Bollywood, Tollywood and Dollywood Engl 332 N. Langah.
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Transcript of Bollywood, Tollywood and Dollywood Engl 332 N. Langah.
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Bollywood, Tollywood and Dollywood
Engl 332 N. Langah
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Kinship, social ties, values and ideals Films on religious themes were rebellious Westernization was critiqued as an impact of
colonization Western values were seen as threatening for
Indian familial and social traditions
Pre-Independence Cinema: 1930s and 1940s
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The problems of fledging nation
1950s cinema
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Beat of resistance aesthetics which found three different expressions in: a. Mumbai-based industries refereed to in the
past decade or so as ‘Bollywood’ b. Kolkata based productions in Tollygunj as
‘Tollywood’ c. Dhaka-based productions called
‘Dollywood’
Period beat of the 1970s:
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Context of 1970s Bengal/India and India/Bangladesh. In India: Resistance against the rulings of the
capital globally. Economic turmoil, underemployment, poverty, illiteracy, corruption
In Pakistan: total warfare in response to Sheikh Mujibur Rehman’s call for independence. Critics propose India’s support of 1971 war in Pakistan. Food crises, no industry, economic disorder
How Cinematic text is welded to the context of its productions: Social Movements and the Politics of Representation in the Cinema of
the 1970s
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Social anxieties An aspiration of India in Nehru’s dream 1950s to 1980s: stories woven around the
protagonist as the peripheral character (Shami Kapoor, Dharmendra, Raj Kapoor, Amitabh)
Melodrama, romance, social issues, religious issues, satire, mystery/suspense/thriller.
Bollywood in 1970s
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Melodrama Comedy Children’s cinema Romance Social issues Religious issues
Tollywood productions of the 1970s
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The social movements of the 1970s provide a resistance aesthetic connecting alternative cinema practices both in Tollywood and Dollywood with the Hindi language productions from Mumbai.
Outcome of such social movements:
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Underlining the idea of nation and national culture
Key sites on which the local, global and transnational intersect with each other
Q: how slippery and constructed the idea of ‘national’ in South Asian cinema can be
Example: 1990sonwards: Bangladeshi and West-Bengali popular film production and their transnationalization and localization
South Asian Film
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Bengali speaking audience within their national or regional boundaries
Audience: Bengali-speaking Bengali Muslims in postcolonial Bangladesh and Bengali Hindus in West Bengal and eastern India
These two Bengali cinemas remain divided in terms of the national and religious orientations of their audience but share a common language
Bengali Film Industry: Dhaka-Calcutta
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Bengali Cinema of Calcutta : created a version of colonial modernity propagated by Bengali-Hindu middle class
The first film made in Dhaka was 1955 (3 decades after Calcutta. 1965 was also the time when Indian films were banned in Pakistan and the Bangaldesh war was about to happen
After the creation of Bangladesh the film production in Dhaka increased.
Bengali Film Industry: Dhaka-Calcutta
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The divide between Bengali Hindu Cinema (Calcutta) and Bengali Muslim Cinema (Dhaka) becomes stronger
Calcutta and Dhaka share a love-hate relationship
West-Bengali films (melodrama) were seen as model family dramas in Bangladesh in 1960s and 1990s
The film industry in Dhaka positions itself as the base for a Bengali-Muslim cinema from 1960 onwards
Bengali Film Industry: Dhaka-Calcutta
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In the last decade or so, a number of Bengali Muslim films (from Bangladesh) have been remade in Calcutta film industry for Indian Hindu-Bengali audience
Bengali Film Industry: Dhaka-Calcutta