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A.R. Rahman, a 20-year Bollywood veteran he wrote Chaiyya Chaiyya and hundreds of other songs and the composer of Slumdog's Oscar-nominated score, concedes that the film's music, with vocals sung in English rather than Hindi, is not true Bollywood. Nevertheless, the movie has been a dynamic conduit for Saavn's business even if Saavn distributes only one Mumbai-produced song from it. Slumdog's sound track has elevated the entire Bollywood genre and brought us a new customer base wanting to explore similar music, says Bhat.

The depiction of Muslims on reel has been a widely popular phenomenon starting from the most popular Hollywood to their Bollywood counterparts and competitors, and even the new arrival of Turkish films an dramas, Indonesian films are a rising genre in many parts of the Muslim world. In this academic article, a scrutiny of Muslim depiction in Bollywood as well as Indonesian movie is aimed with the help of cultural imperialism, and representation theories respectively. The contrasting depictions are understood with the help of the Semiotic Square as methodology. The article also has an objective of examining the role of commercial films on the society at large in terms of shaping overall Muslim identity and piety. The movies of Bollywood and Indonesian directors and producers which portray Muslims and create identity, particularly in the 90s and early 2000s, are taken into account. The paper highlights identity politics, as well as background history in Indonesia and India by decoding cinematic narratives and Muslim representation.

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