| 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 |
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