Shakespeare and Bollywood: The Difference a World Makes

  • Craig Dionne
  • Parmita Kapadia
Part of the Reproducing Shakespeare: New Studies in Adaptation and Appropriation book series (RESH)

Abstract

Play this game. Describe the formal elements of Bollywood cinema, but try not to use the references to nation or other historical markers that describe its roots in specific cultural types of theaters or genres. For instance, instead of saying “it is indebted to Parsi theater,” you would have to say “it borrows from the an age-old theatre based in feudal romance and its tropes—realism and fantasy, snide humor, catchy folk songs, feats of daring or heroism from local legends, use of dazzling stage effects.” Describe its use of dance in the same way: instead of saying “northern Indian folk dance,” describe the way it plays off of “festival dancing” noting the separation from the plot, often interspersed free from flow of the narrative. You note that practice of separating the men from the women in this way: “The men dance together in a simple circular pattern while clapping.” Likewise, to describe the uncanny feel of the music due to its being sung offstage in a sound stage and “looped” into the performance, you might say “the music seems altogether metatextual, different performers whose popular songs are stitched—or ‘synched’—into the story in a way that provides a frame for the narrative, a chance to relax but also reflect on the flow of the story.” Now imagine describing Bollywood’s gestures like this to someone who teaches and studies Shakespeare in the university setting, asking them to guess the theater you are defining.

Keywords

Music Television Film Industry Global Culture Indian Cinema Royal Theatre 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

Preview

Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.

Bibliography

  1. Abele, Elizabeth. “Whither Shakespop? Taking Stock of Shakespeare in Popular Culture.” College Literature, Shakespeare and Popular Culture 31. 4 (2004). 1–11.Google Scholar
  2. Appadurai, Arjun. “Disjuncture and Difference in the Global Economy.” Theory, Culture, and Society. Vol. 7. London: SAGE, 1990. 295–310.Google Scholar
  3. Binford, Mira Reym “Innovation and Imitation in the Indian Cinema.” In Cinema and Cultural Identity. Reflections on Films From Japan, India and China. Edited by W. Dissanayake. New York: University Press of America, 1988. 81.Google Scholar
  4. Brown, John Russell. New Sites For Shakespeare: Theatre, the Audience, and Asia. New York: Routledge, 1999.Google Scholar
  5. Burnett, Mark Thornton. Filming Shakespeare in the Global Marketplace. London: Palgrave Macmillan, 2007.CrossRefGoogle Scholar
  6. Burt, Richard. “All That Remains of Shakespeare in Indian Film.” Shakespeare in Asia. Edited by Dennis Kennedy and Young Li Lan. Cambridge: Cambridge University Press, 2010.Google Scholar
  7. Burt, Richard and Lynda Boose, eds. Shakespeare, the Movie, II: Popularizing the Plays on Film, TV, Video and DVD. New York: Routledge, 2003.Google Scholar
  8. Cartelli, Thomas. Repositioning Shakespeare: National Formations, Postcolonial Appropriations. New York: Routledge, 1999.Google Scholar
  9. Cartelli, Thomas and Katherine Rowe. New Wave Shakespeare On Screen. London: Polity Press, 2007.Google Scholar
  10. Desai, Jigna and Rajinder Durah. “The Essential Bollywood.” Bollywood Reader. New York: McGraw-Hill, 2008.Google Scholar
  11. Dionne, Craig and Parmita Kapadia. Native Shakespeares: Indigenous Appropriations on a Global Stage. London: Ashgate, 2008.Google Scholar
  12. Eleftheriotis, Dimitris and Gary Needham. Asian Cinemas: A Reader And Guide. Edinburgh: University of Edinburgh, 2006.Google Scholar
  13. Gokulsing, K. Moti and Wimal Dissanayake. Indian Popular Cinema: A Narrative of Cultural Change. Staffordshire, UK: Trentham Books, 2004.Google Scholar
  14. Greimas, A. J. and Francis Rastier. “The Interaction of Semiotic Constraints.” Yale French Studies 41 (1968). 86–105.CrossRefGoogle Scholar
  15. Huang, Alexander C. Y. Chinese Shakespeares: Two Centuries of Cultural Exchange. New York: Columbia University Press, 2009.Google Scholar
  16. Jameson, Fredric. “Cognitive Mapping.” Marxism and the Interpretation of Culture. Edited by C. Nelson and L. Grossberg. Champaign: University of Illinois Press, 1990.Google Scholar
  17. Kabir, Nasreen Munni. Talking Films: Conversations on Hindi Cinema with Javed Akhtar. Oxford: Oxford University Press, 1999.Google Scholar
  18. Loomba, Ania and Martin Orkin. Postcolonial Shakespeares. New York: Routledge 1998.CrossRefGoogle Scholar
  19. Lutze, Lothar. “From Bharata to Bombay: Change in Hindi Film Aesthetics.” The Hindi Film, Agent, and Reagent of Cultural Change. Edited by Beatrix Pfleiderer and Lothar Lutze. New Delhi: Monohar Publications, 1985. 3–15.Google Scholar
  20. Maira, Sunaina. “Temporary Tattoos: Indo-Chic Fantasies and Late Capitalist Orientalism.” Meridians 3. 1 (2002). 134–60.Google Scholar
  21. Mehta, Suketu. “Lights, Camera, India [Welcome to India].” National Geographic 207. 2 (2005). 52–69.Google Scholar
  22. Mieville, China. The City and the City. New York: Del Ray, 2010.Google Scholar
  23. Nagarajan, S. Shakespeare in India. Oxford: Oxford University Press, 1987.Google Scholar
  24. Power, Carla and Sudip Mazumdar. “America Isn’t the Only Country That Knows How to Spin and Export Fantasies.” Newsweek International, February 28, 2000.Google Scholar
  25. Prasad, Madhava, M. “The Economic of Ideology: Popular Film Form and Mode of Production.” Bollywood Reader. Edited by Jigna Desai and Rajinder Durah. New York: McGraw-Hill, 2008.Google Scholar
  26. Prasad, Madhava, M. “The Name of a Desire: Why They Call it Bollywood.” Unsettling Cinema. A Symposium on the Place of Cinema in India 525 (2003).Google Scholar
  27. Prasad, Madhava, M. “Surviving Bollywood.” Global Bollywood. Edited by Anadam P. Kavoori and Aswin Punathambeckar. New York: New York University Press, 2008. 41–51.Google Scholar
  28. Raina, Raghunath. “The Context: A Socio-Cultural Anatomy.” Indian Cinema Superbazaar. Edited by Aruna Vasudev and Philippe Lenglet. New Delhi: Stosius/Advent Books Division, 1983. 2–18.Google Scholar
  29. Ranci è re, Jacques. “Problems and Transformations of Critical Art.” Aesthetics and Its Discontent. Cambridge: Polity Press, 2004.Google Scholar
  30. Ranci è re, Jacques. The Emancipated Spectator. Translated by Gregory Elliot. London: Verso, 2009.Google Scholar
  31. Ray, Robert. A Certain Tendency of the Hollywood Cinema, 1930–1980. Princeton: Princeton University Press, 1985.Google Scholar
  32. Ray, Satyajit. Our Films Their Films. New York: Hyperion Books, 1994.Google Scholar
  33. Rothwell, Kenneth. “How the Twentieth Century Saw the Shakespeare Film: ‘Is it Shakespeare?’” Literature/Film Quarterly 20. 2 (2001). 82.Google Scholar
  34. Shukla, K. K. (interview) Asian Cinemas: A Reader And Guide. Edited by Dimitris, Eleftheriotis, and Gary Needham. Edinburgh: University of Edinburgh, 2006.Google Scholar
  35. Sinha, Ajay S. and Raminder Kaur. Bollyworld: Popular Indian Cinema Through a Transnational Lens. New Delhi: Sage, 2005.Google Scholar
  36. Sinha, Ajay S, eds. Bollyworld: Popular Indian Cinema through a Transnational Lens. New Delhi: Sage, 2005.Google Scholar
  37. Sisson, Charles Jasper. Shakespeare in India: Popular Adaptations on the Bombay Stage. Oxford: Oxford University Press, 1926.Google Scholar
  38. Trivedi, Poonam. India’s Shakespeare: Translation, Interpretation, and Performance. Newark: University of Delaware Press, 2005.Google Scholar
  39. Trivedi, Poonam and Minami Ryuta, eds. Re -playing Shakespeare in Asia. London: Routledge, 2009.Google Scholar
  40. Vasudevan, Ravi. “Meanings of Bollywood.” Journal of the Moving Image 7 (2008). http://www.jmionline.org/film_journal/jmi_07/article_08.php
  41. Wright, Laurence. “Bollywood Twelfth Night: Steven Beresford’s Production. Albery Theatre, London, September.” Theatre review. Shakespeare in Southern Africa 16 (2004): 71–75.Google Scholar
  42. Worthen, William. “Drama, Performativity and Performance.” PMLA 13. 5 (1998). 1093–107.Google Scholar

Copyright information

© Craig Dionne and Parmita Kapadia 2014

Authors and Affiliations

  • Craig Dionne
  • Parmita Kapadia

There are no affiliations available

Personalised recommendations