Journal of Content, Community & Communication Amity School of Communication Vol. 13 Year 7, June -2021[ISSN: 2395-7514 (Print) ] Amity University, Madhya Pradesh [ISSN: 2456-9011 (Online)]

CONTEMPORARY BOLLYWOOD’S TRYST WITH BOURGEOIS ROMANCES OF HINDI CINEMA

Kanika K Arya Satish Pradhan Dnyanasadhana College Thane

Dr Manish Verma Director, Amity School of Communication Amity University, Gurgaon

ABSTRACT

Hindi cinema is a grand syntagm with sentimental romances as an inevitable element; post 2000 the romantic portrayals in Bollywood underwent metamorphosis but kept connections with its past alive; thus, feudal family romances, social romances, domestic drama romances, action romances and bourgeois romances all contributed towards the romantic Hindi cinema post 2000. This commentary charts the trends of Hindi cinema post 2000 and critiques how contemporary Bollywood romances need to be interpreted through a consciousness towards the above said trends and a cognitive culturalist approach model.

Keywords: Hindi Cinema, Bollywood, Bourgeois Romance

INTRODUCTION 1990s (Bollywoodisation) but it also Hindi cinema is like a wedding thali (feast), it authenticates with the trend of romances post is infused with multiple plots, a melodrama 2000 in Bollywood. The image of male type which is different from Hollywood protagonist undergoes a change compared to melodrama genres (Vasudevan,1989), a period the stereotypical selfless, bechara (brooding) which surpasses logic and follows the time- image projected till 1990s (Mishra, 2002; trajectory of mythological epic texts of the Mubarki, 2018); for the millennial protagonist country (Hogan, 2008), characters and their life personal goals are important than family stories are not tied to narrative of the film but goals, he believes in travel and adventure as bring intertextuality from the previous inescapable for individual development and characters played by the star or the persona of his Awara tattoo brings in a postmodernist the stellar in real life (Dwyer,2014; meaning to the cinematic motif (Wright,2015); Gopinath,2017) and the unavoidable song and the female protagonist breaks many dance sequences which are the junctures/ patriarchal trends - for e.g.- Aditi’s character ‘para-diegesis’ which fill in the story with a lot (Kalki Koechlin), she is flamboyant, her of details absent from the main plot using friends occupy most of her life space, we never narrative tools like flashback, flash-forward see her immediate kin except during her and dreams and fantasy (Dwyer 2014; Hogan wedding when we get to see the elaborate 2008). family and she is dressed like a tomboy initially; we witness her in traditional Indian Ye Jawani hai Deewani (Mukherji, 2013) is a rom clothes only during her wedding ceremony com from the decade of 2010-2020 of Hindi (Kamble, 2015). She is a contrast to the typical cinema; but has a lot of elements which belong image of Hindi film female lead: submissive, to romance films (main plot is love between selfless, bearer of tradition, dependent on men the heterosexual bourgeois couple) of 1990s, of to take her life decisions (Bose, 2014; Kamble, which the best example is Dilwale Dulhania Le 2015; Kaur & Sharma, 2017). Jayenge (Chopra,1995) : a film which set the standard for romantic Hindi cinema of the 90s Globalization and liberalization impressions decade (Dwyer, 1998; Rajadhakshya, 2003; are present in the film, though it was not a Mehta, 2010). Though the film has faint niche (hatke) subject but still a topic which the impressions of bourgeois romance films of multiplex audience enjoyed watching and

DOI: 10.31620/JCCC.06.21/26 308

marketing was done as best suited the trends (Dwyer , 2010) ; films like these continued to post 2000- brand integration and extensive be to be made in 2000s. social media campaigns (Exchange4media, 2013; Bose, 2014; Dwyer , 2014). Hindi cinema Hindi cinema and Postmodernism post 2000 experimented with narrative, plots Hum Dil De Chuke Sanam (Bhansali, 1999) and characters, film-making techniques, and started the ‘visually excessive style of film marketing strategy - Wright (2015) mentions making’; Aishwarya Rai represented the two categories in which she places post 2000 perfect feminine visual based on Raja Ravi Bollywood films- the New Bollywood (hatke Verma created female image (Mishra,2002; films) and Contemporary Bollywood. Due to Dwyer,2010). Hrithik Roshan introduced the the emergence of multiplex audiences and ‘hyper masculine physique’ (Mubarki, 2018) production houses ready to take risks there are and superhuman dancing abilities. Gaja a range of subjects that erupted. Where on one Gamini (Husain,2015) emerged as first side was the aesthetically exquisite cinema of commercially released Avant Garde cinema Bhansali; hatke films (Dwyer, 2014) of directors which brought an ‘explicit postmodern like Kashyap, Bhardwaj, Dhulia and Sircar and aesthetic’ to Hindi Cinema. Farhan Akhter’s many like them mesmerized the audiences Dil Chahta Hai (2001) challenged the old with stories which were from interiors of attitudes and promoted a modern India India, language used was with a touch of (Wright, 2015). regional, locations and film ambience was much like documentary and characters were Lagaan (Gowarikar, 2001) became the third nowhere close to the perfect and fantastical film from Hindi cinema to be nominated for protagonist that Hindi cinema created till the Academy Award for Best Foreign Language 1990s decade (Paunksnis, 2017). But the trend Film. Films like Koi Mil Gaya (Roshan, 2003), of big budget, foreign location based, diaspora Main Hoon Na (Khan,2004) and Hum Tum centered, bourgeois romance and cinema (Kohli, 2004) adapted plot ideas and which projected the life of super rich Indian’s technology thought from Hollywood. Black sans the subaltern space and based more on (Bhansali, 2005) lacked the song and dance their personal life struggles also sustained sequences and was commercially successful (Kamble,2015) - a kind of cinema whose indicating diversifying tastes of the Indian aesthetics were created by Yash Chopra public. (Dwyer,1998) :Ye Jawani Hai Diwani being an example but not untouched by the Film franchises made huge profits with films experimentation of post 2000 decade. like Krrish (Roshan, 2006) and Dhoom 2 (Gadhvi, 2006); a trend of remakes of old Post 2000 Hindi Cinema Trends Hindi films started with Don (Akhtar, 2006) Hindi Cinema as Public Culture and Umrao Jaan (Dutta, 2006); Om Shnati Om Hindi cinema is not restricted to cinema halls (Khan, 2017) was the highest grossing film of but is an important part of the audience’s life; the year and a ‘postmodernist’ remake of 1980 ‘Bollywood permeates India's public culture film Karz (Ghai,1980); international rap start more significantly than viewership of films Snoop Dog wore a turban and produced themselves’. Post ‘Hollywoodization’, theme song for Bollywood film Singh is King Independent cinema emerged strongly, (Bazmee, 2008). Post 2000 Wright (2015) production houses corporatized themselves, suggests: films and their marketing entered digital arena; films became a guide to lifestyle trends; Bollywood made films with elements of the star text overpowered the characters they recycle, repeat, to excessively express and played in films and song junctures continued visualize, to commercialize and self com- strongly in Hindi films (Dwyer, 2014). The modify, to appropriate other cultural works trend of big budget films whose subject were and to differentiate binaries or blur either the diasporic Indians or upper class/ distinctions…this cinema has in restructuring upper middle-class Indians for whom the day- acquired striking postmodern qualities. to-day livelihood struggles don’t exist, but the film focuses on their personal life struggles Hindi Cinema and Branding more like bourgeois romances of Yash Chopra Kriplani (2007) makes an important point, the films based on weddings continued to be

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made; crossover films also picked up the trend underwent change -Kaur and Sharma (2017) - Monsoon Wedding (Nair, 2001), Bend it Like mention films like Mardaani (Sarkar, 2014) and Beckham (Chadha, 2002) and Bride and Prejudice Gunday (Zafar, 2014) where female characters (Chadha, 2004) have marriage as important underwent a psychological change and the plot point . The extended wedding drama narrative supported her journey being films Kabhie Khushi Kabhie Gham (Johar, 2001), completely in her hands, male characters Kal Ho Na Ho (Advani, 2003), and Hum Dil De would act like sidekicks; a withdrawal from Chuke Sanam (1999) and the films in 1990s ‘larger agenda of patriarchal ideology and decade- ‘the domestic dramas’ (Malhotra and traditional values’. Alag, 2004) created a trend of big fat Indian weddings which emulated the visual style, Bose (2014) mentions the stardom of Vidya costumes and elaborate ceremonies of these Balan and cites reasons for it being favourable film weddings and promoted foreign locales industrial and technological changes; radical as the perfect spot for honeymoon. He also transformation in exhibition of films and mentions the image that Hrithik Roshan sectorial practices; trans-media marketing and projected: the muscular metrosexual man with promotions; production houses hiring new his speed machine set the trend for the image filmmakers who were ready to experiment of male protagonist : some films being Kabhie with subjects due to presence of multiplex Khushi Kabhie Gham and Kaho Na Pyaar Hai niche audiences. But Sharma (2017), and (Roshan, 2000). Films also advertised brands Khan and Taylor (2018) mention films like through their inclusion in the narrative , Queen (Bahl, 2013) which though hailed as example being Koi Mil Gaya (Roshan, 2003) ; films with a female perspective but the world tourism to foreign locales surged with films she exists in and the conditioning she has is like Kaho Na Pyar Hai making New Zealand as patriarchal; projecting this ideology in a desirable location and Scotland tourism transnational space; also locating a trend of surged with Indians after Kuch Kuch Hota hai ‘Central Female Characters adherence to (Johar, 1998). prescriptive gender norms ’ so they suggest radical changes in female character portrayal. Crossover Films Crossover films, the films where east meets Male Protagonist Image Post 2000 west; films with Indian actors speaking in Some films from the decade of 2000-2010 English ; plots were to do with stories of which portray the trend of Hindi Cinema in Indian families settled in country or abroad; this decade are - Kaho Na Pyar Hai (2000) their struggles of love and identity; portrayal brought overnight stardom to Hrithik Roshan of endeavor between tradition and and created a new image for the male globalization influences but the style of film protagonist in contrast to the image of three making (camera techniques, mise en scene and Khans who ruled Bollywood in 1990s decade- editing and portrayal of characters by actors ) burly neo-liberal Hindutva expectation laden was like any Hollywood movie rather than body in 2000s compared to the metrosexual Bollywood style make. Examples include Bend man of 1990s (Kavi, 2000; Mubarki, 2018) . Dil it Like Beckham (2002), Hollywood Bollywood Chahta Hai (2001) became the defining film of (Mehta, 2002), The Mistress of Spices (Berges, the decade : the way it was shot, clothes 2005) and Being Cyrus (Adajania, 2006) characters wore, the way they spoke and even (Wright, 2015; Kidwai, 2016). the wall paint everything was different; protagonist were shown fighting personal Women Character Portrayal battles: identity, love, career (Dwyer, 2014; Women characters portrayed in post 2000 Wright, 2015). Bollywood have been vastly critiqued upon : Central female characters - post 1990s started Hatke and Contemporary Bollywood wearing western outfits frequently, were Multiplexes emerged; Hindi films left the days shown financially independent but dependent of underworld funding and corporatized itself; on father or husband/boyfriend to take studios like UTV Motion Pictures emerged. important life decisions and once aware of her Middle road cinema resurfaced with films conventional responsibilities would only be like Ab Tak Chhappan (Amin, 2004), Khosla Ka seen in Indian traditional attires (Derne, 2000); Ghosla (Banerjee, 2006), Rocket Singh: Salesman post 2000 female character portrayal of the Year (Amin, 2009). Amitabh Bachchan

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started doing character roles, Amir Khan (Bannerjee, 2011), Soni (Ayr, 2019), Badlapur produced and acted in experimental films like (Raghavan, 2015), Ankhon Dekhi (Kapoor, 2013) Rang De Basanti (Mehra, 2006), Taare Zameen are few more experimental films. Lunchbox Par (Khan and Gupte, 2007), Jaane Tu Ya Jaane (Batra, 2013), October (Sircar, 2018), Kapoor and Na (Tyrewala, 2008), 3 Idiots (Hirani, Sons (Batra, 2016) , Haider (Bhardwaj, 2014), 2009). Hera Pheri (2000) helped Akshay and Masaan (Ghaywan, 2015) are some films Kumar, an action star in the 90s, find his which show love in peculiar circumstances sublime comic side. Saif Ali Khan was (Kumar, 2020). Film making has become suddenly the most exciting star-actor around, ‘radically novel’, high end technology use, making adventurous choices, showing range blending of parallel and commercial cinema, with characters played in films : Hum Tum divagation from song sequences formula, (Kohli,2004), Omkara (Bhardwaj, 2006), Being genre multifariousness, and use of Hinglish. Cyrus (Adajania, 2006). Shah Rukh did some of his most loved films – Kal Ho Na Ho (Advani, These new films don’t match the ‘existing 2003), Swades (Gowarikar, 2004) and Chak models and established theories’; this new De!India (Amin, 2007). Lage Raho cinema is challenge to established definition of Munnabhai (2006) – which established Raju Hindi cinema. New Bollywood is Hirani as a major director – ‘joined the ranks ‘aesthetically distinct and innovative’ and of the hallowed sequels that actually improved contemporary Bollywood ‘accentuates the post on a fantastic first part’. millennial era’ . These contemporary films ‘exhibit strong postmodern aesthetic style…it Sriram Raghavan’s Johnny Gaddaar has been used as a means of internally (2007) brought the iconography, narrative and commenting on and critiquing industry in its ideology of noir genre to Bollywood; Vishal cultural form’; the subjects of these films are in Bhardwaj, Anurag Kashyap, Dibakar Banerjee, the unstable environment of neo-liberalism, a Raghavan – ‘stylists with eyes for characters state of crisis, anxiety and unquenched desires; and milieus from the fringe – came into their another term used for these films is ‘neurotic own in the 2000s’ (Ghosh, 2019). realism’ (Wright, 2015; Paunksnis, 2017).

Post 2010 Hindi Cinema Analysis through Cognitive Culturalist 2010 onwards the experimentation with (Schneider, 2009) Approach : Ye Jawani Hai subject and technical aspect of a films Diwani continued : Aligarh (Mehta, 2015) is a film that Cognitive theory says mental representations exists in Indian social milieu and exposes its are structured and processed; narrative cinema ‘hypocrisy and homophobia’. Madras Cafe uses mental processes for events presented in (Sircar, 2013) is a spy thriller with a subtle films; thus, reading a film should use mental political commentary sans melodramatic representations. Film spectatorship is a violence. Newton (Masurkar, 2017) a film about motivated and informed action; the process of the righteous protagonist who is rigid and creating a story out of perceptual cues offered impractical but critiques the political system of by dramaturgy of cinema is a precondition for our country. Raman Raghav 2.0 is a typical narrative understanding. Cognitivists argue Kashyap noir film about a serial killer, Piku w.r.t. films, thinking and feeling are intimately (Sarkar, 2015) a story which traverses a father related ; our emotional response to films daughter relation through mundane every day depends on our understanding of textual and realizes the beauty of unremarkable, information (Bordwell, 1989). Highway (Ali,2014) a self-evolutionary journey through social hypocrisy and Stockholm To understand Hindi films, acquaintance with syndrome, Lootera (Motwane, 2013) -O Henry’s Rasa theory (The theory of Indian Aesthetics) ‘Last Leaf (1907)’ through an Indian socio- is important. The presentation of actors and political lens and a love story in between. audience reaction to a film are understood through rasa essentials. Story, character , Delhi Belly (Deo, 2011): The representative themes of love and grief, intricate ‘adult comedy of errors from Bollywood…the backgrounds, exquisite makeup and the satire is exaggerated on purpose and the film elaborate song and dance sequences all are takes pleasure in treating its characters like related to the rasa theory. Natyashastra objects’. Rockstar (Ali, 2011), Shanghai (Detailed treatise and handbook on dramatic

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art explaining all aspects of classical Sanskrit gratified by film’s stars theatre; written by Bharatmuni between 1st 5.Story stereotypical, fragmentary, episodic and 3rd century BCE) places audience experience while encountering a performance 6.Dialogues rhetorical and sometimes act as art supreme most; the performance of the disruption actors should be able to evoke the navrasas (nine types of sentiments). 7.Hindi cinema invariably contains song and dance sequences S. No Rasa Emotion Conveyed 1 Sringara Love/Romance Main features of Bollywood Cinema post 2 Hasya Laughter 2000 3 Karuna Grief New Bollywood Contemporary 4 Raudra Anger (Hatke) Bollywood 5 Vira Vigour Low budget Big budget 6 Bibhasta Disgust Experimental Amalgamation of 7 Bhayanak Fear filmmaking experimental and 8 Adbhuta Surprise standard Hindi cinema film making The eight rasas and the corresponding Neurotic realism Hindi cinema emotions conveyed melodramatic characteristics and The most commonly used rasas in Hindi postmodern features cinema are shringara and karuna, thus Hindi too films from early times have focused more on Altered distribution Aggressive and big melodrama and romance. ( Schneider, 2009; and exhibition budget marketing Roy, 2017). Transnational Pan Indian as well as audience and urban global diaspora Cognitive models of film reception infused middle class audience with culturalist elements of explanation help audience understand films intricately. The Cognitive Digression from song Song sequences Psychological approach helps in sequences inevitable understanding the ‘emotional strategies of Genre diversity No demarcation of Indian cinema’. Post 2000 Hindi cinema has a genres changed audience, ‘strategic reorientation in production’ and development of a new aesthetic.

More than anything traditional feature film is a genuine emotion machine…the key to understanding emotions those represented in fiction as well as triggered in viewers lies in film’s narration. (Tan qtd.in Schneider, 2009)

Main features of Bollywood cinema (Schneider, 2009)

1.Song and dance sequences are para-diegetic Ye Jawani Hai Deewani (Source: livemint.com) and anti-chronological Ye Jawani Hai Deewani reminds one of 2.Concept of subject non psychological bourgeois romances of Yash Chopra; Naina 3.Song and dance sequences : non clarity in (Padukone) takes audiences through a objective and subjective perspectives much flashback; a powerful tool of Hindi cinema to like Sanskrit dramas break the chronology of time (Hogan, 2008). A memorable trip to Manali with Kabir (Ranbir 4.Hindi cinema has no clear genres, but Kapoor), Aditi (Kalki Koechlin) and Avi audience has a high expectation waiting to be (Aditya Roy Kapoor) is what she reminisces as she receives Aditi’s wedding card.

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The trip is a self-introspective journey for hero (Mishra, 2009; Dwyer,2014) all come Naina; she finds her life mundane, and this together to create the image of Kabir. holiday brings fun, adventure and cheer to her life: a theme which dwells on neoliberal Kabir’s love for his goals, Naina’s belief in a Indian’s consumerist power and likeness for simple life with family, Aditi’s growth, and individuality (Kamble,2015). Kriplani’s (2007) acceptance of life challenges and Avi’s failure analysis about branding in films post 2000 can as a businessman show contrasting images of be observed here as the trip is managed by globalized neo-liberal youth who are accepted ‘Make My Trip’. Ranbir’s character is a Fox TV and identified by the multiplex niche audience travel journalist and while capturing different (Bose, 2014; Dwyer, 2014). The middle of the cities in the film; Fox TV crew can be seen with film explores the romantic relationship him; while Fox TV was also part of marketing between Naina and Kabir and uses elements strategy for the film (Exchange4media, 2013). of melodrama, sentimentality, song and dance sequences, the elaborate wedding ceremonies, Aditi is not afraid of being an average person; intricate costumes, and aesthetically beautiful she fits no threshold of a perfect girl location of Udaipur to evoke feelings of stereotypical image. Avi is a typical aimless Sringara . It is typical characteristics of the youth who enjoys being drunk always and ‘grand syntagm’ that is Hindi cinema (Mishra, Kabir believes in adventure, self-love, and 2002) that are used in the middle to explore goals above relationships, and they all are the sambhoga and ayogya sringara (Sarrazin, happy with who they are. Naina is a dutiful 2008). Bano re bano chali sasuraal is a folk touch daughter, academically good but annoyed to Aditi’s Haldi ceremony (one of pre wedding with the burden of perfection. The film wedding functions) and as certain researchers projects in the beginning about it being about mention a hold of old patriarchy over the neo- upper middle class youth of globalized India, liberal globalized youth (Sharma, 2014); re who are unapologetic about exploring a lot of kabira is a song which dwells on Aditi’s bidaai western ideals like being self-centered, live in (folk song sung at time of girl leaving for relationships and friends above family; it is groom’s house) and at the same time is a cry to about their internal struggles reminiscent of the neo-liberal, post modernist, globalized the genre Yash Chopra created but the aim, youth to come back to the nationalist, Hindu ideals and perspective of protagonists here is and elite world of upper class Hindus created much different from Chopra’s protagonists; in the 1990s decade in Bollywood which here being self-centered, individualist and shows modernity as a facade and at heart consumerist is celebrated (Dwyer, 2010; believes in the dharmic world of Hindutva Wright, 2015). Manali’s snowcapped (Derne, 2000; Malhotra and Alag, 2004). mountains, beautiful natural landscape and its small corners are captured aesthetically. The The conclusion can be understood by what dream song and dance sequence subhanallah Prasad (1998) calls the feudal family romance express Naina’s transformation and her love and the heterosexual couple accepted within for Kabir. Balam Pichkari brings in the folk the world of patriarchy where the man is the element into the world of globalized upholder of modernity and can experiment postmodernist youth; sambhoga sringara is with his lifestyle and life goals while as the expressed through both the private and public women is the bearer of tradition, selfless and love songs like dilliwali girlfriend , batmeez dil ambition-less with no personal goals. The man and kabira (Sarrazin, 2008). retains his flamboyance but within the patriarchal structure and the women never Kabir: the protagonist is a travel photographer challenges and is happy within this world. and earning very well .He is introduced Batmeez dil is the character song for Kabir but through a tattoo on his wrist and a camera in at the same time acts as the nazar milana (erotic his hand: the tattoo says ‘Awara’; this word romance) song for the heterosexual couple. brings in the element of intertextuality and Throughout the middle and end Naina is postmodernist streak as well: Raj Kapoor’s - dressed in intricate Indian attire which makes the tramp and the trickster, the star lineage of her look sensual and attracts Kabir’s attention: Ranbir Kapoor and his flamboyant, playboy angika (costume), natya (Dance) and her image as is projected in media and the abhinaya (acting) are in sync with the sringara elements of the vipralamba induced sentimental rasa she has to evoke (Dwyer, 2010). Kabir’s

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closeup of facial expressions through middle 7. Gopinath, P. (2018). ‘A feeling you cannot and end, when he gazes at Naina in the song resist’: Shah Rukh Khan, affect, and the batmeez dil or when he casually flirts with her re-scripting of male stardom in Hindi or when he is filled with bibhasta rasa (disgust) cinema. Celebrity Studies. 9:3, 307-325. when Naina is with someone else; or Retrieved from: DOI:10.1080/ 19392397. vipralamba (sorrow) evoked expressions when 2017.1411202 he realizes he must choose between his goals 8.Hogan, P. (2008). Understanding Indian and his love can be understood through rasa Movies. University of Texas parameters. 9.Kripalani,C. (2006). Trendsetting and CONCLUSION Product Placement in Bollywood Film: Ye Jawani hai Deewani is contemporary Consumerism through Consumption. Bollywood; it has roots in the domestic drama New Cinemas: Journal of Contemporary genre of 1990s; iconography is much like these Film, 4(3), 197-215. Retrieved from: films; but the narrative begins with the dreams https://www.researchgate.net/publicati and expectations of neo-liberal youth , love for on/233621328_Trendsetting_and_produc consumerism, and the characters are carved t_placement_in_Bollywood_film_Consu with strong individualistic sense; their merism_through_consumption portrayal is sans melodrama and their ideals 10.Kidwai, S. (2016). REPRESENTATION OF are less traditional and more western but as WOMEN IN HINDI CINEMA: A the film reaches its conclusion, this COMPARATIVE STUDY OF postmodernist neoliberal youth finds solace in COMMERCIAL AND PARALLEL the virtuous world of traditional India; the CINEMA, POST 1980s. (Doctoral Thesis, female completely immersed in this traditional Aligarh Muslim University). world but the man a combination of both traditional streak and neoliberal ambitions. 11.Kamble, J. (2015). All work or all play? Consumption, leisure, and ethics under REFERENCES globalization in Zindagi Na Milegi Bordwell, David. (1989). Making Meaning. Dobara. South Asian Popular Harvard University Press. Culture. 13(1), 1-14, Retrieved from: DOI: 10.1080/14746689.2015.1024592 Bose, N. (2014). ‘Bollywood’s fourth Khan’: deconstructing the 12..Kaur & Sharma. (2017). A transition from Male Masculinity to Female Androgyny ‘hatke’ stardom of Vidya Balan in popular in Hindi Cinema. Media Watch. 8(2),287- Hindi cinema. Celebrity Studies. 5:4, 394- 294. retrieved from: https://mediawatch 409, DOI: 10.1080/19392397.2014.917431 journal.in/mwj/may17-12.pdf 3.Dwyer, R. (2014). Picture Abhi Baaki Hai: 13.. Kavi, A. (2000). The Changing Image of Bollywood as a Guide to Modern India. Hero in Hindi Films. Journal of Hachette India. Homosexuality. 39(3), 307-312. Retrieved 4.Dwyer, Rachel.(1998). The Hindi Romantic from: DOI: 10.1300/J082v39n03_15 Cinema. Journal of South Asian 14.. Khan & Taylor. (2018). Gender Policing in Studies.21:1.Retrieved from: Mainstream Hindi Cinema. International http://www.tandfonline.com/loi/csas20 Journal of Communication. Retrieved from: 5.Dwyer, Rachel (2000).The erotics of the wet http://ijoc.org. sari in Hindi films. South Asia: Journal of 15. Mishra, Vijay. (2002). Bollywood Cinema: South Asian Studies, 23:2, 143-160, DOI: Temples of Desire. Routledge. 10.1080/00856400008723418 16.Mishra. Vijay (2009). Spectres of 6..Derne, S and Jadwin, L. (2000). Male Hindi Sentimentality: the Bollywood Film. Filmgoers’ Gaze: An Ethnographic Textual Practice, 23:3, 439-462. Retrieved Interpretation. Contributions to Indian from: Sociology, 34(2), 243-268. Retrieved from: https://uiowa.edu/indiancinema/shri- https://doi.org/10.1177/00699667000340 420 0204

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