Along the way we also start noticing the gradual but sure approach of films produced in Bombay into this vibrant scenario of film exhibition. The arrival of the cinematograph in random and ever-changing locations of exhibition and spectating was soon restructured into the modern mass entertainment form of “cinema.” In doing so the medium shape-shifted a number of times through rapid changes in programing style and the genres and formats of films shown, mostly imported from abroad. It also inserted itself into the restructuring of the physical basis of the city as town-planners responded to this upheaval by locating cultural production in new and more permanent locations. The new medium took advantage of the energies, creative and spectatorial, circulating through a new regime of urban spectacles, ranging from theater to public dancing and music to the modern circus, in a frenetically excitable media sphere of reportage and advertising, and in the field of literature. Starting with the first exhibitions of film from 1897 onwards, cinema inserted itself into new kinds of energies erupting in the field of cultural consumption and production that were beginning to change the tenor of life of the Indian metropolis of Bombay in momentous ways. The article forwards two notions for invisible transnationalism: a) the valorization of Iranian films by Marathi filmmakers as an ideological remapping for narrative expressivity, and b) how this shapes the historical juncture defining the new-ness of the Marathi film. This, however, is circumscribed by the circulation of Iranian films through pirated DVDs, pirate networks, and peer-to-peer sharing. derive their fundamental narrative premise from the minimalist plots of Iranian films like The Wind Will Carry Us, Children of Heaven, and The White Balloon.
Apart from certain productions that have children as their protagonists, several films like Valu (2009), Jhing Chik Jhing (2010), etc.
The New Marathi film, which has emerged after Shwaas (2004), carries an unmistakable reworking of several Iranian films. Interrogating the specific textual instances of the new Marathi film, I demonstrate that its narrative aesthetics has been significantly influenced by the New Iranian Cinema. The article presents a critical mapping of invisible or subterranean transnationalism in the context of two geo-spatially distant cinemas. The remainder of the article focuses on the emerging diaspora of regional online content creators who are adopting distinct content strategies to develop relationships with online communities based on commonalities of language and culture. Through a primary focus on online content creation practices in Bengali and Marathi languages, the article explores their ‘local’, ‘regional’, ‘transnational’ and ‘global’ appeal, and subsequent blurring of boundaries between ‘regionalization’ and ‘localization’. I argue that the increasing preference of Indian audiences to consume online content in their own language has led to a demand for ‘regional’ content, whereby streaming platforms and online creators are increasingly investing in ‘non-Hindi’ and ‘non-English’ language content to cater to the linguistically and culturally diverse Indian population. In this article, I foreground the granular movements that determine the ubiquitous nature of India’s new media economy created by the advent of streaming media platforms and the emergence of regional online content creators in India.
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