Group Three.

Iwobuchi argues that media is adaptable to local contexts but there are Western cultural norms within the cultural media. The localized context reflects how consumers want to relate to what they are consuming, but that there are generalized Western values that are “universally” appealing. Although Miller discusses in her article some of the global appeasing plotlines that are featured in telenovelas—such as the “rags to riches ” stories, there are similarly recognizable qualities in Bollywood films that have led to its worldwide success.

Although Bollywood films are distinctively characterized as Indian films, they have Westernized themes that intertwined in their story. They frequently utilize elements such as star-crossed lovers and angry parents, love triangles, family ties, sacrifice, corrupt politicians, kidnappers, and convincing villians. However, these films are mostly known for their musical attributes. In that sense, since Bollywood films erupted in early 2000 in the United States, it led to a revival of the musical genre in American movies. This is interesting because this is a form of hybridity where the local context of Indian cultural has become transnational context and the idea has merged with the Hollywood's notion of entertainment. Since then, American films have incorporated not only the musical aspects of Bollywood, but also many of the film’s many other localized norms—a gritty feel with vibrant colors, authentic cultural plots, and a feel-good musical dance ending.

Hybridity is not only a one way flow from the West to the East, but increasingly attributes that are representative of one region’s culture are being borrowed and integrated as the contraflow. Now, that is some powerful globalization at work.