This document discusses intertextuality and localization in Bollywood films. It provides examples of how Bollywood films borrow elements from other films and cultures but localize them for Indian audiences. The key elements of Bollywood films are described as being influenced by Indian epics, theater traditions, world cinema, and music television, with popular genres following indigenous aesthetics and artistic genres following Western realist aesthetics. Common Bollywood themes are then outlined, such as melodrama, morality, family, women, and an aesthetic of interruption through songs and digressions.
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A power-point presentation on intertextuality about what it is and some examples of music videos that use it. The examples which I used was Taylor Swift's music video Love Story, Iggy Azalea and Rita Ora's music video Black Widow and Madonna's music video Materiel Girl.
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A power-point presentation on intertextuality about what it is and some examples of music videos that use it. The examples which I used was Taylor Swift's music video Love Story, Iggy Azalea and Rita Ora's music video Black Widow and Madonna's music video Materiel Girl.
5. Localization
What makes a Japanese film Japanese?
What makes an American film American?
What makes an Indian film Indian?
6. Localization
A form of intertextual play in which
systematic changes are introduced to a text
intended to make it more meaningful to local
consumers.
8. Influences
• Indian epics
– Mahabharata
– Ramayana
• Theater traditions
– Classical
– Folk
– Parsi
• World cinema
– Hollywood
• Music TV
– MTV
– Star TV
9. Genres
Follow indigenous aesthetics
Popular Offer idealistic/mythic portraits
Aimed at local audiences
Follow Western „realist‟ aesthetics
Artistic Offer socially realistic portraits
Aimed at foreign „art‟ circuit
10. Bollywood Themes
• Melodrama
• Morality
• Caste & Community
• Family
• Women
• Aesthetic of Interruption
11. Melodrama
A narrative form
characterized by
– the sharp delineation
of good and evil,
– the use of
coincidence,
– emotional hyperbole,
– the privileging of
moral conflicts over
psychological ones.
(Ganti 2004: 135)
12. Morality
• Good vs. Evil
• Order vs. Chaos
• Moral order and social
order (dharma)
• “committed to the
maintenance of the
status quo” (Gokulsing and
Dissanayake 2004: 20)
17. Family
THE JOINT FAMILY IDEAL TYPE
• Patrilineal • Nurturing, self-sacrificing
mother
• Patriarchal
• Generous Father
• Patrilocal household • Dutiful wife/daughter-in-
• Marriage joins two law/sister-in-law
families • Dutiful son/son-in-
• Family constructed by law/brother-in-law
relations of mutual service • Modest daughter/sister
and sacrifice • Strong, wise elder brothers
• Household gods • Smart, affectionate
younger brothers
18. Women
• Chaste and self-giving
– Sita
• Sweet and alluring
– Radha
• Avenging Goddesses
– Durga
19. Mothers
• The most important
person in Indian
family life
• Juncture of moral and
social values
20. Rituals
• Samskāra (40)
– Pre-birth
– Birth
– Coming of Age
(upanayana)
– Marriage
• Arrangement
• Engagement
• Wedding
– Death
• Puja
• Holidays
21. Aesthetic of Interruption
• Digressions
• Interludes
• Songs
• Love scenes
An aesthetic of interruption refers to this practice of continually distracting
the viewer and delaying the development of the plot. Deferring the
climax builds anticipation and enjoyment (Gopalan 2002).
22. Best Current Book on Bollywood:
Ganti, Tejaswini. 2012. Producing
Bollywood:Inside the Contemporary Bollywood
Film Industry. Duke University Press
23. References
• Ganti, Tejaswini 2004 Bollywood: A
Guidebook to Popular Hindi Cinema.
Routledge.
• Gokulsing and Dissanayake 2004 Popular
Indian Cinema.
• Gopalan, L 2002 Cinema of Interruptions:
Action Genres in Contemporary Indian
Cinema. British Film Institute.