Bollywood and Its Most Distinct Features - Research Paper Example

Introduction Bollywood refers to Hindi-language movie industry situated in Mumbai, India. The term is normally mistakenly used to mean the entire Indian cinema, but is just a portion of the Indian film industry that comprises of other production centers producing movies in many languages. Bollywood stands as one of the largest movie produces in India as well as the world over. 1Another name for this franchise is Hindi Cinema. This research will focus on issues ascribed to movies produced in Bollywood, specifically explicating characteristics of these movies, analysis of critics on these movies as well as an analysis of four Bollywood movies. Characteristics of Bollywood Movies from Introduction to Independence The introduction of Bollywood or Indian movies began in the early 1800’s, during the British Colonial regimes. Perhaps one of the most dominant characteristics of Bollywood movies since their introduction is the essence of nationalism. That is, giving the movie certain aspects that associates it with Indians. One of these aspects that was used since their introduction is the use of Hindi language to dominate a large portion of the movie. It is important to note that Hindi is not the only language spoken in Indian, but forms part of the over one hundred languages spoken in this highly populated country.2 However, the reason why Hindi was chosen as the appropriate language of producing Bollywood movies was based on the fact that it was a popular language used for trading purposes. Many people could understand it owing to the fact that it had certain dialects associated with their native languages. These native languages include Assamese, Bengali, Marathi and Odia, which all added up to form Hindi. Years later, the language was made a national language; hence giving Bollywood movies the essence of nationality. Additionally, Bollywood movies have been characterized by a high sense of musical eclecticism since their introduction, up to the independence, a characteristic that is still evident up to date. During the initial stages of introducing Bollywood movies, the types of music that were used for its creation incorporated musical genres such as: Folk music, Carnatical classical music, religious music from Northern and other parts of India. Carnatical classical music is a musical system commonly linked with the southern part of the India that has an emphasis on vocals. This idea was strongly supported by the pioneer of Bollywood movies, Dadasahib, who believed that indigenous aspects of Indian film production would facilitate the acquisition of their future freedom. 3 Consequently, censorship is another characteristic of Bollywood movies that did not only last from the year they were introduced to independence, but has extended to the current generation. This idea was strongly grounded by Dadasahib; some essence of censorship was also promoted by the then British government that did not want any information indicating Indian freedom included in the movies. However, in relation to censorship by the Indians, certain intimate sexual acts were prohibited for instance: Kissing, touching the opposite sex intimately and sex. However, this censorship led to application of exaggerated body movements in the Indian movies such as: Shrugging, keeping the actors’ faces close to an extent one may think they are almost kissing. 4 Bollywood and Its most Distinct Features Some of the distinct features that can be seen to stand out in Bollywood films include their religious elements, their diversity, inclusiveness and regionalism of culture of a tropical subcontinent. Though most of the music are based on secular elements, you can always feel the religious touch in them. For instance, sacred characters, honor of their gods and the elders people among other factors. Their diversity can be seen in the way they have their unique style of acing not trying to imitate the western culture. For example, Indians are known for incorporating a lot of music in their films with the characters just posing in between as scene and starting to sing. This cannot be seen in other western films. The music, dance and decoration are usually used to portray themes of love, sorrow, but in most cases are associated with romance. Inclusiveness is another salient feature of Bollywood films, which distinguishes it from other film producers. Of all kinds of genre, drama, romantic and action among others, all contain a number of elements that are unique to them. They endorse their own culture. For instance, they like to portray how the process of marriage is undertaking in India, how family heads are respected and how they respect their religion. How Prasad’s text, “This Thing Called Bollywood” addresses Bollywood Definition The article, by Madhava Prasad, articulates various concepts that have been used to define Bollywood. Prasad believes that Bollywood is not a term with a specific meaning as it can be applied to any film within the realm of Indian cinema. He argues that Bolloywood belongs to an order of signifiers which appears to want to ‘capture a style or mood’, instead of designate a piece of reality. Similar to some processes that we become aware of just when they are almost over, we are now witnesses to the naturalization of ‘Bollywood’ as the name for what was before called Hindi cinema. It is alluring to think that this course of near-universal legitimation of ‘Bollywood’ is a sign of some other cultural and social processes that have a bigger significance.5 Moreover, Prasad asserts that Bollywood can be defined as a concept of movie production that does not just exclude certain aspects of art genre, but is categorized as an order of signifier, making an attempt to create mood and some sense of style. Prasad notes that some critics have questioned whether movies depicting the lives of Indians in Canada and London could be referred as Bollywood. His answer is no as he states that Bollywood boasts of a larger footprint than what is depicted by these Canadian and British produced Indian Films. Consequently, the article also indicates that Bollywood is a form of film that gives a sense of reflexivity. This has not only improved its popularity in the global movie arena, but also making it unique, with contrastive values as well as pleasures just like Hollywood movies. The reflexivity, according to Prasad, is basically a dimension of self-awareness owing to the fact that it is a base of knowledge that has facilitated the reproduction of Indian Movies. Topics Agreed and Disagreed with in Alberto Elena’s Readings “Mumbai, an Over-painted Courtesan” Personally, this is one of the topics that I agree with from Elena’s readings. Taking an analysis of the book, Mumbai seems to be a city of exaggerated social, religious, economic, political as well as ethnic fascination. My major reason for agreeing with this topic is based on the fact that Mumbai is particularly founded on exaggerated social fascination i.e. rapid economic and social development that has attracted millions of people from Africa up to Russia. This is typical with any movie produced whether by Bollywood or Hollywood: In most cases, exaggerated scenarios or social dimensions of a place are applied to make movies more interesting to an extent that viewers are left with fascinating ideas concerning a character or a movie. However, I also disagree with this topic to some extent. To begin with, it seems that the whole fascinating ideas created on the minds of the audience reduces Mumbai to a mere cinematic stereotype. That is, Mumbai appears to have been reduced to a character, with a sense of muse whereby there are myriad political as well as social discourses. “It is a Term Only” This is another topic from Elena’s reading that I do not agree with. This topic tries explain the use of the word Bollywood. The writer narrates how the use of this word began in what is considered “tongue-cheek talk” up to the current level where it has made Hindi Films earn a great sense of respect. tongue-cheek talk means for example taking the name Hollywood and coming up with the names Nollywood for Nigeria and Bollywood for india. It is like the you take the first name of the place where the films are being produced and then you add the word "wood". I agree with the writer asserts that the use of this word has even gained academic recognition as well as legitimacy. However, I disagree with the writer that the term is used by foreigners, who do not properly know what it means. On a personal basis, this is not true; I believe that the word Bollywood is popularly used by foreigners to describe Hindi films that are produced in India. Topics Agreed and disagreed with in Chakravarty Sumita’s Reading “Indian Cinema: The Beginnings” I agree with the introductory part of this topic; it basically describes the meaning of cinemas in a comprehensive manner by stating that: Cinemas are popularly considered microcosm of political, economic as well as social facets of a society. The article goes further and posits that cinemas provide a platform where sense of realities are negotiated, identities approved or disapproved and traditions defined. I agree with this part; indeed cinemas form a crucial portion of the society, it creates a platform where the weak may raise their concerns, it is a form of entertainment and an important factor in economic development. “Modern India: British Colonialism” I do not agree with this topic. This is because the major focus of this topic is geared towards making readers understand atrocities that were committed by the British colonials among Indians. Very little focus is given towards the relationship between British Colonialism and Modern India and how it affected cinema production or Indian Films, which forms the major theme of book. A major proportion of this topic is directed towards understanding the perception of Indians towards their colonial masters for a period of 100 year. My opinion is that a larger part of this discussion is less relevant. Personal Impression on Prasad’s Ideology on Hindi Films “Ideology on Hindi Films” by Prasad was a crucial writing in the study of Bollywood movies and movie production in general. Prada vividly explicates the application of semiotic theory in producing Indian Movies and extends towards creating a set-up for inquiry that focuses on the discussion of major issues ascribed to Euro-American Films over the last twenty five years. 6 Prasad’s argument in this book seems to have been based deploying issues associated with the study of film production, film ideologies as well as politics within the film industry. Impression and Ideas on “Fact Fiction and the Making of a Superstar” It is significant to understand what makes a successful box-office motion picture part of the film canon. A reminder to yet another classic from the 50s, the movie reworks a story structure focused on the mother-son bond, a bond bearing mythic status in Indian culture. Deftly meshing the strangely passionate emotional pitch this develops with the political temperate on the eve of Indira Gandhis infamous 1975 national Emergency, which suspended citizens rights, this 70s movie provides a benchmark, a connection between movies of the 50s, as well as their 90s reconfiguration as polished gangster movies. The authors give a larger focus on facets that makes a perfect movie character. There is also comparison of persons that have been regarded as film heroes and what makes them different from time to time. I believe that these ideas are not only pertinent for theoretical studies, but are also crucial for practical movies production processes. Analysis of Four Movies Analysis of “Shree 420” Shri 420 is the story about Raj, a country boy, who journeys to Mumbai in order to earn a living. He falls for the poor but righteous Vidya, but is later seduced by the wealth of a unrestrictive and immoral lifestyle presented to him by an corrupt businessman Seth and Maya, the sultry temptress. Sonachand informs Ranbir that so as to make money one should never discriminate between the poor and the rich. So they embark to offer homes to the homeless for just Rs.100/-.He ultimately turns into a swindler, or "420." Eventually, Raj forsakes his greedy and deceitful ways. Analysis of “Pather Panchali” This movie was produced in 1955 by West Bengal Government. It focuses on the life of priest trying to make ends meet for his family in the Village. However, after many myriads unsuccessful efforts to achieve his dreams of better life, he decides to leave his wife, daughters and cousin in the village to seek better sources of living in the city. Life becomes hard for his family in his absence and then his daughter dies. The movies relates with the society at that time owing to the fact that it attempts to explicate how people migrated from the rural areas to the cities for better sources of living during the 1950’s. In addition, it has a close relationship with “Shree 420” as it also focuses on the life of someone who is compelled by poverty to travel to the city just like Raj in “Shree 420”. Analysis of “Mother India” This is an Indian epic directed in 1957 by Khan Mehboob. It narrates the story of a woman in the village, stricken by extreme poverty and is making unsuccessful efforts to offer proper life to her two sons in the absence of her husband. The movie also narrates how the woman survives against the lies of a village money lender. However, she faces these challenges and manages to raise her sons, thus getting respect from other villagers, who consider her an ideal woman. The film is based on poverty in the village and how women faced challenges during such times. It also focuses on motherly love, a typical representation of what was happening in India in the 1950’s. The theme of poverty is also expressed in “Shree 420” as well as “Pather Panchali”. Analysis of “Lucky by Chance” The main theme of this film, directed by Akhtar Zoya, is based on an actor who travels to Mumbai to attain the position of a movie star. It describes the challenges he faced while making attempts to becoming a successful actor and how he managed to be a fortunate and wealthy actor. Additionally, the movie describes how the actor faced challenges in relation to managing his relationships having attained the position of an actor. This is one of the most recent movies, however, it shows that challenges faced by the contemporary young generation in their efforts to be successful. Its relationship with the three movies discussed occurs in the sense that it also exhibit social challenges faced as one strives to prosper. Read More