The emergence of East Asian and Indian films have positively impacted the global film industry through the use of hybridity with the combination of modern and traditional culture that meet consumer demands around the world. This particular ‘soft power’ gained by countries such as India and China can further allow promotion and awareness of political, economic, social and cultural interests to other audiences. Bose predicted that Indian films stood ‘the best chance of challenging Hollywood’s hegemony in the movie making world’- proving that hybrid films is definitely making an impact and changing demand.
Movies such as Slumdog Millionaire, Avataar and Moonsoon Wedding are western films that are influenced by Bollywood themes. Slumdog Millionaire won critical and popular acclaim throughout the world due to its cross- cultural collaborations, international distribution and hybrid film gramma that entangled techniques from both Hollywood and Bollywood. It contributed to Indian cultural context by including Bollywood-style song and dance routine at the end of the film, typical of the Bollywood film. The director, Danny Boyle also used several techniques associated with mainstream Hollywood cinema such as double plotlines, flashbacks, empathy and parallel editing. The hybridisation of the film was also demonstrated through its western director and Indian co-director collaboration which allowed the Indian culture’s ‘finer cultural complexities of life on the street’ be correctly displayed.
Before doing research, I never even knew Nollywood even existed. Despite its minimum budget and quality, Nollywood (Nigerian film industry) is actually the third largest film industry in the world. The films content is usually based on a mix of modern and traditional, melodramatic themes with real characters and situations with a corruption motif. Onookome Okome states that ‘there is no doubt that Nollywood exhibits the hybrid character that is obvious in many forms of African popular arts… the form and content of Nollywood narratives reminds the casual observer of the obvious ties it has to the complicated trade in global media images even when the point has been made of its unique place in world media culture’- demonstrates Nollywoods’ success due to hybridity and popular media.
Hollywood is seen as becoming useful for other global film industries through use of hybridised contra-flows to gain recognition with ‘Western audiences through Eastern movies, and Western movies for Eastern audiences’ (Lagerkvist, 2009: 370).
Karan, K , Schaefer, D.J, (2010), ‘Problematizing Chindia: Hybridity and Bollywoodization of Popular Indian Cinema in Global Film Flows’, Global Media and Communications 6:309.
Okome, O (2007), ‘Nollywood: Spectatorship, Audience and the Sites of Consumption’, Postcolonial Text Vol 3 No 2, pg1-21.
Sukhmani Khorana, 2014, ‘Global Film Beyond Hollywood’, lecture notes, BCM111, UOW, viewed 1 October 2014