Bollywood : a Guidebook to Popular Hindi Cinema

272 Pages·2013·3.28 MB·English

by  Tejaswini Ganti

BOLLYWOOD
This new and fully updated edition of Bollywood provides readers with a guide to
the cultural, social and political significance of Hindi cinema, outlining the
history and structure of the Bombay film industry, and the development of
popular Hindi filmmaking since the 1930s.
Tejaswini Ganti also provides information and commentary on the key
players in Bollywood, including directors and stars, as well as material from
current filmmakers. Features of this new edition include: • an updated history of
Bollywood with a new discussion of films released in the last decade;
• two new chapters: ‘Genre and Hindi cinema’ and ‘Narrative style, important
themes and key conflicts’; • new interviews with directors and screenwriters
about the impact of multiplexes, corporatization, and Hollywood partnerships
on Hindi filmmaking; • more images to help bring films alive, updated
resources with more suggestions for reading, and discussions of newer films
and more recent directors.
Information on the production and distribution of Hindi cinema has also been
updated and revamped to incorporate the changes in the political economy of
filmmaking. Overall, this new edition provides a concise but comprehensive
guide to one of the world’s leading film industries.
Tejaswini Ganti is an Associate Professor of Anthropology in the Program in
Culture and Media at New York University.
Routledge Film Guidebooks The Routledge Film
Guidebooks offer a clear introduction to and overview
of the work of key filmmakers, movements or genres.
Each guidebook contains an introduction, including a
brief history; defining characteristics and major films;
a chronology; key debates surrounding the filmmaker,
movement or genre; and pivotal scenes, focusing on
narrative structure, camera work and production
quality.
Bollywood: A Guidebook to Popular Hindi Cinema, 2nd Edition Tejaswini Ganti
Crime Sarah Casey Benyahia
Documentary Dave Saunders
Film Noir Justus Nieland and Jennifer Fay Horror Brigid Cherry
James Cameron Alexandra Keller Jane Campion Deb Verhoeven
Romantic Comedy Claire Mortimer Science Fiction Mark Bould
Westerns John White
BOLLYWOOD
A Guidebook to Popular Hindi Cinema
Second edition
TEJASWINI GANTI
CONTENTS
List of figures
Preface to second edition
Acknowledgements
1 Introduction
What is Bollywood?
Structure and organization of book
Origins and growth of cinema in India: 1896–1947
The Indian state and its relationship to cinema
Hindi filmmaking in post-independence India
2 The production and distribution of popular Hindi cinema
Structure of the Bombay film industry
The production process
Visual style
Remakes and adaptations
The significance of film music
3 Narrative style, important themes, and key conflicts
Narrative style and structure
Right/good vs. wrong/evil
Law vs. justice
Duty vs. desire
Conclusions
4 Genre and Hindi cinema
Masala
“Lost and found”
Reincarnation
5 Contemporary Hindi filmmakers’ reflections and perspectives
Hindi cinema
Bombay film industry
Hindi cinema and society
Significant films of popular Hindi cinema
Significant filmmakers of the Hindi film industry
Suggestions for further reading
Notes
Bibliography
Index
LIST OF FIGURES
1.1 Map, Contemporary South Asia. Image courtesy of the author
1.2 Abhishek Bachchan and Rani Mukherji in Bunty aur Babli. Image courtesy of the Kobal Collection
1.3 Madhuri Dixit as the courtesan, Chandramukhi, in Devdas. Image courtesy of the Kobal Collection
1.4 Map, Partition of India. Image courtesy of the author
1.5 Film shoot in New York City’s Times Square. Image courtesy of the author
1.6 Film shoot in Edison, New Jersey. Image courtesy of the author
1.7 Ghajini poster. Image courtesy of the Kobal Collection
1.8 Salman Khan in Bodyguard. Image courtesy of the Kobal Collection
1.9 My Name Is Khan poster. Image courtesy of the Kobal Collection
2.1 Vidya Balan in The Dirty Picture. Image courtesy of the Kobal Collection
2.2 Map, Indian distribution territories. Image courtesy of the author
2.3 Steadycam operator, Filmistan, Bombay. Image courtesy of the author
2.4 Mansion façade in Film City, Bombay. Image courtesy of the author
2.5 Ra.One poster. Image courtesy of the Kobal Collection
2.6 Shah Rukh Khan and Rani Mukherji in Paheli. Image courtesy of the Kobal Collection
2.7 Shah Rukh Khan and Preity Zinta in Veer Zaara. Image courtesy of the Kobal Collection
2.8 “Item number” – Aishwarya Rai in Dhoom2. Image courtesy of the Kobal Collection
2.9 Rehearsing dance steps, Intrepid aircraft carrier, New York City. Image courtesy of the author
3.1 Dev Patel and Freida Pinto in Slumdog Millionaire. Image courtesy of the Kobal Collection
3.2 Poster of Sholay. Image courtesy of the Kobal Collection
3.3 Aamir Khan in Lagaan. Image courtesy of the Kobal Collection
3.4 Poster of Awara. Image courtesy of the Kobal Collection
3.5 Nargis in Mother India. Image courtesy of the Kobal Collection
3.6 Amitabh Bachchan and Raakhee in Kabhi Kabhie. Image courtesy of the Kobal Collection
3.7 Madhuri Dixit and Salman Khan in Hum Aapke Hain Koun! Image courtesy of the author
4.1 Mehbooba song in Sholay. Image courtesy of the Kobal Collection
4.2 Hema Malini and Dharmendra in Sholay. Image courtesy of the Kobal Collection
5.1 Fame Adlabs Multiplex, Andheri, Bombay. Image courtesy of the author
5.2 Fame Malad Multiplex, Malad, Bombay. Image courtesy of the author
5.3 Eros Cinema, Churchgate Area, Bombay. Image courtesy of the author
PREFACE TO SECOND EDITION
A lot has changed in the world of Hindi filmmaking since the first edition of
Bollywood: A Guidebook to Popular Hindi Cinema was published eight years ago,
but at the same time many things have stayed the same. This edition reflects both
processes: it keeps much of the material that readers over the years have
indicated they found useful, but it also includes new elements as well. I have
updated the Introduction and Chapter 2 (about the production and distribution of
Hindi cinema) to reflect the significant transformations wrought by the Indian
state’s granting of industry status to filmmaking; the entry of new structures of
finance and production; and the advent of multiplex movie theaters. Drawing on
more recent fieldwork, I have added new interview material that presents
filmmakers’ perspectives about the impact of multiplexes, corporatization, and
Hollywood on contemporary Hindi filmmaking. Finally, I have supplemented the
lists of significant films and directors with more recent examples. However, due
to the constraints of word limits, these lists no longer include stars or composers.
There will be some who disagree with my choices of films and directors, but as
the title suggests, this book is meant to serve as a guide into the world of popular
Hindi cinema. As readers become more familiar with this world, they will easily
discover the people and films not covered in this book, as well as form their own
evaluations, based on personal tastes and preferences.
The biggest change I have incorporated into this edition is two new chapters:
Chapter 3 on narrative style and key themes; and Chapter 4 on genre. Given how
frequently the book has been used in undergraduate teaching, I thought an
accessible discussion about narrative style and genre would be useful, and
provide readers with the tools to understand and appreciate Hindi cinema on its
own terms of reference. I hope teachers, students, and the interested general
reader agree. The last development to mention is that the academic study of
popular Hindi cinema has grown exponentially since the last edition, and
therefore readers will find a much more augmented list of suggestions for further
reading, which will continue to guide them further into the rich and fascinating
world of Hindi cinema.
Tejaswini Ganti
New York City, August 2012