china the new emerging frontier for indian … · chopra, child of veteran producer yash chopra,...

53International Journal of Humanities and Social Development Research

CHINA THE NEW EMERGING FRONTIER FOR INDIAN CINEMA – A STUDY OF AAMIR KHAN

PHENOMENA IN CHINA

Kaveri Devi MishraAmity School of Communication, India

1. INTRODUCTION:

Raj Kapoor famously knows as “Charlie Chaplin of Indian fi lm,” likewise the living legend of Indian Cinema gave another measurement to the standard silver screen in Inida as well as taking it to universal level and worldwide audience and onlookers with its regularly Indian social milieu and social setting into the global spotlight. The drama and song got the creative ability of the crowd, cutting crosswise over age-hindrances, dialect obstructions and political limits. Raj Kapoor was to be sure one of the best and genuine performers as an on-screen character, chief and maker. The music and melodies were extremely famous and was a fi erceness abroad from USSR, Africa and Middle East from the mid 1955. The voyage of Indian Cinema that started from the Raj Kapoor period got an another measurement and course post globalization.

2. RESEARCH QUESTIONS:

This paper examines and investigates the following questions:

1. The phenomena of exporting Indian culture to China by Bollywood.

2. How China and Chinese audience connecting with Indian Culture via Bollywood Cinema.

3. Exploring the Bollywood trend of Aamir Khan movies that have created a niche market in China.

4. The future of Bollywood cinema in China.

5. Cinema in general and Bollywood in particular can bring in a social and political change in China.

Kaveri Devi Mishra54

3. THEORETICAL FRAMEWORK

1.1 NEW DIRECTION FOR INDIAN CINEMA

The Indian Cinema prominently today known as “Bollywood” in the ‘90s got a critical improvised with gigantic sets and huge budget melodramas pointed both at the prospering Indian white collar class and the diasporic Indian gatherings of people, as makers immediately perceived its capability to make the fi lm business greater than it as of now was.

Post globalization, new type of movies named as urban stories, diaspora silver screen, or NRI movies, were gleaming, consumerist dreams, including white collar class universes and transnational ways of life that caught the creative ability of gatherings of people in India and abroad.

The air and the mood was stewing just underneath, sitting tight for a solid shape to make a wonderful and cheerful marriage between Indian esteems and Western ways of life of the occupant Indian. The Filmmakers were paying special mind to this new brand of “Indianness” as far as plot, story, cast, subject and music.

With more than 22 million alien Indians around the globe, Bollywood movie producers themselves woke up to the potential in charming a worldwide gathering of people when the new century rolled over.

In 1995, was a defi ning moment in Indian Cinema and crowd around the world. Aditya Chopra, child of veteran producer Yash Chopra, made his presentation with Dilwale Dulhaniya Le Jayenge, where he demonstrated that in spite of the male hero being a NRI, he regards Indian family esteems and avoids eloping with the lady he adores. [1].

With this ‘reformed’ image of Bollywood lovers, NRIs to boot, Chopra created a fi lm that was young and universal in its appeal, rooted in traditional customs and values. The fi lm released to unprecedented hype, and became one of the biggest grossing and the longest running fi lms in the history of Indian cinema.

For many fi lm historians and sociologists, DDLJ essentially marked the beginning of diasporic Bollywood fi lms, and has since been the subject of many a fi lm analysis. Since the movie DDLJ entered its 600th week of continuous running in theatres, perhaps a record unmatched anywhere in the world as April 13, 2007. [2]

With this ‘reformed’ image of Bollywood lovers, NRIs to boot, Chopra created a fi lm that was young and universal in its appeal, rooted in traditional customs and values. The fi lm released to unprecedented hype, and became one of the biggest grossing and the longest running fi lm in the history of Indian cinema.

For many fi lm historians and sociologists, DDLJ essentially marked the beginning of diasporic Bollywood fi lms, and has since been the subject of many a fi lm analysis.

China the new emerging frontier for Indian Cinema... 55

Since the movie DDLJ entered its 600th week of continuous running in theatres, perhaps a record unmatched anywhere in the world as April 13, 2007. [3]

DDLJ was the talk of the town with Inida but also around the globe, it extended to other locations of social and cultural parameters linked directly to the fi lms reinforcing and institutionalizing the “Bollywood culture” among diaspora Indians. The viewing of Bollywood also ensures in take of similar cultural products mass produced drawing commercial mileage from the acceptance} of the Bollywood trends and senstation.

Anugyan Nag, a research scholar at the Jawaharlal Nehru University, in a brief paper titled “Quasi Diaspora” writes,

“At this dynamic moment in history, when the fi rst and third worlds are involved in a major confrontation of cultures, the third world with its multi-culturalism is engaged in an attempt to redefi ne their cultural identities to save the threat of cultural genocide through the effects of a rampant globalization.”

Anugyan strongly discusses the state and the notion of diaspora and refl ects that Bollywood has gained fames and attractiveness among the majority of the population. Indian Cinema as a powerful socializing agent and exporting Indian culture overseas. Therefore the makers are constantly exploring and striving to changing parameters of the themes. [4]

4. GLOBAL PHENOMENA

Digitization and deregulation have changed the worldwide media scene, empowering and expanding in the creation, production and consummation of media and infotainment, thus resulting in a wide and huge global market. India began to take its creative and creative talent across the globe showcasing its culture at the worldwide audience and created a niche for “Bollywood” as a brand.

Notwithstanding quick headway in innovation, the ascent of the web and 20 million in number expanding worldwide Indian Diaspora has genuinely contributed in the Bollywood Phenomena and made the Indian silver screen a worldwide marvels post globalization.

The effect and impact of Globalization on Bollywood are complex:

Right off the bat, the Non Resident Indians (NRI) producers, for example, Mira Nair, Deepa Mehta, Nagesh Kukunoor, Gurinder Chada, and numerous others were more noticeable and proactive and started making motion pictures taking into account huge groups of onlookers and setting a pattern to additionally empower numerous youthful and yearning learner movie producers, for example, Piyush Dinker Pandya (American Desi), Anurag Mehta (American Chai) and numerous others.


Also, the generous sets and high spending motion pictures with amazing sets and tunes of Bollywood affecting, Hollywood discharges, for example, the stunning sets and the melody and- move of Moulin Rouge.

Thirdly, cooking of Bollywood for worldwide Indian groups of onlookers. This is evident not just in NRI movies and story-lines with Westernized settings and styles of numerous current discharges like “Saalam Namaste” “Kya Kehna” , “Kal Ho Na ho” and so on. Many examples can be found in Bollywood that is multi-starrer that is styled like a Hollywood thriller. However, paying little heed to the topic, setting, or style, worldwide Indian groups of onlookers now assume a basic part in the achievement or disappointment of Bollywood creations. Both “Lagaan” and “Devdas”, in light of exceedingly customary subjects, have had an extensive lump of their incomes originated from abroad groups of onlookers.

At long last, pattern of India-driven subjects are passing through to standard, as is clear in movies, for example, “Monsoon Wedding” and Universal Studios fi lm “The Guru”. In England, it has been “Cotton Mary”, “East will be East”, and the current hit, “Bend it Like Beckham”. he ‘Uncle Khan’ Phenomena - Aamir Khan

Aamir Khan turned into India’s most prevalent fare to the place where there is the monster, he has caused a buzz in China, where by and large individuals have more fan following to American and South Korean stars, have gradually yet consistently liking Aamir Khan the new Bollywood sensation.

The 52-year hotshot — whose 3 Idiots (2009) broke what was the called ‘China’s Great Bollywood Wall” — has come to be lovingly known as “Uncle Khan” is today one of the greatest brands with regards to Indian silver screen in China.

Aamir Khan began his voyage of his notoriety with his fi rst motion picture discharged in China the 3 numbskulls (2009), PK (2015) and now the relentless Dangal (2017).

In 2009, Aamir Khan’s 3 Idiots resounded profoundly with the Millennials in China who could relate to the unreasonable weight confronted by understudies and it’s nota really astounding thing that the fi lm now stands positioned as the twelfth most prominent fi lm in China ever. On the off chance that it was the portrayal of the high-weight training framework in 3 Idiots that charmed Khan to the Chinese and sowed the seeds of a restoration of their affection for a Hindi silver screen that started with Raj Kapoor in the 1950s.

It hit the harmony with a considerable measure of Chinese gathering of people since the motion picture plot has around feelings and mankind. The group of onlookers found a considerable measure in like manner like the resistance against specialist, an interest of truth, and other all inclusive attributes in humankind. In this way his motion pictures quickly resounded with the Chinese gathering of people.


“ The Movie 3 Idiots was the principal prominent motion picture heaps of schools and universities had screened it for their understudies. The motion picture was viewed by fi rst or second grade since they related to the fi lm’s feedback of repetition learning and its accentuation on the signifi cance of free considering and creative energy”.

This fi lm was highly acclaimed and critically appreciated in the backdrop of the fact that the message was extremely signifi cant socially and clarifi ed the signifi cance of adapting as opposed to only your exam scores. In present day times, the instructional framework has been falling behind in the East, there was an unmistakable message that they have to change the training framework and this fi lm conveyed well in a drawing in a way. [5]

The movie Dangal ranked among the top three earners at the Chinese box offi ce grossed $2.2 million in China. In fact, when we look at the other Aamir Khan movies released in china like PK ($16.75 million), Dhoom 3 ($3 million) and 3 Idiots ($2.2 million). PK was released in 4,600 screens across China (2014).

The movie breaking box offi ce records in China and worldwide is a sheer refl ection of the success and have surpassed the expectations of the fi lmmakers. It was initially, set to release in 3,500 screens looking at the response the Chinese exhibitors decided to increase the screen count to 4,500-plus screens after a special star-studded premiere at the Shanghai Art Centre.

“I think Uncle Aamir’s Three Idiots spoke a lot about India’s higher education problems that China also faces,” says 20-year-old Lansy Tong, a Chengdu-based university student who has been a fan of the actor since high school, “His sense of social responsibility has made him more than a movie star… someone dedicated to the society that wants to awaken India through his works.” [6]

While all around India and China are regularly hollowed against each different crosswise over numerous circles, and particularly with regards to the potential and in addition the energy of their local markets, there are likewise many parallels between the two nations. It is here, amidst the social similitudes amongst India and China the framework of family and relationship the father daughter relationship. Sports and education as the theme of Uncle Khan ‘s movies have built and have struck a chord and connected to the heart of millions of Chinese and movie lovers that proved a grand success.

Zhang (2010) notices that Chinese individuals have an inexorably vigorous longing for a wealthier social life, the Chinese fi lm and broadcast business has had a worldwide measurable with its gatherings of people in the Sinosphere, with prominent focuses as Shanghai, Hong Kong, Taipei, and Singapore as mentioned by Curtin( 2007).

The worldwide hit as “Crouching Tiger, Hidden Dragon (2000), Hero (2002), and House of Flying Daggers (2004)” have made a Chinese nearness in the worldwide amusement fi eld. These additionally exhibits a cooperation with Hollywood promoting and


conveyance arranges, a pattern which has been impressively reinforced from that point forward as China has turned into a lucrative market for Hollywood organizations. 2011 proved to be a spectacular year for the Chinese fi lm industry when they 2 Million USD when real Hollywood production houses like DreamWorks and Fox had co ventures.us

6. DANGAL”S MEGA SUCCESS IN CHINA Aamir Khan’s expanding prominence in China, where he is viewed as a worldwide brand, is the following part in the developing impact of Bollywood as a delicate power. For the Bollywood performing artist Aamir Khan it was a Dangal’s uber achievement was beyond anything he could ever imagine. 3 dolts acquainted him with the Chinese market and Dangal made him a symbol and well known on-screen character with a tremendous fan following.

Aamir Khan’s “Dangal” has turned into the highest and most earned movie acquiring non-Hollywood, motion picture in China for 2017.

Featuring Aamir Khan ahead of the pack part, the fi lm reports the adventure of wrestler Mahavir Singh Phogat and how he got his girls Geeta Phogat and Babita Kumari prepared to wrestle on the global stage. The fi lm hit the screens in India on December 23, 2016 to thundering acclaim from watchers and consistent acclaim from commentators.

Greatest earning non-Hollywood outside motion picture, pulling in ¥806 million ($117 million) in territory China, inside the third week of its discharge, as per information from EntGroup, a main diversion specialist. It has surprised the Chinese fi lm industry. In the week closure May 14, it had earned $71million, beating the Hollywood Guardians of the Galaxy Vol 2. [7]

Dangal was screened on an expected 9,000 screens in China on May 5 with English subtitles. (A few venues have screened the Chinese named variant.)

The participation at silver screens, said offi cial news offi ce Xinhua, has “surpassed that of Disney and Marvel’s Guardians of the Galaxy Vol. 2 discharged around the same time”. The Shanghaiist site included,

“Earning 776 million yuan ($112 million) in only over two weeks, Bollywood blockbuster Dangal has broken the record for the best non-Hollywood outside fi lm in Chinese history.” [8]

The movie Dangal made a passionate holding the fi lm solid line takes after a father’s endeavors to beat bias and prepare his girls into getting to be wrestling champions. The fi lm depends on the lives of Mahavir Singh Phogat and two of his girls, Geeta and Babita. Its subjects of sexual orientation fairness, ladies in sports, and the signifi cance of senior citizens in forming the vocations of their wards have resounded with Chinese watchers. “The thoughts of breaking sexual orientation notion and improving status and communicating the social message of equality by the fi lm have evoked genuine emotion with numerous Chinese guardians,” expressed a Xinhua report.


It is intriguing that the way in which we frequently criticize well known Hindi movies or “Bollywood” as idealist or once in a while ready to look past business interests, Dangal’s female strengthening subject has made commentators in China say the same in regards to Chinese movies.

The way in which Aamir Khan has constructed his image of ‘social silver screen’ where the story — in spite of being blamed for seeming pointless with regards to social remarks it makes — has by one means or another fi gured out how to strike a fi ne harmony between fl uctuating elements, for example, the business practicality, the need to engage, and in the meantime highlight the need to roll out a social improvement is currently being discussed in China too. The Chinese have taken to Dangal bigly as the issues the fi lm tries to address, for example, patriarchy or engaging the young ladies. [9]

Pic: Aamir Khan is in China for May 2017 release of Dangal. Source: The ndianexpress.com [10]

Aamir Khan in China is something beyond extraordinary planning or showcasing or situating himself and capturing one of the world’s largest movie market, it is sure to do something extraordinary and connecting to the hearts and mind of the Chinese people. Khan through his movies has something interesting and introducing stories whose features can be found in China’s social history and culture.

Film Collection in China ($)PK 16.75 million

3 Idiots 2.2 millionDangal 112 Million

Source: Industry experts and trade analysts [11]


To promote and market his fi lm, the Indian star made his fi rst-since forever post on April 14 on the prominent Chinese online networking stage Weibo, a social media platform his popularity is seen as of April 25, 2017 it had about 210,000 preferences, interface in Chinese. Uncle khan has nearly 260,000 afi cionado. In a fan account devoted to Khan connect with the Chinese has accumulated about 60,000 adherents. Nicknamed Uncle Aamir Khan 52 year old sensational in Social Media in China and being Indian star who has the fi rst Weibo post that has more than 36,000 remarks. [12]

The Screen shot of the Chinese social-media platform Weibo [13]

During his fi rst ever visit o Beijing, Shanghai, and China’s southeastern city Chengdu his was toping the charts and breaking all records.

Khan in an promotional event in Beijing said that

. “There is a ton of comparability in our societies. I’m OK with Chinese individuals. I feel nearer to individuals in China than in the West, and “I can feel the feeling when I come to China.” [14]

“I’ve seen your fi lm 3 Idiots and I like it greatly, because it teaches me to follow my dream, dare to challenge the authority, also to overthrow the archaic education system, although it is impossible in China, very well commented Susi, who also thanked Khan in another comment for his

“contributions to the enterprise of emancipation of women’s privileges and protection under the law in India through Dangal. Aamir Khan is more than a movie star--he’s a social reformer”


Commentators and critics have lauded the fi lm, which appreciates a record high of 9.8 on the famous ticketing application Maoyan. Its topics of dutiful devotion and thinking about a patriarchal society, commentators have stated, have especially resounded with Chinese fi lm goers. [15]

7. THE POLITICAL CHANGE

Subsequent to having an tumultuous achievement of the fi lm Danga, one vital improvement that refl ected in China was the affi rmation it got from political pioneers.

One of China’s best pioneers, the fi fth-positioned individual from the world class Politburo Standing Committee, Liu Yunshan, hailed the well known fi lm as an Indian example of overcoming adversity and a lesson for other creating nations.

Liu, additionally the best Chinese authority responsible for the media, told to go to correspondents from BRICS nations on Wednesday, “The fi lm (called Shuaijiao Baba, or Let’s Wrestle, Dad! in Chinese) has turned out to be exceptionally, mainstream in such a brief span and earned much more than numerous Chinese motion pictures. It’s a standout amongst the best movies as of late.” [16]

“I think the Indian media ought to be glad for the motion picture as it’s extremely fruitful and exceptionally compelling in China,” Liu said. He showed the case of Dangal as an Indian example of overcoming adversity in China and furthermore as a delineation for different BRICS nations for cultivating nearer associate.

8. SOCIAL MEDIA– SUCCESS OF DANGAL

Social media has become a phenomenon with the advent of technology and rapid rise in the reach across the world, making inroads in almost every sphere of our life. Media and entertainment have witnessed a sea change and got a boost in terms of breaking the barriers across borders and nations.

Web-based social networking has turned into a wonder with the approach of innovation and fast ascent in the scope over the world, making advances in practically every circle of our life. Media and excitement have seen an ocean change and got a lift as far as breaking the obstructions crosswise over fringes and countries.

Web-based social networking has turned into a wonder with the approach of innovation and fast ascent in the scope over the world, making advances in practically every circle of our life. Media and excitement have seen an ocean change and got a lift as far as breaking the obstructions crosswise over fringes and countries.


Post globalization, the whole Bollywood industry was refi ned with innovation, patched up itself colossally to be a piece of changing world wide situation. Web-based social networking today, has turned into a basic piece of the Bollywood business, regardless of whether it is making of movies, advancement, or achieving overseas market.

Online networking as a capable instrument has been acknowledged to a great extent over the Indian fi lm industry, thusly effectively grasped web-based social networking innovation and the computerized move to broaden and growing their compass and introduction. The business systems have enlarged and given a facelift; the web-based social networking stage has been adequately effective utilized for growing their abroad business systems, regardless of whether it is China, Africa or Middle East.

The more youthful era of Chinese, with enormous assistance from the Internet, are connecting to the most recent movies from the South Asian country — that fi nish with melody and move — and helping in slowly developing a business opportunity for Bollywood fl icks.

In a meeting in Shanghsia Times daily paper, the main Bollywood on-screen character Aamir Khan (2017) opines and expresses his point of view on the progressions seen in Indian Cinema over the globe and says that

“the meaning of Bollywood is continually changing, what was previously the standard is not any more pertinent, the fortunate thing about Indian silver screen is that the change shows that something more vigorous is going on. What at one time was viewed as trial silver screen, or odd fi lm, is getting to be standard.” [17]

The Bollywood star is making waves in China with his quality on screen and off screen and on Social Media. After the fruitful arrival of his most recent motion picture This Bollywood hotshot has turned into the most taken after Indian national on Weibo after his most recent motion picture Dangal. There is no dearth of talent and opportunity to the Aamir Khan, who has surpassed Indian PM Narendra Modi to wind up plainly the for the most part took after Indian broadly on China’s online networking as indicated by a report in website. [18].


Pic 1: Screen Shot of the Chinese Social Media website Weibo [19]The 51-year-old actor and director now has almost 650,000 fans, up against Modi’s

160,000 — previously the highest amount of fans for any Indian national on Weibo. [20]

Pic 2: Screen Shot of Weibo Chinese Social Media website with the Actor Aamir Khan’s page


Pic 2: Poster of Dangal movie in China Source: [21]

The fi lm has offi cially made $100 million at the Chinese fi lm industry -- and Chinese web clients have only acclaimed for the fi lm -- {as well as for|and then for} Khan. The hashtag #LetsWrestleDad started out slanting on Weibo, and was said twenty-fi ve. 8 million times on the webpage.

“I cried when {We|I actually|My spouse and i} watched this fi lm. Amir Khan is such a decent performing artist, {Now i’m|I am just|Now i am} another fan, “ said one client on Weibo.


The fi lm has offi cially made $100 million at the Chinese fi lm industry — and Chinese web clients have only acclaim for the fi lm — and for Khan. The hashtag #LetsWrestleDad began slanting on Weibo, and was said 25.8 million times on the site.

“I cried when I watched this fi lm. Amir Khan is such a decent performing artist, I’m another fan,” said one client on Weibo.

9. CONCLUSION:

Indians have nearly been a piece of relocating populace to various nations over the world from the mid 1950’s that implies an enormous populace of Indians live in outside areas, making a potential group of onlookers which makers of Bollywood movies have not wavered to abuse.

One usually shared normal for workers, their nationalities not withstanding is the longing to reconnect with their country. These dislodged populaces are disengaged from their families and their way of life too.

In attempting to reconnect with their country, most outsiders utilize online informal organizations, for instance, Facebook and MySpace. Others utilize messages and mobile phone messaging. These diaspora populaces likewise watch online recordings containing these substance about their nations. YouTube has assumed this part exceptionally well.

While Indians settlers do utilize all these correspondence advancements to draw in with their kin and culture back home, they have in the meantime utilized Bollywood movies to fi ll a similar need.

Bollywood is engaging and has turned into a key social fare of India be it for its inventiveness, social stories or silver screen a medium, it has had an effect post globalization and has effectively come to and won the group of onlookers over the world the diaspora populace, as well as won the hearts of gatherings of people and motion picture beaus the whole way across the globe breaking all social political and prudent obstructions testing the overwhelming western authority.


As indicated by Bollywood fi lm pundit Anupama Chopra, “Non Resident Indian (NRI) is extremely enticed by stars. They react to fi lm stars in a way that is more energetic and passionate than other Indians. She reasons that the gladness, shading, wonderful individuals and dazzling areas of Hindi movies offer watchers an escape into a fantasy universe of shared esteems that Western fi lm doesn’t. “ [22]

Additionally, Mishra is refered to by Kao and Rozario (2008) saying that

“while the diaspora uses Bollywood in building its personality, the diaspora in like manner educates Bollywood’s envisioned spaces” [23]

Gu Wancheng, accomplice, Peacock Mountain Culture and Media Ltd, a Chinese organization required with Sino-Indian fi lm coproduction opines that the Indian movies have turned into an incredible hit in China, numerous Chinese watchers now observe Indian motion pictures also bundled, well-recounted stories, says for long, in like manner Chinese observation and socially interfacing with their attitude. It is additionally a well engaging equation based melody and-move charge that is generally welcomed by the gatherings of people. After the achievement of Dangal in China, the dialect hindrance is broken, where, despite the fact that the principle characters communicate in Hindi in a nearby vernacular, and the fi lm still can’t seem to be named for China, moviegoers appear to have the capacity to take after Dangal with the assistance of Chinese subtitles.

This Bollywood wonders have been seen after around six decades that is radiant and past creative ability. Already to Aamir Khan, the most well known Indian performer in China was the late Raj Kapoor, whose fi lm Awara (The Tramp) was screened prior and then afterward the “social transformation” (1966-76).

Khan (2017) “ at the Beijing International Film Festival in April., “A great character and a decent story can enable you to cross fringes”. [24]

In spite of the way that China imports not very many outside movies a year, and non-Hollywood motion pictures make up a considerably smaller part of that offer. This year, interestingly a non Chinese or English motion picture has risen as the best vender on the planet’s second-biggest fi lm showcase. [25]

10. FURTURE AHEAD

Bollywood has truly assumed control over the world with its silver screen as a genuine social fare to the world. The genuine sports story, Dangal has made the Chinese watch that it could have been a Chinese story and in addition, pundits have asked Chinese producers to refl ect for what good reason, in spite of having many champions in sports they have “neglected to make a better than average games fi lm”.


The marvels of trading Indian culture abroad over the universe of Bollywood have turned into a reality and today is a major fare advertise for India as well as the Bollywood silver screen has opened numerous roads for the Hollywood business to team up and converge at different levels for business ventures in the entertainment sector.

The Success of Indian motion picture in China is an impression of better social strategy in the future amongst nations and countries. India and China, where the two regions are posts part and are loggerheads on political and monetary issues could effectively interface social and social with Indian Cinema and Bollywood, particularly Aamir Khan motion pictures have demonstrated the path ahead for a brilliant future and holding through cinema.

Off late China and Chinese group of onlookers have begun to associate with Indian Culture by means of Bollywood Cinema with social topics and successful story line. China has successfully explored the Bollywood trend of Aamir Khan movies be it 3 Idiots, PK and Dangal that have created a niche market in China. Going by the trend and popularity the future of Bollywood cinema in China is bright and Cinema in general and Bollywood in particular can bring in a social and political change in China.


END NOTES:

1. Dwyer: 100 Bollywood Films – BFI Screen Guides. London, UK: British Film Institute, pp-76-79

2. Datta, Pulkit: Bollywoodizing Diasporas – Reconnecting to the NRI Through Popular Hindi Cinema, 2008

3. http://www.thealternative.in/lifestyle/the-globalization-of-new-indian-cinema/4. www.thealternative.in/lifestyle/the-globalization-of-new-indian-cinema/?print=pdf5. http://www.business-standard.com/article/current-affairs/pk-creates-history-in-china-

cross-rs-100-cr-at-chinese-box-offi ce-115060900536_1.html6. https://qz.com/966601/why-uncle-aamir-khan-is-so-popular-in-china/7. http://www.thehindu.com/thread/arts-culture-society/the-chinese-love-aamir-khan-more-

than-modi/article18559275.ece8. https://thereel.scroll.in/839043/meet-the-chinese-fans-of-bollywood-who-cant-get-

enough-of-aamir-khans-dangal9. http://www.fi rstpost.com/entertainment/dangal-in-china-how-aamir-khan-became-indias-

most-popular-export-across-the-great-wall-3460692.html10. http://indianexpress.com/article/entertainment/bollywood/aamir-khan-takes-china-by-

storm-says-wasnt-popular-in-china-until-3-idiots-released-see-pics-and-videos-4616931/11. http://www.business-standard.com/article/current-affairs/pk-creates-history-in-china-cross-

rs-100-cr-at-chinese-box-offi ce-115060900536_1.html12. http://weibo.com/6202737026/EErtV3Rtj?from=page_1005056202737026_profi le&wvr

=6&mod=weibotime&type=comment13. http/weibo.com/6202737026/EErtV3Rtj?from=page_1005056202737026_profi le&wvr =

6&mod=weibotime&type=comment#_rnd149985065579514. http://www.business-standard.com/article/current-affairs/pk-creates-history-in-china-cross-

rs-100-cr-at-chinese-box-offi ce-115060900536_1.html15. http://st1.bollywoodlife.com/wp-content/uploads/2017/05/aamir-khan-2.jpg16. http://indiatoday.intoday.in/story/dangal-china-top-chinese-leader-aamir-khan-success-

story/1/972807.html17. http://www.shanghaidaily.com/supplement/india/Bollywood-returns-to-win-Chinese-

hearts/shdaily.shtml18. http://mashable.com/2017/05/22/aamir-khan-china/19. http://www.weibo.com/p/10080850dd416c389bcc6d901dd8a7d2827b93?k=%25E6%2591

%2594%25E8%25B7%25A4%25E5%2590%25A7%25E7%2588%25B8%25E7%2588%25B8&from=526&_from_=huati_topic


20. http//www.weibo.com/p/10080850dd416c389bcc6d901dd8a7d2827b93?k=%25E6%2591%2594%25E8%25B7%25A4%25E5%2590%25A7%25E7%2588%25B8%25E7%2588%25B8&from=526&_from_=huati_topic

21. https://thereel.scroll.in/839043/meet-the-chinese-fans-of-bollywood-who-cant-get-enough-of-aamir-khans-dangal

22. Kao, K., & Rozario, R. (2008). Imagined Spaces: The Implications of Song and Dance for Bollywood’s Diasporic Communities. Continuum: Journal of Media & Cultural Studies 22(3): 313-326.

23. Kao, K., & Rozario, R. (2008). Imagined Spaces: The Implications of Song and Dance for Bollywood’s Diasporic Communities. Continuum: Journal of Media & Cultural Studies 22(3): 313-326.

24. http://wap.chinadaily.com.cn/2017-05/18/content_29395554.htm25. https://www.voanews.com/a/despite-testy-ties-indian-movie-thrives-in-china-/3872497.

html


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