Discuss Question - AllPreviousYears

Read the passage given below and answer the questions: (From 171 to 180) In many countries, television is limited in its spread and its creative abilities, either by the lack of resources or by the constrictions of governmental ownership or both. the The cinema, on the other hand, reflects a more vital and spontaneous expression, of the secret hopes and fears, ideals and enthusiasms, of a country's people. A small, seriouscreative cinema grows alongside the larger, more conventional product and begins to engage the attention of a select national and internatinal audience ... Both wings of India cinema -- the popular, commercial blockbuster (song-dance-fightnightclub formula) and the serious-creative minority product (Satyajit Ray, Mrinal Sen, Shyam Benegal et al) -- are full of restless vitality. On the whole, today's big popular cinema is conservation. It reflects, even though its song-dancefight- chase-formula, the fears of a traditional society, a honeycomb of regional-linguistic-religious identities, of being swept away by the winds of change, by scientific progress and large-scale homogenization, shattering the values that have held its complex structure together of many centuries. The modern elements in this cinema are the superficial; they consist of no more than the surface manifestations of industrialization and urbanization. One sees them in the proliferation of mass-produced products and services of recent introduction [in these films] .... The sharp division between the popular and the serious-creative "New Cinema" came about gradually after the independence of the country in 1947. ... The "New Cinema" [is] a wave rising along a wide front all over India, no longer confined to industrially advanced states. It represents a substantial body of new talent devoted to the exploration of the values of a traditional society in the grip of rapid change. From Satyajit Ray to Nirad Mahapatra, it is a highly bi-cultural product, its makers as sensitive to tremors in world cinema as to its own country's agonies. The language of cinema it speaks is familiar to informed film audiences of the West; yet its voice is new and fresh and commands attention. The new cinema is thus the voice of modern India, western in its inflections like the vast wealth of fiction in Indian languages created in the aftermath of British conquest, but deeply concerned with the development of India tradition towards viability and relevance in the modern world. This bi-cultural synthesis has assured its acceptance in industrially advance countries. It is authentic and accessible to audiences in Europe in America, in Australia and Japan. Some of the film-makers are trying to break out of the middle class film buff environment and seeking a middle ground where they can claim a share of the vast audience of the commercial cinema even if this somewhat dilutes their purity. Some, like Benegal and Govind Nihalani (Aakrosh and Ardhsatya), have achieved notable success in creating what some critics have described as " Middle Cinema" __ another aspect of the cinema's effort, at levels, from the most commercial to the most purist, to come to terms with the problems, of tradition and change in contemporary India. The author calls New Cinema "a highly bicultural product" for all of the following reasons, EXCEPT?

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