Review Of Literature Plays Presented In Hindi Cinema

Review of literature plays a very important role in any study. It assesses the critical knowledge including substantive findings and contributions available about a particular topic. Its is also a brief summary of the facts, knowledge and information about a given subject. It brings forward the justification for the research. The researcher tries to tell the importance of the study in the light of the already conducted research. It also underlines the researcher’s deep and thorough connection to the study.

Nasreen Taherswapna Gopalan in her book Indian Film Industry – An Overview states that the entertainment industry is one of the largest sectors of the Indian economy. There are no rules and standardized platform for the entertainment industry to work on. Thus, bringing the entertainment industry under a systematic, disciplined structure is a daunting task. Corporatization creates paths for better practices and increases the level of professionalism in business to earn revenues through advertising, co-branding, and merchandising. Owing to this the film industry is set to see a lot of changes and a lot of notable trends in future and gain worldwide recognition.

K. Gokulsing & Wimal Dissanayake in Indian Popular Cinema reviews nine decades of Indian popular cinema and examines its influence on the people of India and abroad. He mentions that times have undergone a lot of change dramatic change. Nowadays movies have to compete with soap operas on satellite television for popularity. As filmmaking in India has acquired ‘industry status’ it owes greater accountability to the public.

Raminder Kaur & Ajay J. Sinha’s book Bollywood is a critique of common tendencies in the field of popular cinema of defining Indian films in terms of their modernity and desire for nationhood. It puts emphasis over the Bollyworld argument that Indian cinema cannot be understood in terms of nationalism. The book is a collection of twelve essay by different scholars. These essays aim to find out the intra-national and trans-national movements caused by Bollywood. The book is divided into three sections. The first section focuses on the technology of the Indian commercial cinema, the second section revolves around the post-liberalization period of Indian cinema. The last section of the book focuses on the worldwide reception of the Bollywood movies in the light of multiculturalism and the voice of the migrant Indian population. The book also mentions that extraordinary costumes, the increasing exotic locales, and the presence of a huge production infrastructure make the song sequence the cinematographer’s domain. It also throws a light on some of the famous dance sequences of Bollywood.

Yves Thoraval’s book Cinemas of India comprehensively describes the journey of Indian cinema. It states that Indian cinema has earned the titles of being the largest industry in the world. The fact that Indians never get tired of watching movies on the scree has left Hollywood befuddled. That is why they have started to dub the American blockbusters in Hindi, Bangla, Tamil, etc. The book is a journey through the galaxy of Indian films and filmmakers since its instrumentalization by Dadasaheb Phalke.

Pillania, Rajesh K. in The Globalisation of Indian Movie Industry writes that Bollywood has come a long way in the last nine-decade. In terms of the number of movies being produced it is one of the world’s largest. He further writes that the Indian film industry has produced approximately, 27,000 feature films and thousands of documented short films. He states that it has also make a place in the global market. In fact, the export sales of many Bollywood movies have surpassed the domestic sales.

Chadha, Kalyani of the University of Maryland writes in The Muslim as Other in Hindi Cinema: Exoticized, Marginalized and Demonized that though India takes pride in its unity in the diversity, Hindi films usually resist on Hindu-Muslim separatism. She mentions that the portrayal of Muslims in Hindi films has received minimal attention. She concludes that Muslims have been variously “othered” through their exoticism, marginalism, and their demonization in Hindi films.

Dass, Manishita, a visiting Assistant Professor in the Film and Media Studies Programme at Swarthmore College, in her paper Myths of Origin: Modernity and Early Indian Cinema says that the mythological themes dominate the early Indian cinema. Its popularity can be attributed to its capability to attract the attention of the spiritual sensibility of the devoted audience.

Joshi, Priya an Associate Professor of English at Temple University, in her paper Knocking on Heaven’s Door argues that Bollywood’s mammoth success in the subcontinent explains why it has not succeeded in the U.S. Because popular cinema is deeply devoted n the preoccupations of its domestic audience, it can travel only as far as those preoccupations exist. She further suggests that Bollywood has penetrated the nations where modernity competes with convention, where urban and rural communities commingle in uneasy proximity and where underdevelopment yearns for development. The paper laments that Bollywood’s appeal in the US is marginal due to its targeting on the interests of the domestic audience. It is the greatest obstacle to its absorption by the multiplex audiences in the US. The paper concludes that unless or until Indian cinema shuns its off repeated formula films, it will never be able to make roads in the US.

Malhotra, Sheena & Alagh, Tavishi in their paper Dreaming the Nation: Domestic Dramas In Hindi Films Post-1990 write that Hindi cinema has functioned as site for the production of national identities and ideologies. They cite the examples of some of the most popular movies of the 1990s – Hum Aapke Hain Kaun, Dilwale Dulhaniya Le Jayenge, Pardes, Kuch Kuch Hota Hai, etc. These films bring out the emergence of domestic dramas in the Hindi cinema. The success of these films has significantly lessened the diversity, multiplicity, and secular constructions of Indian identities. They argue that these themes portray the socio-political and economic conditions of that period. At times, the minorities find themselves expelled and progressively erased from this landscape.

Saari, Anil in his book Hindi Cinema deals with the dynamics of Hindi cinema. He discusses various themes including those of parallel cinema, political, romance and action. He gives his opinion about the films glorifying Bhagat Singh and Mahatma Gandhi. He says that parallel cinema that made its appearance in the 1970s was supposed to be the sophisticated answer to the crudeness of commercial Indian Cinema and was supposed to create choices for the more discriminating viewers.