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1

Egzotyczna Europa. Eskapady popularnego kina indyjskiego na Stary Kontynent w XXI w.

100%
Stachowiak K., Balcerak M.
Kwartalnik Filmowy
|
2022
|
issue 120 Kultura filmowa
46-66
PL
Artykuł ma na celu określenie skali wykorzystania europejskich lokalizacji w popularnym kinie indyjskim oraz wyjaśnienie czynników, które wpłynęły na zainteresowanie Europą przez twórców filmowych z Indii. W pierwszej czę- ści przeprowadzono analizę liczby produkcji z tego kraju w Europie, ich rozłożenie przestrzenne (według krajów i regionów) oraz jego zmiany w czasie. Badanie to pokazało, że zainteresowanie europejskimi lokalizacjami wzrosło znacząco w pierwszych dekadach XXI w. W kolejnych częściach artykułu autorzy próbują odpowiedzieć na pytanie, dlaczego kino indyjskie coraz częściej korzysta z zagranicznych lokalizacji i jakie są tego konsekwencje. Przedstawiono tu także przemiany w przemyśle filmowym Indii, które spowodowały powstanie „globalnego Bollywood”.
EN
The paper aims to determine the scale of the use of European locations in popular Indian cinema and to explain the factors influencing Indian cinema’s interest in Europe. The first part analyses the number of Indian productions in Europe, their spatial structure (by country and region) and their changes over time. This analysis showed that interest in European locations in Indian cinema increased significantly in the first decades of the 21st century. Therefore, the following sections of the article attempt to explain this increase and outline its cinematic consequences. The authors discuss the transformations that have taken place in the Indian film industry, resulting in the emergence of a “global Bollywood”. An attempt is then made to synthesise Indian cinema’s interest in Europe by discussing the role of European locations in Indian films.
2
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Determinants of the spatial difusion of Bollywood cinema

83%
Parda M.
Miscellanea Geographica. Regional Studies on Development
|
2019
|
vol. 23
|
issue 1
33-38
EN
The aim of the paper is to indicate which determinants had the major impact on the spatial difusion of the Bollywood cinema in two aspects: the first appearance of this cinema in diferent countries and the number of films distributed there. The distance between the country and Mumbai and the size of the diaspora were taken as key determinants. The concept of Hägerstrand was adopted as the spatial difusion model. The procedure involved gathering data for 5,832 Hindi movies produced in Mumbai distributed in cinemas in 76 countries from 1970 to 2010. The hypotheses were verified and it was proved that the spatial difusion of the popular hindi cinema was influenced by a number of social, cultural and political determinants, of which the size of the Indian diaspora was the most important. The paper can be a reference to the discussion about diaspora identity and the intersection of cultures.
3

Changing Role of Indian Woman: A Glimpse into Two Bollywood Movies English – Vinglish and Queen

83%
Bhaumik M.
CLEaR
|
2016
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vol. 3
|
issue 1
52-60
EN
Bollywood, being one of the biggest film industries of India, is an interesting area of research to understand the socio-cultural perspectives of today’s India. My paper will focus on the changing role of Indian woman. It will argue if the change is merely superficial or the Indian woman has been successful to negotiate with and challenge the patriarchal social structure. These multiple issues will be discussed with special reference to two of the latest Bollywood movies, namely, English-Vinglish and Queen. The focus on these two movies is because both concentrate on emancipation of woman. Sashi, the central character of English-Vinglish, despite facing all kinds of humiliation in her own family and finally learning English (her inability to speak in English being one of the primary reasons for her being ridiculed in her family) comes back to her family at the end. Queen showcases a different kind of emancipation where Rani, the leading lady of the movie, being dumped by her fiancé, decides to go for her honeymoon trip all by herself and recognises herself anew. These two movies are examples of the changing role of woman who does not need a male to rescue her from danger or to console her in her tears. She is a self-sufficient woman who does not forget her roots. Both the movies generate thought-provoking questions about the status of woman in present India and can be employed as lenses to see through the multiple layers of the gendered Indian society.
4

Mothers, Stepmoms and the Brave New Family. Intercultural Remake and Melodrama: an Analysis of the American Stepmom and its Bollywood Remake

83%
Fábics N.
Acta Universitatis Sapientiae, Film and Media Studies
|
2013
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vol. 6
|
issue 1
133-147
EN
The Bollywood remake of the American weepie Stepmom (Chris Columbus, 1998) is a fine and rather recent example of the intercultural remake phenomenon, a study topic that is gaining more and more attention. With the aim of suggesting conclusions generally applicable to intercultural remakes, starting from the genre, through characterization, film style and narrative, the present paper examines the remake process in the case of We Are Family (Siddharth Malhotra, 2010) and Stepmom
5
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Some Remarks on the Perso-Arabic Nominal Lexica in Bollywood Movie Song Lyrics

71%
Gacek T.
Acta Asiatica Varsoviensia
|
2023
|
issue 36
39-67
EN
The Indian film industry releases thousands of movies every year, with those in the Hindi language forming a significant part of that number. These movies, and the songs used in them, have been the object of research within the scope of various scientific disciplines, including linguistics. The author of the present paper, however, believes that there are still numerous language phenomena to study within the lyrics of the Bollywood songs. The present text is dedicated to research of the Perso-Arabic lexica in these songs over the period of 80 years (1940–2020). It also analyses the frequency of the Perso-Arabic forms as opposed to native Indo-Aryan ones. Particular attention is paid to the forms of the highest frequency, especially the Persian word dil.
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