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Abbas, K. Ahmad,
44–47

Abraham, Itty,
50
,
257
,
299

actors,
82

actresses: agency of,
128
,
139
; in early Indian cinema,
124–27
; respectability of,
128
,
135–41
; visibility of,
129
,
139

A-list,
27–28

anthropology: of elites,
27–29
; of media,
21–23
,
382
n. 2; of media production,
155–56

Appadurai, Arjun,
18
,
42

audience fiction,
12
,
284–86
,
301–4
,
313
; for film’s box-office success,
305–6
,
345
,
365

audience imaginaries,
7–8
,
80
,
87
,
281–83
,
315–17
,
358
; binaries of,
326
,
396
n. 5; new emergence of,
340–44
; transfor-mationsof,
317–23
.
See also
audience

audience-making,
23
,
35–36
,
300–301
,
343–45
; as othering process,
24
,
297

audiences,
79–80
,
357–58
; binaries of,
35
,
52
,
244
,
282
,
295–303
,
326
; class per- ceptions of,
87
,
297–98
,
319
; classes of,
8–9
,
293–301
; diasporic,
10–12
,
100–101
,
321–25
; disdained by film- makers,
7–8
,
86
,
117–21
; ethnic identifi-cationby,
290
; family,
281–82
,
294–98
; and good films,
94
; identifications by,
290–91
,
305
; as imagined interlocutors,
80
,
108
,
117
; ladies,
293–95
,
344–45
; as lower class,
84–86
; mainstream,
25
; mass,
7–8
,
95–96
,
296
,
300
,
314
,
355
–
58
; from the “middle-class,”
94–97
,
113
; as modernity’s metonym,
358
; as the nation’s metonym,
358
; niche,
9
,
25
,
111
,
316–17
,
329
,
356–58
; prefigured in production process,
23–24
; rural,
318
,
324–26
,
352–57
; as significant others,
79
; stratification of,
316–17
,
335–40
; tastes of,
299
; taxonomies of,
83–88
,
282–84
,
290–301
,
322–26
.
See also
over- seasmarkets

audience stratification,
110–18
,
339

Bachchan, Amitabh,
2
,
15
,
231
,
265–68
,
381
n. 17

Barjatya, Sooraj,
105–8
. See also
Hum
Aapke Hain Koun!

Benegal, Shyam
,
112–13
,
341

Bharatiya Janata Party (BJP),
74
,
367
n. 4

Bhatt, Mukesh,
181–85
,
210
,
247
,
297
,
303–4
,
324–26
,
397
n. 21

Bhatt, Vikram,
114–16
,
268–70
,
285
,
302
,
340–52
,
397
n. 21

Bhaumick, Sachin,
98
,
145
,
199
,
208
,
258
,
287
,
305–9
,
313

Bihar,
281–82
,
348
,
350–54
,
393
n. 1;as-sumptionsabout class in,
290–93
,
396
n. 5; film distributors in,
321–27

black economy,
66
,
225
,
375
n. 37

Bollywood,
2–3
,
12
,
108
,
176
,
370
n. 23; “Bollywood effect” on tourism,
255
,
391
n. 16; contestation over,
13–15
; contrasts with Hollywood,
236–41
; global aspirations of,
362–66
,
398
n. 25; and Hollywood,
14–15
,
175–76
,
360–61
; origins of,
12
,
369
n. 20.
See also
Hindifilm industry

boundary-work,
7
,
182–85
,
213–21
,
393
n. 34

Bourdieu, Pierre,
88
,
313

box office: failures at,
84–86
,
300
; successes at,
93
; as technology of “social envisioning,”
282

box-office outcomes,
86–87
,
342
; of
Lamhe
(Moments),
9–11
,
343
; multiplexes’ impact on,
349–50
; ticket prices’ impact on,
345–46
,
369
n. 17.
See also
commercialoutcomes

cable television.
See
television

casting couch,
119–24
,
140
celebrity,
208
.
See also
stardom; stars

Central Board of Film Certification,
13
,
31
,
370
n. 35

Chakrabarty, Dipesh,
318

Chopra, Aditya,
95
,
106–8
,
143–47
,
266
,
285–86
,
296
,
303
,
310–14
,
366
,
382
n. 28. See also
DilwaleDulhaniya Le
Jayenge

Chopra, Pamela,
132–33
,
147–48
,
199–200
,
219
,
224–25
,
237
,
284–85

cinema: as economic activity,
63–73
; economic imaginary and,
75
; as national heritage,
59–63
; perception as non-Indian,
57
; as social problem,
58
; state commemoration of,
60–61
; state perceptions of,
56–58
; state policies sup-porting,
65
; as vice in India,
53
.
See also
Bollywood; Hindi cinema; Hindi film industry; multiplex theaters; singlescreentheaters

cinema hall,
73
,
112–15
,
319
,
376
n. 43; absence of elite viewers in,
90
; spatial hierarchies inside,
10
,
97
,
390
n. 8; ticket prices,
10
,
336
.
See also
multiplextheaters; single-screen theaters

cinema history: in India,
50
,
59–60

circulation.
See
film citculation

class: in the cinema hall,
97
,
319
,
336
; rep-resentationsof,
98–100

commercial outcomes, 40,
23
,
87
,
183–89
; determined by distributors,
286–91
; measures of,
114–15
,
190–91
,
270
,
283
,
302–3
,
351–53
; as social barometer,
282–90
.
See also
boxoffice; proposal-makers;universal hit

corporatization,
11
,
35
,
70–73
,
224–25
,
246–48
; critiques of,
273–78
; as disci-plinarymechanism,
262
; failures of,
262–65
,
273–75
,
392
nn. 25–26; as mode of distinction,
259–70

courtesans,
16
,
121–26
,
318
n. 11; as pro-pertyowners,
318
n. 12

cultural capital,
33
,
200

culture.
See
production culture; workculture

Dabangg,
363–64
,
400
n. 15

diasporic audiences,
10–12
,
100–101
,
321–25

diasporic film markets,
186–90
,
291–95
,
319–28
,
341
,
350–55
,
396
n. 2.
See also
Overseas Territory

DilwaleDulhaniya Le Jayenge
(The Brave-heartWill Take the Bride),
90–93
,
101–2
,
289–93
,
301
; box-office outcome interpretations,
303
,
341
; commercial success of,
93
.
See also
Khan, Shah Rukh

disdain: toward audiences,
7–9
,
86
,
117–21
;distinction through,
301–6
,
345
; Hindi film industry target of,
7–9
,
14–16
,
77–79
,
90
,
240–41
; proposal-makerstarget of,
182

distinction,
88–89
,
185
,
216
; through the “bound script,”
215–16
,
223
; through “coolness,”
33
,
79–80
,
117–18
,
316
,
364
n. 22; through corporatization,
259–70
; through film stock usage,
234–35
; of Hindi filmmakers,
240–41
; multiplex cinema production of,
113–17
; practices of,
70
; through sentiments of disdain,
301–6
,
345
; through technology,
50
,
217
,
233–39

distributors: as creative constraint,
354
; decreasing power of,
327–28
; as de-terminantof commercial success,
27
,
190–91
,
376
; expectations of commercial outcome by,
286–88
,
313
; as funding source for film industry,
186
; and territories,
290–92
,
317–23
.
See also
Overseas Territory; winner’s curse

Dixit, Madhuri,
91
,
123
,
135–45
,
209
,
382
n. 27

economic liberalization,
18
,
43
,
58
,
202

elites,
78
; of Hindi film industry,
27
; per-ceptionsof,
88

ethnicity,
106–8

ethnography,
22–24
,
382
n. 1

facework,
122
,
138
,
144
,
145

family: filmic representations of,
99–100
,
306
,
319–20
; and respectability,
121
,
125

Federation of Indian Chambers of Com-merceand Industry (FICCI),
63
,
68–69
,
375
n. 32

film: consumption of,
286–89
,
291
; as entertainment,
46–47
,
55
; as modernization tool,
47–48
; as social change tool,
56
,
68

film circulation,
12–17
,
370
n. 25,
377
n. 12; overseas markets for,
75–79
,
89
,
320
.
See also
diasporic film markets, distributors

film distribution: arrangements of,
187–91
,
256–57
; corporate strategies of,
265–69
,
272–75
; in India,
186–89
,
327
–
28
,
384
nn. 9–10; minimum guarantee system,
189
,
321
,
347
,
354
; piracy’s impact on,
189–90
,
384
nn. 11–12; “table profit,”
189–90
,
270
,
327
; territories,
290–92
,
317–23

film industry.
See
Hindi film industry

film production: commencement ritual for,
248–50
; ideologies of,
245–46
,
278
; political economy of,
19
; state developmentalistpolicies toward,
19–20
.
See
also
production fictions

film screens in India,
71
,
374
n. 23,
376
n. 43.
See also
cinema hall; multiplextheaters; single-screen theaters

film set.
See
Hindi film set

“filmi,”
141–44
; contrasted with “middle-class,”
142
; paired with corporate,
262–63

filmmakers.
See
Hindi film makers

filmmaking.
See
Hindi film industry

Gandhi, Mohandas K.,
43–47
,
74
,
373
n. 11

gatekeepers,
192
,
203
,
385

gender,
121
,
126
; of Hindi cinema audiences,
84

gentrification,
148–50
; of viewing experi-ence,
97
,
111
,
316–18
,
338

Ghai, Subhash,
52
,
65
,
108–10
,
148–51
,
212
,
240
,
298–304
,
318–26
,
352

globalization,
18
; Hindi film industry strengthened by,
19

Gupta, Akhil,
19–20

Hansen, Thomas Blom,
8
,
367
n. 2,
378
n. 15

Hindi cinema,
103
; aesthetics of,
81–82
,
226–27
; changing status of,
77–80
; cho-reographyin,
82
; as “cool,”
33
,
79–80
,
117–18
,
316
,
364
,
379
n. 22; diasporicmarkets for,
10
,
103
,
186–90
,
291–95
,
319–28
,
341
,
350–55
; dubbing practices in,
227–28
; as entertainment,
46–47
; as escape,
105–6
,
350–57
; as fantasy,
104
–
5
; gentrification of,
17–18
,
79
,
110–17
,
316–17
; global circulation of,
89–90
; history of,
5–6
,
23
,
50
; legitimacy of,
4–5
; modernization of,
102
; narra-tives in,
100–102
; as pedagogy,
44–46
,
48–49
,
150
; perception of,
3
; represen-tationsof class in,
74
,
98–105
,
357–58
,
368
n. 11; representations of family values in,
74
,
99–100
,
325–36
; social relevance of,
49
; trends in,
379
n. 22; typical length of,
378
n. 17; viewing ex-periencesof,
11
,
97
,
111
,
316–18
,
338