-political sphere. New studios emerged that were based in major cities that serve populations who spoke particular languages. The most prominent were Prabhat Studios in Pune, producing films in Marathi as well as Hindi, and New Theatres in Calcutta, producing films in Bengali. It was during this period that major studios were established in Bombay including Bombay Talkies, Wadia Movietone and Minerva Movietone; and a studio system emerged which followed the pattern of vertical integration used in Hollywood (Garga 1996: 82).
Equally, it is difficult to define Bollywood as Hindi cinema as there are many types of cinema produced in Hindi both in and outside of Mumbai, the city previously known as Bombay, giving the ‘B’ to Bollywood. For the purposes of this book, I have decided to define Bollywood as Hindi-language based and populist cinema produced by major studios in Mumbai. But there still remains a problem. Equating this cinema with a specific language risks forgetting its historical roots in Urdu. Urdu writers, poets and lyricists played a vital role in developing the cinema; it is for this reason that I have decided to trace the history of Bollywood back through the early sound period into the silent period, as this is where so many of its conventions were seeded and developed.
Leading the report was B. T. Rangachariar, a lawyer from Madras (now Chennai). Other members of the Committee included Indian and British personnel drawn from the industry, the civil service and wider society. The enquiries took place all over India with participants answering questionnaires and providing personal accounts and insights (Evidences) (see Barnow and Krishnaswamy 1980: 44–58; Garga 1996: 57–60). The interviewees questioned included Mahatma Gandhi, the leader of India’s independence movement, who returned a letter stating that ‘The evil that it has done and is doing is patent.