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Essay on 100 years of indian cinema
Essay on 100 years of indian cinema
Essay on 100 years of indian cinema
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The increase in globalization in the Indian subcontinent has brought along with it a series of new genres in Bollywood movies. Movies showcasing freedom being fought for by the youth and women are just a couple of interesting ones. I’ll be exploring two different movies Dor (2006) and Rang De Basanti (2006), each of which has its own take on ‘freedom’ and ‘choice’.
Dor has a very simple storyline; two female protagonists (Meera and Zeenat) whose husbands respectively (Shankar and Amir) leave India to get employed in the Middle East. Unfortunately, employment in India is scarce, forcing lower middle class families to resort to such options. These families are constantly fighting for their freedom of survival. Shankar is in a similar dilemma. He has no choice but to go to Saudi Arabia and earn enough money so that his family in Rajasthan can repossess their haveli (a large Rajasthani house) back from a moneylender. Notice here that Shankar's own personal 'freedom' is curtailed by his efforts to 'free' his family's house, which they could no longer afford.
However, the theme of struggling for freedom in Dor is portrayed more vividly through the shackles Meera’s in-laws place on her after Shankar dies in a freak accident. She loses all sense of living. The once happy girl, who was always dancing around and smiling, now tolerates the insults and emotional abuse that her in-laws subjugate her to. This was in addition to the normal and rather depressing, cultural customs of visually making her look like a Rajput widow. She is forced to dress in a single subdued, dark shade of blue and can't accessorize herself with any bangles or jewelry.
Zeenat on the other hand, comes to Rajasthan just to get Meera’s pardon; if succe...
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...ade their own widowed daughter-in-law into a life of servitude in exchange for their house.
As India moves up the ladder to becoming an economic giant, there are a lot of opportunities opening up within the country, however not everyone is being given their right of freedom. Women are still held back in several parts of India, under the restrictions of old traditions and cultural norms. Not a lot of the youth want to lead the nation and become politicians. However, small changes are taking place, people are taking stands, women are becoming more independent, and these are all due to the economic liberalization of India. These movies are just visual encapsulations of what changes people want to see happening. Freedom is every human’s right and choices define what we do with our freedom, so like the movies; we shape a better world as we all make the correct choices.
fragmented by the interruptions of song and dance, lending a sense of unreality. I believe Mira Nair successfully achieved her aim to make a Bollywood film on her own terms. As a director, she effectively combined the techniques of sound, editing, costume, colour and location to produce a fairly unique Bollywood film. Her message of the continuing modernisation of India, and her criticisms of both the societies she illustrates in the film comes across clearly, as do the more controversial points she brings up that Bollywood, as a film industry, does not typically address. Its appeal and effectiveness can be measured by the huge range of global audiences it has attracted, both Western and Eastern, which indicates that she accomplished her goal of making a realistic movie, breaking the traditional Bollywood mould.
Mukherjee then begins to compare and contrast her sister in a subject-by-subject organization. She states, “…she clings passionately to her Indian citizenship and hopes to go home to India when she...
Throughout the world when many people think of India the first thing that comes to mind is Bollywood. Bollywood has created a major mark in India and around the world. In 2011 CNBS reported Indian cinema as being $2.2 billion industry which creates 1,200 movies yearly, provides over 1.8 million people with jobs, and has more than 14 million theater viewers daily (Jetley). People who have had little to no expose with Bollywood films may wonder what makes Bollywood films stand out in the global market, and the answer is easily the presence of songs and dances in the films. Song and dance is a creative form of art and has been embedded in Bollywood cinema since the 1930s (Marcoux, and College). Every popular Bollywood film has at least 3 songs and dances sequences , and these sequences allow the characters to freely express their emotions in what is seen to be a “dream sequence” (Marcoux, and College). In Indian films women are represented as the object of men’s desires, and are often seen and not heard. Song and dance in Bollywood cinema allows women to express their sexual desires in a non-disruptive way, specifically I argue that this is attained through women who are rendered as respectable.
The world before her is a film of hope and dreams for Indian women. We examine two girls with different paths but one goal in common, empowerment. This term conveys a wide range of interpretations and definitions one of them being power over oneself. Both Prachi and Ruhi manifest a will for female empowerment but both have distinct views on how this is achieved. Prachi believes the way to achieve empowerment is through her mind and strength, while she still confines to tradition views of Indian culture. Ruhi desires to achieve female empowerment by exposing her beauty in a non-conservative way while maintaining her Indian identity.
Whereas the relationship between Maha and Harb is one of passion and love, Ihsan and Nadia are the complete opposite. Nadia hates how Ihsan looks at her as a woman always and never a person. She struggles to prove her capability of being an individual and forming an identity of her own that is separate and goes beyond Mrs. Natour. She proves that she can ‘think and feel’ for herself and by herself. In the West where we have women out on the streets rallying for equality between men and women, fighting in the armies, present in the workforce, these victories may seem minute. However if one pays close attention to social structures and social norms in different cultures one can realize that this challenging and questioning is as important and holds as much weight as getting equal wages for women in America.
Over the years, Bollywood has emerged as its own distinct identity in the global Film industry. Bollywood is the global leader in production of movies with a staggering 27,000 featured films and thousands of short films. ( Pillania 1) However, Hollywood is still the leader in revenues generated. Due to the growth of the Indian market and globalization, Bollywood has made its way to the international markets. Globalization is often misrepresented as the growing influence of the western culture in the world and so we tend to state that Hollywood is influencing Bollywood to a great extent. An argument can be made to justify the validity of that statement. However, this paper aims at presenting the influence of Bollywood on Hollywood in terms of music, dance and visual representation. This papers deals with a specific part of globalization, providing evidence that it
Since the creation of films, their main goal was to appeal to mass audiences. However, once, the viewer looks past the appearance of films, the viewer realizes that the all-important purpose of films is to serve as a bridge connecting countries, cultures, and languages. This is because if you compare any two films that are from a foreign country or spoken in another language, there is the possibility of a connection between the two because of the fact that they have a universally understanding or interpretation. This is true for the French New Wave films; Contempt and Breathless directed by Jean-Luc Godard, and contemporary Indian films; Earth and Water directed by Deepa Mehta. All four films portray an individual’s role in society using sound and editing.
Rao, S. (2007). The globalization of bollywood: An ethnography of non-elite audiences in india. The communication Review, 10(1), 57-76. doi: 10.1080/10714420601168491
In this Persuasive essay I will be comparing two films, "Memento" and "Ghajini". I will discuss the genres, the casting of the films, and how effective they were. I will also look at the cast, action, plot and productions, and how these are aimed at each film's target audience. Though both films have more similarities than differences, there are some major differences too.
The history of tribal oppression in India is an old one. “The Sanyasi Revolt”, “The Wahabi Movement”, and “The Naxalbari Rebellion”, are evidence of the tribal outcry that appropriately foregrounds their requirement for fundamental rights as citizens of the country. Even after sixty six years of independence, India’s rural poor and tribals are lamenting under the curbing effects of destitution, unemployment, undernourishment, illiteracy and human trafficking. For these people, the notions of liberty, equality and democracy have no meaning at all. Though the country is free from the bondage of foreign rule, their repression and prejudices still continue leaving them dependent on their new masters.
Women have often been called upon to make sacrifices and suppress their personal desires.They have often been left on the margins of the social set-up as far as their personal desires and fufilment of those desires is concerned. Women are not a minority in our society but their “lives, experiences and values have been treated as marginal” and men’s experiences have been assumed to be central to society. One also needs to contest the often stated view that in India women have always enjoyed a place of respect and dignity, that they have been respected as ‘devis.’ It needs to be seen that “the respect and privileges which accompany the position of a ‘devi’ are not only anti-individualistic,” they are also anti-humanistic and “deny women a personhood”.
As time goes on a gap is created between the past generations and the current generations. This gap between men in the 1950s and the men now (2009) are similar and different in terms of the roles they play, their attitudes towards society, women and work, and their identities. The root to the generation gap in India is due to the influence of media especially television and movies have caused people to look up to the characters and strives to act like them, which reinforce gender stereotypes and identities. For example, Love Aaj Kal, an Indian movie released in 2009 is a contrast of couples in the 1980s and present day. In the movie one of the actors says, “Aaj ke ladke bauth modern aur independent ho gaye hai. Hum aare zamane mein baath hi kuch aur thi” (Veer Singh). In translation, it means that, “Boys these days are very modern and independent. In our time things were different”(Veer Singh). The following are many different ways to interpret what the actor was trying to say about men then and now in regards to roles, attitudes and their identities.
The Das parents’ negligent relationship with their children in Clear Light of Day mirrors India’s independence from Britain. Before their deaths, Mr. and Mrs. Das were preoccupied and inattentive to their four children, Raja, Tara, Bim, and Baba. They spent most of their time at the club, playing “their daily game of bridge” (Desai 50). This pastime is so important to them that they neglect to take care of their kids. For example, Mrs. Das tires of “washing and powdering” Baba, her mentally disabled baby, and she complains, “My bridge is suffering” (103). Mr. Das also does not focus on his children and “he [goes] through the day without addressing a word to them” (53). Unfortunately, Mr. and Mrs. Das are unable to ever form a loving relationship with their children because they both pass away. After Mrs. Das falls into a...
The men have internally colonized the minds of women, often making them aware of the limitations. Women are illtreated and tortured for various reasons and are considered a debit to the family though they bear and bring up children; do all the house work and some of them do jobs additionally. Ambedkar points out, “A woman under the laws of Manu is subject to corporal punishment and Manu allows the husband the right to beat his wife”.2 There is another problem which affects almost all women is the problem of gender inequality. Since the women are given the subordinate status, they never feel that they are at the driver seat of their lives. Their role in the family or society is considered inferior than their male counterparts. Even the modern women who are educated and who have economic independence remain unchanged in this aspect that is their subordinate status remains intact. The Indian society which has accepted the laws of Manu denies education to women and thus mental growth. Manu says, “Women have no right to study the Vedas”.3 In modern India, though women are allowed to study, there is a danger of becoming sophisticated slaves in the patriarchal system as ‘Saritha’ in Vijay Tendulkar’s play,
Mahesh Dattani writes on the burning issues that beset the post-independence Indian society, whether it is communal discord, politics and crime, growing homosexuality or the gender bias. He uses stage to condemn many of the drawbacks prevailing in society. His plays depict marginalized groups of society, people who are considered misfits in a society where stereotyped attitudes and notions reign supreme. His plays have varied content and varied appeal.