Titlebook: Bollywood and its Other(s); Towards New Configur Vikrant Kishore,Amit Sarwal,Parichay Patra Book 2014 Palgrave Macmillan, a division of Mac

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https://doi.org/10.1007/978-3-662-31560-6t expressed his decision to marry a white, Mauritian woman in the film . (2005). He is disrupting the familial structure by bringing in an outsider in all senses, racial, religious and cultural; his mother cannot bear his choice and is devastated. The parameters that dictate the possibilities within

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https://doi.org/10.1007/978-3-662-55273-5in most Bollywood routines. Given this scheme of events in the history of the hybridisation of Bollywood song and dance from the 1970s onwards, I wish to examine how folk dances have been hybridised and transformed when represented on screen.

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https://doi.org/10.1007/978-3-662-66933-4 various cultures ‘are embedded in different naive metaphysical systems and tacit epistemologies, which in turn are rooted in divergent social systems’ (2013, p. 423). It’s therefore possible that these differing cultures ‘perceive different worlds’ (Jandt, 2013, p. 59). For example, we can see that

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Lichtquanten- und Lichtwellenleiterte barometer of sexual mores in the country (Dasgupta, 1996), Hindi cinema has provided measured representations of ‘acceptable’ femininity in India. Early films produced by the Bombay film industry tackled progressive social issues (Vasudevan, 1989), and dealt with female sexuality in a similarly p

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Lichtquanten- und Lichtwellenleitery’ forum of the mainstream film produces and eroti-cises ‘alternative’ sexual subjectivities, and whether any emancipatory potentials might be uncovered herein. Films made in India’s mainstream Hindi-speaking ‘Bollywood’, such as . (2005) and . (2004), supply a discourse of lesbian abjection and vil

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Rechnergesteuertes Simulationssystem,nd . (2003). Myopically acknowledged only as a change in the linguistic character of Bollywood, as manifested in its portmanteau name ‘Hinglish’, this transfiguration was often considered lusterless and sans consequences, or another addition to the long list of names representing a blend of English

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Rechnergesteuertes Simulationssystem,ro epitomised by Rajesh Khanna gradually receded into the background as a new generation of angry young man brigade led by Amitabh Bachchan, Vinod Khanna and Sunil Dutt took centre stage. Hindi cinema had its tryst with the middle-class, common-man archetype through the films of Amol Palekar, Sanjee