Bollywood is the INDIAN film society. IT is named after hollywood.
Here is an article=======
In “Contemporary Movie Musicals: The Plenitude of the Image and the Brutality of the Human Condition” Phillip Novak and Julie Grossman suggest that while the resurgence of interest in the musical as a genre may well play out in the long run as an investment in nostalgia and pastiche, it offers the occasion, as several recent films attest, for a politically committed filmmaking in which the conventions of the genre–notably the function of music as mode of transcendence or escape–become points of opposition and attack.
Another article that addresses the present and future of the American musical scene is Judith Sebesta’s “The Future of the American Musical”. Sebasta examines the potential impact of the musicals Urinetown and Avenue Q on the American musical of the future, particularly through the infusion of pessimism into the Broadway show.
The mesmerising and addictive musical escapism of Bollywood films is the only contemporary equivalent to classic Hollywood cinema contends Laura Boyes in “Bollywood: The Arthur Freed Unit Reincarnated?” Intense color, glamourous locales, charismatic stars, addictive tunes and unrepentant fantasy create a universe of stylishly potent pleasure.
“Racial Ventriloquism and The Guru” by LeiLani Nishime discusses how in blending Hollywood and Bollywood film The Guru explores notions of hybridity and ethnic identity. The film capitalises on the anxieties about authenticity found in classic film musicals such as Singin’ in the Rain to reconceptualise ethnic identity as diasporic and fractured. Whilst in “Does Crossing Over Mean Overstepping Cultural Boundaries?” Indian-American Sheela Shrinivas reviews Monsoon Wedding, an Eastern/Western curry flick that was a success in both India and America and questions Bollywood’s increasing pandering to Western culture. The author concludes that the film ultimately serves a useful purpose of introducing Westerners to Indian culture despite its desire to be an anomalous Indian film.
In “Cinema Lyric in Rushdie’s Satanic Verses and Roy’s The God of Small Things” Anushiya Sivanarayanan discuss the ways both Rushdie and Roy choose and priorotise specific cinema lyrics in their novels. The songs are are highly recognisable, mainstream songs for Indians, and therefore, function in a pan-Indian fashion.
“Opera Aperta: Bollywoodising Troilus and Criseyde in Dil Chahta Hai” by Sumana R. Ghosh shows that the negotiation between the musical semiotic of Bollywood and Hollywood cinema is an open-ended process. So while Bollywood Queen and Moulin Rouge may use the tropes of the commercial Hindi film musical, Ghosh argues that Bollywood directors today are more interested in an intertextual miscegenation of the Other. Farhan Akhtar’s Dil Chahta Hai bollywoodinises the Greek myth of Troilus and Criseyde, and in a musical attempt at a cross-cultural translation, uses opera in a unique appropriation of His Master’s Voice.
“From Madras to Jaffna” by Amardeep Singh reviews Mani Ratnam’s A Peck on the Cheek (Kannathil Mutthamittal). Singh argues that this musical is exceptional in its depiction of themes of exile, by subverting conventional depictions of family relationships and through the use of local folk music traditions.
In “Garam Masala: Shaheed-e-Mohabbat” Dalbir S. Sehmby contends that Shaheed-E-Mohabbat delivers not only a poignant folk legend for post-partition India, but also represents a new type of Indian cinema. Being a “garam masala” film of the global age, it critiques nationalist and religious rhetoric via its unique preservation of folk sentiment and core Sikh philosophy.
“Bollywood’s Queens: Dancing on Howrah Bridge with Helen and Madhubala” by Sangeeta Mediratta reviews a Bollywood noir film Howrah Bridge. It places special emphasis on the role of Edna and Chin-Chin Chu, two cabaret dancers in the film played by the legendary Madhubala and Helen.
Posted by souvikroy 
Posted by souvikroy 