Bollywood and Its Other(s) This page intentionally left blank and Its Other(s) Towards New Configurations

Edited by Vikrant Kishore University of Newcastle, Australia Amit Sarwal Deakin University, Australia and Parichay Patra Monash University, Australia Introduction, selection and editorial matter © Vikrant Kishore, Amit Sarwal and Parichay Patra 2014 Individual chapters © Contributors 2014 Softcover reprint of the hardcover 1st edition 2014 978-1-137-42649-9

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1. Motion picture industry—India—Mumbai. 2. Motion pictures, Hindi—India—Mumbai. I. Kishore, Vikrant, 1976– editor. II. Sarwal, Amit, 1981– editor. III. Patra, Parichay, 1985– editor. PN1993.5.I8B59255 2014 791.43'0954792—dc23 2014022070

Typeset by MPS Limited, Chennai, India. Contents

List of Figures vii Notes on Contributors viii

Introduction 1 Vikrant Kishore, Amit Sarwal and Parichay Patra

Section I Exploring the Other: Cinema, Aesthetics, Philosophy 1 Self, Other and Bollywood: The Evolution of the Hindi Film as a Site of Ambivalence 13 Dibyakusum Ray 2 Bombay Cinema’s Aesthetic Other: Hindi Shastriya Cinema in Retrospect 24 Parichay Patra

Section II Diaspora and the Formation of the Global Bollywood 3 Transgressing the Moral Universe: Bollywood and the Terrain of the Representable 41 Sarah A. Joshi 4 A Perfect Match: Entertainment and Excess of Cricket within the Diasporic Experience of Bollywood 55 Sanchari De and Manas Ghosh

Section III The Musicality of Bollywood: Possibilities of Alternative Reading(s) 5 Hindi Popular Cinema and Its Peripheries: Of Female Singers, Performances and the Presence/Absence of Suraiya 67 Madhuja Mukherjee 6 ‘Dil Dance Maare Re’: Bollywoodisation of the Indian Folk Dance Forms 86 Vikrant Kishore 7 The Systems Model of Creativity and Indian Film: A Study of Two Young Music Directors from Kerala, India 110 Phillip McIntyre, Bob Davis and Vikrant Kishore

v vi Contents

Section IV Bollywood’s Other(s): Sexuality, B Movie, Queerness 8 Sugar and Spice: The Golden Age of the Hindi Movie Vamps, 1960s–1970s 133 Suneeti Rekhari 9 Popular Forms, Altering Normativities: Queer Buddies in Contemporary Mainstream Hindi Cinema 146 Aneeta Rajendran 10 Hinglish Cinema: The Confluence of East and West 161 Prateek and Amit Sarwal 11 The Ramsay Chronicles: Non-normative Sexualities in Purana Mandir and Bandh Darwaza 174 Mithuraaj Dhusiya 12 Bollywood’s Encounters with the Third Kind: A Critical Catalogue of Hindi Science Fiction Films 186 Sami Ahmad Khan Section V Bollywood’s Other, India’s Other 13 Death Becomes Her: Bombay Cinema, Nation and Kashmir: In Conversation with the Desire Machine Collective, Guwahati 205 Kaushik Bhaumik Afterword 217 Anupam Sharma

Index 222 Figure

7.1 Systems model of creativity according to Kerrigan (2013, p. 114) 113

vii Notes on Contributors

Kaushik Bhaumik is Associate Professor of Cinema Studies at the School of Arts and Aesthetics, Jawaharlal Nehru Unive rsity, New Delhi. A film historian who undertook his research on early cinema in India at the University of Oxford, he has published widely in journals and edited volumes on early cinema, bazaar arts and modern Indian art. He served as a research fellow at the Ferguson Centre for African and Asian Studies, Open University, UK, and as the Senior Vice President at Osian’s Connoisseurs of Art and the Deputy Director of the Osian’s Cinefan Festival of Asian and . He co-edited Indian Cinema Book (2008) and, with Elizabeth Edwards, Visual Senses: A Cultural Reader (2009). His monograph on early Bombay cinema is forthcoming. He has recently guest edited the Marg special issue on the 100 years of Bombay cinema. Project Cinema/City, co-edited with Madhusree Datta and Rohan Shivkumar, has just been released.

Bob Davis is Senior Lecturer in the Centre for Creative Technology at Leeds Metropolitan University, UK. His areas of interest include music for film, popular music, music analysis, electro-acoustic performance and music in education.

Sanchari De is a doctoral student at the Department of Film Studies, Jadavpur University, India, and a recipient of the prestigious CSDS- ICSSR fellowship for her research. She studied English Literature at the University of Calcutta and Film Studies at Jadavpur University. She has made presentations at international conferences/seminars/symposia in India, Singapore and United States. Her research interests include digital media, political mobilization and information aesthetics. Apart from that, she keenly studies films, specifically New Iranian Cinema. She has recently been selected by the Erasmus Mundus India to Europe (EMINTE) scholarship programme to undertake research as an exchange student at Lund University, Sweden.

Mithuraaj Dhusiya teaches English Literature in the Department of English, Hans Raj College, University of Delhi, India. Currently, he is pursuing his PhD on Indian horror films at the University of Delhi. He has presented papers at several international and national confer- ences. He has published on snake-women in Indian horror cinema and

viii Notes on Contributors ix reviewed a number of books on films; forthcoming publications include journal articles on sport and Indian films, Indian horror comedies and Marathi horror films.

Manas Ghosh is Assistant Professor in the Department of Film Studies, Jadavpur University, Kolkata. He has been awarded a PhD in the area of New Asian Cinema. He contributes regularly to the Journal of the Moving Image, and is Regional Coordinator (India) to the editorial board of Asian Cinema. Sarah A. Joshi teaches in the master’s programme on at Birkbeck College, University of London. She has received her doctoral degree on popular Hindi cinema from the same institution. The title of her thesis is ‘The Diasporic Romance: The NRI Trope and Interracial Transgression in Popular Hindi Cinema’. Her current area of interest is the interaction and reverse synergies of Indian media across BRICS nations, including the implications of soft power. She has published widely in journals and edited volumes. Sami Ahmad Khan studied Literature at the University of Delhi. He then completed his master’s in English at Jawaharlal Nehru University (JNU) and went to the University of Iowa, USA, on a Fulbright grant. Currently he is a doctoral candidate at JNU, where he is working on Techno-culture Studies. He has engaged in film production, teaching, theatre and writing. His debut thriller ‘Red Jihad’ won the Muse India Young Writer (Runner-Up) Award at the Hyderabad Literary Festival and Excellence in Youth Fiction Writing award at Delhi World Book Fair 2013. He is now working on his second book. Vikrant Kishore is an alumnus of RMIT University (Melbourne), AJK Mass Communication Research Centre, Jamia Millia Islamia and St Stephens College, Delhi University, India. He is an academic, filmmaker, journalist and a photographer. Currently based in Newcastle, Australia, Kishore is working at the University of Newcastle as Lecturer in Communication and Media Production and Course Coordinator (Music Video) in the BA of Communication. He completed his doctorate in ‘Bollywood Cinema and Dance’ from Royal Melbourne Institute of Technology (RMIT) University in 2011. After the completion of his PhD, he worked as a researcher on the Australian Research Council funded project on ‘Mapping Lifestyle Television in Asia’ at RMIT University, Melbourne, under the leadership of Tania Lewis. He has more than 25 documentaries and corporate films to his credit, and his area of exper- tise are Bollywood films, the folk and tribal culture of eastern India, as x Notes on Contributors well as the issues of caste politics in India. His documentaries on Chhau Dance have been screened at various international film festivals.

Phillip McIntyre is Head of Discipline for Communication and Media in the School of Design, Communication and Information Technology at the University of Newcastle. His research explores the most rational ways to explain how novel things are brought into being. He also seeks to answer an applied question as to how these explanations can help to increase humankind’s ability to generate new and useful things. His recent book was Creativity and Cultural Production: Issues for Media Practice (2012), and he is a current recipient of an ARC Linkage Grant entitled ‘Creativity and Cultural Production: An Applied Ethnographic Study of New Entrepreneurial Systems in the Creative Industries’.

Madhuja Mukherjee is Associate Professor in the Department of Film Studies, Jadavpur University, India. A graphic novelist, screenplay writer, installation artist and filmmaker in her own right, she has pub- lished widely in various international journals and edited volumes. Her film Carnival (2012) was selected in the Rotterdam International . A part of her doctoral research on the New Theatres Limited has been published by the National Film Archive of India.

Parichay Patra is a doctoral candidate in the Department of Film and Screen Studies, School of Media, Film and Journalism, Monash University, Australia. His area of interest is the history of the Indian New Wave cinema of the 1970s. His articles have appeared in the Journal of the Moving Image, among others; he has contributed chapters to edited volumes and made presentations at conferences in India, Taiwan and Australia. He has organized conference in Newcastle and assisted in a research project on Jews in Indian cinema.

Prateek is a PhD candidate in drama studies at the University of Queensland in the School of English Media Studies and Art History. He has taught as Assistant Professor of English at Dyal Singh (Evening) College, University of Delhi, India. He also served as a Fulbright fellow at Yale University, USA.

Aneeta Rajendran teaches at the Department of English, Gargi College, University of Delhi. Her work is primarily in the area of gender and sexuality in Indian literary and visual cultures. Her PhD thesis, ‘In the Realm of the UnFamiliar’, was one of the first full-length studies of the figure of the lesbian in contemporary Indian texts. She has just returned from an academic year’s residence on an Erasmus Mundus Postdoctoral Notes on Contributors xi fellowship at the Department of Gender Studies at Lund University, Sweden. Dibyakusum Ray is a doctoral candidate at the Department of Indian and World Literature, English and Foreign Languages University, Hyderabad, and a visiting scholar at the University of Potsdam, Germany. His primary interest lies in European aesthetic traditions and postcolonial theory. His research tries to understand the development of ‘liminality’ as an aesthetic-philosophical concept. He has published in edited volumes and has presented his works in Jaipur Literary Festival, India, Emory University, USA, and Technische Universität Dresden, Germany, where he has undertaken research as part of an exchange programme. Suneeti Rekhari is Senior Lecturer in Arts at the Institute of Koorie Education, Deakin University, Australia. Her research focuses on repre- sentations of identity in Australian and Indian (Hindi) cinema, particu- larly of indigenous peoples and women. Her work has been published in Visual Anthropology, Journal of Australian Indigenous Issues, Australian Studies, Studies in South Asian Film and Media, Screen Education, Metro and in the edited volume, Making Film and Television Histories: Australia and New Zealand (2012). Amit Sarwal is Alfred Deakin Postdoctoral Research Fellow at the Centre for Citizenship and Globalisation (CCG), Deakin University, Australia, and also the Founding Convenor of Australia–India Interdisciplinary Research Network (AIIRN). His current research project, titled ‘Cross- Cultural Diplomacy: Indian Visitors to Australia, 1947 to 1980’, is the first systematic, theoretically informed and empirically grounded examination of how Australia and India viewed each other in the aftermath of decolonisation. He has taught as Assistant Professor in the Department of English at the University of Delhi and was an Endeavour Asia Research Fellow at Monash University (2006–2007). He has co- edited a number of books on Australian studies, the most recent being Wanderings in India: Australian Perceptions (2012), Bridging Imaginations: South Asian Diaspora in Australia (2013) and Enriched Relations: Public Diplomacy in Australia–Indian Relations (2013). Anupam Sharma is a filmmaker, author and one of the leading Australian international experts on Indian cinema. He was appointed as an Ambassador for Australia Day 2013 and 2014, and nominated as one of the fifty most influential professionals in the Australian film industry. He has written a number of research papers on films, along xii Notes on Contributors with a thesis on Indian cinema from the University of New South (UNSW). Apart from having worked as the chief judge and advisor to the reality show Bollywood Star on SBS (TV), and directing Australia’s first of its kind commissioned short documentary Indian Aussies—Terms & Conditions Apply (2013), he heads the first Australian International Centre of Indian Cinema. In 2011, he launched an Australian Film Initiative to market and promote Australian screen culture in non-traditional markets. He has also recently contributed to a book about the globali- sation of Bollywood and is also a frequent keynote speaker at various international conferences and TV programmes.