Bollywood Goes to the Stadium: Gender, National Identity, and Sport Film in Hindi

In addition to an increased presence on cinema screens, television broadcasts of Bollywood films on specialized channels in the United Kingdom and Canada, as well as the DVD market and Internet streaming services such as Netflix, have allowed access not only to South Asian diasporic audiences but al...

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Bibliographic Details
Published inJournal of film and video Vol. 66; no. 4; pp. 34 - 49
Main Author Ransom, Amy J.
Format Journal Article
LanguageEnglish
Published Englewood University of Illinois Press 01.12.2014
University Film and Video Association
Subjects
Analysis
Boards of trustees
Cinema and Film Studies
Conventions
Cricket
Criticism and interpretation
Demographic aspects
Diaspora
Film criticism
Gender roles
Gentrification
Hindi language
History
India
Industry forecasts
Internet
Laughter
Motion picture directors & producers
Motion picture industry
Motion Pictures
Motion pictures, Indian
Movies
National identity
Politics
Portrayals
Postmodernism
Regional identity
Romance languages
Self concept
Social aspects
Space
Sports
Television
Westerns
India
United Kingdom > UK
Canada
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Summary:In addition to an increased presence on cinema screens, television broadcasts of Bollywood films on specialized channels in the United Kingdom and Canada, as well as the DVD market and Internet streaming services such as Netflix, have allowed access not only to South Asian diasporic audiences but also to Anglo-American viewers who have come to appreciate the sheer entertainment value of an inherently hybrid film genre that combines vibrant rhythmic and melodic music with lavishly choreographed dance numbers, filmed on a variety of studio and location sets, and that depicts exotic urban and rural locations, featuring the romance, adventure, history, and laughter of stunningly attractive and charismatic stars and an array of familiar character actors. Sport Film in India: Overview One of the critical concerns associated with Bollywood's newfound success in the West, an issue only just recently developing in the literature on Bollywood, is the perception that the makers of Hindi film have already begun to compromise the specific elements that led to Bollywood's rise. [...]in a 2012 essay, Priya Joshi identifies the development of "Bollylite," "a relatively recent fabrication that heavily pillages formal characteristics from the Bollywood cinema ... while shearing much of that cinema's fabled social substance and political edge" (41).
ISSN:0742-4671
1934-6018
DOI:10.5406/jfilmvideo.66.4.0034