Since the early 1990s, Bollywood has witnessed a significant shift from its traditional ‘formulae’, particularly in terms of formal elements (i.e. narrative, themes, mise-en-scène) in its attempt to reach international audiences. The term Masala, often used to refer to all Bollywood films, has become one of the most popular genres of Bollywood. The ‘angry young man’ era of the 1970s and 1980s has lost its popularity in the last two decades as a self-conscious genre cinema has developed in Bollywood. This change has not only influenced genre conventions but also audience expectations. As a result, genres such as horror and science fiction have gained popularity within India and abroad. Despite changes in form and expectation, the critical discourse on Bollywood has mostly retained its focus on the genres of ‘classical’ Bollywood and its ‘golden era’. These shifts in Bollywood in the new millennium require re-visiting our understanding of this cinema. One of my central arguments is that horror and science fiction have developed through a process of Bollywoodization while the dominant discourse often credits Indianization as the main factor. Bollywoodization, in this case, refers to the transnational cinematic shifts in which genre conventions from other industries are appropriated to a specific Bollywood style. This thesis aims to expand the understanding of genre cinema in Bollywood whilst claiming it as what Tom Ryall has called a ‘cinema of genres’.
| Identifer | oai:union.ndltd.org:bl.uk/oai:ethos.bl.uk:675167 |
| Date | January 2015 |
| Creators | Shafiq, Zubair |
| Contributors | Bergfelder, Tim ; Donnelly, Kevin |
| Publisher | University of Southampton |
| Source Sets | Ethos UK |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
| Source | https://eprints.soton.ac.uk/383878/ |
Page generated in 0.0427 seconds