Essay plan

Tittle - " 'Page 3' should be seen by all because of the important issues it raises and its ruthless insights into the world of socialites"

Introduction - Introduce with the basic, When Bollywood started? The assumption that it is a form of 'escapism'. Even from texts like Mother Indian discussed contemporary issues along with the traditional Hindu Myths. Now Bollywood films have changed films like PAGE 3 along with Rang De Basanti, Black and Fanaa all talk about issues that are in the collective conscious. Instead of 'escapism' it has actually developed to 'actuality' and 'realism'. Has a Diachronic and Diegesis narrative

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Introduce 'Page 3' as my main text. Talk about the genre. is it common amongst Bollywood conventions? conform or rebels? Alot to talk about in society e.g. terrorism, politics and media. hybridity?

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Target audience? western audiences having a impact of the films made.

Whats this suggesting about indian audiences if they dont like page 3 in comparison to western audiences? Link to institution, how this had an imact? prefer to escape? lack knowlegde of important issues or are they evolving as a country and wanting to see more realistic films.

Then again how accurate is Page 3 in reflecting society?

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First piont of Bollywood (inparticular inreference to page 3) has evolved now talking about important issues in the media rather than the typical 'boy meets girl' narrative. Challenges conventions. The fact that the media is also shown to be corrupt showing the bad sides of Indian (and western) institutions.

E.g currption of the higher ranks . The main protagonist tries to do her job and print stories of celebrities but because of those in power and with money as unable to print the truth to the public.

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Similarly in Rang De Basanti, also talks about corruption (Elite) of those in higher positions. Introduce the film and its genre. (Links to Page 3)Sue, a young London-based filmmaker chances upon the diaries of her grandfather, who served in the British police force in India during the freedom struggle. She comes to India to shoot a film on the Indian revolutionaries mentioned in the diaries. men are the ones in power as a steroptype these films conform to patriachy.

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Bollywood is effectively changing. Targetting a wider audience with its hybridity. Therefore society must be changing, or is Bollywood simply just catering for the Western audiences? Issues like the Gay and lesbian factors which are shown in Page 3 are issues that Asian frown upon (queer theory). It is widely noted that since the 1980s there has been an increasing display and sexualisation of the male body in mainstream cinema and television and in advertising (Moore 1987, Evans & Gamman 1995, Mort 1996, Edwards 1997).

They have a conservative stance. Different ideologies and upbringing. Page 3 is representing issues that Asians feel they cant talk about. change in society?

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Bollywood is not changing. (arguing against) the main protagonist Madhavi we see the narrative through her eyes (camera techniques POV shot)- forced to feel her emotions.. Despite your race of cultural background we can all somehow relate to the story. Goes against laura muvleys theory that the audience are males.. infact the males are forced to watch this film through the eyes of a women. She doesnt fulfil the qualities of being 'looked-at-ness' shows alot of discrimination, sexism things that women face everyday. Should women be at home? rather than working? all the higher ranks in the film are men. women conform to stereotypes as the women shown are into fashion and gossiping. Realims? (no). Promoting a multi cultural society

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In contrast in Fanaa (after her husband leaves her) she is shown to be strong and fully capable of bringing out her son without a father. Introduce this film. Fanaa. briefly explain what its about. Terrorism. realism? yes.. the fued between the pakistani, kashmir and indians fighting over land is mirrored in Fanaa. similary in Page 3 a scene where there was a bombing. Both films emphasize the fact that terrorism is contemporary its sometthing we all need to be aware of.

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" I feel that Bollywood films were honest and dealt with real issues " -said by a women called heidi who was in the series of Bollywood ideal. which was published in a popular Asian magazine : ASIANA. Films like 'Black' who represent those with special needs. in this case a blind women who is being taught the basics to communicate. People with disablities would of normally been look down on society would have thought the person was possessed by a devil. Now people know its more than that. feel sympathyy. media makes the audience more aware and teaches them rather than escape. (e.g lagaan set back in the 1900 the cripled man was looked down on.)

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Throughout the film, there are obvious western influences.Cultural Imperialism: In typical Bollywood films there would be songs and dances in page 3 there isn't. another film that doesnt have songs is Black. Always links back to reality - the recurring image is the theme of celebrations. After each issue the audience is drawn back to a party. Ignorant people? avioding these important issues just to have parties. Here the parties include a variety of different people and culture amplifying the idea that it is common all over the world.

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Capitalism - to get somewherre and to be someone you need to have money, contacts and status. Cultural Industry:India is known for the government and police being corrupt and this is one of a few films who explicitly show this along with Rang De Basanti. in one scene the a character was arrested being caught in the act of peadophillia and soon being released becuase his father is a well respected and higher status man.

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Asian culture is now seen as a stylish and is influencing area's in fashion, music food and entertainment. After Lagaan winning oscars, Bollywood began to become well known in the western culture. This could of triggered its change. It aims in portraying modern Asian life tackling real issues that the British audience can relate to. Ironically in todays society India has now become a source of inspiration for spirituality, music and fashion. This reflects how much attitdues have changed in the west to asian culture. "mainstream isno longer synonymous and white. "

Conclusion:In conclusion Page 3 contains a variety of contemporary issues represented by Asian. These stereotypes of asian are being challenged however indirectly most are conforming. influences from western culture has in fact introduced a new genre to Bollywood. social realism

Historical Context

- Mother India talkes about Contemporary issues in that time.
E.g. Land, Politics and family issues.


- Bollywood is all about Indian myths and legends. Back then morals where based around these traditional Hindu myths.

Mother India (Hindi, भारत माता, Bhārat Mātā) is a 1957 Bollywood movie directed by Mehboob Khan, nominated for Academy Award for Best Foreign Language Film in 1957.

Plot and/or ending details follow.

The film begins with the finishing of a water canal to the village set in the present. Radha (Nargis), as the 'mother' of the village is asked to open the canal and remembers back to her past when she was newly married, mirroring the new independence of India.

The wedding between Radha and Shamu (Raaj Kumar) was paid for by Radha's mother in law who raised a loan from the moneylender, Sukhilala. This event starts the spiral of poverty and hardship which Radha endures. The conditions of the loan are disputed but the village elders decide in favour of the moneylender after which Shamu and Radha are forced to pay three quarters of their crop as interest on the loan of 500 rupees.

Whilst trying to bring more of their land into use to alleviate their poverty, Shamu's arms are crushed by a boulder. He is shamed by his helplessness and is humiliated by others in the village, deciding that he is no use to his family he leaves and does not return. Soon after this, Radha's mother in law dies.

Radha continues to work in the fields with her children and gives birth again. Sukhilala offers to help alleviate her poverty in return for Radha marrying him, but she refuses to "sell herself". A storm sweeps through the village destroying the harvest and killing Radha's youngest child - the villagers start to migrate but decide to stay and rebuild on the urging of Radha.

The film then skips forward several years to when Radha's two surviving children, Birju and Ramu, are young men. Birju, embittered by the exactions of Sukhilala since he was a child takes out his frustrations by pestering the village girls, especially Sukhilala's daughter. Ramu, by contrast, is calmer in temeprament and is married - soon after, his becomes a father but his wife is soon absorbed into the cycle of poverty in the family.

Birju's anger finally becomes dangerous and, after being provoked, attacks Sukhilala and his daughter as well as violently lashing out at his family. He is chased out of the village and becomes a bandit. On the day of the weeding of Sukhilala's daughter, Birju returns to take his revenge. He kills Sukhilala and takes his daughter - but Radha, who had promised that Birju would not do harm, shoots Birju who dies in her arms. The film ends with her opening of the canal and reddish water flowing into the fields.

Gracious Me wins top Asian award

http://news.bbc.co.uk/1/hi/entertainment/arts/1242056.stm

Meera Syal won best female personality Hit TV comedy Goodness Gracious Me has won two awards at a ceremony celebrating the achievements of Britain's Asian community. Both received the awards at the Mega Mela BBC Asian Success, Innovation and Achievement show at the National Exhibition Centre in Birmingham.

Asia Awards were also given out in categories highlighting achievement in music, media and film. Judges included the Duchess of York and Nina Wadia, who also stars in Goodness Gracious Me. Composer Nitin Sawhney won the prize for music.

The London-based performer's fusion of east and west rhythms have earned him critical acclaim and led him to work with international artists such as Sting.

The film award went to Mohabbatein. It was shot on the Longleat estate by director Aditya Chopra and starred Amitabh Bachchan and Shah Rukh Khan. It made £246,000 in its first three days of release, taking it to the ninth spot in the UK film charts at the end of last year. The arts award went to Akademi. The London-based organisation was responsible for the hit dance spectacle Coming of Age at London's South Bank Centre last year.

Former BBC Delhi correspondent Mark Tully carried off the lifetime achievement award. Nobel Prize winner Professor Amartya Sen was commended for his work on famine, the welfare of children and women, and poverty.

Channel Four was also credited for its series of programmes on the Kumbh Mela festival, which attracts millions of pilgrims to the banks of the River Ganges every 12 years.

Wadi, who was also short-listed for the best female personality award, said: "The level of entries of nominees was incredibly high and made my job an absolute nightmare. "It's fantastic to see that there are so many wonderful individuals out there who are making a difference to people's lives on a daily basis."

The event was co-hosted by the BBC's George Alagiah But the BBC Asia Awards were not for famous names. Kavita Brahmbatt, 12, won the young achievers award. She signs for her parents who are both deaf. This means attending doctors appointments and even business meetings with them, signing critical and complicated information.

The event was hosted by BBC newsreader George Alagiah, and Sky news presenter Lisa Aziz. BBC Director General Greg Dyke, Cherie Blair and news-making minister Keith Vaz were also on the guest list.

Winners in full:

Female Personality of the Year: Meera Syal Male Personality of the Year: Sanjeev Bhaskar Media Award: Kumbh Mela - The Greatest Show on Earth,
Channel Four Lifetime Achievement Award: Mark Tully
Special Commendation: Professor Amartya Sen
Achievement in Film Award: Mohabbatein
Music Award: Nitin Sawhney Achievement in Sport: Respect All Fans Football Initiative (RAFFI) Young Achievers Award: Kavita Brahmbhatt Achievement in Arts Award: Akademi Achievement in Enterprise and Innovation Award: Sasha Dhillon
Community Award: The Newham Asian Women's Project, London

Task 11

Laura Mulvey - visual pleasures and narrative cinema summary

This theory can relate to This Bollwood film Page 3 as it encourages the idea of 'Male Gaze' there are many attractive young girls who try and make it big in Bollywood, and are prepared to anything to get fame. one if the girls who plays a side role is trying to become a actress in a male dominated society. She reinforces the stereotypes of women, someone who is weak and in constant need of help (by the men) she therefore an icon and fulfils the purpose of being looked at In most scenes she is under dressed which help fetishize her feminine figure, that the audience who are presumably male are watching her voyeuristic pleasures. Therefore she is an object of the male pleasure.The main character is not passive like other women in the film, infact she questions authorit. She is portrayed to be not attractive. Therefore not posses the quality of to-be-looked-at-ness.

The phallic object in page three is a camera. As this whole film is based around celebrities and how truthful is the news in the magazine. This idea of a camera connotes this idea of male gaze,voyueristism and fetishism which is continvious throught the fim.

Sigmund Freud - Laura Mulvey adapted from the work of him. His theory was that there was a fear inserted in boys, when lokoing at girls they think that she has had her penis removed. therefore the boy becomes filled with anxiety as he believes this may possible happen to him.this is also known as castration anxiety