Conclusion fects the cinematography of an emerging country. Modern India is not Gandhi’s or Tilak’s anymore. Despite the resilience of its religious tradition, mythology can no longer galvanize the audiences as much as during the freedom struggle. In his relatively recent novel , Shashi Tharoor attempts to present a grand portrayal of Bollywood through the life and opinions of the Amitabh Bachchan-like superstar Ashok Banjara. The actor despises the forced to sign for the title role of the grandiloquent Kalki. As if shooting a mythological was a doom-bringing curse. a studio accident on the lowbudget production sends Ashok Banjara to his deathbed. Today, if cinema is mythology, the mythological genre has almost no place in contemporary Bolthology was cinema. Politics had brought back religion and its vibrant images to the public sphere in the time of spiritual and cultural angst that was the ably the rightful gods of anti-colonial India, as their words mattered much in allowed the descent of avataras, which were much needed in those times of upheaval. Despite the decline of this relevance after Independence, epics and devotional moods can still be found in movie songs, posters and narrative frameworks. They are the undying memories of the emergence of the
dream of educating the nation. NOTES 1. 2. 3.
of the Ramayana epic is retold and performed in front of large audiences. Tamasha and Djalsa are two popular stage traditions of Maharashtra, usually associated with social satire. ern India come, including Shivaji. feeling of equality and reciprocality, born of common symbols or beliefs
5.
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