Notes - Popular Culture & Bollywood (Isobel Healey) PDF

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society and culture popular culture notes...

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Isobel Healey © 2014

Popular Culture + Bollywood Associated with commercial products and paraphernalia: -

Demand develops and expands due to media, marketing and dissemination processes

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Bollywood films are commercial products within themselves

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Paraphernalia items representing different items of Bollywood for example Shahrukh Khan dolls and T-shirts etc.

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Transnational Cooperation’s (TNC’s) create and control Bollywood for a profit motive

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Commercial: concerned with or engaged in commerce o Making or intended to make a profit o Having profit rather than artistic or other value as a primary aim. E.g. Companies will employ a famous actor to do a certain amount of movies over a certain amount of years to guarantee the movies will be popular, not necessarily due to the quality of the movie production.

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Product: An article or substance that is manufactured or refined for sale e.g. food products. E.g. people can make and sell ‘fan made merchandise’ etc.

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Paraphernalia: Miscellaneous articles, especially the equipment needed for a particular activity.

Develops from a local to a global level: -

Experiences global acceptance with the progression and integration of technologies

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Both in influence and consumption

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Usually originates from a local level and goes global

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Must maintain global levels of consumption and influence over time in order to be considered a pop culture and not a ‘fad’

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Due to the spread of technologies on a macro scale, Bollywood not only appeals to Indian Nationals, but non-resident Indians (NRI’s) and other people non-related to Indian culture. This is because of the adaption of Western-style themes, characterization etc. that allows people of all ethnicities to watch and understand

Achieves widespread consumer access: -

Broad access is assisted by media and communication technologies

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Visibility, affordability and accessibility – differentiates Pop Culture from High Culture

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Mythology perpetuates access – identification with the product/characteristics

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Media: soundtracks coming out before the film on ITunes etc. allows global access

Isobel Healey © 2014 - Communication technologies: social media etc. allows the spread of Bollywood due to increasing popularity etc. -

Widespread consumer access is dependent on a number of factors: o Environment – more developed vs. less developed nations (macro) o Affluence o Urban vs. rural o Technology vs. portability o Institutional power – influence of government (for example, Australian TV must show things that are 55% Australian, while French radio has to mostly be French music etc.)

Is constantly changing and evolving: -

Experiences continuity and change – influences society while simultaneously society influences the popular culture

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All popular cultures must chance and evolve to stay relevant and maintain global consumption patterns o Stay relevant to consumers ▪ E.g. Teen films maintain a ‘formulaic’ production method because cooperation’s know that this will attract maximum viewing etc. o Adapt to changing trends and preferences ▪ Therefore, institutional powers need constant change to maintain patterns of consumption and therefore generate profit

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Needs to maintain identifiable markers / formula to establish continuity and maximize access o Bollywood – adapted to please NRI’s as well as people of Indian origin, due to Westernization has now adapted to suit Western audiences too ▪ Films shot in Western countries, increasingly Western-style themes yet maintains significant connections with Indian culture

The creation and development of the popular culture The origins of the popular culture What is Bollywood? -

Hindi-Urdu language, culture, industry and cinema

Isobel Healey © 2014 - Characterized by dance numbers, melodrama, lavish production and an emphasis on stars and spectacle -

“Bollywood” is now used to refer to the globalized Indian film culture/industry

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Recently, stars/directors/scholars argue that the term “Bollywood” is considered a poorer cousin to Bollywood, given the Westernization into the genre and it’s increasingly western values (globalization)

The origins of Bollywood -

Phalke era o Phalke is seen as the ‘Father of Indian Cinema’ o His films drew on Indian myths, stories history

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Made in Hindustani to have broadest possible appeal o Combination of Hindu and English (ethnically inclusive) o Established Hindustani films in Mumbai

The development of the popular culture from a local to a global level -

Was originally local, then due to the process of commodification (see above), gradually entered a global (macro) scale.

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Bollywood became global largely via: o Indian economic liberalization (trade) o Conservative themes attractive to nations in the region o Cold war era restrictions on the spread of Hollywood o Indian diaspora: The spread of Indians on a global scale (NRI’s etc.) o Satellite TV and video (VCR) o DVD o Internet

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Grew in popularity, despite strict control from British Raj

The process of commodification for the popular culture Commodification: the process by which an item becomes readied to be traded. The process relies on marketing strategies with the aim of producing a perceived value in the item -

With the help of private investors, Phalke tried to create and distribute his films. Investors saw the possibility of it turning into a commodity and hence infrastructure and conventions were built and established. Once more people started watching, there was more money etc. and the concept of Bollywood began to emerge

Isobel Healey © 2014 - Masala period: Masala films are a mix of genres into one film � increased interest -

Filmi: Soundtracks are usually released prior to the film to increase interest

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Film merchandising and product endorsements

The role of mythology in the creation and perpetuation of the popular culture o Internal: Recurring themes, character tropes, and plot devices –continuities within Bollywood. These themes are unique to Bollywood and help audiences identify and engage with the films, and therefore the popular culture in general. ▪ E.g. “Angry Young Man” hero ▪ Star-crossed lovers (family responsibilities) ▪ (Post-partition era) The valorization of the poor (This has shifted in modern India and is now rarely seen – to fit in with the ‘middle class trap’ of expanding numbers of middle class, films have now changed ▪ The NRI’s struggle retain cultural roots o External: Mythologies surrounding Bollywood and its stars. External myths are not related to the stories contained within films, but are rather about Bollywood itself (for example, Super Junior as the Kings of KPOP etc.). These mythologies help reinforce and identify cultural beliefs around certain things. Media also utilize external mythologies for marketing purposes for products (e.g. EXO endorsing Lotte World) (Nokia currently has a deal with Shah Rukh Khan to advertise phones). There is also product placement throughout Bollywood films ▪ Perpetuated by fans, media, markets ▪ Shah Rukh Khan as ageless, cool etc. ▪ Aishwarya Rai and ‘World’s Most Beautiful Woman’

Continuities and changes to the popular culture Continuity: -

Family values: placing values of family and cultural roots

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Gender: Pushing the boundaries in terms of gender norms (empowered women, smart and education, strong women) but females still earn less than men (evidence of both continuity and change) o There is a lot of controversy about whether Bollywood currently shows progressive gender roles or not. Bollywood plays a very high influence on Indian society. o Anurag Kashyap (director): Bollywood is such a huge influence for society, it has the responsibility to show women in a progressive light

Isobel Healey © 2014 o 2009 3 Idiots: follows 3 boys to talk about the education system in India. Women are only used as accessories in the story. o The wider point being made: even when a female movie character has a role that is more than decorative, there is still a heavy emphasis on men’s problems and this makes it appear that women serve as a support system for men’s more complex, important issues. (Mahima Kaul, New Delhi-based journalist) -

Sex appeal, but with serious limits: still conservative by Western standards, in terms of physical displays of affection, but definite sexualization of female (and to a lesser extent, males stars) (both continuity and change)

Change: -

Borrowing stories: Indian remakes of Hollywood films

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Addressing social issues: Tackling difficult/controversial themes

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Mixed genres and music: Masala films, singing and dancing numbers

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Stars: ‘Star system’, star worship, external mythologies

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Sex appeal, but with serious limits: still conservative by Western standards, in terms of physical displays of affection, but definite sexualization of female (and to a lesser extent, males stars) (continuity and change)

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International consumption: has impacted on the themes, characters (e.g. NRI characters), ‘Western’ values to appeal to international market – this has alienated some traditional Indian viewers o Deregulation of India’s economy in the 1990’s increased efficiency of trade with overseas markets, making appeal to Indian media to overseas markets a larger priority

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Filming locations: overseas locations, e.g. Salaam Namaste in Melbourne (Indian diaspora as theme, characters and audience)

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Nationalism vs. internationalism: nation-building themes, pre- and post independence replaced by global themes (reflecting changes in India)

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Technological advances: 3D animation, special effects, satellite TV, internet, multiplexes, pirate DVD’s, increasing quality of production

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Economic and social changes within India: Some segments experiencing rapid growth – thematic and character changes to reflect that

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Gender: Pushing the boundaries in terms of gender norms (empowered women, smart and education, strong women) but females still earn less than men (evidence of both continuity and change)

Isobel Healey © 2014 - Character demographics: Valorization of poor replaced by glamorization of middle class and NRI’s (because the companies cater to the majority, and India’s growing economic power pulled a lot of people into the middle class) -

Commercial products/paraphernalia: increased variety of associated products, leading to a greater variety of ways to access and consume the pop culture

The consumption of the popular culture The consumers of the popular culture and the nature of its consumption The consumers of the popular culture -

Consumption of Bollywood is growing!

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Tamil and Telagu language film industries (within India, non-global, micro/meso scale) produce more films per year, but Bollywood has national and global circulation

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There is a shift towards catering to the global community o Resident Indians o NRI’s o Persons of Indian Origin (PIO’s) o Members of more conservative cultures – such as Afghanis, Pakistanis and some African nations

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As Bollywood is the second-largest film industry in the world, it provides entertainment to nations who banned import from Hollywood entertainment during the Cold War (mostly places in the Middle East)

The nature of consumption of Bollywood (how it is consumed) -

Films themselves: o Growth of the multiplex o Satellite TV (Star India – international, owned by News Corp), o VCR/DVD, o

Pirated DVD’s,

o Downloads, o

YouTube,

o Releases in Western cinema (subtitles greatly increase availability) -

Internet: o Download films

Isobel Healey © 2014 o Watch trailers on YouTube o “Like” Facebook pages o Follow stars on Twitter o Discuss films and stars with fans on forums and chatrooms o Buy associated products / paraphernalia o Gossip blogs o “Stars” as products -

Commercial products and paraphernalia

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Filmi: (Indian film music composed for the Bollywood industry) o Commercial product o Radio o CD o Download o ITunes songs released before films o Endorsement deals

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Traditional media: o Magazines o Newspapers o Entertainment TV (symbiotic relationship between media and pop culture)

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Internal mythologies: o Themes o Typically accessible by mass audiences in India (specifically catering to mass audiences, Masala films). o Niche sub-genres dealing with more confronting topics have aliented some viewers as they are targeting a more exclusive market

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Stars: o Stars as consumable products (mainly because of external mythologies, endorsements etc.) o External mythologies o Gossip blogs o Endorsed products o Social media (Facebook, Twitter etc.

The relationship of heroes and mythology to media and consumption

Isobel Healey © 2014 - External mythologies: Can be perpetuated by the industry for own gains, but may be developed outside the industry (e.g. rumours which emerge in the media/internet etc. but are then exploited by the industry for commercial gain) o This could be stories or images about the stars, the films, or the industry itself ▪ Shah Rukh Khan being seen as ‘youthful’ and ‘ageless’ – the companies use this external mythology to put him in a lot of movies so they know they will be popular. -

Internal mythologies: Referes to the fictional stories which are developed within the Bollywood universe, used to engage audiences and sell tickets

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Identifiable traits that are able to be recognized by the audience o Angry Young Man Hero, NRI’s etc. (as discussed above)

How globalization and technologies have influenced consumption Modes of consumption -

Technology greatly increases modes and opportunities for consumption globally (which increases the homogenization of Indian culture)

Globalization: -

International audiences o Dance (So You Think You Can Dance) o Bands like the Pussycat Dolls, etc.

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Mythologies: o Internal o External

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Themes o Emphasis on Indian diaspora (people who live outside an area in which they had lived in for a long time). This appeals to NRI or non-Indian audiences

Technologies: -

Transnational corporations (TNC’s) o As major stakeholders, they focus on global consumption patterns and profits

The relationship of access and consumption to age, class, ethnicity, gender, location and sexuality -

Age: Masala films intended to be accessible to the whole family o Modern themes can act as a barrier to the older generations and more rural areas not so affected by the spread of Westernization and technology in India

Isobel Healey © 2014 - Class: There has been a change from valorization of the poor, to focusing on the middle class. This is due to India’s rapidly increasing global economy, leading to the ‘middle income trap’ o Modern films can focus on poverty in India, and address issues within the country -

Ethnicity: Both Muslim and Hindu stars o Intermarriage o Lingua Franca o Themes of cultural acceptance: But there are some anti-Pakistani themes ▪ Baby (2015, directed by Akshay Kumar) – became controversial after claims were made that it was anti-Pakistani due to the theme of terrorism.

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Gender: designed to appeal to both genders o Blend of genders o Both male and female sex symbols

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Location: becoming less of a hindrance to access and consumption due to an increasing number of multiplexes around India, and a variety of means from which Bollywood can be accessed (see above)

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Sexuality: Still quite a taboo subject due to traditional beliefs and values o Same-sex marriages are illegal in India and homosexuality is illegal (however not enforced), India however was one of the first and only countries to recognize a third gender o A lot of Bollywood actors (people of authority to the general public) are speaking out about the Supreme Courts ruling on the criminalization of homosexuality. ▪ Due to their influence and the outcry, India’s federal Government is already considering new legislation to over rule it.

How consumption and ownership of paraphernalia influence a sense of identity -

Gender identity: Consumption and ownership of paraphernalia influence traditional gender norms and traditional gender identities. o Some pop cultures specifically subvert traditional gender norms (e.g. KPOP males commonly wearing makeup) o Paraphernalia assists in enforcing stereotypical gender norms and sexuality for both genders: female stars endorsing things typically for females, and vice versa (Shah Rukh Khan has an endorsement deal with Nokia, while female stars would do modeling ads, facial creams etc.)

Isobel Healey © 2014 ▪ Males tend to endorse general products � shows uneven gender proportions that males can be whatever they want, but females are restricted -

National/ethnic/cultural identity (including NRI’s): 15 year old NRI’s with heaps of Bollywood merchandise uses this as a way of staying in touch with cultural and ethnic identity, retain national identity

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Para-social relationships with stars: Things like magazines, fan clubs, development of technologies has made is easier to communicate with stars (writing to fan clubs, following on Twitter etc.) o Barriers are much narrower than 10-20 years ▪ Relationships with stars can now fall into the micro world, as it feels like you have an intimate relationship with them....