![]() Basu argues that 'Bollywood' is not so much indicative of a uniquely Indian modernity coming into its own rather it is symptomatic of a pure techno-financial modernization that comes without a political modernity. This book connects this filmic geo-televisual style to an ongoing story of the uneven globalizing process in India. Basu theorises this overall cinematic-cultural ecology here as an informational geo-televisual aesthetic. One example is the film Haqeeqat that featured poor working class protagonists, but romantic musical sequences transported them abruptly to Switzerland, with the actors now dressed in designer suits. Flows of desires, affects, and aspirations frequently crossed the bounds of stories and determined milieus. Films increasingly featured transformed bodies, fashions, life-styles, commodities, gadgets, and spaces, often in non-linear, 'window-shopping' ways, without any primary obligation to the narrative. Popular Hindi cinema took a certain spectacular turn from the early nineties as a signature 'Bollywood style' evolved in the wake of liberalization and the inauguration of a global media ecology in India. "This study of popular Indian cinema in an age of globalisation, new media, and metropolitan Hindu fundamentalism focuses on the period from 1991 to 2004.
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