Further, through the bits and fragments of visual material, these lists also rode the social media trend of nostalgia and celebration surrounding these films by alluding to popular public memory.Ī suitable example to elaborate this is a list on ScoopWhoop, “10 Reasons Why Hum Aapke Hain Koun was a Super-Duper Hit” which compiles ten gifs, fragments of memorable scenes from the film, under ten comments laced with subtle sarcasm but is nonetheless indicative of the film’s status in popular cultural imagination.
Parody songs of dilwale archive#
Therefore, these lists not only displayed online media trends of a particular time but also managed to curate and archive online fan and user cultures within their media selections. When lists on Hum Aapke Hain Koun and Dilwale Dulhania Le Jayenge featured these visual snatches from moving images, it not only tinged the much publicized nostalgia and romance with self-reflexive humour and sarcasm, but also managed to embed a lot of these dispersed visual references in direct relation to the films. Gifs and memes, exhibiting an expressive, mocking potential within its three second graphic or static image-text format, sometimes created by the content editors but mostly sourced from across the web, have been remarkably popular features of the list format on social media. ScoopWhoop and BuzzFeed perhaps made the most of this trend with regular updates, by gathering memes, gifs, fan videos, opinions and retorts on these films, and embedding these in categorized or curated lists or posts with attention grabbing headlines on social media. What had initially looked like online promotional bids for HAHK and DDLJ, presented in a language of nostalgia by their respective production houses, now had turned into somewhat of an internet phenomenon with fans and users not only sharing existing online content around these films but generating newer content using, referencing, reworking available knowledge and online material on the film. Therefore, while these portals continued to share videos and other online visual and news materials related to these two nineties romances, especially on DDLJ, their own content began to somewhat replicate the registers of fan nostalgia and even affectations circulating on the virtual sphere. Posts like this, simultaneously relaying such news as well as participating in online fan enthusiasm around it constituted much of the content related to the two films on these websites, some posts also took on the form of direct responses to such fan nostalgia, like “Here’s Why I Don’t Care About DDLJ Losing Its Throne To MSG At Maratha Mandir. For instance, the video of the new Dilwale Dulhania Le Jayenge trailer was lodged in a SW post with a headline redolent of fan emotion – “YRF Just Released DDLJ’s New Trailer As It Completes 1000 weeks. Social media news websites like ScoopWhoop and BuzzFeed significantly fed into these online trends, even as these portals compiled and reported on such online activities.
Screen capture from the new trailer for Dilwale Dulhania Le Jayenge. However, the discussions around these films trended on social media through the rest of the year with several fan blogs, lists on songs and dialogues, memes, gifs, video spoofs and criticism feeding into a media swirl around two of the most popular romantic films of the nineties decade. While Rajshri Productions’ uploaded videos of interviews with the director and lead actors on its YouTube channel, marking these under the hash tag #20YearsofHAHK, a few months later Yash Raj Films’ launched its media celebration with a new trailer of their film, deleted scenes and extra footage on YouTube, as a lead up to other public media events surrounding the film’s completion of 1000 weeks at the theatres. In mid 2014, a range of online film news content focused on two big blockbuster family romances of the nineties, Hum Aapke Hain Koun and Dilwale Dulhania Le Jayenge, marking twenty years since their theatrical release. This is the third research note from Abhija Ghosh, one of the short-term social media research fellows at The Sarai Programme.
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