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Globalization In Hindi Cinema

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As 1990s Hindi cinema shifts towards globalization, characterized mainly by multiple institutional efforts, the industry slowly constructed the family film genre and altered the target audience to diasporic communities calling for investments into homeland India. This targeting leads to the changes in the female gender role within the new family film genre of the period with its archetype Diwale Dulhania Le Jayenge (DDLJ). 1990s Hindi cinema is mostly defined by the corporatization of the industry, and within this scope, the agency of the female character is elevated while ultimately being undercut by the patriarchy in the family film genre, as seen in Diwale Duhania Le Jayenge.
When discussing about 1990s cinema, it is imperative to mention the underlying industrial change in India at the time. These changes helped the emergence of the new family film genre and the success for the movie DDLJ in reeling in diasporic audiences. Monika Mehta stated that the process of globalization and recognizing film as an industry ‘proper’ was crucial to the corporatization and governmental funding processes of the industry (Mehta 135). The sequence of Raj and Simran drunk dancing around Europe in the middle arc is an example of packaging global tourism for Indian audiences, portraying how beautiful it is to be in Europe. This appeals much to Indian communities because it shows how beautiful the world beyond India is and exposes this beauty to them. Europe, in this scene, has become a

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