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Journal articles on the topic 'Bollywood films'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Kumar, Parveen. "Hero loves Hero: Understanding the Changing Rendition of Sexuality through the Movie Shubh Mangal Zyada Saavdhan." RESEARCH HUB International Multidisciplinary Research Journal 9, no. 1 (2022): 10–13. http://dx.doi.org/10.53573/rhimrj.2022.v09i01.002.

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In the contemporary scenario, there is a growing number of shows in films and television that include gay, lesbian, bisexual, transgender or queer characters as central figures and have a queer thematic structure. This paper intends to explore the homosexual themes in the bollywood film Shubh Mangal Zyada Saavdhan (2020). The film is a big leap in bollywood culture of queer films being bollywood’s first mainstream film presenting the love story of a gay couple Aman Tripathi and Karthik Singh. The paper focuses on locating the specific instances where queer themes of identity, acceptance, homop

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Pattanayak, Sambhram, Saad Ullah Khan, Fazal Malik, Sadaf Khan, and Seema Sangra. "Mumbai to Dubai: Promotional strategies and the celluloid journey of Bollywood films to the UAE." Multidisciplinary Reviews 8, no. 1 (2024): 2025020. http://dx.doi.org/10.31893/multirev.2025020.

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In recent years, the cinematic migration of Bollywood films from Mumbai to Dubai has captivated attention, prompting a focused investigation. This study aims to scrutinize the promotional strategies used in distributing Bollywood films in the United Arab Emirates (UAE) through meticulous analysis of questionnaire responses. Executing an extensive survey for UAE moviegoers and industry professionals, the research seeks quantitative data on the efficacy of diverse promotional strategies. The study underscores the importance of cultural variables in Bollywood-UAE film promotion, examining cultura

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Endong Floribert Patrick C. and Princess Emike Umole. "Political and Cultural Dynamics in Bollywood and Nollywood Films: A Comparative Perspective." International Journal of Media and Communication Research 5, no. 2 (2024): 01–13. http://dx.doi.org/10.25299/ijmcr.v5i2.12403.

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Films are popularly believed to be reflection of reality as well as a representation of the societies in which they were produced. They are excellent windows into their societies of origin and could thus serve as good anthropological or historical documents containing data about socio-political events that have happened in their societies of origin. One of the multiple data one can extract/gather from films is the socio-cultural and political dynamics prevailing in the society in which the films subsist. This paper attempts to illustrate this thesis through a review of relevant Bollywood and N

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Marjuque Ul Haque. "The Othering Bollywood: Nobleness and Savagery in <i>Khuda Gawah</i> and <i>Dharmatma</i>." Asiatic: IIUM Journal of English Language and Literature 17, no. 1 (2023): 57–71. http://dx.doi.org/10.31436/asiatic.v17i1.2794.

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Afghanistan, popularly known as the graveyard of empires, has long been a contested site in geopolitics. With the Taliban coming to power after its victory over the US, it has become more critical than ever to discuss how Afghanistan has been presented in the media. While Hollywood’s long history of Orientalist gaze particularly towards Muslim nations is apparent in its vilified representation of Afghans in films like Iron Man (2008), Red Sands (2009), 12 Strong (2018), and The Outpost (2020), Bollywood’s representations of Afghanistan have not been studied with similar critical parameters. Wi

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Mukherjee, Utsa, Anil Pradhan, and Ravinder Barn. "Coming of Age in the Diaspora: Bollywood and the Representation of Second Generation British Indian Diaspora." CINEJ Cinema Journal 9, no. 2 (2021): 114–46. http://dx.doi.org/10.5195/cinej.2021.366.

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Bollywood films are a unique visual repository of India’s public imaginings, and they can, therefore, serve as guides to how India sees its past, present, and aspirational future (Dwyer, 2010). Through close intertextual readings of three key popular films depicting British Indian youth, this article explores the ways in which the UK-born/raised second-generation Indian diaspora has come to be represented within Bollywood. We argue that inter-generational negotiations around long-distance nationalism, social reproduction, and marriage are pivotal to the articulation and regulation of diasporic

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Palasseri, Aneesunneesa. "Unraveling Bollywood’s Propaganda: A Framework for Analysing Political Narratives in Indian Cinema." Journal of Communication and Management 2, no. 04 (2023): 262–67. http://dx.doi.org/10.58966/jcm2023247.

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This research paper delves into the intricate relationship between Bollywood cinema and propaganda. Bollywood, India’s film industry, has been a powerful force in shaping national identity and cultural norms. However, as with any form of media, films can serve as vehicles for propagating ideologies and agendas. Against the backdrop of the Bharatiya Janata Party (BJP)-led government’s second tenure, marked by an upsurge in propaganda-laden films, this paper seeks to develop a comprehensive framework for evaluating propaganda elements in Bollywood movies. Drawing inspiration from Herman and Chom

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Choudhary, Mona. "The Bollywood Bureaucrat." Public Voices 4, no. 2 (2017): 63. http://dx.doi.org/10.22140/pv.317.

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Film makers in India cash in on the negative stereotypes of the corrupt, incompetent and uncaring bureaucrat. The assault on the public servant in mainstream cinema is incessant and devastating. Most films feed on the negative and dysfunctional aspects of bureaucracy.

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COWIE, CLAIRE, LALITA MURTY, and BECK SINAR. "Decoding Bollywood: why Hindi–English code-switching and standard English outrank Indian English." English Language and Linguistics 28, no. 4 (2024): 683–708. https://doi.org/10.1017/s1360674324000534.

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Bollywood films, the highly commercial films by Indian producers for Indian audiences, have always been Hindi-dominant, and despite the increased incorporation of English over time, the speech of urban elite main characters remains Hindi matrix. This is at odds with the code-switching patterns of urban elites in other Indian media, such as chat shows, and spoken conversation, where switching among such speakers is often English dominant. Young urban elites may use English in isolation; their Bollywood equivalents sometimes do so also, but always with standard syntax. In this article we show ho

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Mitra, Sreya. "Beyond the Nation and the Diaspora." Middle East Journal of Culture and Communication 14, no. 1-2 (2021): 135–57. http://dx.doi.org/10.1163/18739865-01401001.

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Abstract The MENA (Middle East and North Africa) region has long been a site of Hindi film consumption and circulation, with Dubai emerging in recent years as a potent hub for Bollywood’s overseas distribution and marketing. Though the role of the “Gulf” in articulating immigrant experiences and regional identity among Malayali Indians is well documented (Radhakrishnan 2009), Hindi cinema’s popularity in the region has rarely received any scholarly attention. In the past decade, UAE has witnessed the launch of three cable and satellite television channels—Zee Aflam (2009), Zee Alwan (2012) and

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Henniker, Charlie. "Pink Rupees or Gay Icons?" South Asia Research 30, no. 1 (2010): 25–41. http://dx.doi.org/10.1177/026272800903000102.

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Discussions of contemporary films and publications now illustrate the problematic terminology of terms like ‘gay’ or ‘camp’ in India, coupled with increasing speculation and reference to homosexuality. This article analyses media representations of Hindi cinema stars and highlights the emergence of some male stars as icons for gay communities within India and in the diaspora. Analysis of the way Bollywood celebrities are represented in India’s press in-dicates that the media has been crucial for this emergence to occur. Focussing on Shah Rukh Khan, Bollywood’s most recognisable and influential

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Sen, Aditi. "‘I Wasn’t Born with Enough Middle Fingers’: How low-budget horror films defy sexual m orality and heteronormativity in Bollywood." Acta Orientalia Vilnensia 12, no. 2 (2011): 75–90. http://dx.doi.org/10.15388/aov.2011.1.3931.

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Queen’s UniversityIn the early 1980s the Ramsay Brothers gave Bollywood a new genre of monster flicks with blockbusters like Purana Mandir, Hotel, and Veerana. Following the work of the Ramsay Brothers, low-budget horror films that were made exclusively for the small towns and rural market increased in the decades of 1980s and 1990s. These films are primarily known for their unintentional humor owing to poor production and acting, but they have never been acknowledged for their actual content. This article argues that Bollywood low-budget films fulfilled the basic function of horror movies—tha

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Soans, Sonia. "Inebriation and death of women: Making sense of women’s alcohol and drug consumption in Bollywood and society." Psychology of Women and Equalities Section Review 6, no. 1 (2023): 32–42. http://dx.doi.org/10.53841/bpspowe.2023.6.1.32.

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Addiction is a complex condition, Bollywood’s engagement with the issue is often fraught with misrepresentation and sensationalism. There have been instances where on-screen violence has inspired real-life incidents of violence against women. Four Bollywood films from different decades will be analysed using a feminist theoretical lens. Tropes around women’s addiction/alcoholism will be examined as will the culture in which violence is normalised. One particular trope is that of the intoxicated woman whose body becomes the object of male sexual violence. While this trope is not limited to Boll

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Shankar, Shalini. "Reel to real." Pragmatics. Quarterly Publication of the International Pragmatics Association (IPrA) 14, no. 2-3 (2004): 317–35. http://dx.doi.org/10.1075/prag.14.2-3.12sha.

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Diasporic media, though widely discussed theoretically and occasionally ethnographically, are seldom explored with explicit attention to language. “Bollywood” films - feature-length movies produced and distributed in Bombay (Mumbai), India - are an excellent media source through which to examine linguistic anthropological topics of indexicality, bivalency, and identity in diasporic communities. In this paper, I analyze the circulation and consumption of Bollywood films - created in Hindi and subtitled in English - among South Asian-American (desi) communities in both Silicon Valley, CA and Que

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KAUR, ASHWINDER. "THE INFLUENCE OF BOLLYWOOD FILMS ON PUNJABI SIKH YOUTHS’ PERCEPTION TOWARDS THE SIKH IDENTITY." Asia Pacific Journal of Youth Studies 12, no. 1 (2015): 1–13. http://dx.doi.org/10.56390/apjys2024.12.11.

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ABSTRACT Minority religion gets very less coverage, be it at school teachings or local media. With less than one percent population to represent themselves, the Sikhs in Malaysia, being a double minority in ethnic categorization often gets very limited media coverage and representation, let alone, an accurate portrayal. Bollywood movies are often time deduced to a cultural product of the Sikhs to non-Sikh Malaysians. With a severely lacking representation of Sikhs in local media and the inaccurate portrayal in Bollywood movies, the Sikh community tries to preserve as much of their religious id

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Bhati, Ayush. "Indian Cinema: Bollywood as a Reflection of Social Political Issues." International Journal for Research in Applied Science and Engineering Technology 12, no. 4 (2024): 3306–8. http://dx.doi.org/10.22214/ijraset.2024.60607.

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Abstract: Indian cinema, particularly Bollywood, has been a mirror reflecting the intricate tapestry of social and political issues prevalent in the country. This research project aims to delve into the dynamic relationship between Bollywood films and the socio-political landscape of India. Through an interdisciplinary approach encompassing film studies, sociology, and political science, this study will analyze a selection of Bollywood films spanning different eras and genres to explore how they engage with and reflect upon issues, such as gender inequality, caste discrimination, religious ten

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Bhat, Gowher Hassan, Mohammad Anas, and Samina Khan. "ECOFEMINIST DYNAMICS IN THE MOVIE, SHERNI." Ecofeminism and Climate Change 5, no. 1 (2024): 24–27. https://doi.org/10.26480/efcc.01.2024.24.27.

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Indian cinema, particularly Bollywood, has a significant influence on the Indian people and has achieved international acclaim (Bandyopadhyay). Bollywood films are based on a variety of themes, ranging from family values, love, gender inequality, patriarchy, identity, nationalism, and so on (Bandyopadhyay). Analysing Bollywood films from an ecofeminist perspective will uncover how women and the environment are portrayed in these films. Ecofeminism emphasises how patriarchal authority maintains the subjugation of women and the environment (Gallhofer). It challenges the anthropocentric perspecti

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Singh, Vikas. "Digital Platforms and Globalization: Transforming Gender and Social Narratives in the Hindi Film Industry through Case Studies of Select Films and Web-Series." INTERANTIONAL JOURNAL OF SCIENTIFIC RESEARCH IN ENGINEERING AND MANAGEMENT 08, no. 07 (2024): 1–13. http://dx.doi.org/10.55041/ijsrem36259.

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This study examines the transformative impact of digital platforms and globalization on the portrayal of gender and social narratives in the Hindi film industry, commonly known as Bollywood. Through detailed case studies of select films and web series, including "Gully Boy," "Article 15," "Lipstick Under My Burkha," "The Lunchbox," "Sacred Games," "Delhi Crime," "Made in Heaven," and "Four More Shots Please!," this research analyzes how contemporary filmmaking techniques and global influences contribute to more diverse and realistic representations of social issues. The findings reveal that th

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Hussein, Nazia, Saba Hussain, Nazia Hussein, and Saba Hussein. "Interrogating Practices of Gender, Religion and Nationalism in the Representation of Muslim Women in Bollywood: Contexts of Change, Sites of Continuity." Exchanges: The Interdisciplinary Research Journal 2, no. 2 (2015): 284–304. http://dx.doi.org/10.31273/eirj.v2i2.117.

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Through a discourse analysis of four commercially successful Bollywood films between 2012-2013, this paper investigates Bollywood’s role in creation of hierarchical identities in the Indian society wherein Muslims occupy the position of the inferior ‘other’ to the superior Hindu ‘self’. Focusing on Muslim heroines, the paper demonstrates that the selected narratives attempt to move away from the older binary identity narratives of Muslim women such as nation vs. religion and hyper-sexualised courtesan vs. subservient veiled women, towards identity narratives borne out of Muslim women’s choice

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Dr., Amrita Bhattacharyya. "A Study of the Portrayal of Female Characters in Bollywood Films." Criterion: An International Journal in English 15, no. 6 (2024): 438–46. https://doi.org/10.5281/zenodo.14606147.

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A study of the Bollywood films will always be incomplete without the portrayal of its heroines. Heroines have basically occupied a secondary position in comparison to their heroes. The commercial market which hovers around this film circle and the success of the box office is determined by many factors. These factors are some standards set by our patriarchal society. The success of the film mainly depends on the casting of the hero who almost independently carries the success of the film on his shoulder. Secondarily, the film depends on the heroine who conventionally has to be very beautiful,

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Gauram, Bedse Sunita, and M. D. Dugaje. "Representation of LGBTQIA in Bollywood Films." Integrated Journal for Research in Arts and Humanities 4, no. 2 (2024): 145–48. http://dx.doi.org/10.55544/ijrah.4.2.24.

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India produces more Hindi films than any other country. Film portrayals of society mirror that culture, which in turn shapes social attitudes. Hindi film, also referred to as Bollywood, exhibits strong societal roots. The Delhi High Court authorized homosexual behavior in the last ten years, but the Supreme Court later declared it to be unlawful. These modifications mirror modifications in social views. In this paper, we focus on how homosexuality is portrayed in Hindi films in relation to social attitudes about both male and female homosexuality. In India, cultural and social values and attit

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Anwar, Muhammad Naseem, Lareb Kanwal, and Tahira Nasir. "Portrayal of Pakistan in Bollywood: A Content Analysis of Movies." Global Multimedia Review V, no. I (2022): 1–13. http://dx.doi.org/10.31703/gmmr.2022(v-i).01.

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Films have become an effective tool of propagation of messages, cultures, conflicts and ideologies. USA, Russia, China, Iran and other countries are also using it to achieve their goals to project their national agendas. Indian film industry has become the largest film producing industry in the world, and the Bollywood movies are being watched and liked all over the globe. Since the partition in 1947, India and Pakistan are considered harsh rivals. This study examined the portrayal of Pakistan image in Bollywood movies during the year of 2013. The researcher used mixed method to conduct this r

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Mishra, Naveen. "What’s in the Backdrop: Representation of Landscape in Bollywood Cinema." CINEJ Cinema Journal 7, no. 1 (2018): 116–41. http://dx.doi.org/10.5195/cinej.2018.191.

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Representation of landscape images is a ubiquitous feature of Bollywood films that provides cinematicscape to the storyline and aims to appeal to the sentiments and emotions of the audience by engaging with the narrative. Landscape images engage in the process of making and unmaking of meanings because of their symbolic value that constitute a sense of place and underpin human relations with immediate and distant spaces. Notwithstanding the ubiquity of its images in Bollywood cinema and its centrality to forming the collective imagination and, thereby, the sense of place for audience, landscap

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Hong, Yanyan. "The power of Bollywood: A study on opportunities, challenges, and audiences’ perceptions of Indian cinema in China." Global Media and China 6, no. 3 (2021): 345–63. http://dx.doi.org/10.1177/20594364211022605.

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India has long been known for its prestigious Mumbai-based film industry, namely Bollywood, and remains by far the largest producer of films in the world. With the growing global reach of Indian cinema, this study looks at an intriguing Indian-film fever over the last decade in the newly discovered market of China. Through examining key factors that make Indian films appealing to Chinese and exploring the opportunities and challenges of Indian cinema in China, this article draws upon insights gained from the narratives of local audiences. Data were collected from semi-structured interviews wit

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Cutler, Wendy. "Voyage dans la culture indienne à travers quelques échantillons du cinéma bollywoodien." Voix Plurielles 11, no. 1 (2014): 20–30. http://dx.doi.org/10.26522/vp.v11i1.914.

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L’objectif de cet article est de déchiffrer les codes spécifiques du cinéma bollywoodien afin de considérer le 7e Art comme une porte d’échanges ainsi qu’une porte d’entrée dans la culture de l’Autre. À travers l’étude d’une sélection de films populaires indiens des années 1970-80, nous souhaitons mettre en lumière la présence de symboles à caractère universel (la chaine, le couteau, le train, le labyrinthe) mais également la présence de symboles spécifiquement liés à la mythologie hindoue. Tout en gardant la mythologie comme fil conducteur, les films bollywoodiens nous permettent de trouver d

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Pavhare, Pravin D., and Dr Amrita Rajput. "Bollywood Actresses’s Evolving Figure Consciousness & Role in Hindi Cinema: Comparative Study From 1950 to 2020." International Journal for Research in Applied Science and Engineering Technology 10, no. 11 (2022): 1184–88. http://dx.doi.org/10.22214/ijraset.2022.47505.

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Abstract: Bollywood is the name given to the Hindi film business because it is based in Bombay (Mumbai). For decades, Bollywood has been a popular source of entertainment for millions of people not only in India but also around the world. Dada Saheb Phalke launched the Indian cinema business with silent films, and from that time until now, Bollywood has experienced numerous ups and downs and undergone significant changes in terms of technology, fashion, and the impact of political, social, and cultural developments in the nation. The primary Hero (protagonist), The Heroine (his love interest),

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Mallika Tiwari. "Entangled and Reciprocal Association of Hollywood, Bollywood and Indian Society." Creative Launcher 4, no. 1 (2019): 49–54. http://dx.doi.org/10.53032/tcl.2019.4.1.08.

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Movies or Cinema is the virtual world of bilateral communication. These are visual media that tell stories and exposes reality. They, in first place take from society and in other returns it back with additional elements. It uses all the elements from all other arts. This has always been a great debate, if films influences society or society is in itself is being reflected in films. Undoubtedly there is a thread reflection in both. Several questions have been discussed hitherto about the mutual dependence of society and cinema on each other. Since the very first ‘Chalchitra’ of Indian Cinema,

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Shailo, Iqbal. "Bollywood of India: Geopolitical Texts of Belonging and Difference and Narratives of Mistrust and Suspicion." CINEJ Cinema Journal 5, no. 2 (2016): 105–29. http://dx.doi.org/10.5195/cinej.2016.138.

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A number of Bollywood films create meaning and geopolitical narratives through dialogue, raw images, settings, costumes and historical contexts. This study examines three contemporary Indian films —Earth (Deepa Mehta, 1998), Lagaan (Ashutosh Gowariker, 2001) and Sarfarosh (John Matthew Matthan, 1999) — that explore sub-continental history with a particular focus on insecurity, mistrust and suspicion. It discusses how socio-cultural and regional differences are (re)produced and how geopolitical meanings of ‘we’ and ‘they’ are narrated and constructed through Bollywood. These films construct an

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Muhammad, Asad Latif, and Mahmood Ahmad Dr. "CULTURAL EFFECTS AND MUSLIM IDENTITY: AN ANALYSIS OF BOLLYWOOD CINEMATIC REELS AND ITS IMPACTS ON PAKISTANI SOCIETY, CIVILIZATION AND ETHOS." AL-MISBAH research journal 4, no. 3 (2024): 1–14. https://doi.org/10.5281/zenodo.13351557.

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<strong>ABSTRACT</strong> Culture is a person's or a nation's identity. The foundation of our culture is Islam, and Pakistani culture is built on this faith. The current study examines how Indian films influence Pakistani youth culture and how Indian cinema presents Muslims. Indian films are well-liked in Pakistan, particularly among young people, and have a significant impact on Pakistani youth.  This research examined the linguistic, musical, and fashion preferences, as well as the marital practices of Pakistani viewers of Bollywood films, as a result of their Bollywood film consumption

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Dey, Meenakshi, and Jyoti Doley. "Queering the Norms: From Taboo to Acceptance of Queer Themes in the Contemporary Hindi Cinema." Integrated Journal for Research in Arts and Humanities 4, no. 3 (2024): 142–46. http://dx.doi.org/10.55544/ijrah.4.3.28.

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The portrayal of queer people in Bollywood films has undergone remarkable change over the course of several decades, which is a reflection of changing perspectives in society as well as progresses in the film industry. The representation of LGBTQ+ people in Indian cinema has evolved from early caricatures and stereotypes to delineations that are more intricate and assertive. This means that the portrayal of these characters has become more multifaceted and subtle. This paper investigates the progression of these portrayals, analysing the impact they have had on cultural attitudes as well as th

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Stephenson, Robert. "What Bollywood can teach about English as a Lingua Franca." Englishes in Practice 7, no. 1 (2024): 25–47. https://doi.org/10.2478/eip-2024-0002.

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Abstract The primary goal of this paper is to highlight India’s global linguistic influence, focusing on English’s role in Bollywood and the ways Bollywood films can enrich English as a Lingua Franca (ELF) classrooms. English in India has evolved beyond its colonial past, becoming deeply woven into both individual and cultural identities. In this context, Bollywood emerges as a compelling medium through which to understand the modern, adaptive use of English and offers educators an opportunity to investigate how one of the world’s most influential media forms fluidly reinterprets English. Furt

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Mistri, Shrinwanti, and Roudrajjal Dasgupta. "Evolution of Female Desire and Fantasy in Bollywood Cinema: Perspectives from Male and Female Directors in the Post-Liberalization Era." Critical South Asian Studies 2, no. 1 (2024): 33–47. http://dx.doi.org/10.33182/csas.v2i1.3308.

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The camaraderie between cinema and fantasy has a prolonged story, as one escalates the other. Since echoes of 'sexual fantasies’ and ‘gaze’ in cinema have been primarily celebrated and fantasized through patriarchal prisms, Bollywood and female desire have historically been fraught with challenges. However, Bollywood cinema has lately been undergoing significant landscape twists by featuring female fantasies in a bold and progressive manner at the forefront of narratives. In light of this, drawing from theoretical perspectives on the male gaze and psychoanalytic feminism, this paper will exami

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Mishra, Kishan Kumar. "Bollywood Comedy Films as Catalysts for Body Positivity." University of Bucharest Review Literary and Cultural Studies Series 13, no. 2 (2023): 37–47. http://dx.doi.org/10.31178/ubr.13.2.4.

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In recent times, Bollywood comedies have evidenced a shift in their attitude and perspective towards body image. In earlier comedies, people of different physical appearances were stigmatized. That approach has changed of late and as a result, these movies now serve as powerful catalysts for positive change in society. This article offers an overview of the transformative role played by Bollywood comedy films in contributing to body positivity and promoting self-acceptance. Through an analysis of a selection of films such as Bala (2019), Dum Laga Ke Haisha (2015), and Gippi (2013), this study

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Desmal, Deddy. "Cultural Frameworks of Consumerism: A Comparative Study of Global Brand Narratives in Bollywood and Hollywood Commercial Films." Asian Journal of Media and Culture 1, no. 2 (2025): 113–34. https://doi.org/10.63919/ajmc.v1i2.25.

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This study explores how commercial media from Bollywood and Hollywood represent and promote consumerist culture. Cultural globalization has caused the film industry, especially Bollywood and Hollywood, to become significant tools in shaping and influencing consumerist values in society. Using a qualitative approach based on literature review, this research analyzes the representation of consumerism in films from both industries and how audiences respond to consumerist portrayals within their cultural contexts. The study aims to investigate how consumerist values are promoted in these industrie

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Vandevelde, Iris, Kevin Smets, Philippe Meers, Roel Vande Winkel, and Sofie Van Bauwel. "Bollywood and Turkish Films in Antwerp (Belgium)." Javnost - The Public 18, no. 3 (2011): 55–70. http://dx.doi.org/10.1080/13183222.2011.11009062.

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Rahul, Tulshiram Wadate. "Literature And Indian Films: Bollywood Based Novels." International Journal of Advance and Applied Research 10, no. 3 (2023): 584 to 586. https://doi.org/10.5281/zenodo.7757426.

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Literature and film have enthralling connections. It may be a novel or film story; both are written to impact the readers and envision the audience's mind.  Many aspects of society are depicted in film literature, such as mythical, mythological, and historical aspects. A novel reveals the country's history and culture through literature. 

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Athique, Adrian Mabbott. "Bollywood and ‘Grocery Store’ Video Piracy in Australia." Media International Australia 121, no. 1 (2006): 41–51. http://dx.doi.org/10.1177/1329878x0612100108.

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This article seeks to examine the ongoing struggle between narrowcast media piracy practices serving migrant communities and the attempts currently being made by players in the Indian film industry to legitimate, and thus capitalise on, the circulation of Indian films in key offshore markets. This article poses the question of whether an alternative network of distribution is likely to emerge which might supplant Asian food stores as the primary distribution network for Indian films, and to place this problem within the existing framework of cultural practices surrounding Indian films in Austr

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Mazumdar, Ranjani. "Repetition with a Difference: A Response to Arjun Appadurai." Cambridge Journal of Postcolonial Literary Inquiry 6, no. 03 (2019): 371–76. http://dx.doi.org/10.1017/pli.2019.17.

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This is a response to Arjun Appadurai’s article “The Ready-Made Pleasures of Déjà Vu: Repeat Viewing of Bollywood Films.” 1 Repetition as a concept is discussed here in relation to Deleuze, genre, remakes of older films, tradition, cultural regimentation, and individual desire.

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Hussain, Imtiaz, Shahzad Ali, and Syed Ali Akbar Gardezi. "Illustration of Religious Minority Symbols in Bollywood Films: A Descriptive & Semiotic Approach." Global Digital & Print Media Review VI, no. I (2023): 151–65. http://dx.doi.org/10.31703/gdpmr.2023(vi-i).13.

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Bollywood Cinema has extended fame on the global streets and gained enormous clout through its massive audience. This current research discovers the religious symbols in thirty Hindi Films with regard to the top three minorities in India i.e. Muslims, Christians, and Sikhs. The study theoretically connected with Pierce's theory of symbol and representation theory by Stuart Hall.Qualitative descriptive semiotic analysis was applied to identify the religious symbols and reveal the underlying meaning associated with the minority characters. The symbolic analysis exposed the agenda of the Bollywoo

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Rasul, Azmat. "Between the Family and Politics: Female Politicians as Media Objects in Bollywood Films." Society and Culture in South Asia 3, no. 1 (2017): 24–44. http://dx.doi.org/10.1177/2393861716674105.

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Of late, researchers have examined the stereotyping of female politicians in entertainment media as a serious problem in several democratic societies. Despite chauvinism and stereotyping, the entertainment industries find female politicians attractive content producers, which guarantee tangible profit, as audiences are interested in learning about the life stories of female politicians. This article employs feminist political economy of communication to analyse exposé of female politicians in three Bollywood chick flick movies featuring lead characters in important political positions. This st

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Mehta, Jyoti, and Dr Anil Adagale. "Breaking the Caste Ceiling: Dalit Feminism in Bollywood." International Journal of English Literature and Social Sciences 8, no. 3 (2023): 131–35. http://dx.doi.org/10.22161/ijels.83.21.

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Given that the use of Dalit feminist theory in Bollywood films is a relatively new area of study, an article on this topic may have significant implications for both academics and the Indian film industry. Growing the intersectionality dialogue: Intersectionality, which recognises how many forms of oppression, such as caste, gender, class, and race, interact and have an impact on people's lives, is a central concept in feminist theory. By utilising Dalit feminist theory in Bollywood films, it may be possible to better understand caste and gender intersections in the Indian setting and how they

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Pathak, Shubham, and Akansha Narayan. "Unveiling the Rhetoric of Victim Blaming: Perpetuating Language Patterns in Select Bollywood Films Depicting Sexual Assault." Space and Culture, India 12, no. 3 (2024): 34–47. http://dx.doi.org/10.20896/saci.v12i3.1535.

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This research investigates the rhetoric of victim blaming of women in select Bollywood films portraying instances of sexual assaults. By examining the language patterns employed in these films, this study aims to unveil the underlying narrative constructs that perpetuate victim blaming and contribute to the cultural discourse surrounding sexual violence against women. Using an integrated Discourse and Thematic analysis, two Bollywood films, Damini (1993) and Pink (2016), have been critically analysed to identify recurring themes, dialogues, and character portrayals that potentially reinforce v

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Toyeba, Mushtaq, and Aaliya Ahmed Dr. "Third Gender Portrayal in Bollywood An Analysis of Sadak." International Journal of Trend in Scientific Research and Development 3, no. 3 (2019): 17–22. https://doi.org/10.31142/ijtsrd21636.

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Cinema works as a mirror in which the human beings could see the reflection of their lives. It has a power to influence more than any other arm form. Therefore, it is very important to understand how a country, its people and its aspirations are represented in the cinema produced in the country. Mainstream Hindi cinema is the most widely distributed cinema in India. Identity construction is one of the significant issues in Bollywood. Filmmakers in India are trying to step outside the beaten track of traditional Indian themes but there has been no or little allowance for portrayal of transgende

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Bhattacharjee, Partha, and Priyanka Tripathi. "Silhouetting the Shifting Perspective of Bollywood from ‘Machismo’ to ‘Metrosexuality’." Journal of English Language and Literature 8, no. 1 (2017): 575–82. http://dx.doi.org/10.17722/jell.v8i1.323.

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“Machismo” and “Metrosexual” are two trending but contradictory terms that are used to fathom the portrayal of men in the visual art such as cinema, media, advertisements etc. Derived from the Spanish word ‘Macho’, ‘Machismo’ reflects strength, aggression and masculine pride whereas ‘Metrosexual’ is a portmanteau word combining– ‘Metropolitan’ and ‘Sexual ‘referring to men who are living in an urban society and investing a great deal on their appearance and lifestyle. The paper intends to focus on the transition of this portrayal of men in Hindi films, popularly termed as Bollywood. To elucida

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Sanjana Chawla. "Rise of Strong Independent Characters: Mapping the Reframed Identities of Women in Hindi Films." ijpmonline 3, no. 1 (2024): 32–35. http://dx.doi.org/10.26524/ijpm.3.7.

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The Bollywood industry plays a pivotal role in Indian society and the cinema is an indispensable medium of not just entertainment, but empowerment and spreading awareness too. Over the years, film makers have shifted their focus from making just drama-loaded, comedy, commercial, profitable cinemas and have started portraying the realities of life and society. In particular, there has been a rise of films made on women and the injustices or malpractices done against them. Films and filmmakers are now documenting women-related issues and dwelling into the themes of equality, rights, agency, dome

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Basu, Priyanka. "Unveiling the Forbidden: Exploration of the Uncanny ‘Other’ in Bollywood Films." International Journal of English and Comparative Literary Studies 2, no. 3 (2021): 31–44. http://dx.doi.org/10.47631/ijecls.v2i3.254.

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The paper explores how multiple personality disorder and schizophrenia are represented in selected Hindi films (Karthik Calling Karthik. Bhool Bhulaiyaa, Aparichit, Madhoshi) and how they affect the attitudes of the common people. Psychoanalytic theory is employed to analyze the concept of mental illness as depicted in these films. The protagonist in the films is a sufferer of either multiple personality disorder, schizophrenia, or mental illness, and these psychological states are central themes. After analyzing the films, it could be stated that Bollywood has moved beyond presenting religiou

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Talukdar, Hoimawati. "Masculinities and Media Culture in Indian Bollywood Films." International Journal of Smart Education and Urban Society 9, no. 2 (2018): 12–24. http://dx.doi.org/10.4018/ijseus.2018040102.

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Over the past few decades women's studies have centered their attention on the role of media in shaping the attitudes and social behavior of people. The role of men and the trait of masculinity has been considered as the norm and in most cases the portrayal of men in media is seen as unproblematic and exemplary. In view of such a situation it becomes immensely important to not how find out the roles of men in regard to the women but also how men too have problems in constructing the larger gamut of gender as one of the key ingredients of social relationships. This article provides an in-depth

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Agrawal, Pratyush, and Suparna Naresh. "SMALL TOWN STORIES AND BIG BOX-OFFICE RETURNS." International Journal of Advanced Research 13, no. 03 (2025): 30–36. https://doi.org/10.21474/ijar01/20533.

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This paper examines the current trend in Hindi cinema, where films set in small towns and featuring lesser-known actors are capturing mass attention and achieving significant box-office success. Focusing on the transformation of Bollywood-often referred to as Bombays Hindi film industry-this study explores how narratives centered on small-town India have gained prominence and reshaped the cinematic landscape in a dynamic and engaging way. Though initially delayed due to the high failure rate of such films in connecting with audiences accustomed to big-city settings and star-driven narratives,

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Mahima Bhardwaj and Ritwik Ghosh. "Violence in Bollywood Films: A Critical Analysis of ‘Animal’." MediaSpace: DME Media Journal of Communication 5, no. 01 (2024): 37–50. http://dx.doi.org/10.53361/dmejc.v5i01.04.

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The cinematic portrayal of violence has long been a subject of controversy. This study delves into the aspects of the film ‘Animal’, where the portrayal of violence and gore is evaluated for its impact on the audience mind-set and society. With the objective to analyse some critical aspects related to audience reactions, response to stimuli and societal implications of the portrayal of violence in this film, this study attempts to propose certain recommendations. A mixed method approach has been used in this study. Quantitative data was collected through survey method using snowball sampling t

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Dash, Sarita. "Evolution of Women's Style: Bollywood's Cultural Influence On Indian Society (1950 - 2000)." Journal of Heritage, Archaeology & Management(JHAM) 4, no. II (2024): 78–89. https://doi.org/10.5281/zenodo.15469978.

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The renowned American fashion designer Carly Cushnie famously said, "Life is too short to wear boring clothes." This sentiment underscores the profound impact fashion has on our lives, and in this context, the textile industry plays a crucial role in shaping the ever-evolving fashion market. In Maharashtra, the cotton textile industry has been a cornerstone of economic growth since the pre-independence era. Alongside the textile sector, Mumbai's thriving film industry has also been instrumental in preserving and promoting culture. As a powerful medium of mass communication, Hindi cinema, or "B

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Das, Biplab, and Sneha Bhattacharjee. "Disability and Indian Cinema: A Paradigm Shift in Bollywood from being Neglected to being in the Limelight." International Journal for Research in Applied Science and Engineering Technology 10, no. 10 (2022): 822–25. http://dx.doi.org/10.22214/ijraset.2022.47086.

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Abstract: Disability, according to medical terms, is a condition which is hard to compare to others. The issue of disability is neglected and lacks a lot of awareness among people. Indian cinema especially Bollywood is known for making films on different issues and they have made a lot of movies based on this. Unfortunately, the portrayal was negative or comic and ignored and many are shown weak and rely on a person who is physically fit. Most of the films were nothing but just making films for commercial interest. It is really important to promote awareness and real-life issues faced by them.

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