This book explores the consequences of unbridled expansion of neoliberal values within India through the lens of popular film and culture. The focus of the book is the neoliberal self, which, far from being a stable marker of urban, liberal, millennial Indian identity, has a schizophrenic quality, one that is replete with contradictions and oppositions, unable to sustain the weight of its own need for self-promotion, optimism, and belief in a narrative of progress and prosperity that has marked mainstream cultural discourse in India. The unstable and schizophrenic neoliberal identity that is the concern of this book, however, belies this narrative and lays bare the sense of precarity and inherent inequality that neoliberal regimes confer upon their subjects. The analysis is explicitly political and draws upon theories of feminist media studies, popular culture analyses, and film studies to critique mainstream Hindi cinema texts produced in the last two decades. Rele Sathe also examine a variety of other peripheral ‘texts’ in her analysis such as the film star, the urban space, web series, YouTube videos, and social media content.

The promotion of an enterprise culture and entrepreneurship in India in recent decades has had far-reaching implications beyond the economy, and transformed social and cultural attitudes and conduct. This book brings together pioneering research on the nature of India’s enterprise culture, covering a range of different themes: workplace, education, religion, trade, films, media, youth identity, gender relations, class formation and urban politics. Based on extensive empirical and ethnographic research by the contributors, the book shows the myriad manifestations of enterprise culture and the making of the aspiring, enterprising-self in public culture, social practice, and personal lives, ranging from attempts to construct hegemonic ideas in public discourse, to appropriation by individuals and groups with unintended consequences, to forms of contested and contradictory expression. It discusses what is ‘new’ about enterprise culture and how it relates to pre-existing ideas, and goes on to look at the processes and mechanisms through which enterprise culture is becoming entrenched, as well as how it affects different classes and communities. The book highlights the social and political implications of enterprise culture and how it recasts family and interpersonal relationships as well as personal and collective identity. Illuminating one of the most important aspects of India’s current economic and social transformation, this book is of interest to students and scholars of Asian Business, Sociology, Anthropology, Development Studies and Media and Cultural Studies.

This edited collection combines quantitative content and critical discourse analysis to reveal a shift in the rhetoric used as part of the neoliberal agenda in education. It does so by analysing, uncovering, and commenting on language as a central tool of education. Focussing on vocabulary, metaphors, and slogans used in strategy documents, advertising, policy, and public discourse, the text illustrates how concepts such as justice, opportunity, well-being, talent, and disadvantage have been hijacked by educational institutes, governments, and universities. Showing how neoliberalism has changed discourses about education and educational policy, these chapters trace issues such as anti-intellectualism, commercialization, meritocracy, and an erasure of racial difference back to a contradictory growth in egalitarian rhetoric. Given its global scope, this volume offers a timely intervention in the studies of neoliberalism and education by developing a holistic vision of how the language of neoliberalism has changed how we think about education. It will prove to be an essential resource for scholars and researchers working at the intersections of education, policymaking, and neoliberalism.

This book explores the dramatic rise in popularity of the women’s biopic in contemporary Bollywood, within the context of wider cultural shifts over the past decade. Delving into the societal shifts reflected in the genre, both on and off screen, the book explores the contours of individual agency and the centring of women in Indian cinema. The book offers new insight into women-centric Hindi biopics, a fast-rising genre carving out a tradition of its own, with female directors and actors contributing to this rising postfeminist celebration of women’s agency and individuality. The authors posit that the alternative narratives, created by Bollywood and accepted by mainstream audiences, have become a catalyst to elevate women or female actors to protagonists, without the need to conform to the sexist mores of mainstream Bollywood. This book will be of interest to scholars, researchers and upper-level students in the areas of film studies, media industries, gender and feminism, and South Asian studies.

Urban India is undergoing a rapid transformation, which also encompasses the educational sector. Since 1991, this important new market in private English-medium schools, along with an explosion of private coaching centres, has transformed the lives of children and their families, as the attainment of the best education nurtures the aspirations of a growing number of Indian citizens. Set in urban Kerala, the book discusses changing educational landscapes in the South Indian city of Kochi, a local hub for trade, tourism, and cosmopolitan middle-class lifestyles. Based on extensive ethnographic fieldwork, the author examines the way education features as a major way the transformation of the city, and India in general, are experienced and envisaged by upwardly-mobile residents. Schooling is shown to play a major role in urban lifestyles, with increased privatisation representing a response to the educational strategies of a growing and heterogeneous middle class, whose educational choices reflect broader projects of class formation within the context of religious and caste diversity particular to the region. This path-breaking new study of a changing Indian middle class and new relationships with educational institutions contributes to the growing body of work on the experiences and meanings of schooling for youths, their parents, and the wider community and thereby adds a unique, anthropologically informed, perspective to South Asian studies, urban studies and the study of education.

Beyond Alterity contests a core tendency in postcolonial studies as well as emerging critiques of neoliberalism—to assume that nations of the Global South are categorically distinct from their counterparts in the North and that they provide an alternative, or even an antidote, to the competitive and individualistic cultures of the advanced capitalist world. Through a textured analysis of cultural production from contemporary India, Shakti Jaising argues that neoliberal capitalism has produced significant continuities in class dynamics and subjective experience across the North-South divide—continuities that are at least as worthy of our consideration as differences arising from colonialism and its aftereffects. The book engages an array of political, economic, and cultural narratives, while focusing in particular on widely circulating Indian English-language novels and their audio-visual adaptations that demonstrate the growing currency of a neoliberal script extoling values like privatization and deregulation as conduits to both individual growth and national development, as well as freedom from poverty. With their potent enactments of personal and national maturation, contemporary Indian novels and films offer striking illustrations of the imaginative means by which the neoliberal script proliferates— even as economic precarity and inequality worsen in India, much like elsewhere in the world. Whereas literary scholars tend to approach the Indian English novel as an exemplar of resistance from the formerly colonized world, Beyond Alterity contends that far from inevitably modelling resistance, this genre’s contemporary examples instead encapsulate the challenges of disentangling literature from the all-pervasive logics and narratives of neoliberal capitalism.

Bollywood’s New Woman examines Bollywood’s construction and presentation of the Indian Woman since the 1990s. The groundbreaking collection illuminates the contexts and contours of this contemporary figure that has been identified in sociological and historical discourses as the “New Woman.” On the one hand, this figure is a variant of the fin de siècle phenomenon of the “New Woman” in the United Kingdom and the United States. In the Indian context, the New Woman is a distinct articulation resulting from the nation’s tryst with neoliberal reform, consolidation of the middle class, and the ascendency of aggressive Hindu Right politics.

In this study, U. Kalpagam examines the construction of the neoliberal subjectivities of entrepreneur, consumer, and citizen among women and girls in different contexts of their lives, such as employment and livelihood, urbanization, and migration, health and well-being, consumerism, and ageing in India. Drawing from Michel Foucault’s idea of neoliberal governmentality, it acknowledges that neoliberal articulations are entangled in a host of other factors, processes and institutions that being governed by different logics and rationality may act as countervailing forces to it such that the outcomes of governing conduct may differ from what governmentality had as its objective or had expected. Neoliberal governmentality is also changing the landscapes of women’s activism such that women as individual and collective subjects of resistance are being refashioned through modes of activism that reveal new forms and themes within women’s movement activism in India today.

Between 1931 and 2000, India's popular cinema steadily overcame Hollywood domination. Bollywood, the film industry centered in Mumbai, became nothing less than a global cultural juggernaut. But Bollywood is merely one part of the country's prolific, multilingual cinema. Unruly Cinema looks at the complex series of events that allowed the entire Indian film industry to defy attempts to control, reform, and refine it in the twentieth century and beyond. Rini Bhattacharya Mehta considers four aspects of Indian cinema's complicated history. She begins with the industry's surprising, market-driven triumph over imports from Hollywood and elsewhere in the 1930s. From there she explores how the nationalist social melodrama outwitted the government with its 1950s cinematic lyrical manifestoes. In the 1970s, an action cinema centered on the angry young male co-opted the voice of the oppressed. Finally, Mehta examines Indian film's discovery of the global neoliberal aesthetic that encouraged the emergence of Bollywood.