I Abstract

II Introduction

Ø      Can add in “Why Hungary” section here (make it easier to tie points together)

Ø      Can also add in “What’s in a Name” section once it’s condensed

III Methodology

Ø      Should put in elements of neoliberalism criticism as well

IV     Media Flows

Ø      Appadurai, Larkin

V    Setting the Scene: 1950s

Ø      Or maybe call this something broader, like “Historical Roots”?

Ø      Combine minor sections (“Golden Age of Cinema,” “Indo-Soviet Relations,” “Hungary in 1956”)

Ø      Maybe even add in “Industrial Trade” section here if the titled is reworked…

VI     Neoliberalism and Cultural Production

Ø      Need to include some critique of neoliberalism when defining/explaining it

Ø      Also should delve into how culture is produced in this case where economic development drives forth a transnational dialogue of India and Hungary

Ø      Combine “Bollywood’s Industrialization” section too – use this to link the history of economic neoliberalism with idea of cultural production but then use it to lead to transnationality of Indo-Hungarian relationship

VII     Bollywood in Hungary

Ø      Film festivals, India Week

Ø      The difference in how India is legitimized/actively acknowledged (as opposed to vice versa)

VIII    Hungary in Bollywood

Ø      Start with summary of Hungary’s film industry growth/history

Ø      Film analysis of clips from Aks and Hum Dil De Chuke Sanam – including HDDCS screening

Ø      Use screenshots as visuals

Ø      Use this to link to Elmer/Gasher idea of “national erasure” in cinema (grad school writing sample)

Ø      Act of 2004 and showing where this is going (economic film policies impacting cultural production)

IX     Conclusion

Ø      Limited success of Indo-Hungarian relationship to impact cultural production

Ø      Yet it still provides example of how economic change can (not necessarily will) translate to a cultural exchange

Ø      Emerging phenomenon of media-driven transnational relationship

X     List of Works Cited