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The chapter explores how gender has been an integral part of the nation building project in post-liberalisation Hindi cinema, popularly, known as Bollywood.

This chapter is based on primary data gathered through interviews with prominent members of the Hindi film industry along with a detailed content analysis of commercially successful post-liberalisation mainstream Hindi films.

It highlights how the representation of gender has been a central axis around which the tension between tradition and modernity has been played out in Hindi Cinema. The construction of Indianness post-liberalisation has questioned gender politics but proposed easy resolutions which fit into the larger nationalist narrative. In doing so, it has used the diaspora as a category to produce a nationalist account which is simultaneously essentialised and transnational in the quest for projecting India’s aspirations on the global platform.

The chapter provides important insights into the role of popular Hindi cinema, often brushed off as frivolous, in contributing to the mainstream discourse on nationalism post-liberalisation.

The image of Mel Gibson and Hugh Jackman (as Wolverine) in the Mad Max and X-Men franchises represents traditional heroic action masculinity. This chapter explores the roles of female action heroes in defying patriarchy and subverting action film genre stereotypes in male-dominated franchises. In contrast to past characterisations of Max, Mad Max: Fury Road (2015) provides both a departure to the role of Max as the male saviour seeking vengeance, by focusing on Imperator Furiosa and offering space for a portrayal of femininity characterised by inclusivity and tolerance. In Logan (2017), the decay of Wolverine is central to the narrative. Rather than the portrayal of an immortal hypermasculine hero in the previous X-Men films (with emphasis on men in X-Men), a new female mutant Laura assumes his mantle. In this context, I consider the gender roles and depiction of women in these films, and how they may be read as offering a futuristic vision of utopia in dystopian narrative worlds.

In the distant future, the social and economic systems build by the patriarchy are crumbling, causing an environmental crisis and divisive society, where people who are different (mutants) are hunted down. Mad Max: Fury Road and Logan both offer an alternative depiction of women and girls, providing new perspectives to navigate an uncertain dystopian world through fierce female warriors Furiosa, and mutant girl Laura. Ultimately this chapter demonstrates that survival in the post-apocalyptic and dystopian worlds represented in Mad Max: Fury Road and Logan may be achieved via a subversive feminist solution/utopia to the crisis of masculinity.

Strategy.

This case can be used on a strategic management course in the second year of an MBA programme, any special elective course on the media and entertainment industry and in executive education programmes to demonstrate the application of strategic management concepts and frameworks.

The Indian film industry was the largest in the world and the seventh largest in terms of revenue. Significant number of movies were made in languages such as Bengali, Marathi, Telugu, Tamil, Malayalam and Kannada, with Hindi commanding the highest number. The film industry in Karnataka made movies in the Kannada language. The industry was plagued by a host of issues with the industry contributing just 2 per cent of the revenues and box office success rate at just around 25 per cent. The state government had set up Karnataka Chalanachitra Academy with the objective of promotion and development of the movie industry in Karnataka. The Chairman of the academy, Shailesh Singh, was extremely concerned about the poor success rate of Kannada movies and was contemplating various options of reviving the ailing Kannada movie industry.

The expected learning outcomes are as follows: application of strategic management frameworks in the context of the movie industry; analysis of industry issues from the long-term and short-term perspectives; study of different entities in the movie industry and the roles they play and their interdependence; applying learning to suggest survival strategies in an extremely competitive market; and insights into the role of government in the media/entertainment industry.

Teaching Notes are available for educators only. Please contact your library to gain login details or email support@emeraldinsight.com to request teaching notes.

CSS 11: Strategy.

This paper aims to examine the strategic issues of risk for independent theatrical film distributors in the Hindi film industry in India.

The study adopted qualitative grounded theory approach to explore contextually relevant strategic issues of risk for independent theatrical film distributors. Semi-structured in-depth interviews with Hindi film distributors helped to gain explorative insights about the risk behaviour of film distributors operating in Mumbai “circuit”.

The findings suggest that risk faced by distributors is a function of product (film content) features, contractual terms, resources such as finance and strength of strategic alliances with the producers. The study develops a business risk model for the film distributors from a series of propositions.

The paper contributes to the literature on motion picture industry by highlighting the importance of distribution risk in the film value chain.

This study reports on a four-month ethnographic project conducted among young Catholic women in Mumbai, India. Here, the author examines how the media consumption of participants is implicated in reconstituting Indian national identity. Because Hinduism is closely tied to conceptualizations of Indianness and because women continue to be marginalized in Indian society, Catholic women in India are viewed as second-class citizens or “not Indian enough” or “appropriately Indian” by virtue of their gender and religious affiliation. However, through media consumption that emphasizes hybridity, participants destabilize narrow definitions of Indian identity. Specifically, participants cultivate hybridity as central to an Indian identity that is viable in an increasingly global society. Within this formulation of hybridity, markers of their marginalization are reframed as markers of distinction. By centering hybridity in their media consumption, young, middle-class Catholic women (re)imagine their national identity in translocal cosmopolitan terms that subverts marginalization experienced by virtue of their religion and leverages privileges they enjoy by virtue of their middle-class status. Importantly, this version of Indian identity remains elitist in that it remains inaccessible to poor women, including poor women of minority groups.

On 20 March 2020, the four adult convicts of the 2012 Delhi rape case were executed after a long debate regarding the punishment for their crime. The Delhi rape case, unlike others, was also given to the fast track court because of the worldwide outrage India received in its aftermath. Otherwise, most rape survivors rarely speak out and if they do, their lives are often endangered and threatened, depending on the severity of the case itself and the perpetrator's rank in the society. Through the analysis of Aniruddha Roy Chowdhury's, 2016 film Pink, and Ajay Bahl's film Section 375 (2019), this chapter explores the different ways in which mainstream Hindi cinema deals with such questions, especially in its depictions of courts. Both these films foreground India's contemporary cultural systems of fear that silence the rape survivors. They also imply that in the court cases, unless the specific court case faces intense global publicity, as was the case of the Delhi gang rape, rape survivors will never want to speak out. Moreover, the rape survivors will also hesitate to file a First Information Report (FIR) – a document that records crimes by the police against their perpetrators – limiting any possibility for justice for them. The laws surrounding rape cases are obscure and complex and finding justice for a rape victim (unless it is on a global level) is not an easy venture in India. At the time of the #metoo movement, the rape laws in India are not designed in such a way to arguably encourage victim-survivors to speak up. Instead, if rape survivors do decide to confront their perpetrators, they not only face ostracisation from society but also the danger of losing loved ones and endanger their lives as well.

Films, besides serving as an important instructive means to deliver sociological content, have also recently made their way into more structured courses on Media Sociology. It becomes particularly pertinent for cultivating global sociological imagination in the classroom. This chapter is a pedagogical reflection discussing the potentials of integrating Bollywood films into a first-year seminar, the content of which at many levels is comparable to basic sociology classes. The reflection is based out of the experience of teaching a freshmen class on Bollywood to a body of students with little past exposure, or knowledge of this movie industry. The chapter will initiate a dialogue on strategies of introducing the content, encouraging engagement and critical thinking, how to build on essential global sociological imagination along with a summary of what works and what does not. For this chapter, I will detail on the three contemporary Bollywood films (Ishaqzaade, Monsoon Wedding, and Dor), which I use to engage in a dialogue on family, class, and gender. Next, I will apply Sutherland and Fetley’s (2013) framework to explore the sociological relevance of these films (thus validating my choice of these works for pedagogical purposes) and also demonstrate possible hegemonic versus oppositional ways of reading these texts, which students are supposed to decipher and apply. Contemporary Bollywood films in many ways mirror aspects of the life course experienced in the United States and can be instrumental in encouraging a diverse undergraduate curriculum.

The case study “PVR Limited at a Crossroads” has been designed with the requirements of strategic management. The learning objectives are as follows:

• Situational analysis – understand the global and Indian media and entertainment industry PESTEL.

• Strategic planning – internal and external environmental analysis – strength, weakness, opportunities and threats (SWOT) analysis helps in achieving the strategic plan.

• Strategy development – to accomplish the turnaround plan, various alternatives are developed; choosing from the possible alternatives is a part of strategic planning.

PVR Limited (PVR) is the largest premium film exhibition company in India. In their annual report for 2019–2020, Chief Executive Officer Gautam Dutta acknowledged, “It was the first time in our more than two-decade history that we witnessed over 100 million patrons entering our premises in a year”. However, with the onset of Covid-19 pandemic in January 2020, things changed for the entertainment industry in India. There were fears of an eminent third wave and the detection of a new Covid-19 variant, Omicron, added to these fears. Being a major player in the game, PVR felt the impact. And even when the business started to reopen, social distancing remained a concern and ticket sales were impacted. Over-the-top viewership rose dramatically at the cost of the multiplex. The lockdown halted film productions worldwide, leading to a shortage of content. Other revenue streams, such as food and beverage, convenience fees and advertising, also came to a halt. Given the circumstances, Dutta was facing the twin dilemma of how to bring customers back to cinema in a post-pandemic world without in any way compromising the security of its patrons and keeping costs under control while investing in social distancing, safety measures and entertainment infrastructure to enhance the cinematic experience.

This case was written for use in Strategic Management classes at the undergraduate and MBA levels. It can be used in both management studies and executive development programs. It is suitable for courses on strategic management and strategic planning focusing on a turnaround strategy. Additionally, the case could be used in consumer behaviour courses in management as the focus of the case is well aligned with discussions related to change in consumer behaviour.

Teaching notes are available for educators only.

CSS 11: Strategy.

The purpose of this paper is to examine how movie studios develop an integrated social media strategy to achieve box office success. Departing from prior studies which focus on single social media platforms, this study examines the role of integrated social media promotion strategy using multiple social media platforms on movie success in the Bollywood movie industry.

This study adopts an in-depth and comprehensive case study approach to examine the promotional strategies adopted through YouTube, Facebook and Twitter throughout the life cycle of the movie and its impact on the box office success of the movie.

The study provides three major findings. First, the social media promotional strategy was centred on developing appropriate content to match the unique characteristics of the social media platforms. While Facebook was utilised primarily to connect audiences through organising fun events, Twitter was used to retweet the positive word-of-mouth generated from the audiences. Second, emphasis on promotional strategy through social media platforms in the post-release stage of the movie was found to be equally important as the pre-release stage. Finally, the social media platforms were utilised to develop emotional connection with the audience by promoting the content through which the audience identified themselves with the main protagonist of the movie.

This study is among the very few studies which examines the role of integrative social media strategy on the box office success in the movie industry. This study emphasises the way firms can utilise the synergies across different social media platforms to achieve success in the movie industry.