9.6: Notes
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- Tejaswini Ganti
- University of California Press
1 Ananya Vajpeyi, “Hindi, Hinglish: Head to Head,” World Policy Journal 29 (Summer 2012).
2 Hindi, Urdu, and Hindustani are not self-evident and neutral terms, but rather index a long, complex history starting from colonialism when British administrators along with language activists drew boundaries between Hindi and Urdu. At the level of colloquial speech, Hindi and Urdu are mutually intelligible and interchangeable.
3 Tejaswini Ganti, “Mumbai vs. Bollywood: The Hindi Film Industry and the Politics of Cultural Heritage in Contemporary India,” in Global Bollywood , edited by Anandam P. Kavoori and Aswin Punathambekar (New York: New York University Press, 2008); Arlene Davila, Latinos Inc . (Berkeley: University of California Press, 2001); Lucile Davier, “The Paradoxical Invisibility of Translation in the Highly Multilingual Context of News Agencies,” Global Media and Communication 10.1 (2014); Courtney Brannon Donoghue, “Sony and Local-Language Productions: Conglomerate Hollywood’s Strategy of Flexible Localization for the Global Film Market,” Cinema Journal 53.4 (2014); Judith Irvine, “When Talk Isn’t Cheap: Language and Political Economy,” American Ethnologist 16.2 (1988).
4 Tejaswini Ganti, Producing Bollywood: Inside the Contemporary Hindi Film Industry (Durham, NC: Duke University Press, 2012).
5 Eric Barnouw and S. Krishnaswamy, Indian Film (New York: Oxford University Press, 1980); B.D. Garga, So Many Cinemas: The Motion Picture in India (Mumbai: Eminence Designs, 1996).
6 Such actresses are usually dubbed over by voice artists fluent in Hindi.
7 Debashree Mukherjee, “Bombay Modern: A History of Film Production in Late Colonial Bombay 1930–1948,” (PhD diss., New York University, 2015).
8 Ibid.
9 Sumita Chakravarty, National Identity in Indian Popular Cinema 1947–1987 (Austin: University of Texas Press, 1993); Mukul Kesavan, “Urdu, Awadh and the Tawaif: The Islamicate Roots of Hindi Cinema,” in Forging Identities: Gender, Communities and the State , ed. Zoya Hasan (New Delhi: Kali for Women, 1994).
10 For a more in-depth discussion of the social and structural transformations that have beset the industry since the late 1990s, see Ganti, Producing Bollywood .
11 “South Bombay” refers to the oldest and most expensive parts of the city, often synonymous with “old money” and an Anglicized elite, and also happens to be the farthest geographically from the northern and western suburbs that comprise the heart of the film industry.
12 Interview with Ajay Brahmatmaj, Mumbai, August 7, 2014.
13 I have assigned a pseudonym as she is still trying to establish herself within the industry and did not want her frank remarks attributed to her.
14 Interview with Kalpana Chadda, Mumbai, August 2, 2014.
15 Ibid.
16 Ibid.
17 Interview with Kamlesh Pandey, Mumbai, August 28, 2013.
18 The Hindi alphabet contains fourteen vowels, forty-one consonants, and fourteen conjunct consonants—a total of sixty-nine characters, conveying a much wider phonetic range than the twenty-six-character Roman alphabet.
19 See Ganti, Producing Bollywood ; and Tejaswini Ganti, “Sentiments of Disdain and Practices of Distinction: Boundary-Work, Subjectivity, and Value in the Hindi Film Industry,” Anthropological Quarterly 85.1 (2012).
20 Interview with Kalpana Chadda, Mumbai, August 2, 2014.
21 Interview with Sameer Sharma, Mumbai, September 2, 2013.
22 Omkara (2006), Ishqiya (2010), Band Baaja Baraat (2010), Paan Singh Tomar (2010), Vicky Donor (2012), or Gangs of Wasseypur (2012).
23 Anjum Rajabali, personal communication, March 27, 2014.
24 Interview with Devika Bhagat, Mumbai, August 29, 2013.
25 Interview with Sriram Raghavan, Mumbai, August 28, 2013.
26 Interview with Tigmanshu Dhulia, Mumbai, January 25, 2014.
27 Ibid.
28 Ibid.
29 Interview with Sameer Sharma, Mumbai, September 2, 2013.
30 Pierre Bourdieu, Distinction (Cambridge, MA: Harvard University Press, 1984).
31 Anand Vardhan, “A Landmark Departure,” The Hoot , July 5, 2012, www.thehoot.org; Shougat Dasgupta, “Art or Artifice,” Tehelka , January 21, 2012, www.tehelka.com.
32 Dasgupta, “Art or Artifice.”
33 Ganti, Producing Bollywood .
34 Interview with Tigmanshu Dhulia, Mumbai, January 25, 2014.
35 Interview with Sameer Sharma, Mumbai, September 2, 2013.
36 Knowledge of English is more important for above-the-line workers than those below the line.