Item Girls and Objects of Dreams: Why Indian Censors Agree to Bold Scenes in Bollywood Films

Q2 Arts and Humanities Kervan Pub Date : 2018-11-19 DOI:10.13135/1825-263X/2259
Tatiana Szurlej
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引用次数: 1

Abstract

The article presents the social background, which helped Bollywood film industry to develop the so-called “item numbers”, replace them by “dream sequences”, and come back to the “item number” formula again. The songs performed by the film vamp or the character, who takes no part in the story, the musical interludes, which replaced the first way to show on the screen all elements which are theoretically banned, and the guest appearances of film stars on the screen are a very clever ways to fight all the prohibitions imposed by Indian censors. Censors found that film censorship was necessary, because the film as a medium is much more popular than literature or theater, and therefore has an impact on all people. Indeed, the viewers perceive the screen story as the world around them, so it becomes easy for them to accept the screen reality and move it to everyday life. That’s why the movie, despite the fact that even the very process of its creation is much more conventional than, for example, the theater performance, seems to be much more “real” to the audience than any story shown on the stage. Therefore, despite the fact that one of the most dangerous elements on which Indian censorship seems to be extremely sensitive is eroticism, this is also the most desired part of cinema. Moreover, filmmakers, who are tightly constrained, need at the same time to provide pleasure to the audience to get the invested money back, so they invented various tricks by which they manage to bypass censorship. The most widely used ways to trick the censors are movie songs, so often underestimated, especially in the West, which however are not, as some would like to see them, only an unnecessary addition. Bollywood films are often called musicals, but the examples show that all the songs, not only item numbers and dream sequences , play quite a different role in Indian movies than in the classic Hollywood musicals. There is a very deep logic lying behind film production, and popular Indian cinema uses its songs to show everything that is impossible to show in the story. Filmmakers know very well that songs are the element of fantasy, which when used in a story about everyday life, can show things that are impossible in natural experience.
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项目女孩和梦想的对象:为什么印度审查机构同意宝莱坞电影中的大胆场景
这篇文章介绍了宝莱坞电影业发展出所谓的“项目编号”的社会背景,用“梦想序列”取代它们,并再次回到“项目号”公式。电影吸血鬼或不参与故事的角色表演的歌曲,音乐插曲,取代了在屏幕上显示所有理论上被禁止的元素的第一种方式,以及电影明星在屏幕上的客串,都是对抗印度审查机构所有禁令的一种非常聪明的方式。审查人员发现电影审查是必要的,因为电影作为一种媒介比文学或戏剧更受欢迎,因此对所有人都有影响。事实上,观众将屏幕故事视为他们周围的世界,因此他们很容易接受屏幕现实并将其转移到日常生活中。这就是为什么这部电影,尽管它的创作过程比剧院表演更传统,但对观众来说,它似乎比舞台上的任何故事都更“真实”。因此,尽管印度审查制度似乎极为敏感的最危险因素之一是色情,但这也是电影最受欢迎的部分。此外,电影制作人在受到严格约束的同时,需要为观众提供娱乐,以收回投资,因此他们发明了各种绕过审查的技巧。欺骗审查人员最常用的方法是电影歌曲,这些歌曲经常被低估,尤其是在西方,然而,正如一些人希望看到的那样,它们并不是一个不必要的补充。宝莱坞电影通常被称为音乐剧,但这些例子表明,所有的歌曲,不仅仅是项目编号和梦境序列,在印度电影中扮演的角色与经典的好莱坞音乐剧截然不同。电影制作背后有一个非常深刻的逻辑,流行的印度电影用它的歌曲来展示故事中不可能展示的一切。电影制作人非常清楚,歌曲是幻想的元素,当用于日常生活的故事时,可以展示自然体验中不可能的东西。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
Kervan
Kervan Arts and Humanities-Literature and Literary Theory
CiteScore
0.30
自引率
0.00%
发文量
0
审稿时长
18 weeks
期刊介绍: The journal has three main aims. First of all, it aims at encouraging interdisciplinary research on Asia and Africa, maintaining high research standards. Second, by providing a global forum for Asian and African scholars, it promotes dialogue between the global academic community and civil society, emphasizing patterns and tendencies that go beyond national borders and are globally relevant. The third aim for a specialized academic journal is to widen the opportunities for publishing worthy scholarly studies, to stimulate debate, to create an ideal agora where ideas and research results can be compared and contrasted. Another challenge is to combine a scientific approach and the interest for cultural debate, artistic production, biographic narrative, etcetera. This journal wants to be original (even hybrid) also in its structure, where academic rigor should not hinder access to the vitality of experience and of artistic and cultural production.
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