Here is the lecture content:

"Before we move on in today's class, I want to talk a little bit
about major themes that we have covered as far as films are concerned. So
we have talked a little bit about what our readings have done and I'm going
to talk a little bit more about that after we are done talking about the films.
But so far from all the films that you have seen, which is about 5 and you've
seen a lot of, you have seen a lot of scenes and songs. And that sort of thing.
I wonder if in your mind certain themes have started to emerge. So I just
wanted to take a few minutes and talk about themes that actually emerge
from these films. And I wonder if you if your imagination of those themes
matches mine. So the first theme that emerges as far as Bollywood and the
films that we have looked at is concerned is is, is national pride kind of
nationalism, if you could say. Nationalism, the other thing we could talk
about, it is nation building. Or we could call it as nation building. Right. So
we saw this theme in, we saw it in car, we saw it in people life, but we kind
of saw a destruction of this theme in people life. We saw two songs and we
kind of talked about 2 songs that are very centrally important, this particular
theme. We also saw this in Amar Akbar Anthony. So I'm going to write 3A's
here and Oscar. A little bit in Peepli live, but it is a theme that kind of is is
alive in this particular, in in these films, in the films that we have seen the
other film are the other theme that emerges is family. And not just family,
but family and kind of the idea of the individual versus the family, right? So
we see the individual. Visa V the family, this particular theme is very
prevalent or very present in upkar. It's really present in our film for today, a
hum apke Hank on HK as it's commonly very popularly called. We do
definitely see it in Amarapura Anthony as well and it is something we have
continued to talk about as this class has progressed. We also see something
to do with the role of women. And we'll talk a little bit about this today, but
we have seen this in every film that we have seen so far. So we could say it
was definitely there in a car. It's to some extent with the role of parity as
mother was very present in Amar Akbar Anthony. It is definitely a theme
that we will talk about for today's film Hamade Haikan and it also emerges
in the other film we saw, well, we could kind of see. That are present in
people live and it's definitely very present in Jason Toshima. Right. So, so it's
it's something that kind of every single film in some way has contributed to
these major themes. I wonder if you think or if you can think of any other
themes that have emerged as we are talking about this. You also or I would
like you to think also about anything else that really stands out in all of the
films that could. Kind of combine them and look at them as a project, right?
So we decided when we started class that Bollywood film is a text. It's a
discourse, which essentially means that it is not necessarily just what you
see, but it is doing a lot more than that. When we are looking at all of these
themes, we are really saying that we are not just looking at film as it as it
presents itself. We are also looking at what else is it saying and a lot of our
films are saying things about these things. In fact, as I'm looking at this, we
could very safely say that JSON Toshima is also about nation building. We
actually talked about it in terms of nation building. So with respect to all of
these. We will continue to add more films to these themes. We will actually
also add themes. So one of the themes that that I've not written down here
is East versus West. Right, so. We could actually see that very prevalent in a
lot of film. We can definitely see that in a car. We could actually see
glimpses of that in hamade haikan. And as we go on in the semester, we'll
see a lot more of that. Our film for next week is really about the role of
women. So. So the reason I wanted to do this is again to kind of bring us
back from where or to kind of take us away from where we are today and
make a little. Comment on what we have been doing, what we have been up
to. The way the readings connect to these is. They kind of give us ways to
deal with this discourse, right? So we're saying that film is a discourse, film is
a text. It says things beyond what is on the screen and. And our readings are
kind of giving us tools to figure what to figure out what those things are or
at least they were doing that and they will continue to do that. Our rating for
today is very specifically about this film. But generally our reading has been
more about trying to understand Bollywood and trying to look at Bollywood
and how to understand Bollywood. So think about these themes and. And
and think about how films kind of speak to these films as we go on. Our film
for this week come up the heck on is to this day one of the most money
making films or one of the films that has made the most money in the history
of Hindi cinema. So it's a very significant film. It came out in 1994 and I was
in high school then and I recall going to the theater twice to see this over a
span of six months. So this was one of those films that stayed in the theater
for months and. Months and and many many people watched it many many
times. Twice was not even a thing, but I saw it twice. So, but I have to
confess that this is not a film I like. I actually I still watch it sometimes
because I somehow like to watch bad Hindi cinema. But this film is not. Is
not one that I enjoy. Like I enjoy a lot of other Hindi films like for example
amarak for Anthony. That is one of those films that I can watch anytime and
have a good time. This is not one of those. I don't. I don't really like it. And I
will tell you guys why or I'm sure you'll figure out throughout this lecture
why. But it's a very popular film. It did it really, really well in theaters. And it
came at a time. Again, I said 1994, when a lot of film coming out of the
1980s was very what was called vulgar, which meant there was a lot of
violence. There was a lot of symbolism associated with sex. There was a lot
of sex. That's sort of a thing, and it was not necessarily. It was also not
necessarily good films. A lot of 1980s film actually was not was not good
Bollywood film. It was still very, very Bollywood and all of all of its textures,
but it was not. There's no Amarok brand, Tony. Let's say it was, it was not
70s when it was. It was amazing. But so when this film came out, it came
out at a time when a DVD's and VCR and VHS tapes, they were becoming
very popular and when cable TV had become a big force in India. So the
understanding was that Bollywood film was not doing very well because of
these things because people could watch a lot of films at home and
therefore they were not going to theaters. And because of cable TV there
was so much. Availability of entertainment. There was no need to go to the
theaters and watch film, but this film kind of changed that. It was, again, as I
said, it was in theaters forever and it was, it was very, very popular. People
loved this film. So I have here a poster of the phone for you. You have seen
the whole film, but you see that the entire cast, the entire main characters of
the film are on theposter for the film. So it tells us that the film is about
family and the film is about family. That's undisputable. Uh, it was made by
Sooraj Barjatya, who has made some of the most popular Bollywood films
again in the history of Hindi cinema. So Hamade Haikan is is one of those
films and another film that he made, this one many APR. Kia was again a
huge blockbuster, played for years and years, and it was a love story
between two people but very strong undercurrents of family and what it
means to be a member of a family. This film hamsat satham. Was it was
100% about family. And these two other films that you see in the bottom of
the screen were also really about family. So we have a theme here. Suraj
Barjatya made films that were about family. Hamat Ki Haikan was kind of
special. It kind of stood out because of the time it came out and because of
what it what it did. So we have we have understood at this point that
Bollywood films have songs. But they have like 5 to 7 songs or five to 8
songs Hommade Haikan and had 14 songs, right? So. It was. It was strange,
but the number of songs there were, but they were all popular. They were all
catchy people. People are still singing them. It was a long film. It is a long
film. Before I forget, I also want to let you know that this film is currently on
Netflix. So if you want to watch it on Netflix, go ahead and go ahead and do
that. If you have a Netflix account. But it's also obviously available on the
Secure Media website. You can also watch it there. So back to the film. So it
is a film. That is about family and it became a it came to be understood as a
clean film in that it was about a family, but it was also to be watched with
family. So it was a, it was very family oriented. That was the that was the
goal that that the film was trying to fulfill. Outside of that the message of the
film we don't kind it is not a very clear. Message. But if you dig just a bit
deeper, it is very, very there. The film presents a family as if it was the
microcosm for a nation, right? So at the end of the day, this film, like a few
other films that we have seen, is about sacrifice and about sacrifice for
family. But in the clean category, it was very, it was very there, right. There
was no sex in this film. There's no violence in this film. It's a very, it's about a
wedding. A1 wedding happens and then there's a huge celebration for the
wedding and the celebration continues to happen for the first hour of the
film. And then the wedding happens and then there's post wedding
celebration, then there's a childbirth. So there's a celebration for that and
there's a little bit of tragedy and. And the film again goes on. But in terms of
what the film did for the audience at that time, it was really about. Very kind
of safe entertainment that you could go enjoy with your family which had a
message which showed a family that was a joint family, right. So the idea of
a joint family is multiple generations, at least three, sometimes four living
together and multiple brothers living together. So if there is, you know
parents, parents and there let's. Zoom let's say three sons and there are
three wives and they're, I don't know, let's say six kids. And sometimes the
kids kids if they're that old, but it's at least three generations, right? So
grandparents, parents, kids, and then maybe kids, kids, but at least at least
three generations. And that's the idea of a joint family. We kind of see that
here, right? So there is the Uber character, Kakaji. And let's go back and just
very quickly familiarize ourselves with the characters. So. We have cockatoo
here, and we have his one nephew and his other nephew. So these two
generations are living together. And then we have a little child born. So
that's three generations, right? And the third generation is where the film
stops for us, obviously. But in real life, that could be, that could be more. The
other characters are so the brother, the older nephew, marries a girl, her
parents who we see in the top of this, this poster, and then the love interest
of our hero Nisha. And we'll talk about all of these characters a little bit
more, but all of these people. So the idea of a joint family, multiple brothers
living together, we see that in this particular film, they're living together in
absolute. Probably right. So the idea is not just a joint family, but it is an ideal
joint family. So it is not how families are, but it is how families should be.
And that is kind of what what our author brings us to often in our reading.
So our reading for today is by Patricia Oberoi, and it is entirely the entire
reading is dedicated to this one film. So it gives us a very close. Look at the
phone. The reading is is trying to do three things. So the first thing Patricia
Oberoi does is she explores the idea of family of of this film as being a clean
film and she explores that with actual people, right? So she does interviews
with people in North India. That's her first goal. Her second goal is to look at
family as it is on the screen. As a sociologist to kind of see how this thing
operates, right. And the third thing she tries to do or she does in the article is
to tell us how this idea of family can be looked at from a broader perspective,
right? So what does this do for us as viewers and as viewers of Hindi
cinema? So how does this idea of family and this film representing a family?
Fit into our general idea of what India is and what India should be. How does
the idea of family connect to the idea of nation? OK, so these are the three
things, three things that she sets out to do for us. And she does these with
the help of interviews and with the help of people who are who are viewers
of this film, people who have seen this film and who have who have
interacted with film. With this particular film in a in a deeper way"

Using only the lecture content, answer the following question:
"The idealized version of a joint family, at least as told in Hum Aapke Hain Kaun, is that the individual sacrifices for the betterment of the family as a whole. How does this fit into family as a microcosm of the nation."