Google scholars

- University of Toronto Press Journals
- http://utpjournals.metapress.com/content/6765421383187752/
- Asian Culture” and Asian American Identities in the Television and Film Industries of the United States
Abstract: “Asian” culture has long been fodder for films and television shows produced in the United States. Four main stereotypes of Asians and Asian Americans emerged from the imagination of primarily white cultural producers in Hollywood: “Yellow Peril,” “Dragon Lady,” “Charlie Chan,” and “Lotus Blossom.” These images can be understood as “controlling images” in the sense that negative stereotypes provide justifications for social control and positive stereotypes provide normative models for Asian thought and behavior. Resistance to these images became substantial in the 1960s when Asian American filmmakers developed “triangular cinema,” a strategy for Asian American community building, political mobilization, and the creation of an Asian American film aesthetic. The films of triangular cinema are “liberating images” that stake out a position for independence and autonomy for Asian American communities.


Facing difference: race, gender, and mass media By Shirley Biagi, Marilyn Kern-Foxworth
http://books.google.co.uk/books?hl=en&lr=&id=uAltS3HHD5cC&oi=fnd&pg=PA32&dq=south+asian+actors+hollywood&ots=nNNVPwq-xa&sig=GbuR7Pmzluj7KTkgYLiD8ee9Hpc#v=onepage&q=south%20asian%20actors%20hollywood&f=false


Bollywood - The History and Key Elements of BombayCinema; With an Excursus on Gurinder Chadha′s CrossCultural Film "Bend It Like Beckham"
http://www.grin.com/e-book/27389/bollywood-the-history-and-key-elements-of-bombay-cinema-with-an-excursus
Abstract: Examples for Bollywood slowly entering the western world can be easily displayed: Andrew Lloyd Webber successfully produced his new musical Bombay Dreams, Monsoon Wedding was a hit in Western cinemas, the album The very Best of Bollywood Songs recently reached the UK charts, the BBC’s advertising campaign includes colourful trailers with female Indian dancers and Pot Noodle even created a new flavour named Bombay Bad Boy (Sardar, page 14-17; Shamsie, page 26-29)!


Media imperialism revisited: some findings from the Asian case
http://mcs.sagepub.com/content/22/4/415.short
Abstract: The media imperialism thesis has long argued that the expansion of Western media production into developing countries has resulted in the domination of their national media environments and the consequent destruction of their indigenous media production. This article examines the empirical tenability of this claim with regard to Asia. Delineating the region's media developments, it identifies forces such as national gate-keeping policies, the dynamics of audience preference and local competition, all of which inhibit and restrict the proliferation of Western cultural production. On the basis of this empirical evidence, the article argues that the claims made by proponents of the media imperialism thesis seem overstated in the Asian context. In conclusion, the article suggests that although media imperialism is perceived as a very real danger by governments, there are in fact several other problematic trends such as the rampant growth of commercialization and the decline of public broadcasting, the dominance of entertainment programming and a lack of genuine diversity in program genres and formats that collectively represent a more significant threat to media systems in Asia.


Of Myths and Men: Better Luck Tomorrow and the Mainstreaming of Asian America Cinema
Cinema Journal - 47, Number 4, Summer 2008, pp. 50-75
http://muse.jhu.edu/login?uri=/journals/cinema_journal/v047/47.4.hillenbrand.html
Abstract: This article explores the problems of cinematic representation faced by Asian American men, arguing that Justin Lin’s Better Luck Tomorrow offers a way out of the impasse. The essay contends that the strategies of parody and metacinema allow Asian American film to join the mainstream while retaining an oppositional edge.


From Bollywood to Hollywood: The globalization of Hindi Cinema
http://books.google.co.uk/books?hl=en&lr=&id=hNoXnPNS7ngC&oi=fnd&pg=PA200&dq=south+asian+actors+in+hollywood&ots=oezYeZFg-y&sig=MHnVDEf4q4Gd77FlI9PbGh3Wnac#v=onepage&q&f=false
The postcolonial and the global By Revathi Krishnaswamy, John Charles Hawley


The Karma of Brown Folk. Vijay Prashad. Minneapolis: University of Minnesota Press, 2000. vii. 251 pp., photographs, notes, index.
http://onlinelibrary.wiley.com/doi/10.1525/ae.2002.29.3.728/abstract


Bollywood in Hollywood: Value Chains, Cultural Voices, and the Capacity to Aspire
http://papers.ssrn.com/sol3/papers.cfm?abstract_id=1644285
Abstract:
The Indian film industry provides an important case study for examining the rise of cultural expressions from the developing world and an interesting counterpoint to the analysis of global value chains that locate core coordination or production activities in the developed countries. The increasing importance of the Indian film industry globally both in terms of its revenues and its cultural impact is counter-intuitive despite its large size. India produces the highest number of films, over 1000 in 2009. It has a large domestic audience, over three billion tickets sold per year, providing a per capita consumption of nearly three films for every person in India. Nevertheless, the film industry in India historically consisted of family-run businesses or partnerships with precarious sources of financing, low budget films with predictable plots, and uneven distribution practices. The government of India did not recognize films as an industry until 2000. It is hardly the kind of case study to examine how sophisticated value chains from the South would begin to parallel or challenge those in the North. The growing success stories from Bollywood do not parallel the industries, especially from East Asia, touted for global success with a mix of government incentives, protectionism, and sophistication of the low-end product cycle that allowed these countries to utilize a mix of low-wages and capital to make a mark in a variety of manufacturing industries.

The Bollywood case shows that slight changes in domestic regulation and policy combined with global market opportunities can allow a film industry to flourish, especially if the films constitute an important cultural narrative about the country. This essay outlines three factors for the success of the Bollywood value-chain: a cultural ‘capacity to aspire’, increasing opportunities to exploit global value-chains, changes in domestic incentives. These factors now allow Bollywood to undertake arms-length contractual relationships, replacing the highly personal, even criminal, hierarchical relationships that limited its potential in the past. After detailing these factors conceptually, the paper presents a historical case study of Bollywood that underscores key changes in its value chain. The paper traces the evolution of Bollywood, the Bombay/Mumbai-based film industry, from a family-driven and financed business to one that not only harnesses global production networks but is itself becoming a key node in this network. Bollywood and India challenge Hollywood’s hegemony in various ways. India is the largest producer of motion pictures. Instead of Hollywood films dominating the Indian markets, Hollywood majors such as Disney, Sony, Miramax and Warner Brothers are producing Bollywood-type films in Mumbai in local languages. On the other hand, Indian media firms such as Reliance Entertainment are investing in Hollywood productions and co-producing films alongside a who’s who of Hollywood heavyweights. Both industries are also sharing talent these days as Hollywood directors such as Woody Allen are casting popular Bollywood actors and Hollywood producers and executives are advising their Mumbai counterparts on production, distribution, and marketing practices.

What colour ‘success’? Distorting value in studies of ethnic entrepreneurship
http://onlinelibrary.wiley.com/doi/10.1111/1467-954X.00184/abstract