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Arnold’s article deals with the popular film song’s development in India and its relation to mass entertainment and non-Indian elements. The article examines film song production and distribution in the Hindi film industry from the 1930s through the 1950s arguing for the artistry and fundamentally Indian nature of these songs. With the first talkies, Arnold argues, the producers realized the importance, both culturally and commercially, of song within film. Song was integrated into films and used to communicate messages to the audiences. The early film music were derived from stage and folk songs and maintained a close link with the culture. As film song developed in India, the composers began to draw on musical influences from around the country, not only folk tradition. The music reworked tradition Indian musical elements such as rhythm and scales to create a new meaning within a film. This allowed the directors to create a sense of belonging for the story and “Indian musical identity” for the audience. Arnold cites the significance of this in the creation of a national identity prior to India’s independence from England.
Arnold, next, examines the audience’s response to early Indian film music and its meaning. She claims that the music was successful by evidence of record sales, radio song requests and articles in film magazines. She then explains the connection between the film and the music, and the importance of creating music that is meaningful within the film but simple enough that the audience can relate to it. Arnold continues with a look at the way music was made and connected to the audience post-1960. She claims that India’s film music is both a part of mass consumption and mass appeal. This is evident not only through the sales but what Arnold calls “the active participation in Hindi film song performance.” She further explains the great appeal of the Hindi film song to the people.
Arnold concludes with a look at the connections and importance of the relationships between the film industry, the television media and the government-run radio to the film song.
This article provides an interesting look into the function of film music in the Hindi world. It allows one to compare the work and the development of the film song in India to Hollywood.
Arnold, next, examines the audience’s response to early Indian film music and its meaning. She claims that the music was successful by evidence of record sales, radio song requests and articles in film magazines. She then explains the connection between the film and the music, and the importance of creating music that is meaningful within the film but simple enough that the audience can relate to it. Arnold continues with a look at the way music was made and connected to the audience post-1960. She claims that India’s film music is both a part of mass consumption and mass appeal. This is evident not only through the sales but what Arnold calls “the active participation in Hindi film song performance.” She further explains the great appeal of the Hindi film song to the people.
Arnold concludes with a look at the connections and importance of the relationships between the film industry, the television media and the government-run radio to the film song.
This article provides an interesting look into the function of film music in the Hindi world. It allows one to compare the work and the development of the film song in India to Hollywood.