Production Logic Of Bollywood

Production Logic of Bollywood Films : A critique

Soumik Chatterjee, (Whole – Time Lecturer) Department of Journalism and Mass Communication, Tara Devi Harakh Chand Kankari Jain College. [e-mail] Coordinating Bollywood

What is nevertheless new there in Mumbai or Indian Popular Film Industry to discuss or to discover? Is there any new area left over about Mumbai Film Industry to write on, research on or to get our people informed or aware of this and that? Is there really any new area of discussion left which the other media like popular or critical magazines, serious columns of various books and edited volumes could not locate or discover? No doubt there is about to find a new area absolutely difficult, which has not

Demystification of such a produced 'sign' leads to understand a new political economy of signification beyond all earlier production logics where in the name of 'economic' the financial value does not create any social relationship of the oeuvre but is transmitted into a sign value that basically controls the industry in particular. As exception, some few efforts were made in early eighties to produce some of the satire- critical movies where behind the content the logic rather politics of production was very apt and motivated. Films like Jaane Bhi Do Yaaron, Albert Pinto Ko Gussa Kiuyn Ata Hain, Salim Langre Pe Mat Ro, Garam Hawa etc. have had started a new critical genre which had faded out in the industrial system of producing popular movies and could not sustain more. For rest of popular films the social relationship with the content has been as same as collecting funds for making the film. So collection of content material and collection of investible fund has become a reciprocating but prime aspect of film production

(vii) Meanwhile, a parallel underhand release of the film would somehow unbecomingly but inevitably take place in personal 'You Tube' account or all cracking sites and from there it becomes a hand to hand exchange toward a massive 'Symbolic Exchange'.

(viii) A small but responsible understanding from Bollywood end is still left and that too comes as a caution against piracy; another sign that claims social responsibility from the same signifier Bollywood. (ix) Most importantly the Bollywood signifier of late revives a trend of total situational convergence of all cinema producing regions; specially the industrially developed zones. Nowadays series of films are being produced having production staffs from anywhere possible both within and outside the national territory. Moreover the revival of the Bollywood signifier proliferates the convergence with other production regions and so the number of just redubbed films is increasing .

Bollywood a total sign beyond traditional