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Journal articles on the topic 'Indians movies'
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Si, Aung. "A diachronic investigation of Hindi–English code-switching, using Bollywood film scripts." International Journal of Bilingualism 15, no. 4 (January 7, 2011): 388–407. http://dx.doi.org/10.1177/1367006910379300.
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Code-switching (CS) between an Indian language and (Indian) English is, and has long been, a normal feature of everyday speech in urban Indian society. Although much has been written about the status and role of English, and about the sociological variables associated with English usage in India, there have been, to date, no studies explicitly investigating changes in CS patterns over time. Bollywood movies are a rich source of information on the speech patterns of urban Indians throughout most of India’s post-independence history. CS patterns in Bollywood movies (from the 1980s, 1990s and 2000s) were therefore investigated in this study, by means of lexical transcripts of the dialogues between characters of equivalent age and socioeconomic status. A survey of seven movie dialogues revealed that CS can be accomplished through a range of syntactic and morphological strategies. Quantitative analyses showed a massive increase in the overall use of English over this period, a trend particularly evident among young speakers. Moreover, the complexity of CS increased over the period under consideration, with ‘alternations’ at clause boundaries increasing in frequency at the expense of single-word ‘insertions’.
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Rehman, Sharaf N. "Om Puri: The man who presented the real faces of the subcontinent of India." Asian Cinema 31, no. 2 (October 1, 2020): 269–78. http://dx.doi.org/10.1386/ac_00028_7.
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The Indian film industry continues to turn out between 1600 and 2000 films every year, making it the largest movie-producing country in the world. Yet, it would be a challenge for an average European or American moviegoer to name a film actor from the Indian subcontinent. Naming the films may be easier. For instance, millennials may be able to name Slumdog Millionaire (2008), Generation X crowd may mention Gandhi (1982) and the older audiences may recall The Party (1968) and Ganga Din (1939) as movies about the Indians and India. It was not until the movie Gandhi that Indian actors were allowed to play as Indians. Sam Jaffe and Abner Biberman played as Indians in Ganga Din; Peter Sellers was the Indian actor in The Party, and Shirley MacLaine was the Princess Aouda in Around the World in 80 Days (1956). It is reasonable to assume that many film viewers may be unfamiliar with Om Puri, an actor who played in over 325 films in India, Pakistan, the United Kingdom and the United States, and made films in English, Bengali, Punjabi and Tamil languages. Om Puri passed away in 2017. His name may be unfamiliar, but his face and his work as an actor will remain unforgettable. Between Gandhi (1982) and Viceroy’s House (2017), Puri acted in two dozen films in the United Kingdom, Canada and the United States. This article discusses Puri’s work in popular Hindi cinema, in Indian Parallel Cinema, and European and North American films.
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Michael, Noela, Sreejith Balasubramanian, Ian Michael, and Anestis Fotiadis. "Underlying motivating factors for movie-induced tourism among Emiratis and Indian expatriates in the United Arab Emirates." Tourism and Hospitality Research 20, no. 4 (March 26, 2020): 435–49. http://dx.doi.org/10.1177/1467358420914355.
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This study explores the underlying motivating factors of Emiratis and Indian expatriates to visit destinations featured in movies. The results revealed a five-factor structure for Indians: novelty, fantasy-driven, personal connection, prestige and movie connection, vis-à-vis a three-factor structure for Emiratis: novelty, fantasy-driven and personal connection with the movie location. An analyses of variance analysis (ANOVA) showed significant differences in the individual mean scores of items, with the exception of novelty. Regarding gender, while no significant differences were found between the male and female Indian expatriate populations across all factors and underlying items, differences for some items were observed between male and female Emiratis, with male participants demonstrating higher motivation than female participants. These findings support the notion that the underlying factors influencing movie-induced tourism differ between cultures, while the influence of gender was found to be limited. Overall, the study enhances the understanding of practitioners and policymakers tasked with attracting tourists to movie destinations.
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Gupta, Annie. "THE REPRESENTATION OF GULF BETWEEN DIFFERENT CULTURES AND DESIRES - A CRAZY SPECTACLE, THE HUNDRED-FOOT JOURNEY." International Journal of Advanced Research 10, no. 08 (August 31, 2022): 383–92. http://dx.doi.org/10.21474/ijar01/15190.
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Globalization has made understanding of cultural diversity more important. However, one challenge caused by cultural diversity is the existence of cultural stereotypes since stereotyping can lead to prejudice and discrimination. Literary works and movies sometimes depict the stereotypes of certain race and ethnicity. Authors and directors embed similar negative features to them hence it becomes a justification that those races and ethnicities truly have such negative features. India being one of the most curious literary sites to the comparatists, due to its linguistic polyphony and cultural syncretism, it is like a dream of the West. Europeans often represent the Orient (Asian people) by negative features in their works. The aim of this paper is to examine the stereotypical portrayals of the Indians and the French in Lasse Hallströms The Hundred-Foot Journey (2014) movie, based on an eponymous novel by Morais (2010), by using Saids Orientalism and Bals focalization theories. The researcher used qualitative-descriptive method in reference to Mikos (2014) movies analysis method. The finding reveals the director presents Indian and French in a contrast way in which one is regarded as inferior and the other as superior. Furthermore, it is also found that the relation between them is similar to the relations between the Orient and the Occident, which are argued by Said (1978) as a kind of relationship which distinguishes self and other, that is filled with power and domination. Moreover, all the stereotypical images are represented through French characters (character-bound focalization or internal focalization) which put Indian society as object of focalization argued by Bal (2014).
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Nagar, Komal. "Consumer Response to Brand Placement in Movies: Investigating the Brand-Event Fit." Vikalpa: The Journal for Decision Makers 41, no. 2 (May 24, 2016): 149–67. http://dx.doi.org/10.1177/0256090916642678.
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Executive Summary Movies offer the perfect media site for placement of brands as part of the emerging marketing strategy. Although attempts to analyse brand placements have been made in the past, the same needs more attention in the Indian context. Given the exposure of Indian audiences to both national and international entertainment industry, it is only reasonable to expect the entertainment event context to have an impact on consumers’ evaluation of the brands placed in each context. The present research attempts to extend the applicability of the idea of fit, which was till now largely confined to sponsorship and subjects it to the exploration of finding a fit between brands and specific events, in particular, movies. Because the link between country of origin of the entertainment event (national/international) and brand, placement is a relevant area of speculation, the present research aims to study this relationship within the national/international context. Results of an experimental study among 120 respondents are as follows: Brands placed in a national event will create more positive brand evaluations in terms of positive attitude towards the placed brand and intention to purchase than brands that are placed in an international event. When the presence of a brand is consistent with the context in which it is placed, it would evoke more positive attitudes and behaviour than an incongruent placement. Evaluation of results further reveals that although a brand that fits well with the context in which it is placed generates a positive evaluation of the placed brand, the condition of a brand-event misfit in a Hollywood context will create more negative evaluations among the Indian audiences than if such a disconnect appeared in a Hindi film. In other words, a brand may have more to lose in case of a misfit with the international entertainment event than with a national entertainment event. Based on the findings of the present study, it is suggested that multinational brands must look at the Indian movies as a suitable medium for reaching out to the prospective buyers as Indians have become consumers of global brands and thus pose to be a huge market for global brands.
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Carpenter, Kristen A., Sonia K. Katyal, and Angela R. Riley. "Clarifying Cultural Property." International Journal of Cultural Property 17, no. 3 (August 2010): 581–98. http://dx.doi.org/10.1017/s0940739110000317.
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Author Stephenie Meyer forever altered the cultural existence of Quileute Indians when she wrote them into her Twilight novels. Now a veritable global phenomenon complete with books, movies, and affiliated merchandise, the Twilight series depicts young, male members of the tribe as vampire-fighting werewolves who ferociously defend a peace and territorial treaty made with local bloodsuckers. In reality, the Quileute Tribe consists of approximately 700 Indians, many of whom live on a remote reservation in the pacific Northwest, a tiny parcel of the once vast Quileute territory. Since Twilight's unprecedented international success, the Quileute have been overwhelmed with fans and entrepreneurs, all grasping, quite literally in some cases, for their own piece of the Quileute.
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Lutz, Hartmut. "“Indians” and native Americans in the movies: A history of stereotypes, distortions, and displacements." Visual Anthropology 3, no. 1 (January 1990): 31–48. http://dx.doi.org/10.1080/08949468.1990.9966521.
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Toka, Karolina. "Progression or Stagnancy? Portraying Native Americans in Michael Apted’s Thunderheart (1992)." Ad Americam 22 (March 28, 2021): 87–100. http://dx.doi.org/10.12797/adamericam.22.2021.22.06.
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Progression or Stagnancy? Portraying Native Americans in Michael Apted’s Thunderheart (1992)
As argued by Wilcomb Washburn, no other ethnic group has been misrepresented in media and popular culture to such extent as the Native Americans (2010). Movies that shaped their image did so by crystallizing stereotypes and misconceptions, through which indigenous peoples have been perceived until the present day. Thomas Edison’s vignettes, early westerns, as well as subsequent motion pictures of the 1960s and 1970s strengthened the stereotypes of the vanishing Indians, bloodthirsty savages, and their noble alter ego. The 1990s brought about a revival of the western in its new, revisionist form, mainly due to the achievements of the American Indian Movement. This paper argues that the movie Thunderheart (1992) by Michael Apted — albeit belonging to that ostensibly revolutionary current — continues to reproduce various well established stereotypes in the portrayal of the Native Americans . It examines significantachievements of this partly liberal motion picture, as well as its failures and faults. Thisarticle argues that Thunderheart departs from traditional, dualistic portrayals of Native Americans as bloodthirsty and noble savages and manages to present a revisionist version of historical events; at the same time, it fails to omit numerous Hollywood clichés, such as stereotypical representation of native spirituality, formation of an “Indian identity”, and “othering” of the Native Americans, which contributes to their further alienation and cultural appropriation. This paper provides an insightful analysis of the movie, drawing on scholarship in the field of cultural and indigenous studies in order to lay bare the ambivalence towards indigenous people in the United States, that is reflected in the movie industry. Moreover, it indicates towards the commodification of native culture, as well as the perception of Native Americans as primitive and inferior, allowing to classify Thunderheartas an unfortunate product of colonialism.
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Saxena, Rochak, and Mukshita Dhrangadharia. "Hindi Cinema and Society: A study on the perception of Indian youth." Journal of Communication and Management 2, no. 01 (March 18, 2023): 67–71. http://dx.doi.org/10.58966/jcm20232111.
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For Indians, Cinema has remained integral since its inception in society. Films have evolved from black- and-white to color; from several reels to a single showreel; from no animations to varied forms and techniques; and from single-screen theatres to multiplexes/multiple screens too. The researchers have chosen the social drama genre from the spectrum of diverse genres to study. The researchers are curious to know the perception of youth towards the mentioned genre, especially those who belong to the age group of 18 to 23 years. This research aims to study whether or not movies belonging to the social drama genre make the desired impact on society against social evils. With the ever-increasing number of social issues in the country, even during the present pandemic situation, this study holds significance in trying to know if one of the empowering tools of the Indian society for generating awareness is empowering or forbidding. The present study is conducted by keeping “Bollywood” (Hindi cinema) in the nucleus because of the researchers’ zealous fondness towards Hindi movies. Because of the unprecedented times of the Covid-19 pandemic, the data for the research have been collected using Google forms and combined with the data of 200 respondents, majorly from, but not limited to, the Western part of India. The study findings interestingly unveil that the majority of the youth believe the social issues are majorly seen in the middle economic class of Indian society. The majority also does not agree or is neutral with the statement that the social drama Hindi films could bring the desired change in society.
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Salwathura, A. N. "EVOLUTIONARY DEVELOPMENT OF 'HINGLISH' LANGUAGE WITHIN THE INDIAN SUB-CONTINENT." International Journal of Research -GRANTHAALAYAH 8, no. 11 (November 24, 2020): 41–48. http://dx.doi.org/10.29121/granthaalayah.v8.i11.2020.2278.
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Hindi is the official language of India which is spoken by around 350 million of people in India. Hindi and English have an incestuous relationship ever since India became colonized. Since then, Hindi began to mix with English and became famous as ‘Hinglish’ in Indian society. ‘British-Raj’ is considered as the first Hinglish word which was used in the colonial period and now Hinglish has become a common phenomenon practice in India in day-to-day life. Due to the popularity of Hindi movies and television, Hinglish has been spread beyond the metropolitan areas in India. Therefore, it is expected to examine the impact of using Hinglish by Hindi speaking people in India on the existence of standard Hindi language. The language spoken in North India and the language used in media were utilized as primary resource. Books, magazines, journal articles related to Hindi language were used as secondary resources. This paper highlights that Hinglish has been acquired a big demand in Indian society and now it is hard to eliminate this trend which has largely affected the day-to-day communication of Indians. This paper emphasizes that the extensive use of Hinglish by the Hindi speaking people in India has become a huge challenge for the existence and the values of standard the Hindi language.
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Pandit, Dr Kamble Sanjay. "Chetan Bhagat's One Indian Girl: A Depiction Of Careerist Woman." Journal of Language and Linguistics in Society, no. 12 (November 19, 2021): 12–16. http://dx.doi.org/10.55529/jlls.12.12.16.
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Chetan Bhagat a very popular name among the modern age and new generation because of different style and subjects. Being well qualified man from IIT and IIM he could get the best job in corporate sector specially known as IT industry. In spite of his good educational background he chooses creative writing as his career and passion. He gave new dimension to Indian Writing in English because of his innovative themes and subjects handled in his creative fiction. His fictions have been transformed into movies. He explores cross cultural issues of marriage and career. He earned name and fame in very short period of time and that is the secret of his writing. He discusses the crucial issues of the present world. Almost all his novels are based on IT sector and that are labeled as Campus novels. LPG has brought many changes in the life of thousands of Indian. Chetan Bhagat is and intellectual magician of creative writing. Who has given new dimension to Indian Writing in English? He one of the popular and new generation fiction writers of IT sector. He is known for his different style, themes and ideas. But he is famous for career and feminism. When the world was in modern age, India was in medieval. For Indians modernism mean to adopt new way of life and that is fashion. He is well qualified man from IT sector but he chooses to be creative writer. The present paper is an honest attempt to bring into notice of researcher and readers that Chetan Bhagat's One Indian Girl is skillful depiction of Careerist woman of present age.
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Josiam, Bharath M., Daniel L. Spears, Sanjukta Pookulangara, Kirti Dutta, Tammy R. Kinley, and Jennifer L. Duncan. "Using structural equation modeling to understand the impact of Bollywood movies on destination image, tourist activity, and purchasing behavior of Indians." Journal of Vacation Marketing 21, no. 3 (March 2, 2015): 251–61. http://dx.doi.org/10.1177/1356766715573650.
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Gupta, Samrat, Saurabh Kumar, and Pradeep Kumar. "EVALUATING THE PREDICTIVE POWER OF AN ENSEMBLE MODEL FOR ECONOMIC SUCCESS OF INDIAN MOVIES." Journal of Prediction Markets 10, no. 1 (September 20, 2016): 30–52. http://dx.doi.org/10.5750/jpm.v10i1.1182.
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The Indian motion picture industry has experienced phenomenal growth during the last few decades and plays an important role in emerging economy of India. This paper integrates three analytical models in order to address the intriguing problem of revenue prediction of movies in Indian film industry. The paper attempts to investigate the determinants leading to the success of indigenous movies in Indian context. Ensemble model has been constructed by integrating the three analytical models (Neural Network, Classification and Regression Tree and Robust Regression) using linear optimization approach. Further, a four-way comparative analysis of these three models along with Ensemble model has been carried out. The predictive power of the models has been evaluated using four performance metrics namely root mean squared error (RMSE), mean absolute error (MAE), mean absolute percentage error (MAPE) and large prediction error (LPE). Analyzing novel and original data of 120 Indian movies released during the period August’06-October’15, this paper inspects the nitty-gritties of Indian film industry and seeks to explain the nuances. The study revealed that factors like hype generated on web by a movie, screens on which the movie is released, rating garnered by movie and its genre are the most influential variables in deciding the box-office performance of a movie. Further we observed, that the neural network model closely competes with ensemble model in terms of predictive accuracy. The ensemble model considerably reduces the predictive errors and yields better results on two of the performance metrics.
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Das, Bitasta, and Jaime López-Díez. "India and Spain, two cinematic strangers ten years after Zindagi Na Milegi Dobara." Miguel Hernández Communication Journal 13 (July 28, 2022): 429–49. http://dx.doi.org/10.21134/mhjournal.v13i.1471.
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The aim of this research is to study the relationships between Indian and Spanish film industries. The study focuses on films with the presence of Indian culture in Spanish movies, Spanish culture in Indian movies, the impact of a significant movie in these relationships, Zindagi Na Milegi Dobara, and the success of Indian movies in the Spanish screens. The methodology has been the review of literature on Indian and Spanish films, as well as an analysis of the data offered by the Spanish Institute of Cinematography and Audiovisual Arts. The results show that despite the institutional efforts in both countries, the links remain anecdotical. The relevance of this study is that it shows the contradiction of Indian film industry being one of the biggest in the world, while being mostly unknown, and unexhibited, in Spain.
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Sannapu, Suresh, Akshat Singh Parihar, Gaurav Kandwal, and Karan Kakkar. "Importance of Web Based Tools for Promotion of Movies." International Journal of Online Marketing 4, no. 2 (April 2014): 62–73. http://dx.doi.org/10.4018/ijom.2014040105.
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This paper gives a description of the empirical study investigating the impact of promotions using Web based tools by Indian Movie production houses. Evolution of movie promotion starting with use of traditional methods for the first movie to the near dependence on social media to promote the latest movies produced in India has been chronologically presented. Critical role of web based tools and their synchronization with other media tools in contemporary movie promotion has also been elaborated. As Indian film industry is witnessing impeccable advancements in areas like technology and marketing digitalization, this research shows the use of online tools for attracting consumers. The key research objective is to find out the ability of the production houses to attain maximum customer attraction through various online tools like Facebook, Twitter, Blogs and YouTube. Data has been collected both from primary and secondary sources. Regression analysis has been used to depict the relationship between likes, comments and shares with the number of campaigns. Given the huge contribution of movies to Indian economy, ever increasing competition in this industry and increasing popularity of Web based tools; this study aims to benefit multiple stakeholders including movie producers, individual investors and all other entities related to movie making business such as music companies, distributors, exhibitors and single screen owners.
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Ahmad, Afaq. "VERSATILITY THY NAME IS AAMIR KHAN: THEMATIC STUDY OF THREE SELECTED FILMS." International Journal of Research -GRANTHAALAYAH 7, no. 4 (April 30, 2019): 213–24. http://dx.doi.org/10.29121/granthaalayah.v7.i4.2019.893.
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Hindi cinema has acquired a universal identity in Indian society as it is one of the most popular forms of entertainment, education and information in India. As purveyor of entertainment, Bollywood has provided a platform to many actors to flourish their talents as an actor. As far as Aamir Khan is concerned, acting is the life, blood, and soul of Aamir Khan. The way he portrays various characters in his movies, make him a perfect actor of versatile genre. Less studies have been conducted on Aamir Khan and his movies, and on the versatile portrayal of Aamir Khan contained in his movies. The purpose of this paper is to understand the versatile characteristics played by Aamir Khan in his movies. The present paper makes an attempt to critically analyse the three movies of different genres of Aamir Khan. These movies were purposively selected as Lagaan – a patriotic, productional and nostalgic movie, Rang De Basanti – a revolutionary, nationalistic and rebellious movie, and Taare Zameen Par – an inspirational, experimental and directorial movie, on account of their distinguishing stories. As the selected films etched a niche in the hearts and minds of cinemagoers and movie viewers due to their innovative stories and splendid cinematography, the thematic analysis was undertaken. It has been found from the study that message-oriented aspects depicted in these movies. Further, the informative, inspirational, patriotic, reformative, and revolutionary characteristics predominantly glimpsed in his movies. The versatile characteristics of Aamir Khan was also meticulously scrutinized. It has been found after having a critical analysis that Aamir Khan has versatile characteristics as depicted in these three selected movies under study.
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Anderson, Mark C. "White Zombie as Captivity Narrative and the Death of Certainty." International Visual Culture Review 2 (April 12, 2020): 19–25. http://dx.doi.org/10.37467/gka-visualrev.v2.2191.
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Horror films such as White Zombie (1932) reveal viewers to themselves by narrating in the currency of audience anxiety. Such movies evoke fright because they recapitulate fear and trauma that audiences have already internalized or continue to experience, even if they are not aware of it. White Zombie’s particular tack conjures up an updated captivity narrative wherein a virginal white damsel is abducted by a savage Other.
The shell of the captivity story, of course, is as old as America. In its earliest incarnation it featured American Indians in the role as savage Other, fiendishly imagined as having been desperate to get their clutches on white females and all that hey symbolized. In this way, it generated much of the emotional heat stoking Manifest Destiny, that is, American imperial conquest both of the continent and then, later, as in the case of Haiti, of the Caribbean Basin.
White Zombie must of course be understood in the context of the American invasion and occupation of Haiti (1915-1934). As it revisits the terrain inhabited by the American black Other, it also speaks to the history of American slavery. The Other here is African-American, not surprisingly given the date and nature of American society of the day, typically imagined in wildly pejorative fashion in early American arts and culture.
This essay explores White Zombie as a modified captivity narrative, pace Last of the Mohicans through John Ford’s The Searchers (1956), the Rambo trilogy (1982, 1985, 1988), the Taken trilogy (2008, 1012, 2014), even Mario and Luigi’s efforts to rescue Princess Peach from Bowser.
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Feng, Da-Hsuan. "The Quantum Indians." Asia Pacific Physics Newsletter 03, no. 02 (August 2014): 40. http://dx.doi.org/10.1142/s2251158x14000319.
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In the beginning of the 21st century, India unveiled a movie entitled "Three Idiots". The theme of the movie is to depict the challenges that young Indian people are facing while pursuing advanced engineering education. By watching this movie, one can be impressed by the rise of India's science and technology.
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Chavadi, Chandan A., Sindhu R. Menon, and Monika Sirothiya. "Modelling the Effects of Brand Placements in Movies: An Investigative Study of Event Type and Placement Type." Vision: The Journal of Business Perspective 23, no. 1 (March 2019): 31–43. http://dx.doi.org/10.1177/0972262918821227.
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Movies are getting extremely costly and product placement has become inevitable to accommodate brands to support their budgets. Moreover, brands are demanding return on investment for their placements. This article makes an attempt to evaluate the outcome of brand placements in movies. As Indian audiences are exposed to both Hollywood and Bollywood movies, product placement is rapidly turning into a colossal path for brands to achieve their objectives by placing the brand in a subtle or blatant way. It is reasonable to count on that consumer contrast of brands will genuinely get influenced based on the type of the entertainment event (Bollywood vs. Hollywood) and type of the product placement (subtle vs. blatant). A structural equation model was developed to assess the effect of entertainment event and placement type (PT) on brand attitude (AB) and consequently on purchase intentions (PIs). The study also explores the possibility of mediation and conducted multi-group analysis on event type and PT using AMOS and SPSS. The findings help us to comprehend the event type (Hollywood movie vs. Bollywood movie) and the PT (subtle vs. blatant) that has the most significant impact on AB and subsequently on PI.
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Zafar, Samana, and Khanday Pervaiz Ahmad. "Past and Present: Surveying Medieval India Amidst the Present Perceptions of the Past in Popular Medium." History and Sociology of South Asia 14, no. 1-2 (January 2020): 39–56. http://dx.doi.org/10.1177/22308075211059904.
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In today’s Indian cinema, there is a deluge of films based on historical background. One of the central themes of many of these movies is the description and the representation of the ‘other’. Padmavat is the quintessential example and sums up all the ideas served in movies of this genre which were released before and after it. Padmini, Ratan Sen, Alauddin Khalji as depicted in the movie are the tropes through which the idea about a particular period of Indian history is creatively visualised and presented. It also forms the perception of the past at the popular level and helps in the development of common consciousness and majoritarian common sense. In the light of this kind of cinema, this article tries to survey medieval India based on the reading of the historical sources to understand the nature of various kinds of binary and otherness through the multifarious representations of the other.
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Athique, Adrian. "WATCHING INDIAN MOVIES IN AUSTRALIA." South Asian Popular Culture 3, no. 2 (October 2005): 117–33. http://dx.doi.org/10.1080/14746680500234546.
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Paul, Chiranjib, and P. K. Das. "A Machine Learning-Driven Movie Performance Prediction System to Improve Decision-Making Capability of Movie Investors." Journal of Management and Humanity Research 08 (2022): 57–75. http://dx.doi.org/10.22457/jmhr.v08a062254.
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Moviegoers refer to online audience movie ratings before deciding to watch a movie. They are more inclined to watch a movie with a high average rating. We develop a system to predict average audience movie ratings based on the lead cast and crew at an early stage of movie production. After valuing multiple scenarios, investors can use our study to select the lead cast and crew objectively. Judicious selection of the key cast and crew is extremely important as investors commit to large sums of money as professional fees while signing contracts with them. Our study uses a relatively large sample of 1687 Indian movies spread across 10+ languages released in India between 2010 and 2019 to identify the important predictors influencing average audience movie rating. Identification of important predictors improves the explainability of the prediction model, which increases the investors’ trust in the predicted values. The best model, random forest, reduces the baseline prediction error of the average rating by 10.21%.
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Bhaumik, Mahuya. "Changing Role of Indian Woman: A Glimpse into Two Bollywood Movies English – Vinglish and Queen." CLEaR 3, no. 1 (March 1, 2016): 52–60. http://dx.doi.org/10.1515/clear-2016-0006.
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Abstract 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.
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Tsyrkun, Nina A. "POSTCOLONIAL INDIAN MOVIE COMICS: SUPERHEROES." Articult, no. 1 (March 31, 2023): 59–67. http://dx.doi.org/10.28995/2227-6165-2023-1-59-67.
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The author considers evolvement of Indian postcolonial movie comics, which pantheon today includes a great and multifarious number of characters. The author dwells on two key specimen (Mister India, 1987, dir. Shekhar Kapur and Krrish, 2006, dir. Rakesh Roshan), analyzing genesis of the new screen personages and the role of the films in question in formation of national identity in India which acquired its independence. The author accentuates, that alongside with usage of well-known American patterns the given films, which were mainly generated on the mythological heritage, have undergone renaissance in accordance with urgent political situation and societal demand. This transition marked a significant shift from domineering image of Mother India, oriented on non-resistance to evil according to Gandhian principles, towards an active masculine Mister India’s one.
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Kidiyoor, Gururaj H., and Prashant V. Yatgiri. "Kannada movie industry in India: strategies for survival." Emerald Emerging Markets Case Studies 7, no. 3 (July 28, 2017): 1–27. http://dx.doi.org/10.1108/eemcs-12-2016-0226.
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Subject area Strategy. Study level/applicability This case can be used on a strategic management course in the second year of an MBA programme, any special elective course on the media and entertainment industry and in executive education programmes to demonstrate the application of strategic management concepts and frameworks. Case overview The Indian film industry was the largest in the world and the seventh largest in terms of revenue. Significant number of movies were made in languages such as Bengali, Marathi, Telugu, Tamil, Malayalam and Kannada, with Hindi commanding the highest number. The film industry in Karnataka made movies in the Kannada language. The industry was plagued by a host of issues with the industry contributing just 2 per cent of the revenues and box office success rate at just around 25 per cent. The state government had set up Karnataka Chalanachitra Academy with the objective of promotion and development of the movie industry in Karnataka. The Chairman of the academy, Shailesh Singh, was extremely concerned about the poor success rate of Kannada movies and was contemplating various options of reviving the ailing Kannada movie industry. Expected learning outcomes The expected learning outcomes are as follows: application of strategic management frameworks in the context of the movie industry; analysis of industry issues from the long-term and short-term perspectives; study of different entities in the movie industry and the roles they play and their interdependence; applying learning to suggest survival strategies in an extremely competitive market; and insights into the role of government in the media/entertainment industry. Supplementary materials Teaching Notes are available for educators only. Please contact your library to gain login details or email support@emeraldinsight.com to request teaching notes. Subject code CSS 11: Strategy.
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Ibbi, Andrew Ali. "Hollywood, The American Image And The Global Film Industry." CINEJ Cinema Journal 3, no. 1 (April 8, 2014): 93–106. http://dx.doi.org/10.5195/cinej.2013.81.
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The emergence of indigenous film industries across the world has been seen by many as a threat to the influence of Hollywood on the movie scene. This paper tries to look at the ideological influence of Hollywood on movies the world over. the paper considered the Chinese, Indian and Nigerian film industries. the three industries were chosen because of their influence on their continents and some parts of the world. The Theory of cultural Imperialism is chosen as the supporting theory for the paper.
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S. VASANTHI, S. VASANTHI. "Covert Advertising in Indian Movies : a Theoretical Review." Indian Journal of Applied Research 3, no. 11 (October 1, 2011): 284–85. http://dx.doi.org/10.15373/2249555x/nov2013/93.
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CHATTERJEE, SOUMIK. "The Cinema of India." Dev Sanskriti Interdisciplinary International Journal 7 (January 31, 2016): 38–49. http://dx.doi.org/10.36018/dsiij.v7i0.74.
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With what outlook should one construct, analyze or dissect film theory? Should one view cinema as a medium of mass communication? Propaganda? Entertainment? Art? Or should cinema be considered a concoction of them all? In trying to formulate a film theory, dealing with all these elementary characteristics of cinema poses a serious problem. Gaston Roberge notes that – A theory of movies would tell us what a movie is, what it is made for, how it is created in images and sounds, and for whom it is made1. The questions respectively deal with the content of a movie, the validity of the content in terms of the prevailing socio-political circumstances, the form of the movie and the target audience of the movie. Now, obviously, it is required for Indian cinema to be able to provide at least a level of generalization in answering the aforementioned questions to be considered to have a theory of its own. The purpose of this article would be to investigate whether or not such a generalization (subsequently, a film theory) is possible for Indian cinema, and then to delve further to find out how much of that theory is rooted in our original outlook toward audio-visual art. Now obviously the span of one article does not allow analysis of every type of cinema produced in as cinema-crazy a country as ours, where almost every state has its own regional cinema, independent cinema, art-house cinema and recently, underground cinema. For the purpose of the present article, therefore, we would restrict ourselves to the popular Indian cinema, namely Bollywood productions that some critics coin as commercial or entertainment cinema
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Friesen, Dwight H. "How Karunamayudu (1978) Became an Evangelistic Tool: Implications for Understanding Evangelicals and Media." Exchange 41, no. 2 (2012): 120–43. http://dx.doi.org/10.1163/157254312x638319.
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Abstract It has not been uncommon in the history of Jesus in film for commercial movies of Jesus’ life to be conscripted for Christian evangelism around the world. Cecil B. DeMille’s The King of Kings (1927), John Krish and Peter Sykes’ Jesus (1979), better known today as The Jesus Film, and Mel Gibson’s The Passion of the Christ (2004) are but three notable examples. Each of those movies, however, was first produced in America for American audiences. In the case of Karunamayudu (1978), a Telugu commercial movie of Jesus’ life, the target audience was South Indian viewers raised on a steady diet of mythological and social films and immersed in a pluralistic religious environment unlike any Western society at the time. In this essay I explain how and why this film, with its unique production history, was co-opted by evangelicals for Christian witness in India.
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Narain, Atticus. "Indian Movies, Narratives of Dissent and Objectification." Journal of Creative Communications 2, no. 1-2 (August 2007): 57–77. http://dx.doi.org/10.1177/097325860700200204.
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Sharma, Bimala. "Men from the Lenses of Deepa Mehta in Fire and Water." Journal of Balkumari College 9, no. 1 (July 14, 2020): 13–19. http://dx.doi.org/10.3126/jbkc.v9i1.30062.
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Movie in this era has become one of the dominant modes of disseminating perceptions. Women and their issues are vital themes of women centric movies. Stereotypically, these movies display women and their position in patriarchal society. Displaying women and their issues in women centric movies is rationally expected but how men are displayed in such movies has not been given much consideration. Customarily men in such movies are presented negative which have negative impact on their audiences too. This article sets its attention on how men are seen from the lenses of women and shown in women-oriented movies. Deepa Mehta is selected to analyze how she has seen men through her lenses and represented them in Fire and Water. Qualitative research methodology is adopted where Deepa Mehta's Fire (1996) and Water (2005) are the primary data and other resources based on it are secondary. Fire is the story of two lesbian women and Water is about widowhood. Characters like Ashok, Jatin, Mundu, in Fire and Seth, Sadananda and Narayan in Water are studied and found that they are presented as the agents of the patriarchal society. Men are exhibited with all the set masculine traits as strong, brave, bold, intelligent, assertive, aggressive, savior, ruler, educated, handsome, smart, dynamic, powerful who can construct the society as they want. Sexually obsessed men in the movies represent the existing Indian patriarchal society. Abusing woman verbally, physically, mentally and sexually is considered as men's privilege. This justifies that Mehta is unable to deconstruct the notion of masculinity as presented by men directors. She also falls in the trap prescribed by patriarchy and for this she has to present men with all positive and masculine traits and women with negative feminine traits. This kind of representation of men has a large impact on the mass because of unintentional imitation.
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Jose, Lydia G. "Regional Indian Movies in Rs.100 Crore Club." International Journal of Semiotics and Visual Rhetoric 6, no. 1 (March 17, 2023): 1–14. http://dx.doi.org/10.4018/ijsvr.319724.
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The movie industry in India has a distinctive effect on their audience, which is rather unique when compared to the various influencing kinds of messages that are portrayed through different forms of media. Perceptual immediacy is often viewed in the audiences while they watch a movie or even when a spark is formed in their psyche just by the visuals that they see on a movie poster. And so, while creating a movie or even constructing a movie poster, the ability to make it relevant to the viewers is carefully considered by the creators of this medium. This paper aims to study whether Malayalam movie posters visually construct meaning and whether they can influence the financial success of a film. The sample for this research was three Malayalam movie posters: Pulimurugan, Kayamkulam Kochunni, and Lucifer. The methodological approach for this study was conducted by using Kress and van Leeuwen's visual social semiotic method.
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J. Alex, Gigy, and Babitha Justin. "Slamming the Door: Reinventing Kitchen Narratives in Contemporary Indian Movies." Southeast Asian Review of English 59, no. 2 (January 2, 2023): 7–19. http://dx.doi.org/10.22452/sare.vol59no2.3.
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Abstract In the last ten years, Indian cinema has envisaged culinary spaces as patriarchal structures embedded with the hegemonic practices of the family. Subsequently, Indian cinematic spaces have wielded the kitchens of the Indian subcontinent to interrogate the issues related to gender, identity, culture, and the nation through its visual spaces. The culinary is politicized; the domestic space that has depicted hegemonic masculinity and intersectionality for centuries has been analyzed, exposed, and reimagined in movies like Stanley Ka Dabba (Hindi, 2011), The Lunchbox (Hindi, 2013), Kaaka Muttai (Tamil, 2014), Aamis (Assamese, 2019), and The Great Indian Kitchen (Malayalam, 2021). These movies constantly interrogate and challenge the gender roles and performances prevalent in Indian kitchens. The act of cooking, an agent of a woman's creative expression, has long been understood as an act where food preparations become rituals and performances, and kitchen spaces become a prison house for women. These movies question the power relations which overlay the culinary preparation and consumption in kitchen spaces and thereby mimic the manifestation of gender politics and power play. With the increasing patrilocal families, especially in India, cooking is no more an art or a technique but a bonded labour. This paper investigates the practical ways in which the movies lay bare the issues related to the manifestation of gender identity and the representation of the hegemonic other by reimagining, reinventing and redefining culinary spaces.
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Singhal, Surabhi, Amit Singhal, P. C. Tulsian, and Neelam Mittal. "INNOVATIVE TEACHING METHODS FOR BLENDED LEARNING UNDER NEW EDUCATION POLICY, 2020: A FUTURE PERSPECTIVE." Administrative Development 'A Journal of HIPA, Shimla' 8, SI-1 (October 6, 2021): 37–57. http://dx.doi.org/10.53338/adhipa2021.v08.si01.03.
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India’s New Education Policy, 2020 aims to revamp our education system completely. One of the key features of this policy is increased use of technology and teaching through on-line resources along with traditional face-to-face mode. This type of blended learning calls for innovation in the teaching and learning process. One of the innovative teaching methods is through the use of movies in the classroom. This article presents an innovative way of teaching Management Courses through the use of a movie. The exercise used for this purpose aims to teach the Expectancy Theory of Motivation through short movie clips, discussion prompts, group discussion and a comparison debrief. The exercise has been found useful in increasing the students’ engagement level in class along with a better understanding of the underlying concepts in the theory. It is recommended that such innovative methods which use technology and on-line resources should be incorporated into the teaching and learning process for achieving the objectives laid out in the New Education Policy, 2020.
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Marwaha, Priyanka. "The Portrayal of Gender Inequality in Selected Female Oriented Bollywood Movies." SMART MOVES JOURNAL IJELLH 8, no. 5 (May 28, 2020): 23. http://dx.doi.org/10.24113/ijellh.v8i5.10578.
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Men have been considered superior in most cultures since they have been the ones who bring home the bacon, whereas women have always been considered a subject to her father, husband or son, thus inferior. Cinema is not just a modern-day art; rather it is a modern-day mind; while watching a film, we are constantly watching ourselves. In the form of a mirror, Cinema has sharply reflected the Indian psyche and the changing roles of women from time to time. This paper deals with gender inequality and its influence on the patriarchal Indian society with a focus on some female-oriented Bollywood movies. It also tries to highlight how, even though the Indian Constitution emphasises gender equality, Indian Cinema has failed to provide decision making roles to women in Bollywood movies.
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Jena, Prajesh. "Reflection of Indian Culture in Shashi Deshpande’s A Matter of Time." SMART MOVES JOURNAL IJELLH 9, no. 5 (May 27, 2021): 112–22. http://dx.doi.org/10.24113/ijellh.v9i5.11048.
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Shashi Deshpande is a well-known name in the field of Indian literature and is a contemporary writer from Karnataka. She portrays in her novel "A Matter of Time" the truth of Indian society in Indian families. The importance of culture for Indian women is also discussed. Her novels are distinguished for their genuine depictions of the Indians and their history. She used Indian names and the role of Indian Middle Class Women in her novel A Matter of Time through the character Sumi. She talks about Indian Women, Indian Culture, Indian Religion, Indian Family, Religions and Beliefs, Family Traditions, and Emotions, among other topics. A Matter of Time is a multi-generational novel that moves around the plight and predicament of Indian women whose lives are deeply rooted in Indian beliefs, superstitions, conventions and traditions.
Women have been living and breathing silently for thousands of years under the umbrella of patriarchy and with their "gazing." With the foundation of patriarchy, the disparity between man and woman, in its unwritten form, has developed through language, customs, rituals, myths and practises. Myths, rituals, and customs contribute to the evolution and establishment of human society. They are naturally developed, but are indeed societal buildings and help in developing patriarchal ideologies. They are believed to be natural. They are, therefore, essential to women's subjugation in our society.
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Kim, Sooim, and Hyejin Chung. "Reading American Historical Context with <Lincoln>: Focused on an Online Case Study." Korean Society for Teaching English Literature 26, no. 2 (August 30, 2022): 149–75. http://dx.doi.org/10.19068/jtel.2022.26.2.06.
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According as a university education has responded to the changing times, movies have been good teaching materials. In this educational environment, this study tries to explore the case study to use Lincoln (2013) directed by Steven Spielberg as a means of drawing learners’ attention to historical backdrops. Learners that have difficulty in grasping historical contexts can find out the point of contact with major historical issues from the Civil War to the early 19th century such as Indian Removal Act, New York City Draft Riots and Jim Crow Law etc. In the process of understanding various historical events based on the movie, the learners may bring out various questions and discuss them. It means that learners can enhance their critical thinking and extend the comprehensive faculty to human being and the world.
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Tarique, Muhammad, and Lubna Shaheen. "Indian atrocities in Bollywood: A Critical appraisal of Conflict and Peace Journalism." Journal of Peace, Development & Communication V05, no. 04 (December 31, 2021): 127–40. http://dx.doi.org/10.36968/jpdc-v05-i04-09.
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Bollywood is the ever-growing Indian cinema industry that has converted into one of the major film productions in the world. Multifaceted topics make it popular among the Pakistani diaspora living all over the world. Kashmir is a chronic Indo Pak conflict that is subject to many Bollywood movies. These movies are far from ground truths as the United Nations and human rights organizations are providing an opposite picture, and accusing India of unremitting human rights violations in Indian occupied Kashmir. The cinematic stereotypical dualistic presentation creates distance and haters between both countries and causes perturbance among Muslim diaspora around the world. This research is based on the movies where such a binary has been depicted by selecting the two most popular movies on Kashmir.
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Gopalkrishnan, Sreeram. "Multiplexes in India: Building Castles in a Low-income Market of Uneven Geographies." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 32, no. 41 (January 5, 2023): 165–80. http://dx.doi.org/10.14746/i.2022.41.10.
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The Indian film industry produces the highest number of movies in the world, in various languages, and casts a large shadow of influence on the socio-cultural landscape of the country. However, in terms of box-office value as a share of the total entertainment pie in India, films are a minor segment in a market with vast potential. The pandemic of 2020 drastically changed the fragile dynamics of the already-struggling film distribution and screening sector. Over the years, the Indian film business has staked its future on a business model forged around the “Mall-Multiplex” complex in a country that is mostly low-income or bottom of the pyramid (BoP). This exploratory article, with the help of existing data on theatre screen seats and high-potential population geographies, endeavours to understand India’s existing film entertainment business and sets out to spot the opportunities available for the low-priced film business as a value proposition.
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Nefedova, Darya N. "Destiny of Indian Cinema in Russia." Journal of Flm Arts and Film Studies 8, no. 4 (December 15, 2016): 66–74. http://dx.doi.org/10.17816/vgik8466-74.
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The relationship of domestic moviegoers to the works of Indian cinema has a complex and heterogeneous development history. The Soviet audience watched the first Indian movie back in the 1950s, which gave a powerful impetus to the formation of multifaceted contacts between Indian and Soviet film industry. As a result such films were shot as Journey Beyond Three Seas, Black Prince Adjouba, The Adventures of Ali Baba and the Forty Thieves, the famous My name is clown by Raj Kapoor, and others. However, a sympathy to the Indian cinema of the 1970-80s led to the formation of the stereotypes (frivolous story, improbable fights, numerous songs and dances, etc.), which have been preserved by this day, in spite of the changes that occurred in the Indian film industry. In the 1990s, there was a revision of values on the part of the domestic audience and interest for Indian cinema began to wane. Development of various types of video media has allowed fans to buy movies for personal viewing. At the turn of the century a number of television companies obtained broadcasting rights for the classic Indian films. Broadcasting of the channels India TV and Zee-TV, completely dedicated to the Indian culture, marked a new stage in distribution of Indian cinema in this country. In addition, the Internet technology gave way for development of various kinds of specialized resources. These facts, as well as resumed festivals of Indian cinema in the last decade in this country, speak in favor of the revival of the audience interest to it. Despite the virtual absence of the joint Russian-Indian films in the last decades and a small amount of Indian films, audience sympathy gives rise to the assumption of the prospects for this kind of cooperation, as well as accentuation of resuming heavy study of Indian cinema by Russian researchers.
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Lee, Yi Yeh, Meng Jhe Hsieh, and Kuo Kuang Fan. "Study on Development of Indian Film Industry." Applied Mechanics and Materials 311 (February 2013): 544–49. http://dx.doi.org/10.4028/www.scientific.net/amm.311.544.
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Since movies were introduced into India, they have become one of the key industries in the country. Besides the wide support in the local market, Bollywood films have started to stand out on the world stage. There are 3.6 billion international audiences of Indian films. Different from Hollywood movies which we are familiar with, Indian films reveal strong national culture. This study probes into the success factors of Indian films by literature review on the development of Indian films, special film culture and policy of the Indian government, and generalizes the following success factors of Indian film industry: high population, ticket price & low cost, local cultural environment, governmental policy, and combination of tradition and innovation. This study analyzes the factors above and compares the related factors with American films.
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Thangam, Dhanabalan, Gurunath Rao Vaidya, Gopalakrishnan Subramanian, Kalyani Velusamy, Karthigai Selvi Govindarajan, and Jin Yong Park. "The Portrayal of Women’s Empowerment in Select Indian Movies." American Journal of Economics and Sociology 81, no. 1 (January 2022): 187–205. http://dx.doi.org/10.1111/ajes.12451.
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OK, Auju. "Representation of Women in Popular Indian Movies : An Analysis of English Vinglish and Heroine." SMART MOVES JOURNAL IJELLH 9, no. 3 (March 27, 2021): 176–81. http://dx.doi.org/10.24113/ijellh.v9i3.10963.
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Male supremacy and patriarchy has become two clichéd words, but it is a fact that these two words define almost all societies in the world. Indian society is no different from this, in fact this is where these two words fit in smoothly. This is reflected in our literature, art and movies too. My enquiry here is about how do the preconceived notions about feminity find their way into popular movies. The article analyzes two popular Hindi movies: English Vinglish and Heroine. These two movies portray two women who are very different from each other ; a house wife and an actress. But many a times these two women are one and the same in terms of the attitude of the society towards them. Therefore the paper intends to reveal the double standards and hypocrisy of Indian society.
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Mehmood, Sohail. "PRIORITIES, CONCERNS AND EXPECTATIONS OF LOCAL YOUNG SPECTATORS REGARDING 21ST CENTURY FILM AND CINEMA." Advanced Humanities & Social Sciences 5 (2020): 5.8. http://dx.doi.org/10.21065/25205986.5.8.
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This paper investigates the impulses, motives and conditions that are positively associated and problems, hurdles and concerns that are the obstacles in the resurgence of 21st century Pakistani film industry. It also gauges the priorities and concerns of young moviegoers and compares with the priorities and concerns of our young generation of filmmakers. To achieve this end we employed both qualitative and quantitative research methodologies and came up with following results that Pakistan’s screen to film production ratio is one of the best in the world. It is vehemently in search of its distinctive identity and plays, sometimes immaturely, with different genres are evidence to it. We see a visible drift from conventional Indo Pak Masala genre to social drama, physical reality, war movies and Wuxia. Production facilities of Pakistani film industry have been significantly improved and in terms of equipment Pakistani film industry is no more far behind Bollywood and Hollywood as it used to be even in the times of Khuda Kay Leay (KKL). Different production processes are gradually becoming worthier; cinematography, sound design and post production effects have been admired whereas viewers are critical about the standard of music, choreography, production budget, code switching, acting, script writing and screen playwright. Researchers found that most of the filmmakers complain about dearth and substandard script and screen play. Moreover, film viewers also complain about lack of originality in the script. Young filmmakers also complain about the dearth of trained human resources, who may use the modern equipment to its optimum level of output. Young viewers more or less face a paradox, they claim that they aspire to see their local culture and local social issues in Pakistani movies, they yearn to see local culture in Pakistani movies but when they are exposed to the choice to select either Pakistani film or Indian, they choose Indian movie hoping to get better entertainment value in terms of visual pleasure; a fact that requires separate in depth research about the psychology of young Pakistani film spectatorship.
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Ibrahim, Muhammad Muhsin. "Hausa film industry and the ‘menace’ of appropriation of Indian romantic movies." Journal of African Media Studies 14, no. 2 (June 1, 2022): 327–39. http://dx.doi.org/10.1386/jams_00081_1.
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Against many odds, the Hausa film industry alias Kannywood has come of age. The film industry survives several pressing challenges from within and outside Nigeria, perhaps more than its counterparts anywhere else. Although there is no denying that the quality of its output has significantly improved, its survival has little or nothing to do with that. Many critics, including the Motion Pictures Practitioners Association of Nigeria (MOPPAN) leadership, call ‘bad’ films, are still being made. Romantic movies, laden with a typical and predictable pattern of the love triangle, song and dance sequences among other appropriated and plagiarized Bollywood modalities, remain the favourite of producers and arguably that of the audience. However, according to some surveys, such films lack merit in the realm of critical film discourse in Africa and beyond. This article is set out to discuss this issue through a content analysis of a recent film titled Sareena (Nuhu 2019). The movie, released in 2019, is a bloated, implausible melodrama and a direct mimicry of a famous Indian film, Kaabil (Gupta 2017).
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Kethan M and Mahabub Basha S. "Impact of Indian Cinema on Youths Lifestyle and Behavior Patterns." East Asian Journal of Multidisciplinary Research 2, no. 1 (January 31, 2023): 27–42. http://dx.doi.org/10.55927/eajmr.v2i1.1670.
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The purpose of this paper is to document the impact of movies/cinema on Indian culture and to investigate the ongoing cultural transformations that have happened over a point of time in India owing to the contributions made by Indian cinema. Moreover, an attempt is made to understand how Indian movies have initiated various changes with regards to thought process on one hand and lifestyle on the other. There has been changes with regards to the institutions of marriage and instances of live in relationships have come of age and there has been a constant and continuous shift from joint families to nuclear families. Elaborating on the changes in the cultural practices; preferences have changed with regards to food habits, clothing, choice of career options and belief system. The distinctive contribution of the present paper is to offer an understanding of the impact of movies on Indian culture especially on the youth extracting information from the structured and in-depth interviews. This paper also tries to document the behavioral changes in the youth as a behavior patterns.
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Kethan M and Mahabub Basha S. "Impact of Indian Cinema on Youths Lifestyle and Behavior Patterns." East Asian Journal of Multidisciplinary Research 2, no. 2 (February 28, 2023): 613–26. http://dx.doi.org/10.55927/eajmr.v2i2.1973.
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The purpose of this paper is to document the impact of movies/cinema on Indian culture and to investigate the ongoing cultural transformations that have happened over a point of time in India owing to the contributions made by Indian cinema. Moreover, an attempt is made to understand how Indian movies have initiated various changes with regards to thought process on one hand and lifestyle on the other. There has been changes with regards to the institutions of marriage and instances of live in relationships have come of age and there has been a constant and continuous shift from joint families to nuclear families. Elaborating on the changes in the cultural practices; preferences have changed with regards to food habits, clothing, choice of career options and belief system. The distinctive contribution of the present paper is to offer an understanding of the impact of movies on Indian culture especially on the youth extracting information from the structured and in-depth interviews. This paper also tries to document the behavioral changes in the youth as a behavior patterns
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Ann Rose Davis. "Marxist Feminism: An Analysis on Class Structure and Position of Women in Malayalam movie -“Chemmeen”." Creative Launcher 6, no. 1 (April 30, 2021): 78–83. http://dx.doi.org/10.53032/tcl.2021.6.1.10.
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The Malayalam film industry, prominently known as “Mollywood,” is one of the fast-changing faces in Indian cinema. This paper tries to examine one of the Malayalam movies, Chemeen, through the lens of Marxist Feminism. The primary text chosen for the study is the movie, Chemeen, an adaptation of Thakazhi Sivasankara Pillai’s novel with the same name. The story revolves around the lives of Karuthamma and Pareekutt, lovers whose life cannot be led together because of the strong influence of caste and class in their society. This is one of the liberal texts in Malayalam Literature narrating the Kerala fishing community’s lives, customs, traditions, and beliefs. The research paper’s primary focus will be on society’s hierarchy through the reflection of Mollywood cinema, the stereotyping of certain characters based on their class and caste, the aftermath of marriage, and the domineering male-centric society female fellowships through deities.
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Moghekar, Rajeshwar, and Sachin Ahuja. "Deep Learning Model for Face Recognition in Unconstrained Environment." Journal of Computational and Theoretical Nanoscience 16, no. 10 (October 1, 2019): 4309–12. http://dx.doi.org/10.1166/jctn.2019.8518.
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Face recognition from videos is challenging problem as the face image captured has variations in terms of pose, Occlusion, blur and resolution. It has many applications including security monitoring and authentication. A subset of Indian Movies Face database (IMFDB) which has collection of face images retrieved from movie/video of actors which vary in terms of blur, pose, noise and illumination is used in our work. Our work focuses on the use of pre-trained deep learning models and applies transfer learning to the features extracted from the CNN layers. Later we compare it Fine tuned model. The results show that the accuracy is 99.89 using CNN as feature extractor and 96.3 when we fine tune the VGG-Face. The Fine tuned network of VGG-Face learnt more generic features when compared with its counterpart transfer learning. When applied on VGG16 transfer learning achieved 93.9.
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Josephine A., Merin, and Dr Cynthia Catherine Michael. "Nature Influencing Characters- An Analysis of the Malayalam Movie Iyobinte Pusthakam." SMART MOVES JOURNAL IJELLH 9, no. 3 (March 28, 2021): 52–62. http://dx.doi.org/10.24113/ijellh.v9i3.10946.
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Space and place are two complex concepts in literature. These can in turn affect the course of characters, situations and the plot of story. Presently in visual media, especially in movies; a relation between nature and surroundings can be traced. Both nature and surroundings influence each other. Malayalam cinema is going through many different paths which are always open for study. Each movie in it is incomparable in plot, techniques and narration. A relation between surroundings and characters can always be drawn. Keith H. Basso is an important cultural anthropologist who found a noticeable connection between nature and human beings. Nature always creates mystery and wonder. Nature always has a great influence in the human evolution and culture formation. Tagore’s ‘The Religion of Forest’ says the link between forest and ancient Indian culture. In the same essay, Tagore represents the European belief on nature as a war between good and evil. ‘IyobintePustham’ is analysed in both these views. The forest depicted in the movie can be interpreted as a provider and protector to its character. In another sense, it mirrors the goodness and the evils in the mind of characters. Forest is an important archetype in human history and culture.