Bollywood movies have been long known for their colorful song-and-dance numbers and knack for combining drama, comedy, action-adventure, and music. But when India entered the global marketplace in the early 1990s, its film industry transformed radically. Production and distribution of films became regulated, advertising and marketing created a largely middle-class audience, and films began to fit into genres like science fiction and horror. In this bold study of what she names New Bollywood, Sangita Gopal contends that the key to understanding these changes is to analyze films’ evolving treatment of romantic relationships.
During the Raj, one group stands out as having prospered and thrived because of British rule: the Parsis. Driven out of Persia into India a thousand years ago, the Zoroastrian people adopted the manners, dress, and aspirations of their British colonizers, and their Anglophilic activities ranged from cricket to Oxford to tea. The British were fulsome in their praise of the Parsis and rewarded them with high-level financial, mercantile, and bureaucratic posts. The Parsis dominated Bombay for more than a century. But Indian independence ushered in their decline. Tanya Luhrmann vividly portrays a crisis of confidence, of self-criticism, and perpetual agonizing.
This story highlights the dilemmas and paradoxes of all who danced the colonial tango. Luhrmann's analysis brings startling insights into a whole range of communal and individual identity crises and what could be called "identity politics" of this century. In a candid last chapter the author confronts another elite in crisis: an anthropology in flux, uncertain of its own authority and its relation to the colonizers.
Rai recounts his experience of attending the first showing of a Bollywood film in a single-screen theater in Bhopal: the sensory experience of the exhibition space, the sound system, the visual style of the film, the crush of the crowd. From that event, he elicits an understanding of cinema as a historically contingent experience of pleasure, a place where the boundaries of identity and social spaces are dissolved and redrawn. He considers media as a form of contagion, endlessly mutating and spreading, connecting human bodies, organizational structures, and energies, thus creating an inextricable bond between affect and capital. Expanding on the notion of media contagion, Rai traces the emerging correlation between the postcolonial media assemblage and capitalist practices, such as viral marketing and the development of multiplexes and malls in India.
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