This article explores a global transformation – the shift to an informational, networked society – and the ways in which this shift plays out spatially through the Bombay film industry’s contemporary action films. I argue here that new cinematic technologies, such as drone cameras, digital special effects, computer-generated images and post-continuity editing, have allowed new forms of action to emerge. These forms of action have unveiled a bodily experience of transnational space that has emerged in relation to neoliberal global capital. Through an analysis of action sequences in films like Krrish (Rakesh Roshan, 2006), Fan (Maneesh Sharma, 2016), Kick (Sajid Nadiawala, 2014), War (Siddharth Anand, 2019) and Tiger Zinda Hai (Ali Abbas Zafar, 2014), I will delineate the relationship between new film technologies, globalised codes of film production, new economic and spatial forms and the audience’s aspirations for a global, technologised citizenship.
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