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By Andrew Hassam; Makarand Paranjape

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Extra resources for Bollywood in Australia: Transnationalism & Cultural Production

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The age range of the group was 18–34, with two thirds of participants aged 19–21. 5 females to each male. Only one participating student was of a South Asian background (Tamil). 47 The film clips were taken from Dil Chatha Hai (2001), Supari (2001), Devdas (2002) and Boom (2003). 48 T Bennett, M Emmison & J Frow, Accounting for Tastes: Australian Everyday Cultures, Cambridge University Press, Melbourne, 1999. 49 In the context of discussing popular culture in Australia, Western culture would seem also to be a cipher for Anglophone, rather than European, culture.

28. 11 R Inden, ‘Transnational class, erotic arcadia and commercial utopia in Hindi films’, in C Brosius and M Butcher (eds), Image Journeys: Audio-Visual Media and Cultural Change in India, Sage, New Delhi, 1999; R Kaur, Bollyworld: Popular Indian Cinema Through A Transnational Lens, Sage, New Delhi, 2005. asp>, viewed 23 September 2004. 42 The Crossover Audience 13 D McMillin, ‘Localizing the global: television and hybrid programming in India’, International Journal of Cultural Studies, vol. 4, no.

So it’s not as diverse as what an Indian culture is. 47 The questionnaire prompted participants to provide short qualitative responses describing their preconceptions, analysis and reaction to the films. Participants were also asked to rate each film clip on a numerical scale. No introduction to Indian cinema was given prior to the exercise. Following the screenings, participants were asked to contribute their overall impressions of Indian films, based upon the screened excerpts and to comment on the suitability of the films for an Australian audience.

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