Hinglish Cinema

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DC Field	Value	Language
dc.contributor.author	Prateek	-
dc.date.accessioned	2023-04-28T11:09:12Z	-
dc.date.available	2023-04-28T11:09:12Z	-
dc.date.issued	2014	-
dc.identifier.uri	https://link.springer.com/chapter/10.1057/9781137426505_11	-
dc.identifier.uri	http://dspace.bits-pilani.ac.in:8080/xmlui/handle/123456789/10574	-
dc.description.abstract	About September 1994, the character of Bollywood underwent a change with a deluge of movies such as Bomgay (1996), Bombay Boys (1998), Split Wide Open (1999), Everybody Says I Am Fine (2001), Leela (2002) and Hazaaron Khwaishein Aisi (2003). Myopically acknowledged only as a change in the linguistic character of Bollywood, as manifested in its portmanteau name ‘Hinglish’, this transfiguration was often considered lusterless and sans consequences, or another addition to the long list of names representing a blend of English and Hindi:	en_US
dc.language.iso	en	en_US
dc.publisher	Springer	en_US
dc.subject	Social Sciences	en_US
dc.subject	Colonial Experience	en_US
dc.subject	Indian Cinema	en_US
dc.subject	Split Wide	en_US
dc.subject	Linguistic Character	en_US
dc.subject	Hindu Nationalism	en_US
dc.title	Hinglish Cinema	en_US
dc.type	Book chapter	en_US
Appears in Collections:	Department of Humanities and Social Sciences

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