Swades
After the international success (including an Academy Award nomination) of Lagaan (2001), writer-producer-director Ashutosh Gowariker’s follow-up is at first glance a very different film: whereas Lagaan gave new life to the Hindi “historical” film by being located entirely in 1893 and in Champaner, an imaginary Indian village, Swades opens with a shot of the globe that zooms down into contemporary Washington DC, where its hero, so unlike the earlier film’s simple villager Bhuvan, is a manager working on NASA’s Global Precipitation Measurement project. Whereas Bhuvan, lacking the ability to converse in English, nevertheless has to learn the wily ways of the British colonial rulers in order to literally beat them at their own game, Mohan Bhargava (Shah Rukh Khan), the hero of Swades, is apparently a fully assimilated, literally globalized scientist who skillfully handles a press conference in high-tech, jargon-laden English. And whereas Lagaan begins with the imposing voice-over of Amitabh Bachchan’s immaculate Hindi, that language won’t be heard in the “Hindi” film Swades for almost ten minutes, and then as hybrid “Hinglish” spoken by Mohan and his colleague Vinod.
But Swades soon draws Mohan back to his native India and to Charanpur, another imaginary village, in search of his beloved Kaveriamma (veteran actress Kishori Ballal, most notable in Kannada theatre, film, and television), the humble woman who raised him but who he has shamefully neglected following the death of his parents in a car crash when he was in college. Once the film adds a romance with Gita (Gayatri Joshi in her film debut), a village belle and schoolteacher of the feisty and independent sort, and begins to focus upon a goal (the generation o...
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..., auditions, and “Social Relevance Information.” The latter consists of a summary of India’s caste system “complied only for the purpose of the film and necessarily does not coincide with any other researched sources.” Truly interested viewers might nevertheless be encouraged to seek out “other researched sources.”
Works Cited
Jigna Desai, “Planet Bollywood: Indian Cinema Abroad” in East Main Street: Asian American Popular Culture. Ed. Shilpa Dave, LeLani Nishime, and Tasha G. Oren. New York: NYU Press, 2005.
Sunaina Marr Maira, Desis in the House: Indian American Youth Culture in New York City. Philadelphia: Temple University Press, 2002.
Vijay Mishra, Bollywood Cinema: Temples of Desire. London: Routledge, 2002.
Arvind Rajagopal, Politics after Television: Hindu Nationalism and the Reshaping of the Public in India. Cambridge: Cambridge UP, 2001.
Culture has the power and ability to give someone spiritual and emotional distinction which shapes one's identity. Without culture, society would be less and less diverse. Culture is what gives this earth warmth and color that expands across miles and miles. The author of “The School Days of an Indian Girl”, Zitkala Sa, incorporates the ideals of Native American culture into her writing. Similarly, Sherman Alexie sheds light onto the hardships he struggled through growing up on the Spokane Indian Reservation in his book The Lone Ranger and Tonto Fistfight in Heaven in a chapter titled “Indian Education”.
In this paper I will attempt to discover how cultural differences affect communication in two movies of differing cultures. I will keep the names of the characters formal for both movies and for the Indian movie I will translate their lines to English directly. The first movie is of the Indian culture entitled Quayamat Se Quayamat Tak, which roughly translates to “From Armageddon Till Armageddon.” This has a classic Romeo and Juliet theme. I will focus on what I consider are the three main relationships in this movie: 1) Raj, the main male character, and Reshmi, the main female character, 2) Raj and his family, and 3) Reshmi and her family. The second movie is of the African American culture entitled Boomerang. This is in essence about a lady’s man who is in search for a perfect woman. Along the way to finding Miss Right he romances other women and as soon as he finds who he believes is the right one, she romances him. I’ve chosen three main relationships from this movie as well: 1) Marcus, the main male character, and Angela, the women he ends up falling in love with, 2) Marcus and Jacqueline, the female he believes is the perfect women, and 3) Marcus and his friends Gerard and Tyler. This essay will discuss how the friends of each movie communicate with each other, what good and bad communication behaviors they have, compare and contrast the relationships depicted in the movies, talk about how the theories of friendship in the course text apply to the friendships in the movies, converse about how each film portrays the culture of the characters, and lastly discuss what each film says about the communication habits of their respective cultures.
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.
Woodburne, A. S. "Can India's Caste System Survive in Modern Life?” The Journal of Religion, Vol. 2, No. 5. Chicago: The University of Chicago Press. pgs. 525-537. Web
The number of Asian American communities is growing in the U.S. population, however, these groups of people are often marginalized and misrepresented in mainstream media. In today’s mainstream media, there is a visible lack of Asian American representation on film. Asian actors, when given roles in film and television, are rarely cast for central roles and form about only 3% of prime-time characters (Ramasubramanian, 2011). Not only is the number for casting Asian and Asian Americans low, the roles of these characters are often portrayed in the stereotypical ideology which has been present for decades. But why are Asians portrayed the way they are? Why has Hollywood maintained its representational practices when it comes to the portraying Asians? Why do these portrayals persist in the presence of a growing Asian population and racial diversity? What is the significance of the Asian American segment for Hollywood? To what extent does the consideration of the Asian American market influence the way Hollywood portray Asians? These are the questions that surface when watching films, and in the lens of an Asian American, many Asians and Asian American do not fit the mold created by Hollywood. First, I will introduce the range of common film representation of Asians. This literature review will focus on the negative and positive light of Asian representation , the structure of Hollywood film industry and its effect on representing Asian race, the social acceptance of Asian stereotypes, and Asian American’s social identity theories.
... However, with investigation into the visual elements of this film, meanings of this film expand beyond the literal dialog and -- existing in the film. Works Cited Desai, Jigna. 2004. The 'Secondary' of the 'Secondary' of the 'Secondary' of the 'Secondary' of the 'Secon “Homo on the Range: Queering Postcoloniality and Globalization in Deepa Mehta’s Fire,” in Beyond Bollywood.
Marchetti, Gina, and Tan Kam. Hong Kong film, Hollywood and the new global cinema no film is an island. London: Routledge, 2007. Print.
Owing to India’s diversity, these identities are determined by caste, ancestry, socioeconomic class, religion, sexual orientation and geographic location, and play an important role in determining the social position of an individual (Anne, Callahan & Kang, 2011). Within this diversity, certain identities are privileged over others, due to social hierarchies and inequalities, whose roots are more than a thousand years old. These inequalities have marginalized groups and communities which is evident from their meagre participation in politics, access to health and education services and
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.
Motion pictures have been around for a long time. They are popular all over the world. When people think of motion pictures, Hollywood always pops in their heads. As great and as popular as Hollywood is, there is a larger film industry in the world, and it’s not in the U.S. The largest film industry in the world is called Bollywood and it is located in Bombay, India. Bollywood puts out on the average eight hundred movies a year, which means two movies are cranked out every day. (Ninian pg 1)
Caste represents the most memorable, comprehensive and successful attempt ever made by an order to oppress humanity in its own interest. Its enactments broke up the race into many fragments never to be reunited, separating Aryans from other peoples by impassable barriers, permanently fixing their occupations, interests, associations and aspirations. As men were born so they must remain. Their course of life was prescribed, their places after death predetermined. (Porter, 25)
Siva, Manu. Difference in Cultural Values. India Today (20) 3. 45-48 Retrieved April 03, 2006
India has the largest democracy in the world and media has a powerful presence in the country. In recent times, Indian media has been subject to a lot of criticism for the manner in which they have disregarded their social responsibility. Dangerous business practices in the field of media have affected the fabric of Indian democracy. Big industrial conglomerates in the business of media have threatened the existence of pluralistic viewpoints. Post liberalisation, transnational media organisations have spread their wings in the Indian market with their own global interests. This has happened at the cost of an Indian media which was initially thought to be an agent of ushering in social change through developmental programs directed at the non-privileged and marginalised sections of the society. Though media has at times successfully played the role of a watchdog of the government functionaries and has also aided in participatory
Aparna, Bhargava. Theatres of Independence: Drama, Theory, and Urban Performance in India Since 1947. New York: University of Iowa Press, 2009.
Usha Reddi 1989: Media and culture in Indian society: conflict or co-operation. Osmania University, Hyderabad.