Abstract
This paper explains that, whereas Bollywood films generally depict an idyllic India, this representation sometimes is tarnished by negative images of a corrupt nation. Next, the author reviews the plots of two Bollywood films, "Shri 420" and "Roja", in which both of these sides of Indian are presented. The paper concludes that the negative literary techniques within these films really are used to promote family values and traditional Indian life.

Table of Contents:
Deconstructing the Ideal
The Negative Side of India
Negative With a Purpose
Conclusion

From the Paper
"The first task that needs to be undertaken in addressing the issues of negative images of India in Bollywood films is to define exactly what the ideal image of India entails. In order to accomplish this task, we must examine the central themes of the film and determine how they relate to traditional Indian roles and attitudes. The central theme of the film Roja, is the theme of love. It revolves around one man's love of his country and a wife's love of her husband. Many traditional Indian customs regarding love, marriage and the family can be found within the film."
The main character, Roja, is a girl from a small village. She wishes for a top cryptologist, Rishi Kumar to accept a proposal to marry her sister. However, Roja's sister is in love with someone else. The surprise twist comes when Rishi asks Roja's hand in marriage. Roja is unaware of her sister's other lover and refuses Rishi's hand, because she feels that her sister is a better match. Her parents pressure her to marry him and they move out of the village for the city.

Tags:love, contrast, family, bombay, kashmir

Abstract
This paper explains that the large Indian presence in the U.K. has made it relatively simple for Bollywood movies to forge an easy relationship with the average non-resident Indian (NRI). The author points out that, with markedly increasing numbers of movies and the demanding Indian population in the United Kingdom, there is a need for streamlined marketing and promotion strategies stressing the "desi" flavor of the Hindi movie industry. The paper relates that a feature in these successful movies is the depiction of an affluent NRI family with tremendous wealth, palatial residences, and successful business operations, combined with a happy and closely-knit family structure, traditional religion, and relationships transcending borders.

Table of Contents
Introduction
Background
Review of Literature
Aims
Objectives
Findings and Discussions
Bollywood Industry Today
Problems and Conclusion
Flip Flop
The American Connection
The Menace of Piracy
Governmental Support
Conclusion

From the Paper
"It is not very surprising, therefore, to note that many popular films do better abroad than back at home. High-ranking stars of the industry have little to do to portray a well-orchestrated yarn in the movie, which in turn would go a very long way in wooing the crowd to watch it. With the passage of time, Bollywood films have earned a rare distinction of being "home-made and successful-overseas." The overseas market, hence, has been a very lucrative avenue for the star-studded Hindi movie. A good mix of performance, appealing collection of tracks and extravagant ambiance go a long way to help the Hindi film gross a respectable success in the UK box office. The Bollywood movie remains a representation of Indian culture, values and tradition thus creating more than just an emotional impact upon the average Non Resident Indian (NRI). The list of films that have been successful gainers in the UK box office is endless."

Tags:tradition, culture, family, desi, piracy

Abstract
In this article, the writer discusses the theory of neo-Marxism and its significance for mass culture, using Bollywood as an example.

From the Paper
"The purpose of this assignment is to employ neo-Marxist theory concerning the significance of mass culture and the culture industry in modern capitalist society along with Herbert Marcuse's notion of one-dimensional man to a specific topic identified in a Lexis-Nexis database search. Attached to this report is an article written by Fareed Zakaria that explores the significance of India's indigenous mass culture conceptually located within the productions of Bollywood, the center of that country's film industry in which Zakaria ..."

Tags:Neo-Marxism, culture, Herbert Marcuse, Bollywood

Abstract
This paper provides an analysis of how Nagesh Kukunoor's film "Dor" (String) offers a different construction of family than those typically portrayed as sentimental, extended families in Bollywood films.

From the Paper
"In Nagesh Kukunoor's "Dor" (String) we are treated to a story of two distinct women from two distinct worlds. Meera is a young Hindu bride married to Shankar, a traditional Hindu wife living with her husband in his father's home. Zeenat is an independent Himachali woman married to Amir. In this film, we are not provided with extended family or the sentimental view of family typically rendered in Bollywood films. Instead, we know very little of Zeenat's family. She appears to be alone, perhaps an orphan..."

Tags:Hindu, Arab, marriage, in-laws, death, love, women

Abstract
The paper looks at the movie "Devdas", a movie about love and the hardships it brings that is based on a much-loved Bengali novella by Sarat Chandra Chattopadhyay. The paper explains that the movie is about a couple which falls in love but which cannot be together and two of Indian's favorite actors/stars Shahrukh Khan as Devdas, Aishwarya Rai as Paro play the main roles. The paper relates that in the classic Indian movie tradition, this is a period piece with lots of music, dance and wonderful costumes.

From the Paper
"The movie "Devdas" is a movie about love and the hardships it brings. This 2002 remake (of which have been several since 1928) is based on a much-loved Bengali novella by Sarat Chandra Chattopadhyay. The movie is about a couple which falls in love but which cannot be together and two of Indian's favorite actors/stars Shahrukh Khan as Devdas, Aishwarya Rai as Paro play the main roles. In the classic Indian movie tradition, this is a period piece with lots of music, dance and wonderful costumes. This film is an expensive Bollywood epic full of glitz and glamour that some viewers may even find somewhat tacky particularly since it is a relatively simple..."

Tags:devdas, review, bollywood

Abstract
This paper examines the importance of music and dance in the extremely successful film industry in India. It explains that because Indian films are made predominantly for semi-literate audiences, they contain numerous action scenes (fights), elaborate song and dance sequences, a fair dose of slapstick comedy and an obligatory love story. This paper discusses why this industry is so successful and the role music and dance play in its success.

From the Paper
"In its historical development, India's film industry paralleled that of the West. Dadasaheb Phalke's Raja Harishchandra, the first silent film for popular consumption, appeared in 1913; Alam Ara, the first "talkie," was released in 1931. But the Indian cinema derived its unique flavor from the older Indian musical theater-particularly from the Urdu poetic dramas of the late nineteenth century. The influence of this tradition ensured that Indian movies would favor mythological or legendary-historical stories, that their dialogue would carry an Urdu flavor even in languages other than Urdu, and that every film would be a musical."

Tags:bollywood, cinema