Most of what we discuss next Thursday will deal with what happens to this film industry (and its music) after the economic liberalization of the 1990s. Recent blockbusters have been propelled to huge profits due to simultaneous releases through streaming video services and cinemas. This, of course, is having an effect on how the music is composed and how it is incorporated into film.
For those of you who want to view the clips we covered last Thursday once again, here they are:
“Dream Sequence” from Awara (1951)
“Eena Meena Deeka” from Aasha (1957)
“Holi Aayee Rei Kanhai” from Mother India (1957)
“Aaja Re Pardesi” from Madhumati (1958)
“Dum Maro Dum” from Hare Krishna Hare Rama (1971) (MP3 here)
“Aashiq Ho To Aisa Ho” from Noorie (1979)