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Title: A COMPARATIVE STUDY ON PURAB AUR PASCHIM (1970) AND BEND IT LIKE BECKHAM (2002): THE CHANGING PATTERNS OF BOLLYWOOD DIASPORIC MOVIES IN COMING AGES
Authors: Sonali Mohanty
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Sonali Mohanty Research Scholar (PhD.), UGC Centre for the Study of Indian Diaspora, University of Hyderabad
MLA 8 Mohanty, Sonali. "A COMPARATIVE STUDY ON PURAB AUR PASCHIM (1970) AND BEND IT LIKE BECKHAM (2002): THE CHANGING PATTERNS OF BOLLYWOOD DIASPORIC MOVIES IN COMING AGES." Int. j. of Social Science and Economic Research, vol. 3, no. 5, May 2018, pp. 1911-1919, ijsser.org/more2018.php?id=130. Accessed 2018. APA Mohanty, S. (2018, May). A COMPARATIVE STUDY ON PURAB AUR PASCHIM (1970) AND BEND IT LIKE BECKHAM (2002): THE CHANGING PATTERNS OF BOLLYWOOD DIASPORIC MOVIES IN COMING AGES. Int. j. of Social Science and Economic Research, 3(5), 1911-1919. Retrieved from ijsser.org/more2018.php?id=130 Chicago Mohanty, Sonali. "A COMPARATIVE STUDY ON PURAB AUR PASCHIM (1970) AND BEND IT LIKE BECKHAM (2002): THE CHANGING PATTERNS OF BOLLYWOOD DIASPORIC MOVIES IN COMING AGES." Int. j. of Social Science and Economic Research 3, no. 5 (May 2018), 1911-1919. Accessed , 2018. ijsser.org/more2018.php?id=130.
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Abstract: Movies can be considered as the product of culture and also the producer of culture. They are based on the lifestyle and surrounding of people living in the society. It is a very strong form of the visual medium through which audience communicates, relates and evokes a response. Bollywood has become more global thus pushing the envelope and raising some interesting issues. It is gradually enlarging the audience boundary capturing the interest of a cross-border audience that made it global. Movies bring an identity into being nourished by a particular cinematic address. With the changing pattern of migration there is also change in demand and consumption of the entertainment industry in the present context. This article will be drawing comparative study between two movies Purab and Paschim (1970) and Bend it Like Beckham (2002). Majorly the views and imaginations of the Indian Diaspora filmmakers are to feed the NRI audience a desire of what I call a Disney fantasy. They give audience the feeling that all is well that ends well. This article will discuss the shift of west as negative to depicting west as alluring through the lenses of Bollywood. It would also highlight the problems faced by the second generation Indian Diaspora.

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