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Producing Bollywood
This chapter is in the book Producing Bollywood
indexAbbas, K. Ahmad, 44–47Abraham, Itty, 50, 257, 299actors, 82actresses: agency of, 128, 139; in early Indian cinema, 124–27; respectability of, 128, 135–41; visibility of, 129, 139A- list, 27–28anthropology: of elites, 27–29; of media, 21–23, 382 n. 2; of media production, 155–56Appadurai, Arjun, 18, 42audience fiction, 12, 284–86, 301–4, 313; for film’s box- office success, 305–6, 345, 365audience imaginaries, 7–8, 80, 87, 281–83, 315–17, 358; binaries of, 326, 396 n. 5; new emergence of, 340–44; transfor-mations of, 317–23. See also audiencesaudience- making, 23, 35–36, 300–301, 343–45; as othering process, 24, 297audiences, 79–80, 357–58; binaries of, 35, 52, 244, 282, 295–303, 326; class per-ceptions of, 87, 297–98, 319; classes of, 8–9, 293–301; diasporic, 10–12, 100–101, 321–25; disdained by film-makers, 7–8, 86, 117–21; ethnic identifi-cation by, 290; family, 281–82, 294–98; and good films, 94; identifications by, 290–91, 305; as imagined interlocutors, 80, 108, 117; ladies, 293–95, 344–45; as lower class, 84–86; mainstream, 25; mass, 7–8, 95–96, 296, 300, 314, 355–58; from the “middle- class,” 94–97, 113; as modernity’s metonym, 358; as the nation’s metonym, 358; niche, 9, 25, 111, 316–17, 329, 356–58; prefigured in production process, 23–24; rural, 318, 324–26, 352–57; as significant others, 79; stratification of, 316–17, 335–40; tastes of, 299; taxonomies of, 83–88, 282–84, 290–301, 322–26. See also over-seas marketsaudience stratification, 110–18, 339Bachchan, Amitabh, 2, 15, 231, 265–68, 381 n. 17Barjatya, Sooraj, 105–8. See also Hum Aapke Hain Koun!Benegal, Shyam, 112–13, 341Bharatiya Janata Party (BJp), 74, 367 n. 4Bhatt, Mukesh, 181–85, 210, 247, 297, 303–4, 324–26, 397 n. 21Bhatt, Vikram, 114–16, 268–70, 285, 302, 340–52, 397 n. 21Bhaumick, Sachin, 98, 145, 199, 208, 258, 287, 305–9, 313Bihar, 281–82, 348, 350–54, 393 n. 1; as-sumptions about class in, 290–93, 396 n. 5; film distributors in, 321–27black economy, 66, 225, 375 n. 37Bollywood, 2–3, 12, 108, 176, 370 n. 23; “Bollywood effect” on tourism, 255, 391 n. 16; contestation over, 13–15; con-trasts with Hollywood, 236–41; global aspirations of, 362–66, 398 n. 25; and Hollywood, 14–15, 175–76, 360–61; origins of, 12, 369 n. 20. See also Hindi film industryboundary-work, 7, 182–85, 213–21, 393 n. 34Bourdieu, Pierre, 88, 313box office: failures at, 84–86, 300; suc-cesses at, 93; as technology of “social envisioning,” 282
© 2020 Duke University Press, Durham, USA

indexAbbas, K. Ahmad, 44–47Abraham, Itty, 50, 257, 299actors, 82actresses: agency of, 128, 139; in early Indian cinema, 124–27; respectability of, 128, 135–41; visibility of, 129, 139A- list, 27–28anthropology: of elites, 27–29; of media, 21–23, 382 n. 2; of media production, 155–56Appadurai, Arjun, 18, 42audience fiction, 12, 284–86, 301–4, 313; for film’s box- office success, 305–6, 345, 365audience imaginaries, 7–8, 80, 87, 281–83, 315–17, 358; binaries of, 326, 396 n. 5; new emergence of, 340–44; transfor-mations of, 317–23. See also audiencesaudience- making, 23, 35–36, 300–301, 343–45; as othering process, 24, 297audiences, 79–80, 357–58; binaries of, 35, 52, 244, 282, 295–303, 326; class per-ceptions of, 87, 297–98, 319; classes of, 8–9, 293–301; diasporic, 10–12, 100–101, 321–25; disdained by film-makers, 7–8, 86, 117–21; ethnic identifi-cation by, 290; family, 281–82, 294–98; and good films, 94; identifications by, 290–91, 305; as imagined interlocutors, 80, 108, 117; ladies, 293–95, 344–45; as lower class, 84–86; mainstream, 25; mass, 7–8, 95–96, 296, 300, 314, 355–58; from the “middle- class,” 94–97, 113; as modernity’s metonym, 358; as the nation’s metonym, 358; niche, 9, 25, 111, 316–17, 329, 356–58; prefigured in production process, 23–24; rural, 318, 324–26, 352–57; as significant others, 79; stratification of, 316–17, 335–40; tastes of, 299; taxonomies of, 83–88, 282–84, 290–301, 322–26. See also over-seas marketsaudience stratification, 110–18, 339Bachchan, Amitabh, 2, 15, 231, 265–68, 381 n. 17Barjatya, Sooraj, 105–8. See also Hum Aapke Hain Koun!Benegal, Shyam, 112–13, 341Bharatiya Janata Party (BJp), 74, 367 n. 4Bhatt, Mukesh, 181–85, 210, 247, 297, 303–4, 324–26, 397 n. 21Bhatt, Vikram, 114–16, 268–70, 285, 302, 340–52, 397 n. 21Bhaumick, Sachin, 98, 145, 199, 208, 258, 287, 305–9, 313Bihar, 281–82, 348, 350–54, 393 n. 1; as-sumptions about class in, 290–93, 396 n. 5; film distributors in, 321–27black economy, 66, 225, 375 n. 37Bollywood, 2–3, 12, 108, 176, 370 n. 23; “Bollywood effect” on tourism, 255, 391 n. 16; contestation over, 13–15; con-trasts with Hollywood, 236–41; global aspirations of, 362–66, 398 n. 25; and Hollywood, 14–15, 175–76, 360–61; origins of, 12, 369 n. 20. See also Hindi film industryboundary-work, 7, 182–85, 213–21, 393 n. 34Bourdieu, Pierre, 88, 313box office: failures at, 84–86, 300; suc-cesses at, 93; as technology of “social envisioning,” 282
© 2020 Duke University Press, Durham, USA

Chapters in this book

  1. Frontmatter i
  2. Contents vii
  3. Acknowledgments ix
  4. Introduction: How the Hindi Film Industry Became “Bollywood” 1
  5. Part 1 The social status of films and filmmakers
  6. 1. From Vice to Virtue 41
  7. 2. From Slumdogs to Millionaires 77
  8. 3. Casting Respectability 119
  9. Part 2 The practices and processes of film production
  10. 4. A Day in the Life of a Hindi Film Set 155
  11. 5. The Structure, Organization, and Social Relations of the Hindi Film Industry 175
  12. 6. Sentiments of Disdain and Practices of Distinction 215
  13. 7. Risky Business 243
  14. Part 3 Discourses and practices of audience-making
  15. 8. Pleasing Both Aunties and Servants 281
  16. 9. The Fear of Large Numbers 315
  17. Epilogue My Name Is Bollywood 359
  18. Notes 367
  19. Bibliography 401
  20. Index 419
Readers are also interested in:
https://doi.org/10.1515/9780822395225-015

Chapters in this book

  1. Frontmatter i
  2. Contents vii
  3. Acknowledgments ix
  4. Introduction: How the Hindi Film Industry Became “Bollywood” 1
  5. Part 1 The social status of films and filmmakers
  6. 1. From Vice to Virtue 41
  7. 2. From Slumdogs to Millionaires 77
  8. 3. Casting Respectability 119
  9. Part 2 The practices and processes of film production
  10. 4. A Day in the Life of a Hindi Film Set 155
  11. 5. The Structure, Organization, and Social Relations of the Hindi Film Industry 175
  12. 6. Sentiments of Disdain and Practices of Distinction 215
  13. 7. Risky Business 243
  14. Part 3 Discourses and practices of audience-making
  15. 8. Pleasing Both Aunties and Servants 281
  16. 9. The Fear of Large Numbers 315
  17. Epilogue My Name Is Bollywood 359
  18. Notes 367
  19. Bibliography 401
  20. Index 419
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