By Aswin Punathambekar
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Extra info for From Bombay to Bollywood: The Making of a Global Media Industry
The prominence granted to Anand Sharma and Sushma Singh from the Ministry of Information & Broadcasting was not surprising given the remarkable shifts in state policy toward the media industries in general and the Bombay-based Hindi film industry in particular. Yash Chopra and Karan Johar’s presence seemed appropriate as well. After all, their films— Dilwale Dulhania Le Jayenge (The Big-Hearted Will Take the Bride, Aditya Chopra, 1995) and Kabhi Khushi Kabhie Gham (Happiness and Sorrow, Karan Johar, 2001)—had played such a crucial role in reimagining relations between India and the diaspora as well as establishing the overseas territory as a lucrative market for Bollywood.
The email invitation, extended by a friend whose family lived next door to the Barjatyas in Bombay, explained that the event was part of Rajshri Productions’s marketing and promotions strategy and was designed to give journalists and film critics in the United States a glimpse of the film before its worldwide release. ! (What Do I Mean to You? 20 The event, attended by well over thirty journalists, began with a screening of the trailer of Main Prem Ki Diwani Hoon and three song sequences from the film.
And as I mentioned in the previous chapter, a few minutes into his address, Yash Chopra proceeded to invite Karan Johar, another influential producerdirector in Bollywood, to join him on stage. The prominence granted to Anand Sharma and Sushma Singh from the Ministry of Information & Broadcasting was not surprising given the remarkable shifts in state policy toward the media industries in general and the Bombay-based Hindi film industry in particular. Yash Chopra and Karan Johar’s presence seemed appropriate as well.
From Bombay to Bollywood: The Making of a Global Media Industry by Aswin Punathambekar