Changing Landscape of Moral Registers and Urban Pathology in ‘Bombay’ Cinema: Decline of Biological Family and Birth of the Individual through Awara (1951), Deewar (1951), (1975) and Satya (1998)

Akshaya Kumar


This article attempts to map out the changing image of biological family as the central axis of collective moral imagination in Bombay Cinema. Tracing the journey of the nation through three iconic films that were massively successful and helped the nation construct its self-projection, Awara (1951),  Deewar (1975), and Satya (1998), mark the birth of an individual who disengages from the epic imagination of Ramayana and Mahabharata and arrives in the dark modern metropolis of post-liberalization India, not as a star figure but in a forever exile confronting, heroically indeed, a pathological condition of his exiled larger collective.

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