“East is East, and West is West and never the twain shall meet!” (Rudyard Kipling)
It cannot be denied that the division between these opposite cultural poles
exists – but, when reflecting on the Bollywood subject, one has to disagree with this
famous quotation by Rudyard Kipling as the Indian cinematic world proves that the
East and the West can be in unison. The films of this branch are not only influenced
by their homeland’s folk tradition, they are equally affected by MTV’s video styles,
young fashion and – of course – Hollywood movies. Likewise, it is true that the
Indian spirit has recently become perceptible in Western civilization. Nowadays’
music, clothi ng and film industry – to name just a few – seem to be more and more
inspired by South Asian culture; Indian is said to be “the funkiest trend around”1
(Sardar, page 14-17).
As we shall see, both poles approach one another. Is it any surprise then
that especially non-resident Indians, living in the Western hemisphere, are the
centre where both cultures meet? Indian-English director and producer Gurinder
Chadha portrayed this mixture of Western elements and Bollywood flair
successfully in her latest movie Bend it like Beckham (2002). Among other
questions, for example those about the history of Bombay cinema, the film
industry’s costs and contents of typical Bollywood epics, this paper will also deal –
in an excursus – with this particular movie.
Some general pieces of information about this special film industry might,
first of all, provide readers with basic facts necessary for this subject. Every day, 11
million cinemagoers visit 13,000 cinemas across India and, what is more,
thousands of Indian films are watched day by day by millions of non-resident
Indians living abroad – generally, in the UK or the US. [...]
1 Examples for Bollywood slowly entering the western world can be easily displayed: Andrew Lloyd Webber
successfully produced his new musical Bombay Dreams, Monsoon Wedding was a hit in Western cinemas, the
album The very Best of Bollywood Songs recently reached the UK charts, the BBC’s advertising campaign
includes colourful trailers with female Indian dancers and Pot Noodle even created a new flavour named
Bombay Bad Boy (Sardar, page 14-17; Shamsie, page 26-29)!
Table of Contents
1. Introductory words and various general facts about Bollywood
2. Always the same film-formula – the recipe for success
2.1 Commerce
3. History of Bombay cinema
4. Non-resident Indians
4.1 The satellite and video invasion – Non-resident Indians and their favourite leisure time activity
5. Indian women’s traditional roles in real life and on screen
5.1 Gurinder Chadha – An excursus on women’s roles and Western and Bollywood elements in “Bend it Like Beckham”
6. Conclusion
7. Bibliography
Objectives and Topics
This paper examines the history, commercial structure, and cultural significance of Bollywood cinema, exploring its evolution and its role as a bridge between South Asian traditions and Western influences. The study specifically analyzes how these films serve as a form of cultural identity for the South Asian diaspora, while focusing on the intersection of reality and fiction through a detailed study of Gurinder Chadha’s film "Bend It Like Beckham".
- The history and development of Bombay cinema from its silent origins to contemporary blockbusters.
- The socio-economic impact of the film industry on India and its commercial challenges.
- The role of Bollywood in maintaining cultural connections for the South Asian diaspora.
- Gender representation in Indian cinema and the evolution of traditional roles.
- Cross-cultural analysis of Western and Indian narrative elements in "Bend It Like Beckham".
Excerpt from the Book
5.1 Gurinder Chadha - An excursus on women’s roles and Western and Bollywood elements in “Bend it Like Beckham”
A remarkable highlight in Bombay films is the eye-catching beauty of gorgeous Indian ladies. “Win a major beauty contest, and moviemakers come knocking” (Simons, page 46-55) – is the typical formula for success. It is no coincidence then that a former Miss World and a Miss Universe are now famous celebrities in Bollywood (Simons, page 46-55). Breaking away from the perfect glitz, director Gurinder Chadha found another way of staging “her” actresses. Chadha belongs to the cross cultured group of young directors and authors who have been strongly affected by western realism and who portray a more complex life of Indian people in their works. Whereas Bollywood movies rather create a country of imaginary solidarity, presenting only exclusive social classes on screen, Chadha, among other important directors recently coming up, shows pictures of Indians on the whole (Mishra, page 236). And, to close the circle from the beginning of this chapter, Gurinder Chadha furthermore decided to portray women on screen the way they really are, without any outstanding hairdos and without putting too much make-up on them.
Summary of Chapters
1. Introductory words and various general facts about Bollywood: This chapter introduces the global influence of Bollywood, challenging the notion of a divide between East and West while providing key statistics on the industry's economic scale.
2. Always the same film-formula – the recipe for success: The chapter explores the repetitive plot structures and thematic principles—such as family intrigue and melodrama—that guarantee the success of Bollywood epics among Indian audiences.
2.1 Commerce: This section details the commercial realities of the Indian film industry, highlighting the financial risks, the importance of ticket pricing, and the persistent influence of crime and private financing.
3. History of Bombay cinema: This chapter traces the evolution of Indian filmmaking, from the introduction of the cinematograph in 1896 to the adaptation of Western influences and the emergence of specific genres in the 1980s.
4. Non-resident Indians: The text discusses the critical role of the South Asian diaspora as a primary market for Bollywood, serving as a medium for maintaining cultural ties to the homeland.
4.1 The satellite and video invasion – Non-resident Indians and their favourite leisure time activity: This section examines how television, cable, and video distribution have overtaken traditional cinema in reach, becoming essential for the emotional well-being of the diaspora.
5. Indian women’s traditional roles in real life and on screen: This chapter contrasts the changing status of women in modern Indian society with the stereotypical, sacrificial roles typically presented in commercial cinema.
5.1 Gurinder Chadha – An excursus on women’s roles and Western and Bollywood elements in “Bend it Like Beckham”: The chapter provides a case study of how Gurinder Chadha subverts traditional Bollywood formulas to portray more authentic, complex female identities within a diasporic setting.
6. Conclusion: The conclusion synthesizes the tension between modernization and the loss of unique cultural identity, emphasizing how Bollywood acts as a cross-cultural phenomenon.
7. Bibliography: This section lists the academic and media sources utilized to support the arguments presented throughout the essay.
Keywords
Bollywood, Bombay cinema, South Asian diaspora, cultural identity, Gurinder Chadha, Bend It Like Beckham, film formula, Indian society, Western influence, melodrama, media studies, film history, commercial cinema.
Frequently Asked Questions
What is the central focus of this research paper?
The paper examines the cultural and commercial evolution of Bollywood, analyzing how it balances traditional Indian narrative styles with Western influences to maintain relevance both in India and within the global diaspora.
What are the primary themes discussed in the work?
Key themes include the impact of globalization on Indian cinema, the role of Bollywood in preserving cultural identity for non-resident Indians, gender representation, and the industry’s economic challenges.
What is the main objective of the study?
The study aims to demonstrate how Bollywood serves as a unifying cultural force while exploring the tension between maintaining traditional storytelling and adapting to global market pressures.
Which methodology is used to approach these topics?
The author employs a qualitative analysis of existing academic literature, media articles, and a detailed case study of the film "Bend It Like Beckham" to illustrate cross-cultural cinematic elements.
What does the main body of the text cover?
It covers the history of Bombay cinema, the economic landscape of the industry, the reception of these films by the diaspora, and a critical analysis of female character archetypes in popular films.
Which keywords best characterize this work?
Bollywood, diaspora, cultural identity, globalization, cinema history, female representation, and commercial film production.
How does Gurinder Chadha’s work deviate from traditional Bollywood conventions?
Chadha moves away from the stereotypical "glitz" and sacrificial female archetypes of traditional cinema, opting instead for realistic character portrayals and narratives that address the complex lived experience of the diaspora.
Why does the author consider the South Asian diaspora essential to the Bollywood industry?
The diaspora is considered the most important market, accounting for a significant portion of revenue and serving as a community that relies on Hindi films to maintain vital connections to their natal culture.
- Citation du texte
- Adeline Pissang (Auteur), 2004, Bollywood - The History and Key Elements of Bombay Cinema; With an Excursus on Gurinder Chadha's Cross Cultural Film "Bend It Like Beckham", Munich, GRIN Verlag, https://www.grin.com/document/27389
