Explain how the film Love, Sex aur Dhoka can be described as an example of ‘multiplex cinema’. Focus on how the film of your choice is different from the typical Bollywood film in terms of narrative, characterisation, visual style, and targeted audiences.

Explain how the film Love, Sex aur Dhoka-LSD (Dibakar Banarjee, 2010) can be described as an example of ‘multiplex cinema’. Focus on how the film of your choice is different from the typical Bollywood film in terms of narrative, characterisation, visual style, and targeted audiences. NOTE: You should discuss current understandings of ‘multiplex cinema’).

MOVIE TO ANALYSE: Love, Sex aur Dhoka-LSD (Dibakar Banarjee, 2010)

At the beginning, an explanation/discussion about multiplex cinemas. The essay should also demonstrate a comparison between the niche vs mainstream Indian films.
Independent indian cinema/ realist films (LSD) in contrast to the escapist genre (typical Bollywood).

The essay should portray the elements in the movie that make it a multiplex cinema. The elements of the film are the cinematic qualities (narrative, characterisation, visual style, and targeted audiences). The use of camera in the film is very important and should be analysed in depth as well as the content/context of the narrative (use of real life situations-realism). The characters should be compared to the other characters in the stereotypical Bollywood movies (use of famous actors whilst in LSD no famous).

READINGS (for bibliography) – I will upload the files- :

Athique, Adrian (2009). “From the Cinema to the Multiplex: A Public History,” South Asian Popular Culture (July 2011), 147-160. in book Contemporary South Asia

Adrian Athique (2009) ‘Leisure capital in the new economy: the rapid rise of the multiplex in India’ in book Contemporary South Asia

Adrian Athique (2009) ‘Screening the multiplex ‘ in book Contemporary South Asia

Buscombe, Andrew (2010). “Indian Cinema Reveals a Dark Side.” The Independent (15 July)

Kroll-Zaidi, Rafil (2011). “Far From Bollywood: The New Indian Cinema in Exile.” The New York Observer (15 February)

Verma, Rahul (2011). ‘Beyond Bollywood: Indian cinema’s new cutting edge’. The Guardian

Kuhu Tanvir (2015) Through the digital peephole: LSD and the grammar oftransparency, South Asian Popular Culture, 13:1, 31-45

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