Николай Ссорин-Чайков - Топография счастья

Поскольку фильмы на хинди в первую очередь ориентированы на индийского гражданина, их можно рассматривать как инструмент формирования и закрепления национального единства (Rajadhyaksha 2000). Роль эмоций в этом процессе требует дальнейших исследований. Эмоции персонажей подчас становятся своего рода мифологемами индийской массовой культуры (как в самой Индии, так и за ее пределами), подкрепляемыми эмоциональным ответом зрительской аудитории. Все это свидетельствует в пользу справедливости распространенной точки зрения о том, что публичная демонстрация и совместное переживание эмоций (особенно эмоций бурных, избыточных) являются неотъемлемыми и коренными составляющими «индийскости».

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