From T-shirts to coffee mugs, from posters to ComiCon, the globalized Indian film industry never fails to produce ways to engage consumers in a system of network, by restructuring and reinstating the pleasurable effects enjoyed by an individual, even in post theatrical hours. We come home and discuss it with people who have not watched it, or for more intervention into the topic, with ones who have. It continues to be discussed in tea breaks, lunch hours, class discussions and these days mostly in social networking sites.
Not only this, movie buffs do not stop until they acquire certain consumer goods displayed in the movies, for instance superhero masks, head bands, cowboy hats, wrist watches, and mostly attires. For instance, Mohabbatein (2000) gave a brewing market for merchandizing Shahrukh Khan’s sweater and specs and it continued for a couple of years, among the teenage fans. Salman’s bracelet, that he wears in every movie, still yields a good commercial profit.
Hairstyles are a very common borrowing among fashion crazed consumers. Salman Khan has given the cinema goers an array of different hairstyles in his box office hits, like Tere Naam(2003), Mujhse Shaadi Karogi (2004). It marked such a commercial raise that even a movie named Billu Barber (2009) centred its theme on projecting that the aftermath of watching a celebrated actor’s movie can prove to be a fortune turner for many small business runners. It showed that being an acquaintance of a celebrity is adequate enough to gain you incredible popularity. To keep in pace with the commercial impetus, we go knee-deep in owning more personalized goods that elate us with the notion of proximity to the celebrated world of Bollywood.
Bollywood, named after Bombay, the earlier name for the city of Mumbai, contributes to the major cultural production of movies, videos, song albums and advertisements. Despite being a constant disappointment for many, the movies return huge amounts at the box office. Bollywood undoubtedly owns huge credits in the projection of the sentimentality of the subcontinent in the global crowd. It encourages export of these images in other parts of the world, thereby multiplying the sales of the cultural product worldwide. Existing research in this field explains the mechanism of profit making through the narrative panorama. This irrefutable disposition encourages some serious enquiry into the subject.