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Abstract

Cinema is the most powerful and universal of all popular cultures as it has the capacity and reaches the widest audience. From Silent to talkie to colour to 70 mm to the viral films, it has caught the imagination and subcultures of various kinds. It has reflected the dominant cultures and also manufactured many of its own, the most powerful being the making of films itself. In the course of cinematic journey there was a need to manufacture a set of cross regional identities and accepted paradigms that are acceptable across the regional boundaries and local aspirations. The success of Hindi films is based on its capacity to transcends borders, confirm stereotypes and reinforce them, manufacture social norms that cause normative behavior to become assertive and assume the shape of greater traditions to manage the social relations. In this context the equations between the sexes are continuously dictated by the prevailing social norms and almost never a mainstream film violates the social norm. It’s the off-beat or parallel cinema that creates an alternative narrative of women and her sexuality but in mainstream or commercial cinema more it deviates, more it conforms to social acceptable.

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How to Cite
Nirmal Kumar. (2019). Men, Men And More Men: Hindi Cinema And Constructed Masculinity. History Research Journal, 5(6), 923-925. Retrieved from https://historyresearchjournal.com/index.php/hrj/article/view/12301