The
Indian film industry is the largest in the world in terms of the ticket sales and the number of films produced annually (877 feature films and 1177 short films were released in the year 2003 alone).
[1] In contrast, 473 films were produced in the
US in 2003.
[2] Movie tickets in India are among the cheapest in the world.
[3] India accounts for 73% of movie admissions in the Asia-Pacific region, and earnings are currently estimated at US$2.9 billion. The industry is mainly supported by the vast cinema-going Indian public. The Central Board of Film Certification of India cites on its website that every three months an audience as large as India's billion-strong population visits cinema halls.
[4] Indian films are popular in various parts of the world, especially in countries with significant Indian communities.An Indian film personality Sandeep Marwah has produced 1000 short films which is the highest in the world by an individual.
The introduction of cinema in India
1896 - 1910
Hiralal Sen
Cinema was introduced to India on
July 7,
1896. It began with the
Lumiere Brothers' Cinematography, unveiling six silent short films at the
Watson Hotel in
Bombay, namely ''Entry of Cinematographe, The Sea Bath, Arrival of a Train, A Demolition, Ladies & Soldiers on Wheels'' and ''Leaving the Factory''
[1].
The Times of India carried details of the "Living Photographic Pictures in Life-Size Reproductions by Mssrs. Lumiere Brotheres". In the same year, the
Madras Photographic Store advertised "animated photographs". Daily screenings of films commenced in Bombay in 1897 by
Clifton and Co.'s Meadows Street Photography Studio.
In 1898,
Hiralal Sen started filming scenes of theatre productions at the
Classic Theatre in
Calcutta, inspired by
Professor Stevenson (who had brought to India the country's first
bioscope)'s, film presentation alongside the stage production of ''The Flower Of Persia''; his debut was a contribution to this presentation. He continued making similar films to complement theatrical productions, which were shown as added attractions during intermission, in private screenings for high society households or taken to distant venues where the stage performers could not reach.
Lord and Lady Curzon on Elephant, Coronation Durbar, Delhi, 1903
Harischandra Sakharam Bhatavdekar (
H. S. Bhatavdekar) alias ''Save Dada'', who had attended the show, imported a cine-camera from
London at a price of 21
guineas and filmed the first Indian
documentary, a wrestling match in
Hanging Gardens, Bombay, in 1897. In 1901, he recorded the return from
Cambridge of 'Wrangler'
Ragunath P. Paranjpye, who had secured a distinction in mathematics from
Cambridge University, and
M M Bhownuggree, considered the first Indian news film.
[2][3]. He also filmed
Lord Curzon (the Viceroy of India)'s
Delhi Durbar that marked the enthronement of
Edward VII in 1903.
The commercial potential of cinema was also tested during the time.
F.B. Thanewala's "Grand Kinetoscope Newsreels" is one successful case.
J.F. Madan was another highly successful film producer, who released hit films like Satyavadi ''
Raja Harishchandra'' and ''Bilwamangal''; also, he launched
Madan Theatres Limited, which became India's largest film production-distribution-exhibition company and the biggest importer of American films after World War I. His films were marked by a high degree of technical sophistication, facilitated by his employment of experienced foreign directors like
Eugenio De Liguoro and
Camille Legrand. This expertise was complemented by grand sets and popular mythological storylines which ensured good returns.
Cinema houses were set up in major Indian cities in this period, like one in
Madras (in 1900 by
Major Warrick), the
Novelty Cinema in Bombay (where newsreels from the Boer Wars were shown) and the
Elphinstone Picture Palace in Calcutta (set up by
J.F. Madan in 1907). Apart from these, a number of film shows were arranged in tents; examples are: shows arranged by two Italians, Colorello and Cornaglia, in tents at the
Azad Maidan Bombay, J.F. Madan's tent cinema at the
Calcutta Maidan. Another popular mode of broadcasting films was the touring cinema. In 1904,
Manek Sethna started the
Touring Cinema Co. in Bombay and a year later,
Swamikannu Vincent, a draughtsman for the railways set up a touring cinema going around small towns and villages in the South of India.
Pathe, the famous film production company set up an Indian Office in 1907.
1910-1920
The first feature film made in India was a narrative named ''Pundalik'', by
N.G. Chitre and
R.G. Torney. The first full-length Indian feature film was ''
Raja Harishchandra'' (3700 feet as compared to 1500 for ''Pundalik''), made in 1913 and released commercially in May that year, by
Dadasaheb Phalke. Phalke had attended a screening of ''The Life of Christ'' at
P.B. Mehta's
American-Indian Cinema and was inspired to make films himself. He was convinced of the possibility of establishing an indigenous film industry by focusing on Indian themes. In this regard, he said ''Like the life of Christ, we shall make pictures on Rama and Krishna.'' The film was about an honest king who for the sake of his principles sacrifices his kingdom and family before the gods, who are impressed with his honesty and restore him to his former glory. The film was a success, and Phalke went on to make more mythological films till the advent of talkies, and commercialization of Indian films lessened his popularity.
[4].
In 1916,
Universal Pictures set up
Hollywood's first Indian agency (see Hollywood meets India, below). The first South Indian feature was
Rangaswamy Nataraja Mudaliar's ''Keechaka Vadham'', released in 1918.
[5] The following year, he made the film ''Draupadi Vastrapaharanam'', featuring
Anglo-Indian actress
Marian Hill who played the role of Draupadi.
[5]
Regional film industries
India is a large country where many languages are spoken. According to the 1991 Census of India there are about 10,400 'raw mother tongues' in India. If closely related and mutually comprehensible dialects are grouped, the number can be reduced to 1576 ‘rationalised’ mother tongues, or with even more consolidation, 114 main languages. These 114 languages are the ones surveyed in the Indian census.
[6] Indian film producers have made films in thirty of the largest languages. However, only the very largest language groups support major regional industries. These are:
Hindi,
Tamil,
Telugu,
Bengali,
Marathi,
Kannada,
Odiya,
Malayalam. Official statistics categorise Indian films according to the languages in which they are distributed.
There is a great deal of mobility between the regional industries. Many workers in other regional industries, once their talent and popularity is established, move on to work in other film industries, nationally as well as internationally. For example,
A. R. Rahman, one of the best known film music composers in Indian cinema, started his career in
Malayalam cinema in
Trivandrum but has since worked in Bollywood,
London, and
New York. Similarly, films that succeed in one language are often remade or dubbed in others. Films like ''
Padosan'' and ''
Roja'', for example, were re-made or dubbed from their original
Bengali and
Tamil versions respectively, into
Hindi.
The Bengali (Bangla) film industry
The history of
cinema in
Bengal dates back to the 1890s, when the first "
bioscopes" were shown in theatres in
Calcutta. 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,
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
New Theatre production of
Dena Paona was the first Bengali talkie. A long history has been traversed since then, with stalwarts such as
Satyajit Ray,
Mrinal Sen and
Ritwik Ghatak and others having earned international acclaim and securing their place in the movie history.
Today, there are two
Bengali film industries, one in
Kolkata (Calcutta),
India and the lesser known one in
Dhaka,
Bangladesh (called
Dhallywood). The film industry based in Kolkata is sometimes referred to as
Tollywood, a portmanteau of the words
Tollygunge, the area of South Kolkata where this industry is based, and
Hollywood. The
Bengali film industry has long centred in the
Tollygunge district of
Kolkata (Calcutta).
Its most famous film director is
Satyajit Ray, who won an
Oscar for lifetime achievement in cinema. However, Bengali films have always remained the hot favourites among the
National Awards jury almost every year since its inception. Some of the most popular Bengali film personalities include
Kishore Kumar,
Mithun Chakraborty,
Uttam Kumar,
Soumitro Chatterjee, and recently
Proshenjit.
Some of the other Bengalis who have made it big are
Ashok Kumar,
Bimal Roy,
Mrinal Sen,
Ritwik Ghatak,
Aparna Sen,
Suchitra Sen,
Hemanta Mukherjee (Hemanth Kumar),
Manna Dey,
Sandhya Mukhopadhyay, and
Rituparno Ghosh.
List of Bengali films
The Hindi film industry
The Hindi film industry, based in
Mumbai (formerly Bombay), is the largest branch of Indian cinema. Hindi film Industry is often called '
Bollywood' (a melding of
Hollywood and Bombay). The word "Bollywood" is sometimes applied to Indian cinema as a whole, especially outside South Asia and the South Asian diaspora, but this usage is incorrect. Bollywood has been recently greatly criticized for what critics see as a violation of Indian cultural values and its discussion of controversial topics. It is considered the most liberal out of the Indian language film industries.
Regional movies are distinctively different from Bollywood (Hindi) movies, as the stories and themes of these movies portray the culture of the region from which they originate, while most Bollywood movies nowadays are greatly influenced by Western culture.
Although
Bollywood does not distribute a lot of films, it can be considered to be largest in terms of viewers. It is believed that 95% of the Indian population watches Bollywood. It also has international recognition, especially in Western countries such as the
UK,
USA and
Australia where there is a large South Asian community. Despite having the widest coverage, Bollywood movies fail to impress South Indians especially in
Tamil Nadu &
Kerala because of a very strong local film industry which arguably produces movies of much superior quality.
The Kannada film industry
The
Kannada film industry, based in
Karnataka, is sometimes called 'Sandalwood', as
Karnataka is known for its
sandalwood; however, this term does not seem to be in widespread use. The
Gubbi Veeranna Company, or ''Veeranna's Sri Chennabasaveshwara Krupa Poshita Nataka Sangha''
[7] and other groups established themselves first as theatre troupes, and later went on to dominate kannada cinema into the 1960s. "They provided all its key directors like H.L.N . Simha, B. R. Panthulu and G. V. Iyer, its stars led by
Rajkumar and
Leelavathi and most of its early commercial hits: Bedara Kannappa (1953), for instance. The first big success in
Kannada cinema adapted a Gubbi Company stage play written by G. V. Iyer to introduce the mythological adventure movie into that language."
. Kannada films has become very popular after the recent hits like
Jogi (2005) &
Mungaru Male (2007).
Mungaru Male has been the first Indian movie to be screened in many
European countries .
The Kashmiri film industry
The
Kashmiri film industry, which had been lying dormant since the release of ''Habba Khatoon'' in 1967, was revived after a 39-year hiatus with the release of ''Akh Daleel Loolech'' in 2006. Cinema halls had been shut down for a long time in Kashmir, by militants protesting against the New Delhi based Government. There are few cinema halls and a handful of directors have been returning to shoot in the region. Though the region was favoured by many producers as a scenic locale in pre-militancy era Bollywood movies as a romantic backdrop
[8], the regional industry was not very strong, due to lack of finances and infrastructure.
[9]
The Malayalam film industry
The
Malayalam film industry, based in
Kerala. Malayalam movies are known for their artistic nature and they frequently figure in the national film awards. It is also currently known for being the most conservative out of the different film industries in India, despite the fact that it went through a liberal phase in the 80's.
Notable personalities: filmmakers,
Padmavibhushan Adoor Gopalakrishnan, Bharathan, Aravindan,
Padmarajan, John Abraham; scriptwriter,
M. T. Vasudevan Nair,
Sreenivasan; cinematographer, Azhagappan, Santhosh Sivan, Shaji; actors,
Bharath Gopi, Tilakan,
Padmabhushan Prem Nazeer, Satyan,
Padmashri Mohanlal,
Padmashri Mammootty]],
Padmashri Balachandra Menon; playback singers,
Padmabhushan Dr.
K. J. Yesudas,
Padmasree K. S. Chitra, P Jayachandran, M G Sreekumar and Sujatha.
The first 3D film which produced in
India was in
Malayalam. Its name was My Dear Kuttichatthan produced by Navodaya Productions. Padayottam, the first fully indigenous 70MM film with all its work done in
India was in
Malayalam which was also produced by Navodaya. The fist Cinemascope film in the world was produced in Malayalam.
Chemmeen was the first film which earned a gold medal from the President from South India.
Mohanlal's "Guru", directed by Rajiv Anchal, is the only Malayalam film nominated for Oscar Award so far.
-Malayalam film Industry has been nicknamed as
Malluwood
-
Mohanlal's "Narasimham" earned the highest profit in the history of Malayalam films till 2005
-
Mammootty has got 3 times National Award for best actor equalling Kamal Hasan.
-The industry has contributed many top directors, actors, writers etc. For example A.R. Rahman's first film for which he give music was in Malayalam -
Vanaprastham produced by
Mohanlal is the first Indo-French production movie. It has been dubbed into English (International & Europe), French & German
-
Mohanlal's ''Kalapani'' told the story of the life of inmates in the infamous Indian prison in Andaman during the era of the British Raj
The Marathi film industry
Ankush Chowdhary and Smita Shewale in Yanda Kartavya Aahe
The
Marathi Film industry is based in
Mumbai,
Maharashtra. Marathi film industry is one of the oldest in India.
Dadasaheb Phalke was one of the pioneers of the films in Marathi. He is infact,termed as father of Indian cinema. He produced first Indian movie followed by Marathi talkies. Every year there is an award given in the name of "Dadasaheb Falke Award" for exceptional contribution to India cinema. Marathi film industry was overshadowed by presence of Bollywood, but is evolving due to some off-beat movies like Shwaas, Uttarayan and mainstream successes like Aga bai Areccha, Yanda Kartavya aahe and so on.. Old Marathi film songs are popular even today also. Old songs are remixed and presented now-a-days. Also actors like Dilip Prabhavalkar, Bharat Jadhav are making more difference in growing Marathi film industry. Several Marathi movies have won international and national awards. Bhalji Pendharkar, Baburao Painter, V.Shantaram,
Dada Kondke, Mahesh Kothare, Smita Talwalkar, Bhave-Sukathankar, Kedar Shinde are some of the notable names in Marathi cinema.
The Tamil film industry
The
Tamil film industry (
Kollywood), based in the
Kodambakkam area of
Chennai is one of biggest film industries in India. Tamil films have enjoyed consistent popularity among Tamil speakers in
India,
Sri Lanka,
Singapore,
Malaysia and
Mauritius. Tamil films also receive fame in countries which contain Tamil immigrant communities such as the
United States,
United Kingdom,
Canada, and other
European countries.
In the Tamil film industry, directors such as
K. Balachander,
Shankar,
Bharathiraja,
Balu Mahendra, Santhana Bharathi,
Cheran, and
Mani Ratnam have achieved box-office success whilst producing films that have balanced art and popular elements. The Tamil film industry accounts for approximately 1% of the gross domestic product of the state of Tamil Nadu. Costs of production have grown exponentially from just under Rs.4 million in 1980 to over Rs.110 million by 2005 for a typical star-studded big-budget film. Similarly, costs of processing per print have risen from just under Rs.2,500 in 1980 to nearly Rs.70,000 by 2005. There has been a growing presence of
English in dialogue and songs as well. It is not uncommon to see movies that feature dialogue studded with English words and phrases, or even whole sentences. Some movies are also simultaneously released in two or three regional languages (either using subtitles or several soundtracks). Contemporary Tamil movies often feature
Madras Bashai, a colloquial version of Tamil spoken in
Madras. A select few,
Iruvar and older films based on epics, for instance, employ literary Tamil extensively in dialogues when the situation calls for it.
The Telugu film industry
A still from ''Bhakta
Prahlad'' (1931)
The
Telugu film industry is based in
Andhra Pradesh's capital city,
Hyderabad. After Bollywood, more movies are produced every year in Telugu than any other language. The state also has what is claimed to be the largest film studio in the world, Ramoji Film City. The first studio for Telugu talkies was Vel Pictures, constructed in 1934 by P.V. Das, located at Madras. The first film made here was ''Sita Kalyanam''. The first film made by a Telugu person, R.S. Prakash, was ''Bhishma Pratigna'' (The Pledge of
Bhishma, 1922). Another important Telugu personality of this era was Y.V. Rao (1903-1973), an actor and director, whose silent film (directing) credits include ''Pandava Nirvana'' (1930), ''Pandava Agnathavaas'' (1930) and ''Hari Maya'' (1932). The first big movies in Telugu were made by the Surabhi Theatres troupes.
They produced the first Telugu talkie, ''Bhakta Prahlada'', directed by Hanumappa Munioappa Reddy in 1931. In the first few years of Telugu talkies, films were all mythological stories, taken from the stage. In 1936, Krittiventi Nageswara Rao made the first Telugu film not based on mythology, ''Premavijayam''. The film influenced other Telugu film-makers into making such films. Some popular themes of these films (often called 'social' films) were the feudal ''
zamindari'' system (''Raitu Bidda'', 1939),
untouchability (''Maala pilla'', 1938), and widow remarriage
[10]. Since then, there have been both social (contemporary) and mythological or folk stories in Telugu cinema.
Telugu films are released in
Andhra Pradesh,
Tamil Nadu,
Karnataka, East
Maharastra,
Orissa and few parts of
West Bengal. Telugu movies are released world wide in
United States,
Canada, parts of
Europe,
South Africa,
Malaysia and
Singapore.
Conventions of commercial films
The principal difference between American and Indian commercial cinema is that Indian films usually feature periodic song-and-dance routines which, in a good movie, are expected to move the story forward (in mediocre movies, they are poorly integrated into the story). The uniqueness of Indian Cinema is that songs in Indian films play a role. In generic films, they serve as fillers, often amusing distractions. In artistic commercial films, songs convey emotions and passions of the protagonist or of the situation - ranging from love and pathos to triumph and celebration. The lyrics in the latter type are usually well written and set to music with catchy tunes, that go on to become popular. Songs are sung by professionals
play-back singers and lip-synched by dancing actors and actresses. Most non-Indians would consider the ordinary Indian film a
musical, but this would be a mistake. The music and song industry associated with Indian Cinema is a major contender in determining box office hits.
Indian commercial films, in whatever regional centre they are made, tend to be long; they are usually two to three hours long, often with an intermission. They tend to be
melodramatic,
sentimental, and formulaic, but may also feature romance, comedy, action, suspense, and other
generic elements. Unlike commercial Western films, there is almost no nudity at all in Indian films. Such scenes are classified as obscene in the Constitution of India and are usually removed by the
Indian Censor Board.
Art cinema in India
In addition to commercial cinema, there is also Indian cinema that aspires to seriousness or art. This is known to film critics as "New Indian Cinema" or sometimes "the Indian New Wave" (see the
Encyclopaedia of Hindi Cinema -), but most people in India simply call such films "art films". These films deal with a wide range of subjects but many are in general explorations of complex human circumstances and relationships within an Indian setting.
From the 1960s through the 1980s, art films were subsidised by Indian governments: aspiring directors could get federal or state government grants to produce non-commercial films on Indian themes. Many of these directors were graduates of the government-supported
Film and Television Institute of India. Their films were showcased at government film festivals and on the government-run TV station,
Doordarshan. These films also had limited runs in art house theatres in India and overseas. Since the 1980s, Indian art cinema has to a great extent lost its government patronage. Today, it must be made as
independent films on a shoestring budget by aspiring auteurs, much as in today's Western film industry.
The art directors of this period owed more to foreign influences, such as
Italian neorealism or the
French New Wave, than they did to the genre conventions of commercial Indian cinema. The best known New Cinema directors were Bengali:
Satyajit Ray,
Mrinal Sen,
Ritwik Ghatak, and
Bimal Roy. Some well-known films of this movement include the ''
Apu Trilogy'' by Ray , the Calcutta Trilogy of Sen, ''
Meghe Dhaka Tara'' by Ghatak (all in Bengali) and ''
Do Bigha Zameen'' by Roy (Hindi). Of these film-makers, Satyajit Ray was arguably the most well-known: his films obtained considerable international recognition during the mid-twentieth century. His prestige, however, did not translate into large-scale commercial success. His films played primarily to art-house audiences (students and intelligentsia) in the larger Indian cities, or to film buffs on the international art-house circuit in India and abroad. Like him, Mrinal Sen who has primarily been a political film director and has received international acclaim, is not well known for commercial success, with the lone exception being ''
Bhuvan Shome'', which ushered the New Indian Cinema.
Art cinema was also well-supported in the South Indian state of
Kerala. Some outstanding
Malayalam movie makers are
Adoor Gopalakrishnan, G. Aravindan, T. V. Chandran,
Shaji N. Karun, and
M. T. Vasudevan Nair. Some of their films include
National Film Award-winning ''
Elippathayam'', ''
Piravi'' (which won the Camera d'Or at the
Cannes Film Festival), ''
Vaanaprastham'' and ''
Nizhalkkuthu'' (a
FIPRESCI-Prize winner).
Starting in the 1970s,
Kannada film makers from
Karnataka state produced a string of serious, low-budget films.
Girish Kasaravalli is one of the few directors from that period who continues to make non-commercial films. He is the only Indian director other than
Satyajit Ray and
Buddhadev Dasgupta to win the Golden Lotus Awards four times.
From the 1970s onwards Hindi cinema produced a wave of art films. The foremost among the directors who produced such films is
Shyam Benegal. Others in this genre include
Govind Nihalani, Mani Kaul, Kumar Shahani, M.S. Sathyu.
Many cinematographers, technicians and actors began in art cinema and moved to commercial cinema. The actor
Naseeruddin Shah is one notable example; he has never achieved matinee idol status, but has turned out a solid body of work as a supporting actor and a star in independent films such as
Mira Nair's ''
Monsoon Wedding''.
Marathi art cinema has been continuously churning out gems even when Marathi mainstream cinema had no suffered a setback. Dr.Jabbar Patel, Bhave-Sukthankar, Amol Palekar are some of the notable names while acclaimed movie titles are Umbartha, Dhyaasparva, Uttarayan, Vaastupurush etc.
Globalization of Indian cinema
Cinema admissions in 1995
Contact between Indian and Western cinemas was established in the early days of film in India itself. Dadasaheb Phalke was moved to make Raja Harishchandra after watching the film ''Life of Christ'' at P.B. Mehta's American-Indian Cinema. Similarly, some other early film directors were inspired by Western movies.
In India at least 80 percent of films shown in the late 1920s were American, even though twenty-one studios manufactured local films, eight or nine of them in regular production. American serials such as Perils of Pauline and Exploits of Elaine, and the spectacular sets of films like Quo Vadis and Cabira were popular and inspiring during the World War I era. Universal Pictures set up an Indian agency in 1916, which went on to dominate the Indian distribution system
[6]. J. F. Madan's Elphinstone Bioscope Company at first focused on distribution of foreign films and organization of their regular screenings Additionally, J.P. Madan, the prolific producer, employed Western directors for many of his films.
A number of Indian films have been accused of
plagiarising from Hollywood Movies. Due to the long time taken by courts to decide a case, few cases relating to copyright violations are brought up. One of the reasons Bollywood hesitates in purchasing rights is the assumption that these would run into millions of dollars, though according to some like screenwriter-director Anurag Kashyap, this is incorrect; He argues that while the films may cost millions of dollars in the west, the rights would be less expensive for Hindi remakes because the price would be based on the audience's buying power, the economy and the number of bidders.
[11]In 2003, best-selling fiction writer Barbara Taylor Bradford brought a copyright infringement suit against
Sahara Television for allegedly making a television series (''Karishma: A miracle of destiny'') out of her book, ''A Woman of Substance'', without acquiring the legal rights to do so.
Today, Indian cinema is becoming increasingly westernised. This trend is most strongly apparent in Bollywood. Newer Bollywood movies sometimes include Western actors (such as
Rachel Shelley in ''
Lagaan''), try to meet Western production standards, conduct filming overseas, adopt some English in their scripts or incorporate some elements of Western-style plots. Bollywood also produces box-office hit like the films ''
Dilwale Dulhaniya Le Jayenge'' and ''
Kal Ho Naa Ho'', both of which deal with the overseas Indian's experience.
However, the meeting between west and India is a two-way process: Western audiences mostly of Indian origin are becoming more interested in India , as evidenced by the mild success of ''
Lagaan'' and ''
Bride and Prejudice''. As Western audiences for Indian cinema grow, Western producers are funding maverick Indian filmmakers like
Gurinder Chadha (''Bride and Prejudice'') and
Mira Nair (''
Monsoon Wedding''). Both Chadha and Nair are of Indian origin but do not live in India, and who made their names in Western independent films; they have now been funded to create films that "interpret" the Indian cinematic tradition for Westerners. A similar filmmaker is
Deepa Mehta of Canada, whose films include the trilogy ''Fire'', ''Earth'' and ''Water''.
Indian cinema is also influencing the English and American musical;
Baz Luhrmann's ''
Moulin Rouge!'' (2001) incorporates a Bollywood-style dance sequence; ''
The Guru'' and ''
The 40-Year-Old Virgin'' feature Indian-style song-and-dance sequences;
A. R. Rahman, a
film composer, was recruited for
Andrew Lloyd Webber's ''
Bombay Dreams''; and a musical version of ''
Hum Aapke Hain Koun'' has played in London's West End.
Awards
The ''
Filmfare Awards'' ceremony is one of the oldest and most prominent film events given for
Hindi films in
India [12] and is sometimes referred to as the "Indian Oscars."
[13] The Filmfare awards were first introduced in 1954, the same year as the
National Film Awards and gave awards to the best films of 1953. The ceremony was referred to as the ''Clare Awards'' after the magazine's editor. A dual voting system was developed in 1956.
[14] Under this system, "in contrast to the
National Film Awards, which are decided by a panel appointed by Indian Government, the Filmfare Awards are voted for by both the public and a committee of experts."
[15]
Since 1973, the Indian government has sponsored the
National Film Awards (which first began in 1954), awarded by the government run
Directorate of Film Festivals (DFF). The DFF screens not only Bollywood films, but films from all the other regional movie industries and independent/art films. These awards are handed out at an annual ceremony presided over by the
President of India.
Additional ceremonies held within
India are:
★
Stardust Awards
★
Star Screen Awards
Ceremonies held overseas are:
★
Bollywood Movie Awards -
Long Island,
New York,
United States
★
Global Indian Film Awards - (different country each year)
★
IIFA Awards - (different country each year)
★
Zee Cine Awards - (different country each year)
Most of these award ceremonies are lavishly staged spectacles, featuring singing, dancing, and lots of stars and starlets.
Film Training In India
★ Film And Television Institute Of India, Pune
★ Asian Academy Of Film And Television, Noida
★ Satyajit Ray Film Institute, Kolkatta
★ Asian School Of Media Studies, Noida
Database
For the Complete list of Indian films see -
★
List of Bollywood films
★
List of Punjabi films
★
List of Kannada films
★
List of Malayalam films
★
List of Tamil films
★
List of Telugu films
Trivia
★ An Indian film personality Sandeep Marwah has produced 1000 short films which is the highest in the world by an individual.
See also
★
Bollywood
★
List of India's official entries to the Oscars
★
H. S. Bhatavdekar
References
★ Shedde, M. (2003) "Plagiarism issue jolts Bollywood"] ''The Times of India'', May 18. Available from: http://timesofindia.indiatimes.com/cms.dll/html/uncomp/articleshow?msid=46715385. Accessed 23 November 2006.
★
'The World-wide Spread of Cinema', 'The Oxford History of World Cinema' ISBN 0-19-811257-2
★
The Cinemas of India, , Y., Thoraval, Macmillan India, 2000, ISBN 0-333-93410-5
Notes
1. Central Board of Film Certification of India
2. MPAA U.S. Theatrical Market: 2005 Statistics
3. Deccan Herald-Indian movie tickets cheapest in the world-survey
4. Film Collection
5. http://www.hinduonnet.com/thehindu/mp/2002/05/09/stories/2002050900170300.htm
6. Thoraval, Y: "The Cinemas of India", Chapter 1, page 12, "The Cinemas of India"
External links
★
IMDB
★
DownMelodyLane.com - Encyclopedia of Indian Cinema
★
Timeline of Cinematography In India
★
Upperstall film guide - noncommercial
★
Cinema on Indian Stamps
★
Indian Online Radio's
★
AAFT
.JPG)
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