Shakuntala Rao
• Examining the importance of the Bollywood film industry
marrying the traditions of India with that of the Western
world ...
• Past studies rarely captured non-Western audiences and their view
on Bollywood and instead have focused on viewers in No...
• Interviews were conducted using formal questionnaires that
were prepared prior to the sessions. Rao also spent time with...
• To maintain popularity amongst Indians, Bollywood films
must maintain some national and cultural identity.
• Clothing sh...
• Songs and dance are a large part of the Bollywood culture and
should remain; however, the Indian heros and heroines shou...
• Interpretive approach was used in this study. Rao was trying
to understand the fusion of local and global media impacts
...
• “The active audience of Bollywood films in India does not
passively succumb to complete Westernization, but rather
succe...
• How do you think this study could have been conducted
using the social scientific approach, would it have been as
succes...
Rao, S., (2010). “I Need an Indian Touch”: Glocalization and
Bollywood Films., Journal of International and
Intercultural ...
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"I Need an Indian Touch": Glocalization and Bollywood Films

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"I Need an Indian Touch": Glocalization and Bollywood Films

  1. 1. Shakuntala Rao
  2. 2. • Examining the importance of the Bollywood film industry marrying the traditions of India with that of the Western world while maintaining a certain level of “an Indian touch” in order to remain popular amongst Indians. • The demand to become more global is a common theme in today’s popular media, but this article examines how culture can be maintained in a “Western domination” for it’s local audience.
  3. 3. • Past studies rarely captured non-Western audiences and their view on Bollywood and instead have focused on viewers in North America who have a different understanding of the messages being portrayed. • The analysis of this study comes from fieldwork obtained over a seven month period in Northern Indian in 2005-2006. • 49 formal and informal interviews with men and women ages 22-39 years old. • Most were students at Punjabi University and their family members. (Rao, 2010, p. 5)
  4. 4. • Interviews were conducted using formal questionnaires that were prepared prior to the sessions. Rao also spent time with the subjects, visiting their homes and villages and sat with them while they watched films. • In order to understand social and cultural norms, Rao would ask subjects about political and social issues unrelated to the film. (Rao, 2010, p. 6)
  5. 5. • To maintain popularity amongst Indians, Bollywood films must maintain some national and cultural identity. • Clothing should continue to incorporate traditional dress such as saris, salwar kameej and sherwanis in order to stay committed to tradition and virtue. • Foreign location isn’t problematic unless it looses the Indian feel and story the audience can connect with and in this case Bollywood appears to maintain it’s “Indianness”. Rao (2010, pp. 6-10)
  6. 6. • Songs and dance are a large part of the Bollywood culture and should remain; however, the Indian heros and heroines should not exhibit as much overt sexualization of dance as that of the “foreign” back-up dancers to maintain the appearance of being “untainted”. • Emotions should follow the “Indian theory of emotion” modeled after Bhakti and Vaishnav traditions (Rao, 2010, p. 14). Emotional connection to family is what drives the narrative in the Bollywood film enabling audiences ability to experience their own “true identity”. This aspect is often lacking in Hollywood films, thus locales insist it’s importance in remaining in Bollywood films (Rao, 2010, p. 14). Rao (2010, pp. 10-14)
  7. 7. • Interpretive approach was used in this study. Rao was trying to understand the fusion of local and global media impacts on the Bollywood film industry and how audiences feel about these changes. • Rao used interviews and interactions in a field study. The research was more concerned about the behavioral results and how communication and culture intermingle when studied in context.
  8. 8. • “The active audience of Bollywood films in India does not passively succumb to complete Westernization, but rather successfully demands a compromise between it and India.” (Rao, 2010, p. 1)  This quote is key in that it shows while reaching a global audience one must also maintain a sense of local culture in order to remain true to traditions. • “While films and audiences integrate the [MTVization] of dance borrowed from Western MTV music videos, the Indian touch remains…” (Rao, 2010, p. 13)  I believe this quote to be of importance because it highlights that while global influence is important, it’s equally important to maintain tradition and beliefs of local culture.
  9. 9. • How do you think this study could have been conducted using the social scientific approach, would it have been as successful in its feedback? • Do you believe that local cultures can be maintained when trying to reach global appeal? In the case of this article and what you read, do you think locales should demand culture integrity be maintained for the sake of tradition or allow popularity dictate what is displayed?
  10. 10. Rao, S., (2010). “I Need an Indian Touch”: Glocalization and Bollywood Films., Journal of International and Intercultural Communication, 3(1), 1-19.

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