By Priya Joshi
Bollywood is India's hottest leisure and certainly one of its strongest social forces. Its blockbusters contest principles approximately country formation, trap the nation's dispersed anxieties, and fabricate public fantasies of what constitutes "India." Written via an award-winning student of pop culture and postcolonial modernity, Bollywood's India analyzes the function of the cinema's most well liked blockbusters in making, unmaking, and remaking sleek India.
With spectacular interpretive virtuosity, Priya Joshi presents an interdisciplinary account of renowned cinema as an area that filters politics and modernity for its audience. subject matters comparable to crime and punishment, relations and individuality, vigilante and group seize the diffuse aspirations of an evolving state. Summoning India's tumultuous Seventies as an interpretive lens, Joshi finds the cinema's social paintings throughout a long time that observed the decline of studios, the increase of the multi-starrer style, and the arriving of company capital and new media structures. In elegantly crafted reviews of iconic and not more ordinary movies, together with Awara (1951), Ab Dilli Dur Nahin (1957), Deewaar (1975), Sholay (1975), Dil Se (1998), A Wednesday (2008), and 3 Idiots (2009), Joshi powerfully conveys the pleasures and politics of Bollywood blockbusters.
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Additional info for Bollywood’s India: A Public Fantasy
Film was his medium, and he reached millions in the blockbusters he wrote, directed, acted in, and produced. . ” In fact, as this chapter shows, Kapoor’s cinema intersected only brieﬂy with what might be called the Nehruvian dream. Equally quickly, it diverged from it to expose the many social ﬁssures and political corruptions that rendered that “dream” a ﬁgment of midnight, largely unavailable in the clear light of day. 1 Left to right: Dilip Kumar, Jawaharlal Nehru, Dev Anand, and Raj Kapoor (January 1963).
By the 1990s, another “present” arrives with irrational exuberance, initiated by economic liberalization and the return of a muscular Hinduism. The West is not only no longer an object of oppression or fear as it was in the long 1970s (Around the World in Eight Dollars, S. Pachhi, 1967, captures this trepidation in its title). It is now a source of renewed economic wealth and ideological certitude supporting both economic and religious ideologies of the post-liberalization state. 28 The new millennium has seen India’s economic muscle evident in an unmistakably public way with multinational corporations such as Reliance Media bailing fabled Hollywood icons such as Steven Spielberg’s DreamWorks and MGM, and the Tata Group acquiring British marquee brands such as Jaguar.
Willed by the collective just as daydreams are by the individual), or unconscious (requiring interpretation to uncover), or they can be somewhere in between. Fantasies might express a desire for wish fulﬁllment (“to build up the nation” as Nehru expressed) or a defense against an unpleasant reality (by oﬀering an “escape” from it). They might provide real solutions to imaginary problems, or imaginary solutions to real ones. And they might render reality palatable either by exposing it, or by covering it up.