{"title":"Item Girls and Objects of Dreams: Why Indian Censors Agree to Bold Scenes in Bollywood Films","authors":"Tatiana Szurlej","doi":"10.13135/1825-263X/2259","DOIUrl":null,"url":null,"abstract":"The article presents the social background, which helped Bollywood film industry to develop the so-called “item numbers”, replace them by “dream sequences”, and come back to the “item number” formula again. The songs performed by the film vamp or the character, who takes no part in the story, the musical interludes, which replaced the first way to show on the screen all elements which are theoretically banned, and the guest appearances of film stars on the screen are a very clever ways to fight all the prohibitions imposed by Indian censors. Censors found that film censorship was necessary, because the film as a medium is much more popular than literature or theater, and therefore has an impact on all people. Indeed, the viewers perceive the screen story as the world around them, so it becomes easy for them to accept the screen reality and move it to everyday life. That’s why the movie, despite the fact that even the very process of its creation is much more conventional than, for example, the theater performance, seems to be much more “real” to the audience than any story shown on the stage. Therefore, despite the fact that one of the most dangerous elements on which Indian censorship seems to be extremely sensitive is eroticism, this is also the most desired part of cinema. Moreover, filmmakers, who are tightly constrained, need at the same time to provide pleasure to the audience to get the invested money back, so they invented various tricks by which they manage to bypass censorship. The most widely used ways to trick the censors are movie songs, so often underestimated, especially in the West, which however are not, as some would like to see them, only an unnecessary addition. Bollywood films are often called musicals, but the examples show that all the songs, not only item numbers and dream sequences , play quite a different role in Indian movies than in the classic Hollywood musicals. There is a very deep logic lying behind film production, and popular Indian cinema uses its songs to show everything that is impossible to show in the story. Filmmakers know very well that songs are the element of fantasy, which when used in a story about everyday life, can show things that are impossible in natural experience.","PeriodicalId":37635,"journal":{"name":"Kervan","volume":" ","pages":""},"PeriodicalIF":0.0000,"publicationDate":"2018-11-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Kervan","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.13135/1825-263X/2259","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q2","JCRName":"Arts and Humanities","Score":null,"Total":0}
引用次数: 1
Abstract
The article presents the social background, which helped Bollywood film industry to develop the so-called “item numbers”, replace them by “dream sequences”, and come back to the “item number” formula again. The songs performed by the film vamp or the character, who takes no part in the story, the musical interludes, which replaced the first way to show on the screen all elements which are theoretically banned, and the guest appearances of film stars on the screen are a very clever ways to fight all the prohibitions imposed by Indian censors. Censors found that film censorship was necessary, because the film as a medium is much more popular than literature or theater, and therefore has an impact on all people. Indeed, the viewers perceive the screen story as the world around them, so it becomes easy for them to accept the screen reality and move it to everyday life. That’s why the movie, despite the fact that even the very process of its creation is much more conventional than, for example, the theater performance, seems to be much more “real” to the audience than any story shown on the stage. Therefore, despite the fact that one of the most dangerous elements on which Indian censorship seems to be extremely sensitive is eroticism, this is also the most desired part of cinema. Moreover, filmmakers, who are tightly constrained, need at the same time to provide pleasure to the audience to get the invested money back, so they invented various tricks by which they manage to bypass censorship. The most widely used ways to trick the censors are movie songs, so often underestimated, especially in the West, which however are not, as some would like to see them, only an unnecessary addition. Bollywood films are often called musicals, but the examples show that all the songs, not only item numbers and dream sequences , play quite a different role in Indian movies than in the classic Hollywood musicals. There is a very deep logic lying behind film production, and popular Indian cinema uses its songs to show everything that is impossible to show in the story. Filmmakers know very well that songs are the element of fantasy, which when used in a story about everyday life, can show things that are impossible in natural experience.
KervanArts and Humanities-Literature and Literary Theory
CiteScore
0.30
自引率
0.00%
发文量
0
审稿时长
18 weeks
期刊介绍:
The journal has three main aims. First of all, it aims at encouraging interdisciplinary research on Asia and Africa, maintaining high research standards. Second, by providing a global forum for Asian and African scholars, it promotes dialogue between the global academic community and civil society, emphasizing patterns and tendencies that go beyond national borders and are globally relevant. The third aim for a specialized academic journal is to widen the opportunities for publishing worthy scholarly studies, to stimulate debate, to create an ideal agora where ideas and research results can be compared and contrasted. Another challenge is to combine a scientific approach and the interest for cultural debate, artistic production, biographic narrative, etcetera. This journal wants to be original (even hybrid) also in its structure, where academic rigor should not hinder access to the vitality of experience and of artistic and cultural production.