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Experiencing Bollywood

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Experiencing Bollywood: An Avant-garde Attempt

Introduction
Bollywood has been characterised for its larger than life plots, elaborate song and dance sequences, melodramatic acting which underpins the Indian social framework. With the advent of globalisation, it has paved way for a wider variety of film genres and has managed to reach out to audiences beyond the Indian diaspora. Constantly pushing the envelope at various junctures, the Bollywood phenomenon has become prominent in the world today.

The primary mode in which Bollywood is encountered is through cinemas. Cinema has the unique ability to interact with its audiences with such intimacy and immediacy that gives filmmakers the access to communicate their work, creativity and ideas to the audiences with such ease. It has been a medium where social frameworks and modernity has been successfully transmitted to its audience thus far, standing testament to Bollywood’s popularity.

Sprinkling magic dust and constructing fantasy through spectacle, Bollywood has managed to merge the reality with fiction for the audiences’ gaze. Moreover, this sensory experience of ‘watching’ Bollywood movies has managed to dissolve and reconstruct the boundaries of the cinema as a public place of consumption. In so doing, the cinema-going element has defined Bollywood and how audiences experience it – association of cinematic practices and cinematic image. This paper aims to textualize this experience, as observed and understood by myself, in the cosmopolitan setting of Singapore. Apart from the unique ethnography, I was intrigued to observe first-hand, the reaction of an audience familiarised with Bollywood as a spectacle genre of movies, when they encounter an avant-garde film – Finding Fanny, “a Wes-Anderson-esque Hindi Film”. Was it ‘paisa vasool’?

Ethnography & Location
The ethnography of Singapore is

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