Importance Of Indianness In Bollywood Cinema

Commodification of Indianness in Bollywood movies and Diaspora

Chapter -1 …Introduction

Introduction of Indian Cinema

Bollywood movies are entertaining the global now.it is the one of largest film industry in the world, the term Bollywood coined in a journalistic column in India and contested and commended in almost equal measure. The word is a derivative, imitative and low quality version of the world richest film factory –Hollywood but in terms of the production of feature films and viewership, India leads the world: every year on average 1,000 films are produced and a billion more buy tickets for Indian movies than for Hollywood films. Bollywood helped to make an attractive, exotic and colorful, tourist and investment destination. In addition

77). Changes in the media landscape along with policy initiatives by the State precipitated a further series of changes which dramatically impacted the film industry. When the government granted ‘‘industry status’’ to films was eligible for infrastructural and credit supports available to other industries as well as reduction in custom duties on cinematographic film, complete exemption on export profits, and tax

The Indian government in the late 1990s on the regime of Prime Minister PV Narasimha Rao economic liberalization policies and encouragement of foreign investments opened Hindi cinema up to global audiences. India has then become a brand name associated with Bollywood, and the nation and its Diasporas have become reconfigured through a consolidation and expansion of the dominant heteronormative workings of earlier Bollywood cinema (Bhattacharya). Films by directors such as Koran Johar, Aditya Chopra, and Nikhil Advani, Suraj Barjatya can be interpreted almost exclusively through the lens of diaspora, for their appeal to upper middle class Indians living diasporically aimed at reinforcing the positive bonds of society, religion and Hindu ethnicity; secondly, at encouraging such Diasporic Indians to consolidate that emotional and national identification by investing financially, in Indian cinema. The combination of a globally disseminated cinema and a corporate financial infrastructure dictated by the global marketplace rather than the nation, and the new emphasis on the (Non Returning Indian) NRI as a positive, dynamic character who subscribes to and supports national values in diaspora, introduced a revision of national imaginaries, one that reflects the ideologies of gender, class and religion with a transnational Hindutva modernism and capitalist consumerism. The successful solicitation of