ABSTRACT
Much has been written in the past decade about the internationalization of popular Hindi cinema, particularly the impact of global satellite, cable, DVD, and Internet distribution on content choices made by filmmakers. In particular, hybridized content is said to attract international audiences precisely because of an intrinsic heteroglossic, or multi-discursive, appeal. As noted by Thussu, “[b]eing rooted in … a syncretic culture, Indian cinema is well placed to deal with diversity in a globalized world” (Thussu 2008: 112).
