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Dissertations / Theses on the topic 'Bollywood films'

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Published: 4 June 2021
Last updated: 25 July 2025

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1

Srour, Nemesis. "Bollywood Film Traffic. Circulations des films hindis au Moyen-Orient (1954-2014)." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH185.

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En 1965, la présence de films indiens dans la région arabe fait débat. La popularité des films indiens est perçue comme une « invasion » par certains, tandis que les raisons de ce succès sont formulées en termes essentialistes, comme « une sorte de spontanéité innée » par l’historien du cinéma Georges Sadoul (Centre interarabe du cinéma et de la télévision 1965). Pour restituer ces ambivalences, l’objet de ce travail n’a pas été d’offrir les arguments d’une connivence culturelle entre les films indiens et les pays arabes, mais de documenter les circulations des films, participant d’une histoir
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2

Skagen, Sølve Skarås. "Bollywood-filmen Devdas : en religionshistorisk analyse /." Oslo : Institutt for kulturstudier og orientalske språk, Universitetet i Oslo, 2007. http://www.duo.uio.no/publ/IKOS/2007/62072/skagen_religionsmaster.pdf.

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3

Sajid, Madiha. "Pakistani American young adults' ideal marital relationships : do bollywood films influence their attitudes?" Honors in the Major Thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1322.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.<br>Bachelors<br>Sciences<br>Psychology
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4

Dudrah, Rajinder Kumar. "British South Asian identities and the popular cultures of British bhangra music, bollywood films and Zee TV in Birmingham." Thesis, Online version, 2001. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.343431.

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5

Cutler, Wendy. "Les films bollywoodiens des années 1970-80 : de la réactualisation des mythes anciens à la création de figures mythiques nouvelles." Phd thesis, Angers, 2011. https://theses.hal.science/tel-00979507.

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La présente thèse porte sur le cinéma bollywoodien des années 1970-80 et la réactualisation de mythes anciens. L'objectif de ce travail de recherche est de voir si et comment les films populaires indiens réactualisent les mythes anciens par la création de nouvelles figures mythiques, à l'instar de la figure du "Angry Young Man" (le jeune homme en colère) incarné à l'écran par l'acteur Amitabh Bachchan, considéré en Inde comme un véritable dieu vivant. Nous serons amenée à considérer les films de cette période comme un nouveau mode de représentation des mythes anciens, ayant la particularité d'
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6

Cutler, Wendy. "LES FILMS BOLLYWOODIENS DES ANNÉES 1970-80 : DE LA RÉACTUALISATION DES MYTHES ANCIENS À LA CRÉATION DE FIGURES MYTHIQUES NOUVELLES." Phd thesis, Université d'Angers, 2011. http://tel.archives-ouvertes.fr/tel-00979507.

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La présente thèse porte sur le cinéma bollywoodien des années 1970-80 et la réactualisation de mythes anciens. L'objectif de ce travail de recherche est de voir si et comment les films populaires indiens réactualisent les mythes anciens par la création de nouvelles figures mythiques, à l'instar de la figure du "Angry Young Man " (le jeune homme en colère) incarné à l'écran par l'acteur Amitabh Bachchan, considéré en Inde comme un véritable dieu vivant. Nous serons amenée à considérer les films de cette période comme un nouveau mode de représentation des mythes anciens, ayant la particularité d
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7

Nayee, Sanjana. "Not really bollywood a history of popular hindi films, songs, and dance with pedagogical applications for understanding indian history and culture." Honors in the Major Thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1534.

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Contemporary fascination with 'Bollywood' proliferates much of reality TV dance shows, media blurbs and other communicative outlets. These avenues homogenize India as 'Bollywood', while social and political outlets place Indians and people of South Asian descent into fitted stereotypes that are ridiculed and largely distorted. The intent of this thesis was to explore how the growing international intrigues of popular Hindi films exist beyond 'Bollywood'. This study is especially important because current U.S. demographics are undergoing a 'browning' effect yet a comprehensive method for unders
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8

Kulkarni, Anagha. "Frames in Harmony - A Critical Analysis of Song Sequences in the Films of Guru Dutt." Scholarly Repository, 2010. http://scholarlyrepository.miami.edu/oa_theses/27.

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Guru Dutt was one of the most important filmmakers in India, who worked for a little over a decade starting in 1951. He died prematurely in 1964. In those few years, he made some of Indian cinema?s most memorable films. Song and dance sequences are an integral part of the narrative structure of popular Indian cinema. Guru Dutt, working within that paradigm, devised innovative methods of using song sequences. In his films, the song sequences were not a distraction, but they served the purpose of carrying the narrative forward, expressing the inexpressible, and replacing scenes. He achieved this
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9

Hardy, Jennifer. "Bollywood style: the melodramatic lens." Thesis, Boston University, 2014. https://hdl.handle.net/2144/21168.

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Thesis (M.F.A.)<br>The purpose of this project is to redefine the word "Bollywood" as more than a regional or cultural cinema, focusing instead on the unique style of the films that is often neglected or dismissed by film critics. The aspects explored are the development of Bollywood style from 1995 to the mid 2000s as exhibited by the films Dilwale Dulhania Le Jayenge (1995), Kuch Kuch Hota Hai (1998), and Dhoom (2004), and a subsequent development of a reflexive neo-Bollywood style beginning in the mid-2000s, exhibited by the films Rab Ne Bana Di Jodi (2008), Dhoom 2 (2006), and Chennai Expr
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10

Krauss, Florian. "Männerbilder im Bollywood-Film Konstruktionen von Männlichkeit im Hindi-Kino." BBerlin wvb, Wiss. Verl, 2007. http://www.wvberlin.de/data/inhalt/krauss.html.

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11

Slatewala, Zahabia Z. "Objectification of Women in Bollywood Item Numbers." Scholar Commons, 2019. https://scholarcommons.usf.edu/etd/7948.

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Although sexual objectification is commonplace in media culture, music videos provide the most potent examples of it. The current investigation makes an important contribution to the relevant literature regarding the objectification of women in song lyrics while simultaneously broadening the content used to assess objectification. It reflects the ways of objectification of women in India by analyzing Bollywood rap and item songs. Based on objectification theory, one of the primary goals in the present study was to measure differences between visual and behavioral sexual objectification, drawin
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12

Shresthova, Sangita. "Strictly Bollywood? : story, camera and movement in Hindi film dance." Thesis, Massachusetts Institute of Technology, 2003. http://hdl.handle.net/1721.1/39161.

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Filmography: leaves 85-86.<br>Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2003.<br>Includes bibliographical references (leaves 86-95).<br>Film dances, or filmed dance sequences accompanying film songs, are an important part of popular Indian cinema. Over the years, Hindi film dance has evolved from a cinematically simplistic, filmed documentation of performance traditions, to a recognized and increasingly respected dance category emulated in staged performances in India and abroad. Despite their significance, dances in Indian popular films have not
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13

Moss, Erin Zimmerman. "Bollywood Broads: Reconstructing the Femme Fatale in Popular Indian Film." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1509.

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Mumbai is currently one of the most prolific and lucrative film centers in the world. Its production of the "Bollywood" popular film has attracted billions in audience members outside the nation of India, many of whom do not belong to Indian culture in the Diaspora. The significance of this influence draws from the cross-cultural borrowings increasingly present in Bollywood cinema. The advent of Western investment in the production center has coincided with the diversification of the standard Bollywood film from "masala" musical to more genre specific action, horror and even romantic comedy
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14

Kaushik, Bhaumik. "The emergence of the Bombay film industry : 1913-1936." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.391049.

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15

Pestal, Birgit. "Faszination Bollywood : Zahlen, Fakten und Hintergründe zum "Trend" im deutschsprachigen Raum /." Marburg : Tectum-Verl, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2966963&prov=M&dok_var=1&dok_ext=htm.

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16

Thomas, Katharine Rosemary Clifton. "Bombay before Bollywood : the history and significance of fantasy and stunt film genres in Bombay cinema of the pre-Bollywood era." Thesis, University of Westminster, 2016. https://westminsterresearch.westminster.ac.uk/item/q154z/bombay-before-bollywood-the-history-and-significance-of-fantasy-and-stunt-film-genres-in-bombay-cinema-of-the-pre-bollywood-era.

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This PhD by Published Work comprises nine essays and a 10,000-word commentary. Eight of these essays were published (or republished) as chapters within my monograph Bombay Before Bollywood: Film City Fantasies, which aimed to outline the contours of an alternative history of twentieth-century Bombay cinema. The ninth, which complements these, was published in an annual reader. This project eschews the conventional focus on India’s more respectable genres, the so-called ‘socials’ and ‘mythologicals’, and foregrounds instead the ‘magic and fighting films’ – the fantasy and stunt genres – of the
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17

Sathe, Namrata. "You Only Live Once: Bollywood, Neoliberal Subjectivity and the Hindutva State." OpenSIUC, 2020. https://opensiuc.lib.siu.edu/dissertations/1812.

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In 1991, India entered the global market as a liberalized economy when, coerced by the International Monetary Fund, it adopted “structural adjustment” policies. The early period of economic liberalization in India engendered a sense of optimism and forward-looking aspiration in the national imaginary and culture. This faith in novelty and change, for the urban middle-classes, was a result of the increase in incomes in white-collar jobs and the availability of greater choices in the commodity market for consumers. Thirty years later, the fantasy of wealth and abundance that was supposed to tran
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18

Orfall, Blair. "Bollywood retakes : literary adaptation and appropriation in contemporary Hindi cinema /." Connect to title online (ProQuest), 2009. http://proquest.umi.com/pqdweb?did=1883677651&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.

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19

Saraogi, Avantika. "The Bollywood Item Number: From Mujra to Modern Day Ramifications." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/215.

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This thesis deals with the “item number” genre of Bollywood song and dance sequences. I argue that the item song has evolved from a combination of the historically rich culture of prostitution in old India and the western influence of modern times; and that it contributes highly to the male dominated patriarchal society perpetuated by Hindi films by means of the voyeuristic male gaze and objectification of the female body. In conjunction with this research I choreographed a dance called Item No. 3 that was performed in Scripps Dances 2013. A discussion of the significance and decisions behind
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20

Kudva, Sonali S. "It's Not All About Song and Dance: How the Natyashastra Informs Contemporary Bollywood." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1556281429094399.

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21

Hamache, Soraya. ""Prabhat nagari" (1929-1953) : la contribution d’une compagnie cinématographique indienne à l’émergence du système Bollywood." Thesis, Bordeaux 3, 2019. http://www.theses.fr/2019BOR30027.

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Longtemps ignorée voire niée du fait de ses films jugés peu sérieux et de piètre qualité, l’industrie du cinéma indien basée à Mumbai est pourtant l’une des plus importantes et puissante au monde. Bollywood est à l’origine de classiques du cinéma à davantage considérer dans nos sociétés européennes et nord-américaines, et même en Inde. La vision occidentale de Bollywood, de par les productions en série de l’industrie cinématographique mumbaïte et de ses codes culturels spécifiques, est empreinte de stéréotypes. « Colorés », « kitsch », « acidulés », le cinéma indien pâtit de son image et peine
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22

Boshoff, Priscilla. "Diasporic consciousness and Bollywood : South African Indian youth and the meanings they make of Indian film." Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1006249.

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A particular youth identity in the South African Indian diaspora is being forged in a nexus o flocal and global forces . The globalisation of Bollywood and its popularity as a global media and the international commodification of the Indian exotic have occurred at the same time as the valorisation of 'difference' in the local political landscape. Indian youth, as young members of the South African Indian diaspora, are inheritors both of a conservative - yet adaptable - home culture and the marginalised identities of apartheid. However, the tensions between their desire to be recognised as both
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Muffitt, Nicole Christine. "Performing Desi: Music and Identity Performance in South Asian A Cappella." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1562849355826271.

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24

Hurlstone, Lise Danielle. "Performing Marginal Identities: Understanding the Cultural Significance of Tawa'if and Rudali Through the Language of the Body in South Asian Cinema." PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/154.

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This thesis examines the representation of the lives and performances of tawa'if and rudali in South Asian cinema to understand their marginalization as performers, and their significance in the collective consciousness of the producers and consumers of Indian cultural artifacts. The critical textual analysis of six South Asian films reveals these women as caste-amorphous within the system of social stratification in India, and therefore captivating in the potential they present to achieve a complex and multi-faceted definition of culture. Qualitative interviews with 4 Indian classical dance i
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Hossain, Md Munir. "Antecedents of attitudes towards foreign movies and their effects on viewing behaviour : a case of Hollywood and Bollywood." Thesis, 2015. http://handle.uws.edu.au:8081/1959.7/uws:32816.

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Consumers in developed and developing nations generally prefer products/services made in their home countries for economic, social and ethical reasons, and resist accepting foreign ones. Globalization, however, is fostering a universal culture, reducing such resistance and creating an interest in foreign alternatives. The demand for foreign products/services is emerging as a new phenomenon in some countries, especially in countries with unsuitable domestic alternatives. As the global market expands, understanding consumer behaviour in relation to how consumers evaluate and consume foreign prod
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26

Ramkissoon, Nikita. "Representations of women in Bollywood cinema : characterisation, songs, dance and dress in Yash Raj films from 1997 to 2007 / Nikita Ramkissoon." Thesis, 2009. http://hdl.handle.net/10413/881.

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This dissertation focuses on a content analysis through which representation of women in Bollywood cinema is examined. Bollywood has been a major point of reference for Indian culture in the last century and will undoubtedly persist for years to come. To an extent, Bollywood has shaped the way in which people read Indian culture as well as reflecting India's events, traditions, values and customs by the mere fact that it is a pervasive and inescapable force in Indian society. Women have been and to an extent still are represented as mere wallpaper in Bollywood films. Issues around gender, gend
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27

Bernier, Catherine. "Vers une poétique de la narration : films populaires et romance au cinéma bollywoodien des années 1990." Thèse, 2010. http://hdl.handle.net/1866/4453.

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Dans ce mémoire, nous étudions les productions bollywoodiennes issues de la foisonnante industrie du film de Mumbai. Nous explorons la forme populaire que ce cinéma propose et la nouvelle tendance qui émerge dans les années 1990, à travers laquelle se développent des représentations liées à la nouvelle classe moyenne indienne. Cette étude cherche à interroger les films les plus populaires des années 1990 afin de comprendre comment ils déploient leurs narratifs et leur narration. En procédant à des analyses descriptives et poétiques des récits, l’étude est principalement pr
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28

Krämer, Sandy Zeller Frauke. "Bollywood-Filme in Deutschland - fernöstliche Faszination in einer westlichen Welt /." 2006. http://www.gbv.de/dms/ilmenau/abs/517483114kraem.txt.

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29

Layton, Myrna June. "Illusion and reality : playback singers of Bollywood and Hollywood." Thesis, 2014. http://hdl.handle.net/10500/13240.

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Text in English<br>India’s film production industry, referred to commonly as Bollywood, and the film production industry of America, referred to as Hollywood, have created a large number of musical films since sound was introduced into motion pictures. Both create fictional stories—illusions, if you will—through the use of prerecorded sound and playback technology coupled with lip-synching interpolated onto filmed images. While studies exist that treat the music of both production centres, there is very little research that compares both, and very little research on playback singers. Playback
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30

Sharda, Saksham. "Obchodník se Shakespearem." Doctoral thesis, 2018. http://www.nusl.cz/ntk/nusl-391382.

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The Shakespeare Salesman offers a comprehensive analysis of Vishal Bhardwaj's Shakespeare trilogy that consists of the films: Maqbool (2003), Omkara (2006), and Haider (2014). The trilogy only recently being completed, previous attempts to study Bhardwaj's work have been confined to chapters in books, with their analysis often relegated to the understanding of a greater theme about the industry as a whole, and hence this work intends to accord due space to Bhardwaj's films by making them the centre of the discussion. The analyses of these films show that Bhardwaj's work is torn between issues
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31

Silva, Ricardo Oliveira. "O cinema e a televisão sob o signo da identidade: bollywood e as fronteiras da modernidade indiana, na cidade de Lisboa." Master's thesis, 2012. http://hdl.handle.net/10071/4986.

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Jigna Desai declara o cinema como a mais importante e popular forma e produto cultural, num contexto de economia cultural e política transnacional, do sudoeste asiático (Desai, 2004:35). Neste trabalho, traçam-se algumas das linhas de formação histórica do cinema indiano, de língua hindi; e de como, através de novas plataformas tecnológicas, os filmes da industria de Mumbai criam audiências, num contexto marcado pela diáspora indiana. Em segundo lugar, dar-se-á a conhecer de que modo o conhecimento antropológico contemporâneo perspectiva estas dinâmicas culturais, e como estas se relaci
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Giles, Charlotte Helen Graziani. "Dedh Ishqiya : obscuring the female-bond." Thesis, 2014. http://hdl.handle.net/2152/26228.

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Through his Bollywood film, Dedh Ishqiya, Abhishek Chaubey addresses matters of comfort and discomfort through the use of typically heteronormative conventions in film. The Bollywood film Dedh Ishqiya, tells the story of a wealthy widow’s search for a new poet husband in the setting of an Urdu poetry gathering (mushaira). She is accompanied and supported by her female friend and handmaiden, Munniya. Their two supposed lovers, Khalujaan and Baban, are thieves, out to steal the love and wealth of these women. However, unbeknownst to these men, the women are lovers themselves and they too are out
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