Bibliographic record
Abstract
Bombay cinema, popularly known as Bollywood, targets Indian diaspora in the US, Canada, the UK and other countries alongside Indian audiences. Contemporary films such as Pardes (Foreign Land, 1997), Dilwale Dulhaniya le Jaaenge (The Bravehearted Will Take the Bride, 1995), and Singh is King (2008) among others present Indian characters in Western locales. These films create imagined communities, where home culture is intact, and conform to the Indian traditions and identities. The latter, as it has been frequently argued, are Hindu, male and upper class. In order to reinforce nationalist and patriarchal ideologies, the films present a highly critical account of the West and Western value systems as well as culture. So as to highlight Eastern culture and traditions, these films serve to construct an image of the West from the outside, thus cherishing Occidentalist tendencies. The films usually portray those influenced by Western culture as villainous, while adhering the protagonist, particularly female, to traditional Indian value systems as good and triumphant. Occidentalist ideologies have been present in the Bombay cinema for long, particularly the post-independence era, with films such as Naya Daur and Purab aur Paschim which emphasised the postcolonial nation and its need to survive against all outside influences including Western science and technology. Such ideologies have taken a new form in the films produced in the last two decades. In this paper I analyse this shift and argue that Bollywood films of the 1990s, aimed at diaspora audiences, tend to distinguish the East from the West, establishing an us versus them dichotomy that runs counter to the very process of globalisation that makes these films available to diasporic communities. As such, these films manage cultural sensibilities and foster nostalgia in their audiences by creating a hegemonic imaginary home and home culture, which is inconsistent with the heterogeneous and multicultural lived reality of India.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.002 | 0.002 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.012 | 0.007 |
| Scholarly communication | 0.008 | 0.003 |
| Open science | 0.001 | 0.010 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.005 | 0.001 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".