Bollywood: The Indian Celluloid Saga

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BOLLYWOOD: THE INDIAN CELLULOID SAGA
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AARJSH VOLUME 1 ISSUE 21 (MARCH 2014) ISSN : 2278 – 859X
A Peer Reviewed International Journal of Asian

Academic Research Associates
AARJSH
ASIAN ACADEMIC RESEARCH
JOURNALOFSOCIAL
SCIENCE&HUMANITIES
BOLLYWOOD: THE INDIAN CELLULOID SAGA

DANISH NABI*;AALIYA AHMED**;MALIK ZAHRA KHALID***
*Research Scholar: Media Education Research
Centre: Kashmir University
**Sr.Asst. Professor: Media Education Research
***Sr.Asst. Professor: Media Education Research
Abstract
The Bombay film industry popularly known as Bollywood, produces highest number of films
annually. Bollywood films have undergone a shift in their thematic content and variegated films
are now being made on subjects which were earlier an unexplored terrain. New film makers are
experimenting with new ideas and consequently instilling a new life in the Indian cinema.
Lavish, spectacular locales, splendor and opulence have become an important ingredient in
Bollywood films. The paper provides a sketch of Bollywood, its origins, its dynamics, and how it
has evolved over the years.
Key words: Bollywood, culture, bollyculture, new cinema, history, drama
Asian Academic Research Journal of Social Sciences & Humanities

www.asianacademicresearch.org
259
Introduction:
Towards the end of nineteenth century, people were spectators to ‗magic lanterns‘ which
projected pictures on to a screen. Using devices like ‗Zoetrope‘, they saw an illusion of
movement in pictures inside a cylinder. Had Augustus and Louis Lumiere been alive today, they
would have been flummoxed at their invention which they called as ‗Cinematographe‘, giving
the medium its name. In other parts of the world, the Lumieres device was matched in Britain by
‗Theatrograph‘; in USA by ‗Vitascope‘ and in Germany by ‗Bioscop‘(Hunter1987). On July 7th
1896, the Lumiere Brothers showcased six films at the Watson Hotel in Bombay and this marked
the birth of Indian cinema as we know it today. In India, the beginning was made by DadaSaheb
Phalke‘s silent movie ‗Raja Harishchandra‘ which paved the way for one of the biggest film
industries in the world today. Much before the introduction of film (silent or talkies) three
elements were vital in Indian culture: natya (drama) nritya (pantomime) and nrrita (pure dance)
(Maps of India,2013). These three aspects were eventually passed on to Indian cinema. The
influences of older folk traditions-pictorial storytelling, dance-drama, puppet shows are also
noticeable. (Valicha, 1999). Other features include an all-encompassing melodramatic mode,
epic structures, storylines stemming from mythologies, and Sanskrit dramaturgy that frequently
leads to happy endings. To come to the point, the Bollywood formula embodies an excitement
that alludes to an extraordinary creative and commercial vitality while, at the same time,
maintaining a close relationship with their roots as they negotiate transitional impulses (Sarkar,
2008).Hindi cinema, more popularly known as Bollywood, symbolizes Indian ethnicity by their
lavish song and dance sequences and glitzy costumes and Bollywood has contributed immensely
to Indian music by composing some of the most melodious tunes in Indian music history.
Bollywood, the Indian film industry based in Mumbai, is the cultural dominant of modern India
(Mishra, 2009). In fact, Indian cinema is the world‘s largest film industry (in terms of the
number of films produced and people employed, though not of its finances) and the home of
Bollywood (Dwyer,2006). ―Bollywood‖ became a buzzword during London‘s ―Indian summer‖
of 2002, where its image of kitsch, song and dance, and melodrama was used to market
exhibitions, shops and even, occasionally, the cinema itself. The 1990s saw certain production

260
houses associated with specific styles: the big budget romance shot in exotic locations with the
top stars (Dwyer, 2006). India is the only country to make films in up to 39 languages and
dialects, making for an incredibly rich and diverse cinema. Today, Bollywood is ranked as the
biggest movie industry worldwide, with respect to the number of employees and films produced,
though not of its finances (Dwyer, 2006). This makes for splintered markets, but some of India‘s
regional cinemas are as prolific as other countries‘ entire national cinemas.
Indian cinema is mass entertainment for a diverse mass audience. It appears to be both paltry and
powerful; it is trifling and frivolous, yet its values suffuse all over. Many a times it is putative
that Bollywood is limited and hackneyed. Commercial Hindi films have often been derided as
formulaic, clichéd, regressive, and unrealistic, to name only some of the milder critiques, both at
home and abroad. One way of making sense of Hindi film is to see it functioning on two levels.
On the surface is its obvious and explicit message-its narrative, characterization and the song and
dance routine. At the deeper and second level, the film seems to point to certain structures of
meaning that have a socio-cultural significance and relate directly to Indian consciousness.
(Valicha,1999)
Evolution of Bollywood:
Indian Cinema or Bollywood began its journey in May 1913 with Dadasaheb Phalke‘s full length
silent movie ‗Raja Harishchandra‘(Mishra, 2009) and was a landmark moment in the history of
Indian cinema. The roles of females were played by men and this film remains a landmark
moment in the history of Indian cinema. Raja Harishchandra was a great commercial success and
was an inspiration for further such films. The film thus is the first product of the Indian Cinema;
its maker became known as the father of the Indian cinema (Forbes,2013).About two decades
later, in 1931, the first Talkie, or talking picture, came to entertain the audience in the form of
Ardeshir Irani‘s 'Alam Ara'. ‗De du khuda ke naam Par‘, sung by Wazir Mohammed Khan,
became the first Indian film song (Forbes,2013).The silent era had come to an end, giving way to
audio-visual entertainment, and then there was no looking back for the filmmakers who clustered
into the creative business of art and entertainment. ‗Alam Ara‘, which introduced films as audio-

261
visual package of amusement as they exist today, was followed up with similar ‗firsts‘ in various
Indian languages: ‗Jumai Shasthi‘ in Bengali, Bhakta Prahlad in Telugu and Kalidass in Tamil
(Maps of India,2013). 1918 saw birth of censorship, with the Cinematograph Act being passed
and the same year Dwarkadas Sampat sets up Kohinoor Film Company, the country‘s first film
studio. Chetan Anand‘s Neecha Nagar became the first Indian film to gain international
recognition, winning the Palme d‘Or at Cannes (Forbes, 2013)
With the development of sound technology, the 1930s saw the use of music in Indian films and
Indra Sabha and Devi Deviyani were one of the first song and dance films in India.Contemporary
film directors like to use six to eight songs and complex choreography, in which the leading
characters themselves participate, to underscore the story‘s emotional high points (Bouman,
Devraj, & Duncan, 2010; Kao & Do Rozario, 2008; Mooij, 2006). Generally speaking,
Bollywood movies tend to be musicals. Bollywood has perpetuated a Bollywood musical
tradition that is very much alive today (Kalinak, 2010).
In hundred years following its birth with a silent attempt to entertain, Indian cinema has
traversed a long journey of storytelling to become the world‘s leading filmmaking industry. The
prolific entertainment industry of India has only matured from ‗Raja Harishchandra‘ through
‗Alam Ara‘ to ‗Pan Singh Tomar‘ and ‗Dhoom 3‘, producing one after the other the epic displays
of moving images that amuse an audience-base stretched well beyond one billion people of the
country, transcending borders and attracting a huge diasporic audience. Bollywood and
bollyculture have become a monolithic global phenomenon with an increasing global viewership.
The great extravagance around Bollywood is the centerpiece of the contemporary Indian
attraction to national self-renewal; the publicity and excitement encapsulate the main storyline of
national fantasy within a new global sphere (Sarkar, 2008). With its growing international effect
on movies, music, dance, and various forms of artistic expression, Bollywood has created its own
robust global brand and its own big business, attracting colossal investments (Lorenzen, 2009). .
New Wave:

262
The subsequent 40‘s and 50‘s, and 60‘s of the Indian cinema saw more and more creative
products churning out films with varied themes, plots, and presentations. The movies gained
popularity among the audience, leaving a window for the filmmakers to switch from being pure
entertainers to trendsetters within the then conservative, multi-cultural Indian society. India
became exposed to an otherwise unacceptable new culture when films started showing the stars
romancing on the celluloid; a concept of ‗protagonist‘ and ‗antagonist‘ crept into the Indian
minds; and a new definition of heroics emerged when a lean Ashok Kumar—a famous
Bollywood star—was seen downing a dozen healthy villains with a single punch or a kick.
The golden age of Indian cinema came following the independence of India in 1947 which saw
the rise of a new genre of Indian cinema called parallel cinema, which was predominantly led by
Bengali cinema. A few examples of films from this era were Nagarik by Ritwik Ghatak (1952)
and Do Biga Zameen by Bimal Roy (1953). By the mid 1950s, Satyajit Ray had made his entry
into Indian cinema and made Pather Panchali in 1955 which was the first part of his famous Apu
trilogy. The likes of Guru Dutt, K Asif and Raj Kapoor gave India its classical hits in Shree 420,
Mother India, Mughal-E-Azam and so on. It will not be an exaggeration to say that it was
Satayajit Ray who set tone for the development and evolution of the serious cinema in India. It
was in 50‘s and 60‘s—the golden year of the Indian cinema that some films from these decades
became so popular that finding a reference to them in the modern films or in the style of the
contemporary artists should not be difficult. However, the filmmakers‘ choice of themes was still
limited here; the focus was mostly on the ordinary Indian man and his problems rather than on
the flying superman which later became represented through Krissh. Also these
movies had very small, niche audiences and could not sustain the momentum due to lack of mass
appeal and hence commercial success Cinema was still an ‗institution‘ projecting and preserving
human values, morality, and culture. And it underwent a transformation in the decades that
followed. In and after 70‘s, Bollywood has increased in its reach and its acceptance within the
population had grown tremendously. It was the decade which saw the emergence of Amitabh
Bachchan as ‗angry young man‘ who with his persona seemed apt for the post emergency period,
capturing the resentment of underemployed youth and the increasing cult of violence. Bollywood
was changing in its choice of themes, staging of the ideas and concepts, characterization,
263
storytelling narratives and imagery and visualization . It was start of Hindi films to be a
simultaneous trendsetter and a mirror of the society. Filmmakers started to chose content in light
of the changing trends in the Indian society, and, on the other hand, every fashion, for instance,
introduced through movies became a trend in the society. A bell-bottom used by Amitabh
Bachchan, who is probably the greatest known Indian film star and a living legend, in a movie
would have tailors all over India mastering the art of making bell-bottoms, and every young man
would have his pants made exactly like the ones used by the star. It was the time when young
blood started rushing into the veins of Hindi films. And that an increased number of young actors
and actresses were joining the cinema was a proof of the fact that filmmaking and acting were no
more a taboo in India. Although the term Bollywood is regarded as derogatory by many in the
Indian film industry, it has become a household name (Dwyer, 2006). People had willingly given
space to cinema within their lives and the cultures, and it was the greatest achievement of the
Indian film industry. Dialogues from some popular movies of the times find a consistent
repetition in the modern day movies. When Gabbar Singh axes both arms of tied up Thakur in
Ramesh Sippy‘s 1975 film ‗Sholay‘, entire nation must have been watching it for almost
everyone remembers the dialogue ‗Ye haath hum ko de de Thakur‘. ‗Meray pass Maa hai‘ from
‗Deewar‘ finds resonance even today and has become iconic in nature.
The introduction of satellite channels and television sets in the Indian homes in early 70‘s further
increased the audience base for the movies, and with it grew the scope for entertainment movies.
The Bollywood model attracted an all-Indian public across various regions and social divides.
From a commercial standpoint, it was highly successful immediately and dynamically refined in
the decades to follow. In the 1970‘s, Bollywood was endearingly nicknamed masala (which
means ―spice mix‖ in Hindi) because it combined elements such as romance, drama, and comedy
with song-and-dance sequences in symbol-driven narratives (Lorenzen, 2009). It is perhaps the
reason that the production of ‗masala movies‘, as the entrainment movies are commonly called in
India, became and persisted as a trend all through 70‘s, 80‘s and 90‘s. Romance, action, and
comedy were the most popular movie themes in the latter two decades. The present day movies
made in Bollywood are galore with action, comedy, tragedy, and romance.

264
However, the new millennium brought new concepts of filmmaking to the Hindi cinema,
resulting in more movies being able to reach to the race for Oscars. While the use of technology
has led to introduction of science-fiction movies, themes that are more realistic now have takers
among the Indian filmmakers. UTV Motion Picture production ‗Paan Singh Tomar‘ won acclaim
at home and abroad. The movie presents a biographical account of an athlete-turned-outlaw,
Paan Singh Tomar. Tomar was an employ of the Indian defense services, but the law failed to
protect him and his family, forcing him to become a bandit who was eventually killed due to his
disregard towards law of the land. Still in infancy, the trend marks a definite change in the
filmmaking in India, and films with fresh and original ideas may end up winning more
international awards for the Hindi film industry.
Cinema and Indian Culture:
Hindi cinema or Bollywood began with a reflection of the conservative Indian culture, and,
slowly and steadily, started exposing India to western cultures. It would not be wrong to state
that Bollywood has played the most crucial role in westernization of Indian culture. In a Hindi
film from 50‘s or 60‘s, a romantic scene would be shown using analogies, avoiding direct
references; a similar shot was shown in 80‘s and 90‘s through marginal on-camera intimacy
between the characters; and in modern movies the same would be shown by shooting a high
degree of intimate scenes between the characters without inhibitions. The censor-board rating of
the movies reflects the change in trend in a better way. Early years of Hindi films had more
movies rated as ‗Universal‘ or ‗U‘, and today, 100 years later, Bollywood has already produced
its first ‗Adult‘ or ‗A‘ rated movie in ‗Hate Story‘. Most movies now get a U/A rating for an
increased degree of obscenity and violence in them.
The Indian society has visibly accepted the romantic colours of the movies as is evident from the
transformed face of the Indian society: romancing, live-in relations, or pre-marital sex is no more
a taboo in the Indian society now. On the other hand, it can also be said that the Bolllyculture has
institutionalized the new definitions of life and life-style, which have been speedily finding roots
within the Indian society due to multiple reasons.

265
‗Desi Boys‘ produced in 2010 introduced same sex relations to the Indian audience for the first
time through celluloid. The concept earlier was unpopular both in films as well as in the Indian
society, but the movie created ground for it to be debated and talked about in the Indian society.
The movies created in the latter years finding frequent indirect references to the concept, which
now seems to have become institutionalized already. Such bold themes were impossible to think
of in the early and middle years of the Hindi films. Films like Fire, Kabhi Alvida Naa Kehna talk
of issues unheard of in Hindi films.
Coming down to a more basic level of the cultural indicators, Bollywood has transformed the
sense of fashion and social-structure in India. From casting traditional sari-clad actresses in early
years of cinema, movies have shifted now to showing leading actresses in shorts and even
bikinis. And the trend was fervently followed by the society and it became accepted as a modern
sense of dressing in India. Salman Khan‘s half torn jeans and middle parted hair in ‗Tere Naam‘
became a rage among the younger generation. It was the cinema that introduced the concept of
children living abroad or in cities away from their families.
Since middle years of Bollwood, movies and culture in India have had a mutual impact upon
each other, cinema caused cultural transformation of the Indian society and the popular social
trends dictated the themes of the movies. Two major factors that played a crucial role for this
cinematographic interdependence was the acceptance of the cinema within the Indian society and
spreading roots of the technology to farthest quarters of India.
Hindi films did not remain restricted to political and economic capital of India alone. Over the
years, Bollywood stretched its roots to farthest geographical regions of India, bringing out the
multicultural identity of the country, and exposing people to it. If ‗Kashmir Ki Kali‘ reflected the
beauty of Kashmir, ‗Dil se‘ or ‗Rowdy Rathore‘ exposed the Indian audience to the southern
terrain; ‗Rudaali‘ brought to light the cultural intricacies of the sandy lands of Rajasthan, movies
from ‗Aaradhna‘ to ‗China Town‘ to ‗Barfi‘ have brought natural beauty of Darjeeling to the
silver screen.
Showcasing India’s history:

266
India has had a turbulent history of imperialism, independence, and wars. Several great names in
the fields of art, poetry etc are also a part of the history of this country. And the credit must go to
Hindi films for preserving it. Right from its inception, Bollywood has been producing several
blockbusters subjected on famous poets or politicians of the country, wars that she fought and
won over the years, and even on the domestic politics of the country. This way cinema has not
only contributed towards keeping a memoir of the major historical and political developments
taking place in India from time to time, but it incites emotions and patriotism within the
country‘s population
Bollywoodian tryst with the war movies started in 1964 with ‗Haqeeqat‘, which figures among
the finest war movies ever produced in India. The movie is based on the 1962 war between India
and China, and it has exalted the Indian soldiers who fought the war in the hostile terrain of
Ladakh. The film become so famous that its song ‗Kar chale hum fida‘ is still sung by people as
expression of patriotism.
‗Sangam‘, ‗Aakraman‘, ‗Border‘, ‗LoC Kargil‘, ‗Major Saab‘, ‗Hindustan Ki Kasam‘ are some
of the famous inclusions in the long list of movies based, directly or indirectly, on wars.
‗Border‘, produced in 1997, was border conflict between India and Pakistan at India‘s
Langewala outpost in Rajasthan during the 1971 war. It is considered one of the most famous
war movies ever produced in India. Hindi films have well preserved the freedom struggle during
the era of British imperialism.
In 1943, when Quit India movement was at its peak in India, Bombay Talkie‘s production
‗Kismet‘ encouraged nationalistic feelings within the people of Indian through its crafty display
of anti-British sentiments and with songs like ‗Door hato ae duniya walo Hindustan hamara hai‘.
Most films themed on India‘s freedom struggle and its heroes were produced during the golden
era of the Indian cinema. ‗Shaheed‘ (1948), ‗Samadhi‘ (1950) and ‗Jhansi Ki Rani‘ (1953) were
some of the finest patriotic films produced during the period.
In the latter years, nation and patriotism continued to be the preferred theme of many Indian
filmmakers who gave India hits like ‗Shatranj Ke Khiladi‘ or ‗Mughl-e-Azam‘. ‗Sardar‘, ‗Netaji

267
Subhash Chandra Bose: The forgotten hero‘, ‗Mangal Pandey‘, ‗1947-Earth‘, ‗Lagaan‘, and the
‗Legend Of Bhagat Singh‘ are some of the latest additions to the long list of movies based on
India‘s freedom struggle.
Bollywood has also produced movies based on the post-independence domestic political affairs
of India. Kashmir, Northeast, Gujarat issues have been a frequent subject of the Hindi movies.
After Mani Ratnam directed ‗Roja‘ hit the Indian screen in various languages in early ‗90s,
Kashmir became a sort of independent genre for the Hindi film Cinema. ‗Roja‘ changed the way
in which Kashmir was conceptualized in Bollywood. Before ‗Roja‘ picturesque Kashmir was the
ultimate venue for romantic Bollywood movies, but after it Kashmir itself became the subject.
‗Dil Se‘, ‗Sheen‘, ‗Mission Kashmir‘, ‗Maa Tujhe Salam‘, ‗Tahaan‘ and ‗Lamhaa one after the
other controversially focused on the conflict in Kashmir. Northeast and infamous Gujarat riots
have however been of lesser attraction to the Hindi filmmakers. In 2000, ‗Jungle‘ tried to show
the conflict in Northeastern states of India and the only popular addition since then has been
‗Tango Charlie‘, which was produced in 2005. And ‗Parzania‘ is the only popular title that
comes to mind when thinking about the Gujarat riots.
From drama towards reality:
Bollywood is changing, and changing fast. From its characteristic themes of love triangles,
emotions, action, and drama, the film industry is moving towards more realistic filmmaking as a
major subject. The number of songs included, under the most bizarre circumstances, in each
movie has now come down from around a dozen in early 50‘s and 60‘s to just five or six. In fact,
many recent movies like ‗Chak De India‘ succeeded without the presence of any mainstream
bollywood actress or any scintillating item number.
When ‗Bandit Queen‘ hit the silver screen in 1994 as a life history of the Indian dacoit Phoolan
Devi, audience may not have read much into it in terms of the changing trends in Bollywood.
And rightly so for, since then, there have not been many movies produced on real life stories and
subjects. However, many recent films are indicative of the fact that the trend may be changing in
Bollywood. ‗Taare Zameen Par‘ came in 2007 as a film on dyslexia, suggesting the ways to deal

268
with it. Then came ‗Paa‘ in 2009, exposing the Indian audience for the first time to a rare genetic
disorder known as ‗Progeria‘. The same year, 3-idiots was produced as a comedy-drama
challenging the conservative Indian mindset in choosing careers. The film, which proved to be a
super hit, came under a controversy after novelist Chetan Bhagat claimed credit for its story,
which he said was adapted from his novel ‗Five Point Someone‘. In 2012, ‗Paan Singh Tomar‘
and ‗Vicky Donor‘ brought to screen the tragic life of a military athlete and the problem of
infertility in developing India. And films like ‗Bhaag Milkha Bhaag‘—the movie is based on the
life of Indian Olympian Milkha Singh-—has already made the audience enthusiastic. ‘Barfi‘,
‗Gangs of Wasseypur‘ achieved acclaim for their novel themes and treatment.
The treatment given to all these movies is too distinct to put them under the categories of typical
drama or masala. ‗The Lunch Box‘ is one of the films made on a new theme which was critically
acclaimed and applauded for its freshness. That they were appreciated by audience in India and
abroad is a proof that Bollywood needs to change for good. With its growing international effect
on movies, music, dance, and various forms of artistic expression, Bollywood has created its own
robust global brand and its own big business, attracting colossal investments (Lorenzen, 2009).
Conclusion:
Earlier notion of films celebrating silver or golden jubilee where films ran for 25 weeks or more
have been replaced by the phenomenon of earning 100 crore . The hallmark of a successful film
in the new millennium is being punctuated by being a cabal of ‗100 crore club‘. Over the last ten
years or so, there has been a dramatic shift in the thematic content with the infusion and
interleaving of new blood in the industry and filmmakers are experimenting with a wider variety
of themes. This move is in part led by the introduction of multiplexes which has opened up the
possibilities of niche audiences where films can be targeted at specific segments with a fair
chance of box office success. This multiplex phenomenon as the industry in India likes to call it

269
is an inherent part of the globalization juggernaut which is changing every facet of public and
private life in India.
Bollywood embodies the new socio-economic currents of globalization. Bollywood is an
increasingly growing and prolific cultural cluster (Kripalani & Grover, 2002; Lorenzen, 2009).
Bollywood produces the highest number of films in the world, averaging 1000 features annually.
In 2005 alone, it produced 1041 films (the U.S. makes about 50 percent that number, France
barely 25 percent). The formation of Bollywood is a process that is simultaneously Indian and
cross-cultural. Bollywood is experiencing changes that are textual – i.e., changes happening in
the aesthetics of movies as bases of cultural mimicry – and operational – through the ever-
expanding co-production opportunities between different agents in the local and global industry
of entertainment (Thakur, 2008). Bollywood movies are tongue-in-cheek by nature, with many
elements that draw authenticity. To them, if the acting appears as overdramatic or over the top,
then it is still completely acceptable because this is what is expected of Bollywood (Avery-
Merfeld, 2009). Bollywood‘s presence and impact have been very dominant in India and it is growing at
an unparalleled pace. New film makers, new ideas, new techniques has ushered in a new era in
Bollywood and the nature of film making is undergoing a paradigm shift where the audiences are able to
experience new aspects of Bollyculture and Bollywood.

270
References:
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far-east/35139/1#ixzz2pEtBqULd 1946
http://www.mapsofindia.com/on-this-day/july-7-1896-indian-cinema-is-born
Bouman, E., Devraj, R., & Duncan, P. (2010). The art of Bollywood. Köln, Germany: Taschen.
Dwyer, R. (2006). Bollywood‘s new dream. New Statesman, 135(4777), 38-39.
Hunter, Nigel. (1987). The Arts: Cinema. England: Wayland Publishers.
Kalinak, K. (2010). Film music: A very short introduction. Oxford: Oxford University Press.
Kao, K. T., & Do Rozario, R. A. (2008). Imagined spaces: The implications of song and dance
for Bollywood‘s Diasporic communities. Continuum: Journal of Media & Cultural Studies,
22(3), 313-326.

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Kripalani, M., & Grover, R. (2002) Bollywood: Can new money create a world-class film
industry in India? Business Week – Asian Edition, p. A1.
Lorenzen, M. (2009). Creativity and context: Content, cost, chance, and collection in the
organization of the film industry. In P. Jeffcut & A. Pratt (Eds.), Creativity and innovation in the
cultural economy (pp. 93-117). London: Routledge.
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23(3), 439-462.
Mooij, T. (2006). The new Bollywood: No heroines, no villains. Cineaste, 31(3), 30-35.
Sarkar, B. (2008). The melodramas of globalization. Cultural Dynamics, 20(1), 31-51.
Thakur, M. (2008). Bollywood: Sociology goes to the movies. European Journal of Cultural
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Longman.

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BOLLYWOOD: THE INDIAN CELLULOID SAGA

Key words: Bollywood, culture, bollyculture, new cinema, history, drama

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Asian Academic Research Journal of Social Sciences & Humanities

Asian Academic Research Journal of Social Sciences & Humanities

Asian Academic Research Journal of Social Sciences & Humanities

Asian Academic Research Journal of Social Sciences & Humanities

Cinema and Indian Culture:

Asian Academic Research Journal of Social Sciences & Humanities

Showcasing India’s history:

Asian Academic Research Journal of Social Sciences & Humanities

Asian Academic Research Journal of Social Sciences & Humanities

From drama towards reality:

Asian Academic Research Journal of Social Sciences & Humanities

Asian Academic Research Journal of Social Sciences & Humanities

private life in India.

Bollywood embodies the new socio-economic currents of globalization. Bollywood is an

experience new aspects of Bollyculture and Bollywood.

Asian Academic Research Journal of Social Sciences & Humanities

Dwyer, R. (2006). Bollywood‘s new dream. New Statesman, 135(4777), 38-39.

Hunter, Nigel. (1987). The Arts: Cinema. England: Wayland Publishers.

Asian Academic Research Journal of Social Sciences & Humanities

Mishra, V. (2009). Spectres of sentimentality: The Bollywood film. Textual Practice,

Sarkar, B. (2008). The melodramas of globalization. Cultural Dynamics, 20(1), 31-51.

Asian Academic Research Journal of Social Sciences & Humanities

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