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India 8-bare-bones

India 8-bare-bones - I II India 8 THERELL ALWAYS BE STARS...

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India 8 “THERE’LL ALWAYS BE STARS IN THE SKY” INDIAN FILM INDUSTRY I. Introduction ( Manuel, Peter, Popular Music of the Non-Western World, Arnold, Alison, “Aspects pf Production and Consumption in the Popular Hindi Film Music Industry”) A. As we have seen in previous lectures, the South Asian subcontinent encompasses a great diversity of styles in the Little Tradition B. One might look at the music industry as responding to that diversity by developing in 2 different directions 1. Homogenization of music and artforms—particularly through the film industry since the 1960s 2. Diversification of musics—particularly with cassette and CD technology since the 1980s II. Indian Film Music A. Film music has become the single largest category of popular music in South Asia B. It is both a model for much of the popular music outside of the cinematic world and C. A borrower of musics from the Little Tradition D. Even though popular musics have evolved around cinema in many other regions as well (notably in Egypt)—this is an even stronger connection in South Asia, where film music constitutes a majority of all the popular music disseminated by the mass media (strong connection between film+ popular music) E. Numbers of consumers 1. Each day an average of 12.5 million Indians see films 2. However, as one scholar points out, “Even the figures do not express the extent of the popular cinema’s dominance as a channel for the transmission of ideas and information. [Indian] urban environments are cluttered with its signs, filled with its sounds. Its tastes and values spill out to define the very texture of contemporary mass and middle class culture.” F. Western origins 1. As cinema developed first in the West, it is not surprising that Indian cinema initially borrowed extensively from Hollywood and European productions(Bollywood/Bombay/Mumbai)*exception: filmmaker Satyajit Ray, Jalsaghar (1921~1992) 2.
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