In this way, UCLA Asian-American studies professor Purnima Mankekar says that “assets that (dominate) the city’s visual landscape (are) irrevocably shaping also its social panorama". (Mankekar 2004: 414). In the 21st century, these spaces have transformed from a delineated cityscape into a gated community of multiplex and shopping mall, further marking class privilege. This new development is beneficial to both filmmakers and retailers in producing the identity of desire consumers. Multiplexes and shopping centers serve as anchor businesses for each other and their symbiotic relationship governs the clientele that participates in both spaces. Real estate entrepreneur Rashesh Kanakia says, "If I build my multiplex on the third floor, I rent the first and second floors at a very high premium rate because people see that at least 2000 to 3000 people will definitely enter the mall" ( Ganti 2011: 461). The design of the multiplex and mall is characterized by what Ganti calls “aesthetics of intimidation” that prevents lower-class audiences from entering the space (Ganti 2011: 463). The main consumer base for both multiplexes and shopping malls thus becomes “call center workers, IT professionals, families, university students, and members of the film industry” (Ganti 2011: 463). The relationship between these two spaces dictated by the cosmopolitan impulse demonstrates how the space of cinema has come to play a key role in creating and regulating an identity as consumers of desire. Multiplex and cinema spaces are potential sources of advertising revenue and are used to send messages to imaginary audiences. Advertisers help filmmakers cultivate the lifestyle of consumers of desire through the use of key visual cues in the middle of paper...resonate in 21st fiction film and mainstream Hindi advertising and what filmmakers and advertisers aim to produce in society using it as a tool. Amid resistance from the Hindi ritual, traditionalists, feminists and the censor board, filmmakers have to negotiate its relevance. The 2006 on-screen kiss between Aishwarya Rai and Hrithik Roshan was the subject of scandal, but also received immense support from mainstream audiences in India and the diaspora. Ultimately, the decisions made by filmmakers and advertisers will be adjusted based on what is most profitable and most in line with promoting modernity. Representations of Indianness, Indian modernity, what it means to be a spectator of this medium and to what extent it will be internalized in society are all up for debate as the use of sexual appeal in mainstream films and advertising is negotiated..