Abstract and Keywords
In Pride and Prejudice, author Jane Austen shows us nineteenth-century British class hierarchy. On one level, this hierarchy is established through wealth and means, but on another, it is through differences between characters created by breeding and manners. In the book, conversations and habits are signs of these differences, and therefore, signs of worth. In Bride and Prejudice: A Bollywood Musical, using the basic narrative of the novel, director Gurinder Chadha gives us a colorful picture of global-political economics. Differences between countries like India, Britain, and the United States are established through signs of wealth and consumerism, but also through dance and body movements. A Bollywood staple of song-and-dance is deployed here as a marker of difference between India and others, and between an old India with stifling economic practices and a new one that welcomes its tourists, investors, and bridegrooms with open arms and legs. While on the one hand, Chadha seems to consciously point out the problems of global economic inequality and imperialism, in other ways, she seems complicit in the plot to attract India's others to get a little taste of India, by using female bodies to construct a modern, seductive picture of the country.
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