Abstract
India is perhaps the largest and most complex culture/society in the world, in terms of religion, language, community, caste and tribe. According to Butalia (1984: 108), Indian cinema is the single largest medium of communication with the masses, and close to 12 million people watch films every week in cinema houses and theatres. The Indian film industry, famously known as Bollywood, is the largest in the world as it produces around 900 movies every year (IndiaNetzone, 2008). Since its inception, that is in 1930s, Indian cinema has concentrated on various subjects highlighting the problems, complexities and various aspects of Indian society Indian cinema in its very beginning experimented with different themes, from mythological to bold, such as dealing with an anti-hero and unmarried pregnancy in Kismet (1943). From Achhut (1936), Neecha Nagar (1946), Mother India (1957), Sahib Bibi Aur Ghulam (1962), Mera Naam Joker (1970), Arth (1982), Ram Teri Ganga Maili (1985), Zakhm (1998), Lagaan (2001), Maqbool (2003), Lage Raho Munna Bhai (2006) and 3 Idiots (2009) to Udaan (2010), when we observe Indian films we see how they have branded moral messages.
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Vidushi (2015). Cinematic Narrative: The Construction of Dalit Identity in Bollywood. In: Thorsen, E., Savigny, H., Alexander, J., Jackson, D. (eds) Media, Margins and Popular Culture. Palgrave Macmillan, London. https://doi.org/10.1057/9781137512819_9
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DOI: https://doi.org/10.1057/9781137512819_9
Publisher Name: Palgrave Macmillan, London
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