Cinema of India
From Wikipedia, the free encyclopedia
The
cinema of India consists of films produced across India, which includes the cinematic cultures of
Andhra Pradesh,
Assam,
Bihar,
Gujarat,
Haryana,
Jammu and Kashmir,
Karnataka,
Kerala,
Maharashtra,
Manipur,
Odisha,
Punjab,
Rajasthan,
Tamil Nadu,
Uttar Pradesh and
West Bengal.
[1] Indian films came to be followed throughout
Southern Asia, the
Greater Middle East,
Southeast Asia, and the former
Soviet Union. The cinema as a medium gained popularity in the country as many as 1,000 films in various
languages of India were produced annually.
[2]
Expatriates in countries such as the United Kingdom and the United
States garnered international audiences for Indian films of various
languages.
Dadasaheb Phalke is the
Father of Indian cinema.
[3][4][5][6] The
Dadasaheb Phalke Award, for lifetime contribution to cinema, was instituted in his honour, by the
Government of India in 1969, and is the most prestigious and coveted award in
Indian cinema.
[7]
In the 20th century, Indian cinema, along with the
Hollywood and
Chinese film industries, became a global enterprise.
[8] At the end of 2010 it was reported that in terms of annual film output, India ranks first, followed by
Hollywood and China.
[9]
Enhanced technology paved the way for upgrading from established
cinematic norms of delivering product, altering the manner in which
content reached the target audience.
Visual effects based,
super hero and science fiction films like
Krrish,
Enthiran,
Ra.One and
Eega emerged as
blockbusters.
[8] Indian cinema found markets in over 90 countries where films from India are screened.
[10]
Films by Indian directors like
Satyajit Ray,
Mrinal Sen,
Ritwik Ghatak,
Adoor Gopalakrishnan,
G. Aravindan,
[11] Shaji N.Karun,
Kasinadhuni Viswanath,
Girish Kasaravalli,
[12] Shyam Benegal[13] and
Mani Ratnam have been screened in various international film festivals.
[10] Other Indian filmmakers such as
Shekhar Kapur,
Mira Nair,
Rajnesh Domalpalli,
Deepa Mehta,
Nagesh Kukunoor and
Karan Johar have also found success overseas.
[14]
The Indian government extended film delegations to foreign countries
such as the United States of America and Japan while the country's Film
Producers Guild sent similar missions through Europe.
[15] Sivaji Ganesan, and
S. V. Ranga Rao
won their respective first international award for Best Actor held at
Afro-Asian Film Festival in Cairo and Indonesian Film Festival in
Jakarta for the films
Veerapandiya Kattabomman and
Narthanasala in 1959 and 1963.
[16][17]
India is the world's largest producer of films.
[18][19] In 2009, India produced a total of 2961 films on celluloid, that include 1288 feature films.
[20] The provision of 100%
foreign direct investment has made the Indian film market attractive for foreign enterprises such as
20th Century Fox,
Sony Pictures,
Walt Disney Pictures[21][22] and
Warner Bros.
[23] Indian enterprises such as
Zee,
UTV,
Suresh Productions,
Adlabs and Sun Network's
Sun Pictures also participated in producing and distributing films.
[23] Tax incentives to multiplexes have aided the multiplex boom in India.
[23] By 2003 as many as 30 film production companies had been listed in the
National Stock Exchange of India, making the commercial presence of the medium felt.
[23]
The
South Indian film industry defines the four film cultures of
South India as a single entity. They are the
Kannada, the
Malayalam, the
Tamil and the
Telugu
industries. Although developed independently for a long period of time,
gross exchange of film performers and technicians as well as
globalisation helped to shape this new identity, currently holding 75% of all film revenues in India.
[24]
The
Indian diaspora
consists of millions of Indians overseas for which films are made
available both through mediums such as DVDs and by screening of films in
their country of residence wherever commercially feasible.
[25]
These earnings, accounting for some 12% of the revenue generated by a
mainstream film, contribute substantially to the overall revenue of
Indian cinema, the net worth of which was found to be
US$1.3 billion in 2000.
[26]
Music in Indian cinema is another substantial revenue generator, with
the music rights alone accounting for 4–5% of the net revenues generated
by a film in India.
[26]
History
Following the screening of the
Lumière
moving pictures in London (1895) cinema became a sensation across
Europe and by July 1896 the Lumière films had been in show in Bombay
(now
Mumbai).
[27] The first short films in India were directed by
Hiralal Sen, starting with
The Flower of Persia (1898).
[28]
The first Indian movie released in India was
Shree pundalik a silent film in
Marathi by
Dadasaheb Torne on 18 May 1912 at 'Coronation Cinematograph', Mumbai.
[29][30]
The first full-length motion picture in India was produced by
Dadasaheb Phalke,
Dadasaheb is the pioneer of Indian film industry a scholar on India's
languages and culture, who brought together elements from
Sanskrit epics to produce his
Raja Harishchandra (1913), a silent film in
Marathi. The female roles in the film were played by male actors.
[31] The first Indian chain of cinema theatres was owned by the
Calcutta entrepreneur
Jamshedji Framji Madan, who oversaw production of 10 films annually and distributed them throughout the
Indian subcontinent.
[31]
Raghupathi Venkaiah Naidu
was an Indian artist and a pioneer in the production of silent Indian
movies and talkies. Starting from 1909, he was involved in many aspects
of Indian cinema's history, like travelling to different regions in
Asia, to promote film work. He was the first to build and own cinema
hall's in Madras. The Raghupathi Venkaiah Naidu Award is an annual award
incorporated into
Nandi Awards to recognise people for their contributions to the Telugu film industry.
[32]
During the early twentieth century cinema as a medium gained
popularity across India's population and its many economic sections.
[27]
Tickets were made affordable to the common man at a low price and for
the financially capable additional comforts meant additional admission
ticket price.
[27] Audiences thronged to cinema halls as this affordable medium of entertainment was available for as low as an
anna (4
paisa) in Bombay.
[27] The content of Indian commercial cinema was increasingly tailored to appeal to these masses.
[27] Young Indian producers began to incorporate elements of India's social life and culture into cinema.
[33] Others brought with them ideas from across the world.
[33] This was also the time when global audiences and markets became aware of India's film industry.
[33]
In 1927, the British Government, to promote the market in India for British films over American ones, formed the
Indian Cinematograph Enquiry Committee. The ICC consisted of three British and three Indians, led by
T. Rangachari, a Madras lawyer.
[34]
This committee failed to support the desired recommendations of
supporting British Film, instead recommending support for the fledgling
Indian film industry. Their suggestions were shelved.
Ardeshir Irani released
Alam Ara which was the first Indian talking film, on 14 March 1931.
[31] H.M. Reddy, produced and directed
Bhakta Prahlada (Telugu), released on 15 September 1931 and
Kalidas (Tamil)
[35] released on 31 October 1931. Kalidas was produced by Ardeshir Irani and directed by
H.M. Reddy. These two films are south India's first talkie films to have a theatrical release.
[36]
Following the inception of 'talkies' in India some film stars were
highly sought after and earned comfortable incomes through acting.
[31] Actor of the time,
Chittor V. Nagaiah, was one of the first multilingual film actor, singer, music composer, producer and director's in India. He was known as the
Paul Muni of India in the media.
[37][38] As sound technology advanced the 1930s saw the rise of music in Indian cinema with musicals such as
Indra Sabha and
Devi Devyani marking the beginning of song-and-dance in India's films.
[31] Studios emerged across major cities such as
Chennai, Kolkata, and Mumbai as film making became an established craft by 1935, exemplified by the success of
Devdas, which had managed to enthrall audiences nationwide.
[39]
Bombay Talkies came up in 1934 and
Prabhat Studios in
Pune had begun production of films meant for the
Marathi language audience.
[39] Filmmaker R. S. D. Choudhury produced
Wrath (1930), banned by the
British Raj in India as it depicted actors as Indian leaders, an expression censored during the days of the
Indian independence movement.
[31] Sant Tukaram, a 1936 film based on the life of
Tukaram (1608–50), a
Varkari Sant and spiritual poet, was screened at the 1937 edition of
Venice Film Festival
and thus became the first Indian film to be screened at an
international film festival. The film was subsequently adjudged as one
of the three best films of the year in the World.
[40]
The Indian
Masala film—a slang used for commercial films with song, dance, romance etc.—came up following the second world war.
[39] South Indian cinema gained prominence throughout India with the release of S.S. Vasan's
Chandralekha.
[39] During the 1940s cinema in
South India accounted for nearly half of India's cinema halls and cinema came to be viewed as an instrument of cultural revival.
[39] The
partition of India following its independence divided the nation's assets and a number of studios went to the newly formed Pakistan.
[39] The strife of partition would become an enduring subject for film making during the decades that followed.
[39]
After Indian independence the cinema of India was inquired by the S. K. Patil Commission.
[41]
S.K. Patil, head of the commission, viewed cinema in India as a
'combination of art, industry, and showmanship' while noting its
commercial value.
[41] Patil further recommended setting up of a Film Finance Corporation under the
Ministry of Finance.
[42]
This advice was later taken up in 1960 and the institution came into
being to provide financial support to talented filmmakers throughout
India.
[42] The Indian government had established a
Films Division
by 1948 which eventually became one of the largest documentary film
producers in the world with an annual production of over 200 short
documentaries, each released in 18 languages with 9000 prints for
permanent film theatres across the country.
[43]
The
Indian People's Theatre Association (IPTA), an art movement with a communist inclination, began to take shape through the 1940s and the 1950s.
[41] A number of realistic IPTA plays, such as
Bijon Bhattacharya's
Nabanna in 1944 (based on the tragedy of the
Bengal famine of 1943), prepared the ground for the solidification of realism in Indian cinema, exemplified by
Khwaja Ahmad Abbas's
Dharti Ke Lal (Children of the Earth) in 1946.
[41] The IPTA movement continued to emphasize on reality and went on to produce
Mother India and
Pyaasa, among India's most recognizable cinematic productions.
[44]
Golden Age of Indian cinema
Following
India's independence, the period from the late 1940s to the 1960s are regarded by film historians as the 'Golden Age' of Indian cinema.
[45][46][47]
Some of the most critically acclaimed Indian films of all time were
produced during this period. This period saw the emergence of a new
Parallel Cinema movement, mainly led by
Bengali cinema.
[48] Early examples of films in this movement include
Chetan Anand's
Neecha Nagar (1946),
[49] Ritwik Ghatak's
Nagarik (1952),
[50][51] and Bimal Roy's
Do Bigha Zameen (1953), laying the foundations for Indian
neorealism[52] and the "Indian New Wave".
[53] Pather Panchali (1955), the first part of
The Apu Trilogy (1955–1959) by Satyajit Ray, marked his entry in Indian cinema.
[54] The Apu Trilogy
won major prizes at all the major international film festivals and led
to the 'Parallel Cinema' movement being firmly established in Indian
cinema. Its influence on
world cinema can also be felt in the "youthful
coming-of-age dramas that have flooded art houses since the mid-fifties" which "owe a tremendous debt to the Apu trilogy".
[55] The cinematographer
Subrata Mitra, who made his debut with Satyajit Ray's
The Apu Trilogy, also had an important influence on
cinematography across the world. One of his most important techniques was
bounce lighting, to recreate the effect of daylight on sets. He pioneered the technique while filming
Aparajito (1956), the second part of
The Apu Trilogy.
[56] Some of the experimental techniques which Satyajit Ray pioneered include
photo-negative flashbacks and
X-ray digressions while filming
Pratidwandi (1972).
[57] Ray's 1967 script for a film to be called
The Alien, which was eventually cancelled, is also widely believed to have been the inspiration for
Steven Spielberg's
E.T. (1982).
[58][59][60] Satyajit Ray and Ritwik Ghatak went on to direct many more critically acclaimed '
art films', and they were followed by other acclaimed Indian independent filmmakers such as
Mrinal Sen,
Adoor Gopalakrishnan,
Mani Kaul and
Buddhadeb Dasgupta.
[48] During the 1960s,
Indira Gandhi's
intervention during her reign as the Information and Broadcasting
Minister of India further led to production of off-beat cinematic
expression being supported by the official Film Finance Corporation.
[42]
Commercial
Hindi cinema also began thriving, with examples of acclaimed films at the time include the
Guru Dutt films
Pyaasa (1957) and
Kaagaz Ke Phool (1959) and the
Raj Kapoor films
Awaara (1951) and
Shree 420 (1955). These films expressed social themes mainly dealing with working-class urban life in India;
Awaara presented the city as both a nightmare and a dream, while
Pyaasa critiqued the unreality of city life.
[48] Some
epic films were also produced at the time, including
Mehboob Khan's
Mother India (1957), which was nominated for the
Academy Award for Best Foreign Language Film,
[61] and
K. Asif's
Mughal-e-Azam (1960).
[62] V. Shantaram's
Do Aankhen Barah Haath (1957) is believed to have inspired the
Hollywood film
The Dirty Dozen (1967).
[63] Madhumati (1958), directed by
Bimal Roy and written by
Ritwik Ghatak, popularised the theme of
reincarnation in
Western popular culture.
[64] Other mainstream Hindi filmmakers at the time included
Kamal Amrohi and
Vijay Bhatt.
Ever since Chetan Anand's
social realist film
Neecha Nagar won the
Grand Prize at the
first Cannes Film Festival,
[49] Indian films were frequently in competition for the
Palme d'Or at the
Cannes Film Festival
for nearly every year in the 1950s and early 1960s, with a number of
them winning major prizes at the festival. Satyajit Ray also won the
Golden Lion at the
Venice Film Festival for
Aparajito (1956), the second part of
The Apu Trilogy, and the
Golden Bear and two
Silver Bears for Best Director at the
Berlin International Film Festival.
[65]
Ray's contemporaries, Ritwik Ghatak and Guru Dutt, were overlooked in
their own lifetimes but had belatedly generated international
recognition much later in the 1980s and 1990s.
[65][66] Ray is regarded as one of the greatest
auteurs of
20th century cinema,
[67] with Dutt
[68] and Ghatak.
[69] In 1992, the
Sight & Sound Critics' Poll ranked Ray at No. 7 in its list of "Top 10 Directors" of all time,
[70] while Dutt was ranked No. 73 in the 2002
Sight & Sound greatest directors poll.
[68]
A number of Indian films from different regions, from this era are often included among the
greatest films of all time
in various critics' and directors' polls. At this juncture, Telugu
cinema and Tamil cinema experienced their respective golden age and
during this time the production of Indian folklore, fantasy and
mythological films like
Mayabazar and
Narthanasala grew up. A number of Satyajit Ray films appeared in the
Sight & Sound Critics' Poll, including
The Apu Trilogy (ranked No. 4 in 1992 if votes are combined),
[71] The Music Room (ranked No. 27 in 1992),
Charulata (ranked No. 41 in 1992)
[72] and
Days and Nights in the Forest (ranked No. 81 in 1982).
[73] The 2002
Sight & Sound critics' and directors' poll also included the Guru Dutt films
Pyaasa and
Kaagaz Ke Phool (both tied at #160), the Ritwik Ghatak films
Meghe Dhaka Tara (ranked #231) and
Komal Gandhar (ranked #346), and Raj Kapoor's
Awaara,
Vijay Bhatt's
Baiju Bawra, Mehboob Khan's
Mother India and K. Asif's
Mughal-e-Azam all tied at #346.
[74] In 1998, the critics' poll conducted by the
Asian film magazine
Cinemaya included
The Apu Trilogy (ranked No. 1 if votes are combined), Ray's
Charulata and
The Music Room (both tied at #11), and Ghatak's
Subarnarekha (also tied at #11).
[69] In 1999,
The Village Voice top 250 "Best Film of the Century" critics' poll also included
The Apu Trilogy (ranked No. 5 if votes are combined).
[75] In 2005,
The Apu Trilogy and
Pyaasa were also featured in
Time magazine's "All-TIME" 100 best movies list.
[76]
Modern Indian cinema
Some filmmakers such as
Shyam Benegal continued to produce realistic Parallel Cinema throughout the 1970s,
[77] alongside Satyajit Ray, Ritwik Ghatak, Mrinal Sen,
Buddhadeb Dasgupta and
Gautam Ghose in Bengali cinema;
Adoor Gopalakrishnan,
Shaji N. Karun,
John Abraham and
G. Aravindan in
Malayalam cinema;
Nirad Mohapatra in
Oriya cinema; and
Mani Kaul,
Kumar Shahani,
Ketan Mehta,
Govind Nihalani and
Vijaya Mehta in Hindi cinema.
[48]
However, the 'art film' bent of the Film Finance Corporation came under
criticism during a Committee on Public Undertakings investigation in
1976, which accused the body of not doing enough to encourage commercial
cinema.
[78]
The 1970s did, nevertheless, see the rise of commercial cinema in form of enduring films such as
Sholay (1975), which solidified
Amitabh Bachchan's position as a lead actor.
[78] The devotional classic
Jai Santoshi Ma was also released in 1975.
[78] Another important film from 1975 was
Deewar, directed by
Yash Chopra and written by
Salim-Javed. A
crime film pitting "a policeman against his brother, a gang leader based on real-life smuggler
Haji Mastan", portrayed by Amitabh Bachchan, it was described as being "absolutely key to Indian cinema" by
Danny Boyle.
[79] 1979 Telugu film,
Sankarabharanam, which dealt with the revival of Indian classical music, has won the Prize of the Public at the
Besancon Film Festival of France in the year 1981.
[80] 1987 Kannada film,
Tabarana Kathe,
which dealt with the inadequate governance, was screened at various
film festivals including Tashkent, Nantes, Tokyo, and the Film Festival
of Russia.
[81]
Long after the Golden Age of Indian cinema, South India's
Malayalam cinema of Kerala
regarded as one of the best Indian film genres experienced its own
'Golden Age' in the 1980s and early 1990s. Some of the most acclaimed
Indian filmmakers at the time were from the Malayalam industry,
including
Adoor Gopalakrishnan, G. Aravindan,
T. V. Chandran and
Shaji N. Karun.
[82] Adoor Gopalakrishnan, who is often considered to be Satyajit Ray's spiritual heir,
[83] directed some of his most acclaimed films during this period, including
Elippathayam (1981) which won the
Sutherland Trophy at the
London Film Festival, as well as
Mathilukal (1989) which won major prizes at the
Venice Film Festival.
[84]
Shaji N. Karun's debut film
Piravi (1989) won the
Camera d'Or at the
1989 Cannes Film Festival, while his second film
Swaham (1994) was in competition for the
Palme d'Or at the
1994 Cannes Film Festival.
[85] Commercial Malayalam cinema also began gaining popularity with the
action films of
Jayan, a popular
stunt actor whose success was short-lived when he died while filming a dangerous
stunt, followed by
Mohanlal, whose film
Yodha was acclaimed for its action sequences and technical aspects.
Commercial Hindi cinema further grew throughout the 1980s and the 1990s with the release of films such as
Ek Duuje Ke Liye (1981)
Mr India (1987),
Qayamat Se Qayamat Tak (1988),
Tezaab (1988),
Chandni (1989),
Maine Pyar Kiya (1989),
Baazigar (1993),
Darr (1993),
[78] Dilwale Dulhaniya Le Jayenge (1995) and
Kuch Kuch Hota Hai (1998), many of which starred
Sridevi,
Shahrukh Khan,
Aamir Khan and
Salman Khan.
In the late 1990s, 'Parallel Cinema' began experiencing a resurgence
in Hindi cinema, largely due to the critical and commercial success of
Satya (1998), a
low-budget film based on the
Mumbai underworld, directed by
Ram Gopal Varma and written by
Anurag Kashyap. The film's success led to the emergence of a distinct genre known as
Mumbai noir,
[86] urban films reflecting social problems in the city of
Mumbai.
[87] Later films belonging to the
Mumbai noir genre include
Madhur Bhandarkar's
Chandni Bar (2001) and
Traffic Signal (2007),
Ram Gopal Varma's
Company (2002) and its prequel
D (2005), Anurag Kashyap's
Black Friday (2004), Irfan Kamal's
Thanks Maa (2009), and
Deva Katta's
Prasthanam (2010).
Other art film directors active today include Mrinal Sen, Mir Shaani, Buddhadeb Dasgupta, Gautam Ghose,
Sandip Ray,
Aparna Sen and
Rituparno Ghosh
in Bengali cinema; Adoor Gopalakrishnan, Shaji N. Karun, Santosh Sivan
and T. V. Chandran in Malayalam cinema; Nirad Mohapatra in Oriya cinema;
Mani Kaul, Kumar Shahani, Ketan Mehta,
Govind Nihalani, Shyam Benegal,
[48] Mira Nair,
Nagesh Kukunoor,
Sudhir Mishra and
Nandita Das in Hindi cinema; Mani Ratnam in Tamil cinema;
B. Narsing Rao and
K. N. T. Sastry in Telugu cinema;
Deepa Mehta,
Anant Balani,
Homi Adajania, Vijay Singh and
Sooni Taraporevala garnered recognition in
Indian English cinema.
Global discourse
Indians during the colonial rule bought film equipment from Europe.
[33] The British funded wartime propaganda films during the
second world war, some of which showed the
Indian army pitted against the
axis powers, specifically the
Empire of Japan, which had managed to infiltrate into India.
[88] One such story was
Burma Rani, which depicted civilian resistance offered to Japanese occupation by the British and Indians present in Myanmar.
[88] Pre-independence businessmen such as J. F. Madan and Abdulally Esoofally traded in global cinema.
[31]
Indian cinema's early contacts with other regions became visible with its films making early inroads into the
Soviet Union, Middle East, Southeast Asia,
[89] and China. Mainstream Hindi film stars like
Raj Kapoor gained international fame across Asia
[90][91] and Eastern Europe.
[92][93] Indian films also appeared in international fora and film festivals.
[89]
This allowed 'Parallel' Bengali filmmakers such as Satyajit Ray to
achieve worldwide fame, with his films gaining success among European,
American and Asian audiences.
[94] Ray's work subsequently had a worldwide impact, with filmmakers such as
Martin Scorsese,
[95] James Ivory,
[96] Abbas Kiarostami,
Elia Kazan,
François Truffaut,
[97] Steven Spielberg,
[58][59][60] Carlos Saura,
[98] Jean-Luc Godard,
[99] Isao Takahata,
[100] Gregory Nava,
Ira Sachs and
Wes Anderson[101] being influenced by his cinematic style, and many others such as
Akira Kurosawa praising his work.
[102] The "youthful coming-of-age dramas that have flooded art houses since the mid-fifties owe a tremendous debt to the
Apu trilogy".
[55] Subrata Mitra's cinematographic technique of
bounce lighting also originates from
The Apu Trilogy.
[56] Ray's film
Kanchenjungha (1962) also introduced a narrative structure that resembles later
hyperlink cinema.
[103] Since the 1980s, some previously overlooked Indian filmmakers such as Ritwik Ghatak
[104] and
Guru Dutt[105] have posthumously gained international acclaim.
Many Asian and '
South Asian' countries increasingly came to find Indian cinema as more suited to their sensibilities than Western cinema.
[89]
Jigna Desai holds that by the 21st century Indian cinema had managed to
become 'deterritorialized', spreading over to the many parts of the
world where
Indian diaspora was present in significant numbers, and becoming an alternative to other international cinema.
[106]
Indian cinema has more recently begun influencing Western musical
films, and played a particularly instrumental role in the revival of the
genre in the Western world.
Baz Luhrmann stated that his successful musical film
Moulin Rouge! (2001) was directly inspired by
Bollywood musicals.
[107] The critical and financial success of
Moulin Rouge! renewed interest in the then-moribund Western musical genre, subsequently fuelling a renaissance of the genre.
[108] Danny Boyle's
Oscar-winning film
Slumdog Millionaire (2008) was also directly inspired by Indian films,
[79][109] and is considered to be a "homage to Hindi commercial cinema".
[110] Other Indian filmmakers are also making attempts at reaching a more global audience, with upcoming films by directors such as
Vidhu Vinod Chopra,
Jahnu Barua,
Sudhir Mishra and
Pan Nalin.
[111]
Indian Cinema was also recognised at the American
Academy Awards. Three Indian films,
Mother India (1957),
Salaam Bombay! (1988), and
Lagaan (2001), were nominated for the
Academy Award for Best Foreign Language Film. Indian winners of the Academy Awards include
Bhanu Athaiya (costume designer),
Satyajit Ray (filmmaker),
A. R. Rahman (music composer),
Resul Pookutty (sound editor) and
Gulzar (lyricist).
[112]
Influences
There have generally been six major influences that have shaped the
conventions of Indian popular cinema. The first was the ancient
Indian epics of
Mahabharata and
Ramayana
which have exerted a profound influence on the thought and imagination
of Indian popular cinema, particularly in its narratives. Examples of
this influence include the techniques of a
side story,
back-story and
story within a story.
Indian popular films often have plots which branch off into sub-plots;
such narrative dispersals can clearly be seen in the 1993 films
Khalnayak and
Gardish.
The second influence was the impact of ancient
Sanskrit drama, with its highly stylised nature and emphasis on spectacle, where
music,
dance
and gesture combined "to create a vibrant artistic unit with dance and
mime being central to the dramatic experience." Sanskrit dramas were
known as
natya, derived from the root word
nrit (dance), characterising them as spectacular dance-dramas which has continued in Indian cinema.
[117] The
Rasa
method of performance, dating back to ancient Sanskrit drama, is one of
the fundamental features that differentiate Indian cinema from that of
the Western world. In the
Rasa method,
empathetic "emotions are conveyed by the performer and thus felt by the audience," in contrast to the Western
Stanislavski method where the actor must become "a living, breathing embodiment of a character" rather than "simply conveying emotion." The
rasa method of performance is clearly apparent in the performances of popular Hindi film actors like
Amitabh Bachchan and
Shahrukh Khan, nationally acclaimed Hindi films like
Rang De Basanti (2006),
[118] and internationally acclaimed
Bengali films directed by
Satyajit Ray.
[119]
The third influence was the traditional folk
theatre of India, which became popular from around the 10th century with the decline of Sanskrit theatre. These regional traditions include the
Yatra of
West Bengal, the
Ramlila of
Uttar Pradesh,
Yakshagana of
Karnataka, 'Chindu Natakam' of
Andhra Pradesh, and the
Terukkuttu of
Tamil Nadu. The fourth influence was
Parsi theatre, which "blended
realism
and fantasy, music and dance, narrative and spectacle, earthy dialogue
and ingenuity of stage presentation, integrating them into a dramatic
discourse of
melodrama. The Parsi plays contained crude humour, melodious songs and music, sensationalism and dazzling stagecraft."
[117] All of these influences are clearly evident in the
masala film genre that was popularised by
Manmohan Desai's films in the 1970s and early 1980s, particularly in
Coolie (1983), and to an extent in more recent critically acclaimed films such as
Rang De Basanti.
[118]
The fifth influence was Hollywood, where musicals were popular from
the 1920s to the 1950s, though Indian filmmakers departed from their
Hollywood counterparts in several ways. "For example, the Hollywood
musicals had as their plot the world of entertainment itself. Indian
filmmakers, while enhancing the elements of fantasy so pervasive in
Indian popular films, used song and music as a natural mode of
articulation in a given situation in their films. There is a strong
Indian tradition of narrating mythology, history, fairy stories and so
on through song and dance." In addition, "whereas Hollywood filmmakers
strove to conceal the constructed nature of their work so that the
realistic narrative was wholly dominant, Indian filmmakers made no
attempt to conceal the fact that what was shown on the screen was a
creation, an illusion, a fiction.
However, they demonstrated how this creation intersected with people's day to day lives in complex and interesting ways."
[120]
The final influence was Western musical television, particularly MTV,
which has had an increasing influence since the 1990s, as can be seen in
the pace, camera angles, dance sequences and music of recent Indian
films. An early example of this approach was in Mani Ratnam's
Bombay (1995).
[121]
Like mainstream Indian popular cinema, Indian
Parallel Cinema was also influenced also by a combination of Indian theatre (particularly Sanskrit drama) and
Indian literature (particularly
Bengali literature), but differs when it comes to foreign influences, where it is more influenced by
European cinema (particularly
Italian neorealism and French
poetic realism) rather than Hollywood. Satyajit Ray cited Italian filmmaker
Vittorio De Sica's
Bicycle Thieves (1948) and French filmmaker
Jean Renoir's
The River (1951), which he assisted, as influences on his debut film
Pather Panchali
(1955). Besides the influence of European cinema and Bengali
literature, Ray is also indebted to the Indian theatrical tradition,
particularly the
Rasa method of classical Sanskrit drama. The complicated doctrine of
Rasa
"centers predominantly on feeling experienced not only by the
characters but also conveyed in a certain artistic way to the spectator.
The duality of this kind of a
rasa imbrication" shows in
The Apu Trilogy.
[119] Bimal Roy's
Two Acres of Land (1953) was also influenced by De Sica's
Bicycle Thieves and in turn paved the way for the Indian New Wave, which began around the same time as the
French New Wave and the
Japanese New Wave.
[53]
Ray known as one of the most important influences to Parallel Cinema,
was depicted as an auteur (Wollen). The focus of the majority of his
stories portrayed the lower middle class and the unemployed (Wollen). It
wasn’t until the late 1960s that Parallel Cinema support grew (Wollen).
[122]
Multilinguals
Some Indian films are known as "multilinguals," having been filmed in
similar but non-identical versions in different languages. This was
done in the 1930s. According to Rajadhyaksha and Willemen in the
Encyclopaedia of Indian Cinema (1994), in its most precise form, a multilingual is
a bilingual or a trilingual [that] was the kind of film made in the
1930s in the studio era, when different but identical takes were made of
every shot in different languages, often with different leading stars
but identical technical crew and music.
[123]:15
Rajadhyaksha and Willemen note that in seeking to construct their
Encclopedia,
it they often found it "extremely difficult to distinguish
multilinguals in this original sense from dubbed versions, remakes,
reissues or, in some cases, the same film listed with different titles,
presented as separate versions in different languages.... it will take
years of scholarly work to establish definitive data in this respect."
[123]:15
Regional industries
Assamese cinema
First Assamese motion picture – Joymati filmed in 1935
The
Assamese language film industry traces its origins works s of revolutionary visionary
Rupkonwar Jyotiprasad Agarwala, who was also a distinguished poet, playwright, composer and
freedom fighter. He was instrumental in the production of the first Assamese film
Joymati[125]
in 1935, under the banner of Critrakala Movietone. Due to the lack of
trained technicians, Jyotiprasad, while making his maiden film, had to
shoulder the added responsibilities as the script writer, producer,
director, choreographer, editor, set and costume designer, lyricist and
music director. The film, completed with a budget of 60,000 rupees was
released on 10 March 1935. The picture failed miserably. Like so many
early Indian films, the negatives and complete prints of Joymati are
missing. Some effort has been made privately by Altaf Mazid to restore
and subtitle whatever is left of the prints. [3] Despite the significant
financial loss from Joymati, the second picture Indramalati was filmed
between 1937 and 1938 finally released in 1939.
Although the beginning of the 21st century has seen
Bollywood-style
Assamese movies hitting the screen, the industry has not been able to
compete in the market, significantly overshadowed by the larger
industries such as Bollywood.
[126]
Assamese cinema has never really managed to make the breakthrough on
the national scene despite its film industry making a mark in the
National Awards over the years
Bengali cinema
A scene from
Dena Paona, 1931 – first Bengali talkie
The
Bengali language cinematic tradition of
Tollygunge located in
West Bengal has had reputable filmmakers such as Satyajit Ray, Ritwik Ghatak and Mrinal Sen among its most acclaimed.
[127] Recent Bengali films that have captured national attention include
Rituparno Ghosh's
Choker Bali, starring
Aishwarya Rai.
[128] Bengali filmmaking also includes
Bengali science fiction films and films that focus on social issues.
[129] In 1993, the Bengali industry's net output was 57 films.
[130]
The history of cinema in
Bengal dates back to the 1890s, when the first "
bioscopes" were shown in theatres in
Kolkata. Within a decade, the first seeds of the industry was sown by
Hiralal Sen, considered a stalwart of
Victorian era cinema when he set up the
Royal Bioscope Company, producing scenes from the stage productions of a number of popular shows at the
Star Theatre, Calcutta,
Minerva Theatre, Classic Theatre. Following a long gap after Sen's works,
Dhirendra Nath Ganguly (Known as D.G.) established
Indo British Film Co, the first Bengali owned production company, in 1918. However, the first Bengali Feature film,
Billwamangal, was produced in 1919, under the banner of
Madan Theatre.
Bilat Ferat was the IBFC's first production in 1921. The
Madan Theatres production of
Jamai Shashthi was the first Bengali talkie.
[131]
In 1932, the name "
Tollywood"
was coined for the Bengali film industry due to Tollygunge rhyming with
"Hollywood" and because it was the center of the Indian film industry
at the time. It later inspired the name "Bollywood", as Mumbai (then
called Bombay) later overtook Tollygunge as the center of the Indian
film industry, and many other
Hollywood-inspired names.
[132]
The 'Parallel Cinema' movement began in the Bengali film industry in
the 1950s. A long history has been traversed since then, with stalwarts
such as Satyajit Ray,
Mrinal Sen,
Ritwik Ghatak and others having earned international acclaim and securing their place in the
history of film.
Bhojpuri cinema
Bhojpuri language films predominantly cater to people who live in the regions of western
Bihar and eastern
Uttar Pradesh. These films also have a large audience of like in the cities of
Delhi
and Mumbai due to migration to these metros from the Bhojpuri speaking
region. Besides India, there is a large market for these films in other
bhojpuri speaking countries of the
West Indies, Oceania, and South America.
[133] Bhojpuri language film's history begins in 1962 with the well-received film
Ganga Maiyya Tohe Piyari Chadhaibo ("Mother Ganges, I will offer you a yellow sari"), which was directed by Kundan Kumar.
[134] Throughout the following decades, films were produced only in fits and starts. Films such as
Bidesiya ("Foreigner," 1963, directed by S. N. Tripathi) and
Ganga
("Ganges," 1965, directed by Kundan Kumar) were profitable and popular,
but in general Bhojpuri films were not commonly produced in the 1960s
and 1970s.
The industry experienced a revival in 2001 with the super hit
Saiyyan Hamar ("My Sweetheart," directed by Mohan Prasad), which shot the hero of that film, Ravi Kissan, to superstardom.
[135] This success was quickly followed by several other remarkably successful films, including
Panditji Batai Na Biyah Kab Hoi ("Priest, tell me when I will marry," 2005, directed by Mohan Prasad) and
Sasura Bada Paisa Wala
("My father-in-law, the rich guy," 2005). In a measure of the Bhojpuri
film industry's rise, both of these did much better business in the
states of Uttar Pradesh and Bihar than mainstream Bollywood hits at the
time, and both films, made on extremely tight budgets, earned back more
than ten times their production costs.
[136]
Although a smaller industry compared to other Indian film industries,
the extremely rapid success of their films has led to dramatic increases
in Bhojpuri cinema's visibility, and the industry now supports an
awards show
[137] and a trade magazine,
Bhojpuri City.
[138]
Gujarati cinema
The film industry of Gujarat started its journey in 1932. Since then
Gujarati films
immensely contributed to Indian cinema. Gujarati cinema has gained
popularity among the regional film industry in India. Gujarati cinema is
always based on scripts from mythology to history and social to
political. Since its origin Gujarati cinema has experimented with
stories and issues from the Indian society. Furthermore, Gujarat has
immense contribution to Bollywood as several Gujarati actors have
brought glamour to the Indian film industry. Gujarati film industry has
included the work of actors including
Sanjeev Kumar,
Rajendra Kumar,
Bindu,
Asha Parekh,
Kiran Kumar,
Arvind Trivedi,
Aruna Irani,
Mallika Sarabhai,
Naresh Kanodia,
Mahesh Kanodia and
Asrani.
The scripts and stories dealt in the Gujarati films are intrinsically
humane. They include relationship- and family-oriented subjects with
human aspirations and deal with Indian family culture. Thus, there can
be no turning away from the essential humanity of these Gujarati cinema.
The first Gujarati movie,
Narasinh Mehta, was released in the
year 1932 and was directed by Nanubhai Vakil. The film starred
Mohanlala, Marutirao, Master Manhar, and Miss Mehtab. It was of the
`Saint film` genre and was based on the life of the saint Narasinh Mehta
who observed a creed that was followed centuries later by Mahatma
Gandhi. The film was matchless as it avoided any depiction of miracles.
In 1935, another social movie,
Ghar Jamai was released, directed
by Homi Master. The film starred Heera, Jamna, Baby Nurjehan, Amoo,
Alimiya, Jamshedji, and Gulam Rasool. The film featured a `resident
son-in-law` (ghar jamai) and his escapades as well as his problematic
attitude toward the freedom of women. It was a comedy-oriented movie
that was a major success in the industry.
Gujarati films
thus proceeded with several other important social, political as well
as religious issues. The years 1948, 1950, 1968, 1971 moved in a wide
variety of dimensions. The Gujarati movies such as
Kariyavar, directed by Chaturbhuj Doshi,
Vadilona Vank directed by Ramchandra Thakur,
Gadano Bel directed by Ratibhai Punatar and
Leeludi Dharti
directed by Vallabh Choksi brought immense success to the industry. The
problems of modernisation are the underlying concern of several films.
The movies like
Gadano Bel had strong realism and reformism.
Hindi cinema
The
Hindi language film industry of Mumbai—also known as Bollywood—is the largest and most popular branch of Indian cinema.
[139] Hindi cinema initially explored issues of caste and culture in films such as
Achhut Kanya (1936) and
Sujata (1959).
[140] International visibility came to the industry with
Raj Kapoor's
Awara and later in Shakti Samantha's
Aradhana starring
Rajesh Khanna and Sharmila Tagore.
[141] Hindi cinema grew during the 1990s with the release of as many as 215 films.
[25] With
Dilwale Dulhania Le Jayenge, Hindi cinema registered its commercial presence in the Western world.
[25]
In 1995 the Indian economy began showing sustainable annual growth,
and Hindi cinema, as a commercial enterprise, grew at a growth rate of
15% annually.
[25] The salary of lead stars increased greatly. Many actors signed contracts for simultaneous work in 3–4 films.
[26] Institutions such as the
Industrial Development Bank of India also came forward to finance Hindi films.
[26] A number of magazines such as
Filmfare,
Stardust,
Cineblitz, etc., became popular.
[142]
The audience's reaction towards Hindi cinema is distinctive with
involvement in the films by audience's clapping, singing, reciting
familiar dialogue with the actors . .
[143]
Kannada cinema
Main article:
Kannada cinema
Statue of Rajkumar at KG Road (near Santosh theatre) in Bengaluru
Kannada film industry, also referred as
Sandalwood, is based in
Bengaluru and caters mostly to the state of
Karnataka.
Rajkumar
was eminent in Kannada film industry. In his career, he performed
versatile characters and sung hundreds of songs for film and albums.
Other notable Kannada and Tulu actors include
Vishnuvardhan,
Ambarish,
Ravichandran,
Girish Karnad,
Prakash Raj,
Shankar Nag,
Ananth Nag,
Upendra,
Darshan,
Sudeep,
Ganesh,
Shivaraj Kumar,
Puneet Rajkumar, Kalpana, Bharathi,
Jayanthi, Pandari Bai,
Tara,
Umashri and
Ramya.
Film directors from the Kannada film industry like
Girish Kasaravalli have garnered national recognition. Other noted directors include
Puttanna Kanagal,
G. V. Iyer,
Girish Karnad,
T. S. Nagabharana,
Upendra,
Yograj Bhat,
Soori.
G.K. Venkatesh,
Vijaya Bhaskar,
Rajan-Nagendra,
Hamsalekha,
Gurukiran,
Anoop Seelin and
V. Harikrishna are other noted music directors.
Kannada cinema, along with Bengali and Malayalam films, contributed simultaneously to the age of Indian
parallel cinema. Some of the influential Kannada films in this genre are
Samskara (based on a novel by
U. R. Ananthamurthy),
Chomana Dudi by
B. V. Karanth,
Tabarana Kathe,
Vamshavruksha,
Kadu Kudure, Hamsageethe,
Bhootayyana Maga Ayyu,
Accident,
Maanasa Sarovara,
Ghatashraddha, Tabarana Kathe, Mane, Kraurya, Thaayi Saheba, Dweepa.
Konkani cinema
Main article:
Konkani cinema
Konkani language films are mainly produced in
Goa. It is one of the smallest film industries in India with just 4 films produced in 2009.
[20] Konkani language is spoken mainly in the states of
Goa, Maharashtra and
Karnataka and to a smaller extent in
Kerala. The first full length Konkani film was
Mogacho Anvddo, released on 24 April 1950, and was produced and directed by Jerry Braganza, a native of
Mapusa, under the banner of Etica Pictures.
[144][145] Hence, 24 April is celebrated as Konkani Film Day.
[146] Karnataka is the hub of a good number of
Konkani
speaking people. There is an immense Konkani literature and art in
Karnataka. Several films have been noted among the Karnataka Konkani
folks. Kazar (English: Marriage) is a 2009 Konkani film directed by
Richard Castelino and produced by Frank Fernandes. Konkani Movie
'Ujvaadu' – Shedding New Light on Old Age Issues. The director and
producer of the Konkani film "Ujvaadu", Kasaragod Chinna, whose stage
name is Sujeer Srinivas Rao. The pioneering Mangalorean Konkani Film is
Mog Ani Maipas. It was well appreciated among the Karanataka film makers.
Malayalam cinema
The Malayalam film industry, (some film magazines call
Mollywood), is based in
Kerala.
[147] [148] [149] [150] [151] [152] [153] [154] [155] [156]
It is considered to be the fourth largest among the film industries in
India. Malayalam film industry is known for films that bridge the gap
between
parallel cinema
and mainstream cinema by portraying thought-provoking social issues
with top notch technical perfection but with low budgets. Filmmakers
include
Adoor Gopalakrishnan,
Shaji N. Karun,
G. Aravindan,
K. G. George,
Padmarajan,
Sathyan Anthikad,
T. V. Chandran and
Bharathan.
Vigathakumaran, a
silent movie released in 1928 produced and directed by
J. C. Daniel, marked the beginning of Malayalam cinema.
[157] Balan, released in 1938, was the first Malayalam "
talkie".
[158][159] Malayalam films were mainly produced by
Tamil producers till 1947, when the first major film studio,
Udaya Studio, was established in Kerala.
[160] In 1954, the film
Neelakkuyil captured national interest by winning the President's silver medal. Scripted by the well-known Malayalam novelist,
Uroob, and directed by
P. Bhaskaran and
Ramu Kariat, it is often considered as the first authentic Malayali film.
[161] Newspaper Boy, made by a group of students in 1955, was the first
neo-realistic film in India.
[162] Chemmeen (1965), directed by Ramu Kariat and based on a story by
Thakazhi Sivasankara Pillai, went on to become immensely popular, and became the first South Indian film to win the
National Film Award for Best Feature Film.
[163]
The period from late 1980s to early 1990s is popularly regarded as the 'Golden Age of Malayalam Cinema'
[164] with the emergence of actors
Mammootty,
Mohanlal,
suresh gopi,
jayaram,
Murali,
thilakan and
nedumudi venu and filmmakers such as
I.V. Sasi,
Bharathan,
Padmarajan,
K. G. George,
Sathyan Anthikad,
Priyadarshan,
A. K. Lohithadas,
Siddique-Lal and
Sreenivasan. Following a dull decade starting from 2000,
Malayalam cinema
bounced back from about 2010 onwards with a significant number of
movies becoming critically acclaimed as well as commercially successful.
In 2012, the total number of Malayalam movies released where 128 out of
which about 40 movies managed to break even. Out of these 40, about 15
movies went on to become
superhits.
Marathi cinema
Main article:
Marathi cinema
Marathi cinema is the films produced in the Marathi language in the
state of Maharashtra, India. Marathi Cinema is one of the oldest
industry in Indian Cinema. In fact the pioneer of cinema in Union of
India was
Dadasaheb Phalke, who brought the revolution of moving images to India with his first indigenously made silent film
Raja Harishchandra in 1913, which is considered by
IFFI and NIFD part of Marathi cinema as it was made by a Marathi crew.
The first Marathi talkie film, Ayodhyecha Raja[1] (produced by
Prabhat Films)
was released in 1932, just one year after "Alam Ara" the first Hindi
talkie film. Marathi cinema has grown in recent years, with two of its
films, namely "
Shwaas" (2004) and "
Harishchandrachi Factory"
(2009), being sent as India's official entries for the Oscars. Today
the industry is based in Mumbai, Maharashtra, but it sprouted and grew
first from
Kolhapur and then
Pune.
There are many marathi movies, the list of best films in Marathi will
be very big very few can be named like 'Sangate Aika','Ek Gao Bara
Bhangdi,'Pinjara' of V. Shantaram,'Sinhasan', 'Paathlaag' 'Jait Re Jait'
'Saamana', Santh Wahate Krishnamai','Sant Tukaram','Shyamchi Aai' by
Acharya Atre, based on Sane Guruji's best novel Shamchi Aai, and so on.
Maharashtra has immense contribution to Bollywood as several
Maharashtrian actors have brought glamour to the Indian film industry.
Marathi film industry has included the work of actors including,
Nutan,
Tanuja,
V Shantaram, Dr.
Shriram Lagoo, Ramesh Dev and Seema Dev,
Nana Patekar,
Smita Patil,
Madhuri Dixit,
Sonali Kulkarni,
Sonali Bendre,
Urmila Matondkar
, Reema Lagoo, Lalita Pawar, Mamta Kulkarni, Nanda, Padmini Kolhapure,
Sadashiv Amrapurkar, Sachin Khedekar, Durga Khote, and Others
Oriya cinema
Main article:
Oriya cinema
The Oriya Film Industry is the
Bhubaneswar and
Cuttack based
Oriya language film industry. Sometimes called Ollywood a
portmanteau of the words Oriya and Hollywood, although the origins of the name are disputed.
[165] The first Oriya talkie
Sita Bibaha
was made by Mohan Sunder Deb Goswami in 1936. Shreeram panda, Prashanta
Nanda, Uttam Mohanty, Bijay Mohanty started the revolution in the Oriya
film industry by not only securing a huge audience but also bringing in
a newness in his presentation. His movies heralded in the golden era of
the Oriya commercial industry by bringing in freshness to Oriya movies.
[166]
Then the first color film was made by Nagen Ray and photographed by a
Pune Film Institute trained cinematographer Mr. Surendra Sahu titled "
Gapa Hele Be Sata"- meaning although its a story, its true. But the
golden phase of Oriya Cinema was 1984 when two Oriya films 'Maya Miriga'
and 'Dhare Alua' was showcased in 'Indian Panorama' and Nirad
Mohapatra's 'Maya Miriga' was invited for the 'Critics Week' in Cannes.
The film received 'Best Third World Film'award at Mannheim Film
Festival, Jury Award at Hawaii and was shown at London Film Festival.
Punjabi cinema
Main article:
Punjabi cinema
K.D. Mehra made the first Punjabi film Sheila (also known as Pind di
Kudi). Baby Noor Jehan was introduced as an actress and singer in this
film. Sheila was made in
Calcutta (now
Kolkata)
and released in Lahore, the capital of Punjab; it ran very successfully
and was a hit across the province. Due to the success of this first
film many more producers started making Punjabi films. As of 2009,
Punjabi cinema has produced between 900 and 1,000 movies. The average
number of releases per year in the 1970s was nine; in the 1980s, eight;
and in the 1990s, six. In 1995, the number of films released was 11; it
plummeted to seven in 1996 and touched a low of five in 1997. Since
2000s the Punjabi cinema has seen a revival with more releases every
year featuring bigger budgets, home grown stars as well as Bollywood
actors of Punjabi descent taking part.
Sindhi Cinema
Main article:
Sindhi cinema
Though Striving hard to survive, mainly because not having a state or
region to represent, Sindhi film industry has been producing movies in
intervals of time. The very first Sindhi movie produced in India was
1958 film Abana which was a success throughout the country. In the later
time Sindhi cinema has seen the production of some Bollywood style
films like
Hal ta Bhaji Haloon,
Parewari,
Dil Dije Dil Waran Khe,
Ho Jamalo,
Pyar Kare Dis: Feel the Power of Love and
The Awakening. There are a numerous personalities from Sindhi dissent who have been and are contributing in Bollywood
G P Sippy,
Ramesh Sippy,
Nikhil Advani,
Tarun Mansukhani,
Ritesh Sidhwani,
Asrani and many more.
Tamil cinema
Main article:
Tamil cinema
The
Tamil language film industry, also known as
Kollywood,
is among India's three largest film industries in terms of number of
films produced annually. As of 2012, it is third after the Hindi and
Telugu film-industries in terms of the number of films produced
annually. It is based at
Kodambakkam in
Chennai, Tamil Nadu. Tamil films are distributed to various parts of Asia, Southern Africa, Northern America, Europe and Oceania.
[167] The industry has inspired Tamil filmmaking in Sri Lanka, Malaysia, Singapore and Canada.
Tamil cinema and Dravidian politics have heavily influenced each other.
[168]
In 1985, the Tamil film industry made its peak, with a net output was 236 films.
[130][unreliable source?] Kamal Haasan, considered to be one of the most versatile actors in India, has the distinction of being awarded the most number of
Southern Filmfare Awards and the only actor with the most number of National Film Awards. Music directors from the industry, such as
Ilaiyaraaja and
A. R. Rahman
made a foray into other regional industries and have a reputation and
following, while also being predominantly active in Tamil cinema.
A. R. Rahman is the first Indian music director to win
Academy Award for
Best Original Music Score for
Slumdog Millionaire and
Best Original Song for
Jai Ho (song) in
Slumdog Millionaire in the year 2009.
Some female Bollywood actress have their origin from Tamil, even
though some of them not had their initial debut in Tamil cinema. It
includes
Vyjayanthimala,
Hema Malini,
Sridevi and
Meenakshi Sheshadri, were also considered "
Numero Uno actresses" of Hindi cinema.
[169][170]
Telugu cinema
Telugu Film industry is the second largest film industry in the country ,
[171][172]
in terms of Annual film production and revenue. In the years 2005, 2006
and 2008 the Telugu film industry produced the largest number of films
in India exceeding the number of films produced in
Bollywood, with 268, 245 and 286 films in each year respectively.
[173][174] As of 2012, the Telugu film Industry produced the second highest number of films in the country.
[124][175]
Ramoji Film City, which holds the
Guinness World Record for the world's largest film production facility, is located in
Hyderabad, India.
[176]
Hyderabad is the only city in India which has six functional Film
studios. The Prasad's IMAX located in Hyderabad is the world's largest
3D IMAX Screen
[113][114] and it is the most attended screen in the world.
[115] The state of Andhra Pradesh has the most number of Cinema Theaters in India
[177]
S. V. Ranga Rao,
N. T. Rama Rao,
Kanta Rao,
Bhanumathi Ramakrishna,
Savitri and
Sobhan Babu are the actors who received the
Rashtrapati Award for best performance in a leading role,
[178][179] and
Sharada,
Archana,
Vijayashanti and
P. L. Narayana are the actors to receive the
National Film Award for best performance in acting from this industry.
Bomireddi Narasimha Reddy,
Paidi Jairaj,
L. V. Prasad,
B. Nagi Reddy,
Akkineni Nageswara Rao, and
D. Ramanaidu have won
Dadasaheb Phalke Award from this industry.
Play back singer
S. P. Balasubramanyam holds the
Guinness World Record of having sung the most number of songs for any male playback singer in the world.
[180][181][182]
In 2002, the Guinness Book of Records named Vijaya Nirmala as the
female director with most number of films; she made 47 films. In a
career spanning approximately two decades, she acted in over 200 films
with 25 each in Malayalam and Tamil. She also produced 15 films.
[183] Telugu actor
Brahmanandam holds the
Guinness World Record for acting in the most number of films in a single language.
[184][176][185][186] Movie producer
D.Rama Naidu holds the
Guinness World Record as the most prolific producer with 130 films.
[187]
Genres and styles
Masala films
Masala is a style of Indian cinema, especially in Bollywood,
Cinema of West Bengal and
South Indian films, in which there is a mix of various
genres in one film. For example, a film can portray
action,
comedy,
drama,
romance and
melodrama
all together. Many of these films also tend to be musicals, including
songs filmed in picturesque locations, which is now very common in
Bollywood films. Plots for such movies may seem illogical and improbable
to unfamiliar viewers. The genre is named after the
masala, a mixture of spices in
Indian cuisine.
Parallel cinema
Parallel Cinema, also known as
Art Cinema or the
Indian New Wave,
is a specific movement in Indian cinema, known for its serious content
of realism and naturalism, with a keen eye on the social-political
climate of the times. This movement is distinct from mainstream
Bollywood cinema and began around the same time as the
French New Wave and
Japanese New Wave.
The movement was initially led by Bengali cinema (which has produced
internationally acclaimed filmmakers such as Satyajit Ray, Mrinal Sen,
Ritwik Ghatak, and others) and then gained prominence in the other film
industries of India. Some of the films in this movement have garnered
commercial success, successfully straddling art and commercial cinema.
An early example of this was Bimal Roy's
Two Acres of Land (1953), which was both a commercial success and a critical success, winning the International Prize at the
1954 Cannes Film Festival. The film's success paved the way for the Indian New Wave.
[52][53][188]
The
neo-realist filmmakers were the Bengali filmmaker Satyajit Ray, closely followed by Ritwik Ghatak, Mrinal Sen,
Shyam Benegal,
Shaji N.Karun,
Adoor Gopalakrishnan[48] and
Girish Kasaravalli[189] Ray's films include
The Apu Trilogy, consisting of
Pather Panchali (1955),
Aparajito (1956) and
The World of Apu (1959). The three films won major prizes at the
Cannes,
Berlin and
Venice Film Festivals, and are frequently listed among the greatest films of all time.
[75][76][190][191]
Film music
Music in Indian cinema is a substantial revenue generator, with the
music rights alone accounting for 4–5% of the net revenues generated by a
film in India.
[26] The major film music companies of India are
Saregama,
Sony Music etc.
[26] Commercially, film music accounts for 48% India's net music sales.
[26] A typical Indian film may have around 5–6 choreographed songs spread throughout the film's length.
[192]
The demands of a multicultural, increasingly globalised Indian
audience often led to a mixing of various local and international
musical traditions.
[192]
Local dance and music nevertheless remain a time tested and recurring
theme in India and have made their way outside of India's borders with
its diaspora.
[192] Playback singers such as
Kishore Kumar,
Lata Mangeshkar drew large crowds with national and international film music stage shows.
[192]
The end of the 20th century and the beginning of the 21st saw extensive
interaction between artists from India and the western world.
[193]
Artists from Indian diaspora blended the traditions of their heritage
to those of their country to give rise to popular contemporary music.
[193]
Awards
This section lists the most important film awards given for Indian cinema by national and state authorities.
Below are the major non-governmental (private) awards.
Film Institutes in India
Several institutes, both government run and private, provide formal
education in various aspects of filmmaking. Some of the prominent ones
include:
|
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- Regional Government Film and Television Institute (RGFTI), Guwahati.
- City Pulse Institute of Film & Television, Gandhinagar, Gujarat
- Film and Television Institute of India, Pune
- Indian Film and Television Institute (IFTI), Merrut
- Govt. Film and Television Institute, Bangalore
- Arya Film and Television Academy, Jaipur
- AJK Mass Communication Research Centre, Jamia Millia Islamia, New Delhi
- Biju Pattanaik Film and Television Institute, cuttack
- Centre for advanced media studies, Patiala
- Department of Culture & Media studies, Central University of Rajasthan
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