Since taken a new interest in Indian entertainment.

Since 2010, Bollywood has become the biggest foreign exporter at the
entertainment market of the USA and the most successful movies were being
viewed almost up to seventy-five cinemas in the USA.  The proceeds of
these movies can be compared to those of some of the Hollywood movies. There
are Bollywood movies that have achieved a total gross margin higher than 50%
than the international. Furthermore, the movies have gathered two to three
times higher international revenues in comparison with national bestsellers. Overall Indian economic growth may have
slowed but the entertainment industry is in good health, contributing Rupees
50,0000 crore to the economy, equating to 0.5% of GDP in 2013. The sector
also supports 18.8 lakh jobs.

 

As the the
government began to make overseas entertainment earnings tax-free, media firms
have focused on foreign markets more than ever. India’s movie exports jumped
from $10 million a decade ago to $100 million last year, and may top $250
million in 2020. That greatly surpasses Hollywood’s $6.7 billion in overseas
profits last year. Attracted by a growing Indian middle class and a more
welcoming investment environment, foreign companies are flocking to Bollywood,
funding films and musicians while helping India’s pop culture reach a wider
audience base. Multinationals like Sony and Universal have taken a new interest
in Indian entertainment. Since New Delhi began to ease rules on foreign
investment in 1991, such companies have set up shop in Mumbai, targeting both
domestic and international markets. Indian entertainment executive Amit Khanna,
playing off of the “Pax Britannica” of the British Raj, calls the
spread of Indian pop culture a “Pax Indiana” an empire of
song-and-dance dramas, Indi-pop songs and Hindi television soap operas (Johnson).

 

With a move
into global territory, the concept if Indian cinema as a ‘national third world
cinema’ has been both compromised and protested. This invites new labels such
as ‘Asian’, ‘global’, and ‘transnational’. These labels help broaden
understanding of the changes that have taken place within the industry. When
perceived as ‘third world cinema’ films are analyzed as instruments of social
change and homogenizing all works. On the other hand, when seen as ‘first
world’ some argue that owing to its commercial studio base and Hollywood style
productions it no longer can hold its old model. Following Rajadhyaksha’s
concept of ‘Bollywoodization’, he argues that “Bollywood’s world profile is suspect as its
impact and presence in the West has been non-cinematic, or rather extra-cinematic.
Bollywood’s marginal success as a recognizable world cinema is therefore
regarded as purely a by-product of marketing and political multi-culturalism,
as the cinema fails to satisfy world cinema’s taste for high modernism,
realism, genre, serious subjects and political engine.” This suggests that
Bollywood can only push further boundaries if the west expands its restrictive
criteria of what is good and bad in world cinema.