It is perhaps pertinent that this book ends with a critical reading of Mahesh Manjrekar's Vaastav (Reality, 2000). The dark, stifling atmosphere of the film belongs precisely to that underbelly of the city that is denied the heady exhale of the geo-televisual as informatic. Yet it is a world that is irresistibly besieged by the overall diagram of desire and value of which geo-televisual informatics is an advertising component. This book has been the story of the ideological and political underpinnings of the ways in which the Hindi film adjusted to a new dispensation of media, capital and political Hinduism roughly between 1991 and 2004. It has thus examined the emergence of a ‘Bollywood’ style in an environment of what it calls informatic or advertised modernisation. While doing so, the book has attempted to provide a lens for understanding not just the ‘Bollywood’ phenomenon, but why exactly economic liberalisation can actually bolster traditional, anti-modern authorities in third world situations instead of eroding them.
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