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Journal articles on the topic 'Indian Movies'
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Athique, Adrian. "WATCHING INDIAN MOVIES IN AUSTRALIA." South Asian Popular Culture 3, no. 2 (October 2005): 117–33. http://dx.doi.org/10.1080/14746680500234546.
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Sannapu, Suresh, Akshat Singh Parihar, Gaurav Kandwal, and Karan Kakkar. "Importance of Web Based Tools for Promotion of Movies." International Journal of Online Marketing 4, no. 2 (April 2014): 62–73. http://dx.doi.org/10.4018/ijom.2014040105.
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This paper gives a description of the empirical study investigating the impact of promotions using Web based tools by Indian Movie production houses. Evolution of movie promotion starting with use of traditional methods for the first movie to the near dependence on social media to promote the latest movies produced in India has been chronologically presented. Critical role of web based tools and their synchronization with other media tools in contemporary movie promotion has also been elaborated. As Indian film industry is witnessing impeccable advancements in areas like technology and marketing digitalization, this research shows the use of online tools for attracting consumers. The key research objective is to find out the ability of the production houses to attain maximum customer attraction through various online tools like Facebook, Twitter, Blogs and YouTube. Data has been collected both from primary and secondary sources. Regression analysis has been used to depict the relationship between likes, comments and shares with the number of campaigns. Given the huge contribution of movies to Indian economy, ever increasing competition in this industry and increasing popularity of Web based tools; this study aims to benefit multiple stakeholders including movie producers, individual investors and all other entities related to movie making business such as music companies, distributors, exhibitors and single screen owners.
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Gupta, Samrat, Saurabh Kumar, and Pradeep Kumar. "EVALUATING THE PREDICTIVE POWER OF AN ENSEMBLE MODEL FOR ECONOMIC SUCCESS OF INDIAN MOVIES." Journal of Prediction Markets 10, no. 1 (September 20, 2016): 30–52. http://dx.doi.org/10.5750/jpm.v10i1.1182.
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The Indian motion picture industry has experienced phenomenal growth during the last few decades and plays an important role in emerging economy of India. This paper integrates three analytical models in order to address the intriguing problem of revenue prediction of movies in Indian film industry. The paper attempts to investigate the determinants leading to the success of indigenous movies in Indian context. Ensemble model has been constructed by integrating the three analytical models (Neural Network, Classification and Regression Tree and Robust Regression) using linear optimization approach. Further, a four-way comparative analysis of these three models along with Ensemble model has been carried out. The predictive power of the models has been evaluated using four performance metrics namely root mean squared error (RMSE), mean absolute error (MAE), mean absolute percentage error (MAPE) and large prediction error (LPE). Analyzing novel and original data of 120 Indian movies released during the period August’06-October’15, this paper inspects the nitty-gritties of Indian film industry and seeks to explain the nuances. The study revealed that factors like hype generated on web by a movie, screens on which the movie is released, rating garnered by movie and its genre are the most influential variables in deciding the box-office performance of a movie. Further we observed, that the neural network model closely competes with ensemble model in terms of predictive accuracy. The ensemble model considerably reduces the predictive errors and yields better results on two of the performance metrics.
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Si, Aung. "A diachronic investigation of Hindi–English code-switching, using Bollywood film scripts." International Journal of Bilingualism 15, no. 4 (January 7, 2011): 388–407. http://dx.doi.org/10.1177/1367006910379300.
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Code-switching (CS) between an Indian language and (Indian) English is, and has long been, a normal feature of everyday speech in urban Indian society. Although much has been written about the status and role of English, and about the sociological variables associated with English usage in India, there have been, to date, no studies explicitly investigating changes in CS patterns over time. Bollywood movies are a rich source of information on the speech patterns of urban Indians throughout most of India’s post-independence history. CS patterns in Bollywood movies (from the 1980s, 1990s and 2000s) were therefore investigated in this study, by means of lexical transcripts of the dialogues between characters of equivalent age and socioeconomic status. A survey of seven movie dialogues revealed that CS can be accomplished through a range of syntactic and morphological strategies. Quantitative analyses showed a massive increase in the overall use of English over this period, a trend particularly evident among young speakers. Moreover, the complexity of CS increased over the period under consideration, with ‘alternations’ at clause boundaries increasing in frequency at the expense of single-word ‘insertions’.
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S. VASANTHI, S. VASANTHI. "Covert Advertising in Indian Movies : a Theoretical Review." Indian Journal of Applied Research 3, no. 11 (October 1, 2011): 284–85. http://dx.doi.org/10.15373/2249555x/nov2013/93.
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Bhaumik, Mahuya. "Changing Role of Indian Woman: A Glimpse into Two Bollywood Movies English – Vinglish and Queen." CLEaR 3, no. 1 (March 1, 2016): 52–60. http://dx.doi.org/10.1515/clear-2016-0006.
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Abstract Bollywood, being one of the biggest film industries of India, is an interesting area of research to understand the socio-cultural perspectives of today’s India. My paper will focus on the changing role of Indian woman. It will argue if the change is merely superficial or the Indian woman has been successful to negotiate with and challenge the patriarchal social structure. These multiple issues will be discussed with special reference to two of the latest Bollywood movies, namely, English-Vinglish and Queen. The focus on these two movies is because both concentrate on emancipation of woman. Sashi, the central character of English-Vinglish, despite facing all kinds of humiliation in her own family and finally learning English (her inability to speak in English being one of the primary reasons for her being ridiculed in her family) comes back to her family at the end. Queen showcases a different kind of emancipation where Rani, the leading lady of the movie, being dumped by her fiancé, decides to go for her honeymoon trip all by herself and recognises herself anew. These two movies are examples of the changing role of woman who does not need a male to rescue her from danger or to console her in her tears. She is a self-sufficient woman who does not forget her roots. Both the movies generate thought-provoking questions about the status of woman in present India and can be employed as lenses to see through the multiple layers of the gendered Indian society.
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Narain, Atticus. "Indian Movies, Narratives of Dissent and Objectification." Journal of Creative Communications 2, no. 1-2 (August 2007): 57–77. http://dx.doi.org/10.1177/097325860700200204.
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Rehman, Sharaf N. "Om Puri: The man who presented the real faces of the subcontinent of India." Asian Cinema 31, no. 2 (October 1, 2020): 269–78. http://dx.doi.org/10.1386/ac_00028_7.
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The Indian film industry continues to turn out between 1600 and 2000 films every year, making it the largest movie-producing country in the world. Yet, it would be a challenge for an average European or American moviegoer to name a film actor from the Indian subcontinent. Naming the films may be easier. For instance, millennials may be able to name Slumdog Millionaire (2008), Generation X crowd may mention Gandhi (1982) and the older audiences may recall The Party (1968) and Ganga Din (1939) as movies about the Indians and India. It was not until the movie Gandhi that Indian actors were allowed to play as Indians. Sam Jaffe and Abner Biberman played as Indians in Ganga Din; Peter Sellers was the Indian actor in The Party, and Shirley MacLaine was the Princess Aouda in Around the World in 80 Days (1956). It is reasonable to assume that many film viewers may be unfamiliar with Om Puri, an actor who played in over 325 films in India, Pakistan, the United Kingdom and the United States, and made films in English, Bengali, Punjabi and Tamil languages. Om Puri passed away in 2017. His name may be unfamiliar, but his face and his work as an actor will remain unforgettable. Between Gandhi (1982) and Viceroy’s House (2017), Puri acted in two dozen films in the United Kingdom, Canada and the United States. This article discusses Puri’s work in popular Hindi cinema, in Indian Parallel Cinema, and European and North American films.
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Lee, Yi Yeh, Meng Jhe Hsieh, and Kuo Kuang Fan. "Study on Development of Indian Film Industry." Applied Mechanics and Materials 311 (February 2013): 544–49. http://dx.doi.org/10.4028/www.scientific.net/amm.311.544.
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Since movies were introduced into India, they have become one of the key industries in the country. Besides the wide support in the local market, Bollywood films have started to stand out on the world stage. There are 3.6 billion international audiences of Indian films. Different from Hollywood movies which we are familiar with, Indian films reveal strong national culture. This study probes into the success factors of Indian films by literature review on the development of Indian films, special film culture and policy of the Indian government, and generalizes the following success factors of Indian film industry: high population, ticket price & low cost, local cultural environment, governmental policy, and combination of tradition and innovation. This study analyzes the factors above and compares the related factors with American films.
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Ahmad, Afaq. "VERSATILITY THY NAME IS AAMIR KHAN: THEMATIC STUDY OF THREE SELECTED FILMS." International Journal of Research -GRANTHAALAYAH 7, no. 4 (April 30, 2019): 213–24. http://dx.doi.org/10.29121/granthaalayah.v7.i4.2019.893.
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Hindi cinema has acquired a universal identity in Indian society as it is one of the most popular forms of entertainment, education and information in India. As purveyor of entertainment, Bollywood has provided a platform to many actors to flourish their talents as an actor. As far as Aamir Khan is concerned, acting is the life, blood, and soul of Aamir Khan. The way he portrays various characters in his movies, make him a perfect actor of versatile genre. Less studies have been conducted on Aamir Khan and his movies, and on the versatile portrayal of Aamir Khan contained in his movies. The purpose of this paper is to understand the versatile characteristics played by Aamir Khan in his movies. The present paper makes an attempt to critically analyse the three movies of different genres of Aamir Khan. These movies were purposively selected as Lagaan – a patriotic, productional and nostalgic movie, Rang De Basanti – a revolutionary, nationalistic and rebellious movie, and Taare Zameen Par – an inspirational, experimental and directorial movie, on account of their distinguishing stories. As the selected films etched a niche in the hearts and minds of cinemagoers and movie viewers due to their innovative stories and splendid cinematography, the thematic analysis was undertaken. It has been found from the study that message-oriented aspects depicted in these movies. Further, the informative, inspirational, patriotic, reformative, and revolutionary characteristics predominantly glimpsed in his movies. The versatile characteristics of Aamir Khan was also meticulously scrutinized. It has been found after having a critical analysis that Aamir Khan has versatile characteristics as depicted in these three selected movies under study.
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Marwaha, Priyanka. "The Portrayal of Gender Inequality in Selected Female Oriented Bollywood Movies." SMART MOVES JOURNAL IJELLH 8, no. 5 (May 28, 2020): 23. http://dx.doi.org/10.24113/ijellh.v8i5.10578.
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Men have been considered superior in most cultures since they have been the ones who bring home the bacon, whereas women have always been considered a subject to her father, husband or son, thus inferior. Cinema is not just a modern-day art; rather it is a modern-day mind; while watching a film, we are constantly watching ourselves. In the form of a mirror, Cinema has sharply reflected the Indian psyche and the changing roles of women from time to time. This paper deals with gender inequality and its influence on the patriarchal Indian society with a focus on some female-oriented Bollywood movies. It also tries to highlight how, even though the Indian Constitution emphasises gender equality, Indian Cinema has failed to provide decision making roles to women in Bollywood movies.
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Michael, Noela, Sreejith Balasubramanian, Ian Michael, and Anestis Fotiadis. "Underlying motivating factors for movie-induced tourism among Emiratis and Indian expatriates in the United Arab Emirates." Tourism and Hospitality Research 20, no. 4 (March 26, 2020): 435–49. http://dx.doi.org/10.1177/1467358420914355.
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This study explores the underlying motivating factors of Emiratis and Indian expatriates to visit destinations featured in movies. The results revealed a five-factor structure for Indians: novelty, fantasy-driven, personal connection, prestige and movie connection, vis-à-vis a three-factor structure for Emiratis: novelty, fantasy-driven and personal connection with the movie location. An analyses of variance analysis (ANOVA) showed significant differences in the individual mean scores of items, with the exception of novelty. Regarding gender, while no significant differences were found between the male and female Indian expatriate populations across all factors and underlying items, differences for some items were observed between male and female Emiratis, with male participants demonstrating higher motivation than female participants. These findings support the notion that the underlying factors influencing movie-induced tourism differ between cultures, while the influence of gender was found to be limited. Overall, the study enhances the understanding of practitioners and policymakers tasked with attracting tourists to movie destinations.
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Woodman, Brian J. "Making the White Man's Indian: Native Americans and Hollywood Movies." Journal of Popular Culture 40, no. 2 (April 2007): 404–5. http://dx.doi.org/10.1111/j.1540-5931.2007.00399.x.
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Hassam, Andrew. "Indian movies, brand Australia and the marketing of Australian cosmopolitanism." Australasian Journal of Popular Culture 2, no. 3 (September 1, 2013): 335–49. http://dx.doi.org/10.1386/ajpc.2.3.335_1.
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Nagar, Komal. "Consumer Response to Brand Placement in Movies: Investigating the Brand-Event Fit." Vikalpa: The Journal for Decision Makers 41, no. 2 (May 24, 2016): 149–67. http://dx.doi.org/10.1177/0256090916642678.
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Executive Summary Movies offer the perfect media site for placement of brands as part of the emerging marketing strategy. Although attempts to analyse brand placements have been made in the past, the same needs more attention in the Indian context. Given the exposure of Indian audiences to both national and international entertainment industry, it is only reasonable to expect the entertainment event context to have an impact on consumers’ evaluation of the brands placed in each context. The present research attempts to extend the applicability of the idea of fit, which was till now largely confined to sponsorship and subjects it to the exploration of finding a fit between brands and specific events, in particular, movies. Because the link between country of origin of the entertainment event (national/international) and brand, placement is a relevant area of speculation, the present research aims to study this relationship within the national/international context. Results of an experimental study among 120 respondents are as follows: Brands placed in a national event will create more positive brand evaluations in terms of positive attitude towards the placed brand and intention to purchase than brands that are placed in an international event. When the presence of a brand is consistent with the context in which it is placed, it would evoke more positive attitudes and behaviour than an incongruent placement. Evaluation of results further reveals that although a brand that fits well with the context in which it is placed generates a positive evaluation of the placed brand, the condition of a brand-event misfit in a Hollywood context will create more negative evaluations among the Indian audiences than if such a disconnect appeared in a Hindi film. In other words, a brand may have more to lose in case of a misfit with the international entertainment event than with a national entertainment event. Based on the findings of the present study, it is suggested that multinational brands must look at the Indian movies as a suitable medium for reaching out to the prospective buyers as Indians have become consumers of global brands and thus pose to be a huge market for global brands.
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Friesen, Dwight H. "How Karunamayudu (1978) Became an Evangelistic Tool: Implications for Understanding Evangelicals and Media." Exchange 41, no. 2 (2012): 120–43. http://dx.doi.org/10.1163/157254312x638319.
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Abstract It has not been uncommon in the history of Jesus in film for commercial movies of Jesus’ life to be conscripted for Christian evangelism around the world. Cecil B. DeMille’s The King of Kings (1927), John Krish and Peter Sykes’ Jesus (1979), better known today as The Jesus Film, and Mel Gibson’s The Passion of the Christ (2004) are but three notable examples. Each of those movies, however, was first produced in America for American audiences. In the case of Karunamayudu (1978), a Telugu commercial movie of Jesus’ life, the target audience was South Indian viewers raised on a steady diet of mythological and social films and immersed in a pluralistic religious environment unlike any Western society at the time. In this essay I explain how and why this film, with its unique production history, was co-opted by evangelicals for Christian witness in India.
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Bakker, Freek. "Shanti Sandesham, a New Jesus Film Produced in India: Indian Christology in Pictures." Exchange 36, no. 1 (2007): 41–64. http://dx.doi.org/10.1163/157254307x159416.
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AbstractSince the middle of the 1970s at least three Jesus films have been released in India, the last one in 2004. This article offers an analysis of the two most circulating movies, KARUNA MAYUDU and SHANTI SANDESHAM. First, the focus is on the contents of the movies and the measure in which they reflect the contents of the gospels. Then attention is paid to their affinity with the Indian context and with the so-called Bollywood films. Finally the Christologies of these films are discussed and analysed. KARUNA MAYUDU seems to stand nearer to the gospels, but SHANTI SANDESHAM has a certain affinity with dalit theology.
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OK, Auju. "Representation of Women in Popular Indian Movies : An Analysis of English Vinglish and Heroine." SMART MOVES JOURNAL IJELLH 9, no. 3 (March 27, 2021): 176–81. http://dx.doi.org/10.24113/ijellh.v9i3.10963.
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Male supremacy and patriarchy has become two clichéd words, but it is a fact that these two words define almost all societies in the world. Indian society is no different from this, in fact this is where these two words fit in smoothly. This is reflected in our literature, art and movies too. My enquiry here is about how do the preconceived notions about feminity find their way into popular movies. The article analyzes two popular Hindi movies: English Vinglish and Heroine. These two movies portray two women who are very different from each other ; a house wife and an actress. But many a times these two women are one and the same in terms of the attitude of the society towards them. Therefore the paper intends to reveal the double standards and hypocrisy of Indian society.
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Salwathura, A. N. "EVOLUTIONARY DEVELOPMENT OF 'HINGLISH' LANGUAGE WITHIN THE INDIAN SUB-CONTINENT." International Journal of Research -GRANTHAALAYAH 8, no. 11 (November 24, 2020): 41–48. http://dx.doi.org/10.29121/granthaalayah.v8.i11.2020.2278.
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Hindi is the official language of India which is spoken by around 350 million of people in India. Hindi and English have an incestuous relationship ever since India became colonized. Since then, Hindi began to mix with English and became famous as ‘Hinglish’ in Indian society. ‘British-Raj’ is considered as the first Hinglish word which was used in the colonial period and now Hinglish has become a common phenomenon practice in India in day-to-day life. Due to the popularity of Hindi movies and television, Hinglish has been spread beyond the metropolitan areas in India. Therefore, it is expected to examine the impact of using Hinglish by Hindi speaking people in India on the existence of standard Hindi language. The language spoken in North India and the language used in media were utilized as primary resource. Books, magazines, journal articles related to Hindi language were used as secondary resources. This paper highlights that Hinglish has been acquired a big demand in Indian society and now it is hard to eliminate this trend which has largely affected the day-to-day communication of Indians. This paper emphasizes that the extensive use of Hinglish by the Hindi speaking people in India has become a huge challenge for the existence and the values of standard the Hindi language.
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Ahsan, Akhtar Naz, and Mustahsan Raza Talal. "Effects of Indian movies related to Kashmir issue on Pakistani youths." Journal of Media and Communication Studies 7, no. 6 (August 31, 2015): 112–21. http://dx.doi.org/10.5897/jmcs2014.0425.
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Sharon Pillai. "Understanding Indian Movies: Culture, Cognition, and Cinematic Imagination (review)." College Literature 37, no. 3 (2010): 210–13. http://dx.doi.org/10.1353/lit.0.0130.
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Nefedova, Darya N. "Destiny of Indian Cinema in Russia." Journal of Flm Arts and Film Studies 8, no. 4 (December 15, 2016): 66–74. http://dx.doi.org/10.17816/vgik8466-74.
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The relationship of domestic moviegoers to the works of Indian cinema has a complex and heterogeneous development history. The Soviet audience watched the first Indian movie back in the 1950s, which gave a powerful impetus to the formation of multifaceted contacts between Indian and Soviet film industry. As a result such films were shot as Journey Beyond Three Seas, Black Prince Adjouba, The Adventures of Ali Baba and the Forty Thieves, the famous My name is clown by Raj Kapoor, and others. However, a sympathy to the Indian cinema of the 1970-80s led to the formation of the stereotypes (frivolous story, improbable fights, numerous songs and dances, etc.), which have been preserved by this day, in spite of the changes that occurred in the Indian film industry. In the 1990s, there was a revision of values on the part of the domestic audience and interest for Indian cinema began to wane. Development of various types of video media has allowed fans to buy movies for personal viewing. At the turn of the century a number of television companies obtained broadcasting rights for the classic Indian films. Broadcasting of the channels India TV and Zee-TV, completely dedicated to the Indian culture, marked a new stage in distribution of Indian cinema in this country. In addition, the Internet technology gave way for development of various kinds of specialized resources. These facts, as well as resumed festivals of Indian cinema in the last decade in this country, speak in favor of the revival of the audience interest to it. Despite the virtual absence of the joint Russian-Indian films in the last decades and a small amount of Indian films, audience sympathy gives rise to the assumption of the prospects for this kind of cooperation, as well as accentuation of resuming heavy study of Indian cinema by Russian researchers.
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Chavadi, Chandan A., Sindhu R. Menon, and Monika Sirothiya. "Modelling the Effects of Brand Placements in Movies: An Investigative Study of Event Type and Placement Type." Vision: The Journal of Business Perspective 23, no. 1 (March 2019): 31–43. http://dx.doi.org/10.1177/0972262918821227.
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Movies are getting extremely costly and product placement has become inevitable to accommodate brands to support their budgets. Moreover, brands are demanding return on investment for their placements. This article makes an attempt to evaluate the outcome of brand placements in movies. As Indian audiences are exposed to both Hollywood and Bollywood movies, product placement is rapidly turning into a colossal path for brands to achieve their objectives by placing the brand in a subtle or blatant way. It is reasonable to count on that consumer contrast of brands will genuinely get influenced based on the type of the entertainment event (Bollywood vs. Hollywood) and type of the product placement (subtle vs. blatant). A structural equation model was developed to assess the effect of entertainment event and placement type (PT) on brand attitude (AB) and consequently on purchase intentions (PIs). The study also explores the possibility of mediation and conducted multi-group analysis on event type and PT using AMOS and SPSS. The findings help us to comprehend the event type (Hollywood movie vs. Bollywood movie) and the PT (subtle vs. blatant) that has the most significant impact on AB and subsequently on PI.
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Parvathy, Parvathy B. "Challenging Misogyny on and off the Pitch: Analysis of Selected Sports Movies." Middle Eastern Journal of Research in Education and Social Sciences 1, no. 1 (August 30, 2020): 45–52. http://dx.doi.org/10.47631/mejress.v1i1.10.
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Purpose: The present study is an attempt to analyze selected sports movies with reference to discrimination and misogyny against sportswomen. The aim is to explore how Indian sportswomen face misogyny and discrimination in sport institutions and society at large. Approach/Methodology/Design: The study is based on thematic analysis to destabilize the notion that sports are the sole realm of men alone. Feminist film theory is also used in the analysis of the movies. Two movies were selected; Chak de! India (2007) and Dil bole Hadippa! (2009). Findings: The results of the analysis indicate that these movies despite having their own drawbacks exhort that society cannot deny women equal rights of participation and opportunity in sports. Both of the movies project their protagonists struggling to achieve success in sports. It is revealed that despite the progress that has been achieved in sports, misogyny is deep-rooted in sport institutions. Practical Implications: The paper throws light on various types of barriers, socio-cultural, biological and psychological, which women players have to cross, in addition to dealing with a bizarre and weird kind of treatment which their male counterparts do not normally confront. It depicts how family pressures and restrictions, cultural inhibitions, lack of support and biased attitude of society can ultimately thwart the ambitions of women players. Originality/value: The paper suggests that sports can be used as an effective tool for women empowerment. As part of the feminist inquiry, the attempt here is to expose the inequalities and discrimination against sportswomen.
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Antonina Łuszczykiewicz. "Dealing with Colonial Past." Politeja 16, no. 2(59) (December 31, 2019): 123–38. http://dx.doi.org/10.12797/politeja.16.2019.59.08.
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This paper is dedicated to reconstructing the image of the British colonial rule in India in modern Hindi cinema. The main stress in the analysis is laid upon the depiction of the political and cultural impact of the British rule on common Indian people, as well as the colonizers’ attitude towards the independence movement. Consequently, the author intends to enquire, how movies made after 2000 – among which Lagaan: Once Upon a Time in India (2001), Mangal Pandey: The Rising (2005), Water (2005) and Rang De Basanti (2006) are given special attention – deal with the difficult colonial past from an over 50-year-long perspective. Moreover, the author explains, how modern Hindi cinema shapes Indian viewers’ opinions on the British rule, intending to strengthen their patriotic feelings and national pride.
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Choubey, Vardhan, and Riddhi Bumb. "Promotion Using Product Placement in Movies: Perception of Rural and Urban Indian Audience." Indian Journal of Marketing 43, no. 4 (April 28, 2013): 35. http://dx.doi.org/10.17010/ijom/2013/v43/i4/36379.
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Pinnamshetty, Pardhu, and Aparna Rayaprol. "Nostalgia, nation and bollywood: second-generation Indian-Americans and the consumption of movies." South Asian Diaspora 13, no. 2 (June 5, 2021): 143–56. http://dx.doi.org/10.1080/19438192.2021.1935182.
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Sharma, Bimala. "Men from the Lenses of Deepa Mehta in Fire and Water." Journal of Balkumari College 9, no. 1 (July 14, 2020): 13–19. http://dx.doi.org/10.3126/jbkc.v9i1.30062.
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Movie in this era has become one of the dominant modes of disseminating perceptions. Women and their issues are vital themes of women centric movies. Stereotypically, these movies display women and their position in patriarchal society. Displaying women and their issues in women centric movies is rationally expected but how men are displayed in such movies has not been given much consideration. Customarily men in such movies are presented negative which have negative impact on their audiences too. This article sets its attention on how men are seen from the lenses of women and shown in women-oriented movies. Deepa Mehta is selected to analyze how she has seen men through her lenses and represented them in Fire and Water. Qualitative research methodology is adopted where Deepa Mehta's Fire (1996) and Water (2005) are the primary data and other resources based on it are secondary. Fire is the story of two lesbian women and Water is about widowhood. Characters like Ashok, Jatin, Mundu, in Fire and Seth, Sadananda and Narayan in Water are studied and found that they are presented as the agents of the patriarchal society. Men are exhibited with all the set masculine traits as strong, brave, bold, intelligent, assertive, aggressive, savior, ruler, educated, handsome, smart, dynamic, powerful who can construct the society as they want. Sexually obsessed men in the movies represent the existing Indian patriarchal society. Abusing woman verbally, physically, mentally and sexually is considered as men's privilege. This justifies that Mehta is unable to deconstruct the notion of masculinity as presented by men directors. She also falls in the trap prescribed by patriarchy and for this she has to present men with all positive and masculine traits and women with negative feminine traits. This kind of representation of men has a large impact on the mass because of unintentional imitation.
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Ibbi, Andrew Ali. "Hollywood, The American Image And The Global Film Industry." CINEJ Cinema Journal 3, no. 1 (April 8, 2014): 93–106. http://dx.doi.org/10.5195/cinej.2013.81.
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The emergence of indigenous film industries across the world has been seen by many as a threat to the influence of Hollywood on the movie scene. This paper tries to look at the ideological influence of Hollywood on movies the world over. the paper considered the Chinese, Indian and Nigerian film industries. the three industries were chosen because of their influence on their continents and some parts of the world. The Theory of cultural Imperialism is chosen as the supporting theory for the paper.
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Gaikar, Dipak Damodar, Bijith Marakarkandy, and Chandan Dasgupta. "Using Twitter data to predict the performance of Bollywood movies." Industrial Management & Data Systems 115, no. 9 (October 19, 2015): 1604–21. http://dx.doi.org/10.1108/imds-04-2015-0145.
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Purpose – The purpose of this paper is to address the shortcomings of limited research in forecasting the power of social media in India. Design/methodology/approach – This paper uses sentiment analysis and prediction algorithms to analyze the performance of Indian movies based on data obtained from social media sites. The authors used Twitter4j Java API for extracting the tweets through authenticating connection with Twitter web sites and stored the extracted data in MySQL database and used the data for sentiment analysis. To perform sentiment analysis of Twitter data, the Probabilistic Latent Semantic Analysis classification model is used to find the sentiment score in the form of positive, negative and neutral. The data mining algorithm Fuzzy Inference System is used to implement sentiment analysis and predict movie performance that is classified into three categories: hit, flop and average. Findings – In this study the authors found results of movie performance at the box office, which had been based on fuzzy interface system algorithm for prediction. The fuzzy interface system contains two factors, namely, sentiment score and actor rating to get the accurate result. By calculation of opening weekend collection, the authors found that that the predicted values were approximately same as the actual values. For the movie Singham Returns over method of prediction gave a box office collection as 84 crores and the actual collection turned out to be 88 crores. Research limitations/implications – The current study suffers from the limitation of not having enough computing resources to crawl the data. For predicting box office collection, there is no correct availability of ticket price information, total number of seats per screen and total number of shows per day on all screens. In the future work the authors can add several other inputs like budget of movie, Central Board of Film Certification rating, movie genre, target audience that will improve the accuracy and quality of the prediction. Originality/value – The authors used different factors for predicting box office movie performance which had not been used in previous literature. This work is valuable for promoting of product and services of the firms.
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Hashim, Hasrul. "Digital Visual Effects (DVFx): Comparative Iconography Analysis in Malaysian, Indian and Australian Award-Winning Movies." Jurnal Komunikasi: Malaysian Journal of Communication 36, no. 2 (June 30, 2020): 17–32. http://dx.doi.org/10.17576/jkmjc-2020-3602-02.
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Karupiah, Premalatha. "Have Beauty Ideals Evolved? Reading of Beauty Ideals in Tamil Movies by Malaysian Indian Youths." Sociological Inquiry 85, no. 2 (December 3, 2014): 239–61. http://dx.doi.org/10.1111/soin.12070.
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Bhowmick, Maya. "Animating Folktales: An Analysis of Animation Movies based on Folktales of three different Indian Languages." Litinfinite Journal 2, no. 2 (December 2, 2020): 64–75. http://dx.doi.org/10.47365/litinfinite.2.2.2020.64-75.
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Bhandari, Parul. "Towards Sociology of Indian Elites: Marriage Alliances, Vulnerabilities and Resistance in Bollywood." Society and Culture in South Asia 3, no. 1 (December 1, 2016): 108–16. http://dx.doi.org/10.1177/2393861716669470.
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This brief essay explains the nuances and complexities of Indian elites’ subjectivities, which need to be understood beyond the simplistic frameworks of access to capital. This is done through the analysis of two recent Bollywood movies— Dil Dhadakne Do and Shaandaar—that depict the myriad struggles, vulnerabilities and strategies of the elites in forming marriage alliances.
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Kidiyoor, Gururaj H., and Prashant V. Yatgiri. "Kannada movie industry in India: strategies for survival." Emerald Emerging Markets Case Studies 7, no. 3 (July 28, 2017): 1–27. http://dx.doi.org/10.1108/eemcs-12-2016-0226.
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Subject area Strategy. Study level/applicability This case can be used on a strategic management course in the second year of an MBA programme, any special elective course on the media and entertainment industry and in executive education programmes to demonstrate the application of strategic management concepts and frameworks. Case overview The Indian film industry was the largest in the world and the seventh largest in terms of revenue. Significant number of movies were made in languages such as Bengali, Marathi, Telugu, Tamil, Malayalam and Kannada, with Hindi commanding the highest number. The film industry in Karnataka made movies in the Kannada language. The industry was plagued by a host of issues with the industry contributing just 2 per cent of the revenues and box office success rate at just around 25 per cent. The state government had set up Karnataka Chalanachitra Academy with the objective of promotion and development of the movie industry in Karnataka. The Chairman of the academy, Shailesh Singh, was extremely concerned about the poor success rate of Kannada movies and was contemplating various options of reviving the ailing Kannada movie industry. Expected learning outcomes The expected learning outcomes are as follows: application of strategic management frameworks in the context of the movie industry; analysis of industry issues from the long-term and short-term perspectives; study of different entities in the movie industry and the roles they play and their interdependence; applying learning to suggest survival strategies in an extremely competitive market; and insights into the role of government in the media/entertainment industry. Supplementary materials Teaching Notes are available for educators only. Please contact your library to gain login details or email support@emeraldinsight.com to request teaching notes. Subject code CSS 11: Strategy.
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Danish, Malik Haqnawaz. "Connoting 'Reconciliation' in History: A Multimodal Analysis of Indo-Pakistani Visual Narrative." Global Language Review VI, no. I (March 30, 2021): 50–60. http://dx.doi.org/10.31703/glr.2021(vi-i).06.
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Entangled in history awash with events of war and conflict, both India and Pakistan have ensured the representation of national narratives in their respective media. Being apprehensive neighbours since the day of partition, the sensation of patriotism has led these nations towards three major wars and numerous skirmishes on the borders, claiming lives of the peoples on both sides of the border. The mutual derision for the 'other' has secured the text, both written and visual. Besides endeavours to justify stances of conflicts, these narratives of history have also created space for standoffs. An attempt to such reconciliation and shatter the image of 'other' is investigated in Indian movies, Border and Bajrangi Bhai Jan, through grammatology of image. The signification in the image is explored by applying Multimodal introduced by Gunther Kress and Theo van Leeuwen. The multimodal by the theorists have been appropriated by utilizing Halliday's theoretical Systemic Functional Grammar. Both of the movies have been selected to compare the occasions depicted the historical backdrop of war and fear-based oppression and occasionally delineated attempts of reconciliation.
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Mehmood, Sohail. "PRIORITIES, CONCERNS AND EXPECTATIONS OF LOCAL YOUNG SPECTATORS REGARDING 21ST CENTURY FILM AND CINEMA." Advanced Humanities & Social Sciences 5 (2020): 5.8. http://dx.doi.org/10.21065/25205986.5.8.
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This paper investigates the impulses, motives and conditions that are positively associated and problems, hurdles and concerns that are the obstacles in the resurgence of 21st century Pakistani film industry. It also gauges the priorities and concerns of young moviegoers and compares with the priorities and concerns of our young generation of filmmakers. To achieve this end we employed both qualitative and quantitative research methodologies and came up with following results that Pakistan’s screen to film production ratio is one of the best in the world. It is vehemently in search of its distinctive identity and plays, sometimes immaturely, with different genres are evidence to it. We see a visible drift from conventional Indo Pak Masala genre to social drama, physical reality, war movies and Wuxia. Production facilities of Pakistani film industry have been significantly improved and in terms of equipment Pakistani film industry is no more far behind Bollywood and Hollywood as it used to be even in the times of Khuda Kay Leay (KKL). Different production processes are gradually becoming worthier; cinematography, sound design and post production effects have been admired whereas viewers are critical about the standard of music, choreography, production budget, code switching, acting, script writing and screen playwright. Researchers found that most of the filmmakers complain about dearth and substandard script and screen play. Moreover, film viewers also complain about lack of originality in the script. Young filmmakers also complain about the dearth of trained human resources, who may use the modern equipment to its optimum level of output. Young viewers more or less face a paradox, they claim that they aspire to see their local culture and local social issues in Pakistani movies, they yearn to see local culture in Pakistani movies but when they are exposed to the choice to select either Pakistani film or Indian, they choose Indian movie hoping to get better entertainment value in terms of visual pleasure; a fact that requires separate in depth research about the psychology of young Pakistani film spectatorship.
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Bourgault, Louise M. "AIDS messages in three AIDS-themed Indian movies: eroding AIDS-related stigma in India and beyond." Critical Arts 23, no. 2 (July 2009): 171–89. http://dx.doi.org/10.1080/02560040903016925.
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Toka, Karolina. "Progression or Stagnancy? Portraying Native Americans in Michael Apted’s Thunderheart (1992)." Ad Americam 22 (March 28, 2021): 87–100. http://dx.doi.org/10.12797/adamericam.22.2021.22.06.
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Progression or Stagnancy? Portraying Native Americans in Michael Apted’s Thunderheart (1992)
As argued by Wilcomb Washburn, no other ethnic group has been misrepresented in media and popular culture to such extent as the Native Americans (2010). Movies that shaped their image did so by crystallizing stereotypes and misconceptions, through which indigenous peoples have been perceived until the present day. Thomas Edison’s vignettes, early westerns, as well as subsequent motion pictures of the 1960s and 1970s strengthened the stereotypes of the vanishing Indians, bloodthirsty savages, and their noble alter ego. The 1990s brought about a revival of the western in its new, revisionist form, mainly due to the achievements of the American Indian Movement. This paper argues that the movie Thunderheart (1992) by Michael Apted — albeit belonging to that ostensibly revolutionary current — continues to reproduce various well established stereotypes in the portrayal of the Native Americans . It examines significantachievements of this partly liberal motion picture, as well as its failures and faults. Thisarticle argues that Thunderheart departs from traditional, dualistic portrayals of Native Americans as bloodthirsty and noble savages and manages to present a revisionist version of historical events; at the same time, it fails to omit numerous Hollywood clichés, such as stereotypical representation of native spirituality, formation of an “Indian identity”, and “othering” of the Native Americans, which contributes to their further alienation and cultural appropriation. This paper provides an insightful analysis of the movie, drawing on scholarship in the field of cultural and indigenous studies in order to lay bare the ambivalence towards indigenous people in the United States, that is reflected in the movie industry. Moreover, it indicates towards the commodification of native culture, as well as the perception of Native Americans as primitive and inferior, allowing to classify Thunderheartas an unfortunate product of colonialism.
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CHATTERJEE, SOUMIK. "The Cinema of India." Dev Sanskriti Interdisciplinary International Journal 7 (January 31, 2016): 38–49. http://dx.doi.org/10.36018/dsiij.v7i0.74.
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With what outlook should one construct, analyze or dissect film theory? Should one view cinema as a medium of mass communication? Propaganda? Entertainment? Art? Or should cinema be considered a concoction of them all? In trying to formulate a film theory, dealing with all these elementary characteristics of cinema poses a serious problem. Gaston Roberge notes that – A theory of movies would tell us what a movie is, what it is made for, how it is created in images and sounds, and for whom it is made1. The questions respectively deal with the content of a movie, the validity of the content in terms of the prevailing socio-political circumstances, the form of the movie and the target audience of the movie. Now, obviously, it is required for Indian cinema to be able to provide at least a level of generalization in answering the aforementioned questions to be considered to have a theory of its own. The purpose of this article would be to investigate whether or not such a generalization (subsequently, a film theory) is possible for Indian cinema, and then to delve further to find out how much of that theory is rooted in our original outlook toward audio-visual art. Now obviously the span of one article does not allow analysis of every type of cinema produced in as cinema-crazy a country as ours, where almost every state has its own regional cinema, independent cinema, art-house cinema and recently, underground cinema. For the purpose of the present article, therefore, we would restrict ourselves to the popular Indian cinema, namely Bollywood productions that some critics coin as commercial or entertainment cinema
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Arora, Monika, Neha Mathur, Vinay K. Gupta, Gaurang P. Nazar, K. Srinath Reddy, and James D. Sargent. "Tobacco use in Bollywood movies, tobacco promotional activities and their association with tobacco use among Indian adolescents." Tobacco Control 21, no. 5 (July 5, 2011): 482–87. http://dx.doi.org/10.1136/tc.2011.043539.
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Qu, Zihan, Yu Liu, and Han Mao. "The Artistic Features of Indian Films*-Taking “3 Idiots” as an Example." E3S Web of Conferences 236 (2021): 04053. http://dx.doi.org/10.1051/e3sconf/202123604053.
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As one of the masterpieces of Indian movies, “3 Idiots” uses its unique comedic art to point out social problems and reflect critical thinking from the outside to the inside. At the same time, it repeatedly uses story conflicts to strengthen the expression of the film’s core ideas. The plot combines a high-level singing and dancing art form with regional characteristics through a two-line narrative structure of time and space. The connotation and expression of the film complement each other, strengthen the viewing experience, and deepen the social and aesthetic value of the film.
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U, Nisha. "“Selling movies to the common man-A case analysis on marketing strategies adopted in the Indian film industry”." South Asian Journal of Marketing & Management Research 7, no. 4 (2017): 56. http://dx.doi.org/10.5958/2249-877x.2017.00022.4.
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Chakraborty, Sudipta. "Impact and Challenges of GST in India with Reference to Media & Entertainment Sector – An Insight." Journal of University of Shanghai for Science and Technology 23, no. 08 (August 12, 2021): 366–82. http://dx.doi.org/10.51201/jusst/21/08404.
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The biggest tax reform since independence i.e., Goods and Services Tax (GST) has now become a part of Indian economy from 1st July, 2017. It is a comprehensive indirect tax on manufactures, sales and consumption of goods and services; thereby subsuming almost all other indirect taxes that were in existence throughout India before its implementation and also eliminating the cascading effects thereby. GST was introduced just after demonetisation in November, 2016 and has changed the whole scenario of indirect tax system in India. It aims at boosting overall growth of Indian economy by integrating all indirect taxes into one. The media and entertainment (M&E) industry in India is one of the fastest growing sectors and has outperformed expectations in recent years. With the expansion of the economy, the sector has accelerated its growth. The sector spreads into big and small screens, media, events, exhibitions, amusement facilities and gaming zones, with various combinations of offline and online delivery systems. With the advent of GST, things have become relatively simpler for the entertainment industry as it is subjected to only one tax and permissible local body taxes. One of the major changes has been the subsuming of Entertainment Tax under GST. Earlier, prior to implementation of GST, the rate of Entertainment Tax for the film industry varied from state to state, ranging from 15% to 110%. Introduction of GST has stabilised the rate variance and provided a uniform market across the nation. In this study, we have also made an attempt to study the pre and post GST effects on different activities of the media and entertainment industry like exhibition of movies, food and beverages sold at movie halls, services rendered by artists and other technician, sponsorship and brand promotion and advertisement. Thus, this paper is an endeavour to understand the impact of GST on media and entertainment sector and aims at pointing out the challenges of the same under the present structure and provide some way outs to it.
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Karmakar, Anima, Md Nur-Al-Ahad, and Tanvir Hyder. "Consumer Attitude Toward Product Placement: A Descriptive Study Between Bangladeshi & Indian Media Program." Business Ethics and Leadership 5, no. 2 (2021): 107–21. http://dx.doi.org/10.21272/bel.5(2).107-121.2021.
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The aim of this study is to investigate Bangladeshi viewers’ attitudes towards product placement activities. Here product placement indicates a paid form of non-traditional advertisement where products or brand names are intentionally present along with the programs. Consumers’ purchase decisions relate to how they know the brand name, and traditional marketing activities failed several times to hit the customer’s black box. People are fascinated by an innovative way of product representation, a tough and challenging task for marketers. Embedded marketing or Product placement helps both viewers and marketers to build a bridge for communication. In Bangladesh, people are less conscious about their local products as well as their media programs. Media and marketing relate inextricably with each other. The study has been conducted in two aspects to investigate the consumer attitude towards product placement. The first one is a comparative analysis of several product placements between Bangladeshi and the Indian media program. The second one is devolving and analyzing questionnaires to determine the Bangladeshi viewers’ scenario about embedded marketing. The logic behind choosing the Indian tv program for comparison is that Bangladeshi viewers are habituated with the Indian program. From 121 respondents, this study tries to forecast the viewers’ attitude toward product placement. Comparing Bangladeshi and Indian movies, dramas, and reality shows, the study expresses that Bangladeshi channel set minimal concern about embedded marketing. An online survey portrays a viewer’s preference level and thinking pattern about their media programs. Proper representation of programs such as an exciting story from movies and drama, a reality show with more customer engagement, less repetition of the same news, more consciousness about irrelevant talk shows, proper timing of the advertisement can help to back the viewers to their media that allows marketers to communicate with their target customers. This study has been conducted with limited sample size. Further research may be conducted about this study with large sample size and may compare with other countries.
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Moghekar, Rajeshwar, and Sachin Ahuja. "Deep Learning Model for Face Recognition in Unconstrained Environment." Journal of Computational and Theoretical Nanoscience 16, no. 10 (October 1, 2019): 4309–12. http://dx.doi.org/10.1166/jctn.2019.8518.
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Face recognition from videos is challenging problem as the face image captured has variations in terms of pose, Occlusion, blur and resolution. It has many applications including security monitoring and authentication. A subset of Indian Movies Face database (IMFDB) which has collection of face images retrieved from movie/video of actors which vary in terms of blur, pose, noise and illumination is used in our work. Our work focuses on the use of pre-trained deep learning models and applies transfer learning to the features extracted from the CNN layers. Later we compare it Fine tuned model. The results show that the accuracy is 99.89 using CNN as feature extractor and 96.3 when we fine tune the VGG-Face. The Fine tuned network of VGG-Face learnt more generic features when compared with its counterpart transfer learning. When applied on VGG16 transfer learning achieved 93.9.
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Ann Rose Davis. "Marxist Feminism: An Analysis on Class Structure and Position of Women in Malayalam movie -“Chemmeen”." Creative Launcher 6, no. 1 (April 30, 2021): 78–83. http://dx.doi.org/10.53032/tcl.2021.6.1.10.
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The Malayalam film industry, prominently known as “Mollywood,” is one of the fast-changing faces in Indian cinema. This paper tries to examine one of the Malayalam movies, Chemeen, through the lens of Marxist Feminism. The primary text chosen for the study is the movie, Chemeen, an adaptation of Thakazhi Sivasankara Pillai’s novel with the same name. The story revolves around the lives of Karuthamma and Pareekutt, lovers whose life cannot be led together because of the strong influence of caste and class in their society. This is one of the liberal texts in Malayalam Literature narrating the Kerala fishing community’s lives, customs, traditions, and beliefs. The research paper’s primary focus will be on society’s hierarchy through the reflection of Mollywood cinema, the stereotyping of certain characters based on their class and caste, the aftermath of marriage, and the domineering male-centric society female fellowships through deities.
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Dutta, Minakshi. "A Reading of Bhabendra Nath Saikia's Films from Feminist Lens." CINEJ Cinema Journal 8, no. 2 (December 3, 2020): 247–74. http://dx.doi.org/10.5195/cinej.2020.261.
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Feminist movement deconstructs the constructed images of women on the screen as well. The gap between real and reel woman is a vibrant topic of discussion for the feminist scholars. As a regional genre of Indian film industry Assamese film flourished during the third decades of twentieth century. Like the films of other parts of the world, Assamese films also constructing the image of woman, particularly Assamese women, in its own way of projection. Hence, this article is an attempt to explore the questions related to women’s representation by taking the films of Assamese director Dr. Bhabendra Nath Saikia as reference. Moreover, as per the demand of the article it will cover a historical overview of the representation of women in Indian cinema and Assamese cinema. Different theories from psychoanalysis and feminism will be applied to analyze the select movies.
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Shah, Syed Zulkifil Haider, and Elijah Cory. "Reclaiming Subjectivities: A Psychoanalytic-Feminist Perspective on Item Songs in Contemporary Indian Cinema." CINEJ Cinema Journal 7, no. 2 (September 20, 2019): 82–100. http://dx.doi.org/10.5195/cinej.2019.217.
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Item Songs have recently become established as new genre of songs in the mainstream Indian Cinema, although they have remained a part of Bollywood movies since at least the 1970s. Such songs, despite their widespread appeal to masses, have often been panned by Film critics (particularly from the Radical Feminist School) for their erotic dances, and an overly glamorized and sexualized depiction of half-nude female bodies. Based upon the textual analysis of two popular item songs in recent Indian cinema, Sheila ki Jawani from Tees Maar Khan (2010) and Munni Badnam Hui from Dabangg (2010), this paper seeks to problematize such readings which focus exclusively on the issue of the objectification of women through the concept of the male gaze. Drawing upon more recent studies in Psychoanalytic Feminist Scholarship, the paper departs from this conventional understanding. It argues that such item songs can also be interpreted as a means of liberation for women, and as devices for reclaiming the narrative on female sexuality, and a woman’s right to her body. More broadly, using Judith Butler’s concept of Gender Performativity in the Feminist Phenomenological tradition, the paper argues that items songs can be construed as performative acts that subvert the male gaze and viewed as constitutive of new feminine subjectivities in the contemporary Indian society.
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Josephine A., Merin, and Dr Cynthia Catherine Michael. "Nature Influencing Characters- An Analysis of the Malayalam Movie Iyobinte Pusthakam." SMART MOVES JOURNAL IJELLH 9, no. 3 (March 28, 2021): 52–62. http://dx.doi.org/10.24113/ijellh.v9i3.10946.
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Space and place are two complex concepts in literature. These can in turn affect the course of characters, situations and the plot of story. Presently in visual media, especially in movies; a relation between nature and surroundings can be traced. Both nature and surroundings influence each other. Malayalam cinema is going through many different paths which are always open for study. Each movie in it is incomparable in plot, techniques and narration. A relation between surroundings and characters can always be drawn. Keith H. Basso is an important cultural anthropologist who found a noticeable connection between nature and human beings. Nature always creates mystery and wonder. Nature always has a great influence in the human evolution and culture formation. Tagore’s ‘The Religion of Forest’ says the link between forest and ancient Indian culture. In the same essay, Tagore represents the European belief on nature as a war between good and evil. ‘IyobintePustham’ is analysed in both these views. The forest depicted in the movie can be interpreted as a provider and protector to its character. In another sense, it mirrors the goodness and the evils in the mind of characters. Forest is an important archetype in human history and culture.