Upload
gopalankk
View
1.811
Download
1
Embed Size (px)
Citation preview
Cinema of India
From Wikipedia, the free encyclopedia
(Redirected from Indian film)
The cinema of India consists of films produced across India, including the cinematic culture of Mumbai along
with the cinematic traditions of states such as Andhra Pradesh, Assam, Karnataka, Kerala, Punjab, Tamil Nadu
and West Bengal. Indian films came to be followed throughout South Asia and the Middle East. As cinema as a
medium gained popularity in the country as many as 1,000 films in various languages of India were produced
annually. Expatriates in countries such as the United Kingdom and the United States continued to give rise to
international audiences for Hindi-language films.
Devi in the 1929 film, Prapancha Pasha (A Throw of Dice), directed by Franz Osten.jpg|thumb|Charu Roy and
Seeta Devi in the 1929 film, Prapancha Pash.
In the 20th century, Indian cinema, along with the American and Chinese film industries, became a global
enterprise.[1] Enhanced technology paved the way for upgradation from established cinematic norms of
delivering product, radically altering the manner in which content reached the target audience.[1] Indian cinema
found markets in over 90 countries where films from India are screened.[2] The country also participated in
international film festivals especially satyajith ray(bengali),Adoor Gopal krishnan,Shaji n karun(malayalam) .[2]
Indian filmmakers such as Shekhar Kapur, Mira Nair, Deepa Mehta etc. found success overseas.[3] 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.[4]
India is the world's largest producer of films, producing close to a thousand films annually.[5][6]
About 600 of
the total films produced are in Telugu and Hindi, approximately 300 each, while the remaining are in other
languages.[6] However, Hindi films account for about half of the total revenue generated by cinema in India.[6]
The provision of 100% foreign direct investment has made the Indian film market attractive for foreign
enterprises such as 20th Century Fox, Sony Pictures, and Warner Bros.[7] Prominent Indian enterprises such as
Zee, UTV and Adlabs also participated in producing and distributing films.[7] Tax incentives to multiplexes have
aided the multiplex boom in India.[7] 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.[7]
The Indian diaspora constitutes 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.[8] 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 1.3 billion US
Dollars in 2000.[9] Facilities for film production in the country include Ramoji Film City in Hyderabad, the
home of Telugu film industry, the largest film studio complex in the world as certified by Guinness World
Records.[10] 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.[9]
Contents
Cinema of India - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Indian_film
1 of 24 5/4/2010 10:33 AM
1 History
1.1 Golden Age of Indian cinema
1.2 Modern Indian cinema
2 Influences
3 Regional industries
3.1 Marathi cinema
3.2 Assamese cinema
3.3 Bengali cinema
3.4 Bhojpuri cinema
3.5 Hindi Cinema
3.6 Gujarati cinema
3.7 Kannada cinema
3.8 Malayalam cinema
3.9 Oriya cinema
3.10 Punjabi cinema
3.11 Tamil cinema
3.12 Telugu cinema
4 Genres and styles
4.1 Masala films
4.2 Parallel cinema
5 Film music
6 Global discourse
7 Awards
8 Film Institutes in India
9 Notes
10 References
11 Info Site
History
Cinema of India - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Indian_film
2 of 24 5/4/2010 10:33 AM
A scene from Raja Harishchandra
(1913) – The first full-length
motion picture.
A scene from the first motion
picture of the Assamese film
industry, Joymati (1935).
Devika Rani and Ashok Kumar in
Achhut Kanya (1936).
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).[11] The first
short films in India were directed by Hiralal Sen, starting with The
Flower of Persia (1898).[12] The first full-length motion picture in India
was produced by Dadasaheb Phalke, 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. (Interestingly,
the female roles in the film were played by male actors.)[13] The first
Indian chain of cinema theaters was owned by the Calcutta entrepreneur
Jamshedji Framji Madan, who oversaw production of 10 films annually
and distributed them throughout the Indian subcontinent.[13]
During the early twentieth century cinema as a medium gained
popularity across India's population and its many economic sections.[11]
Tickets were made affordable to the common man at a low price and for
the financially capable additional comforts meant additional admission
ticket price.[11] Audiences thronged to cinema halls as this affordable
medium of entertainment was available for as low as an anna (4 paisa)
in Bombay.[11] The content of Indian commercial cinema was
increasingly tailored to appeal to these masses.[11] Young Indian
producers began to incorporate elements of India's social life and culture
into cinema.[14] Others brought with them ideas from across the
world.[14] This was also the time when global audiences and markets
became aware of India's film industry.[14]
Ardeshir Irani released Alam Ara, the first Indian talking film, on 14
March 1931.[13] Following the inception of 'talkies' in India some film
stars were highly sought after and earned comfortable incomes through
acting.[13] 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.[13]
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.[15] Bombay Talkies came up in 1934 and Prabhat
Studios in Pune had begun production of films meant for the Marathi
language audience.[15] 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.[13]
The Indian Masala film—a slang used for commercial films with song, dance, romance etc.—came up following
the second world war.[15] South Indian cinema gained prominence throughout India with the release of S.S.
Vasan's Chandralekha.[15] 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.[15] The partition of India following its
independence divided the nation's assets and a number of studios went to the newly formed Pakistan.[15] The
Cinema of India - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Indian_film
3 of 24 5/4/2010 10:33 AM
strife of partition would become an enduring subject for film making during the decades that followed.[15]
Following independence the cinema of India was inquired by the S.K. Patil Commission.[16] S.K. Patil, head of
the commission, viewed cinema in India as a 'combination of art, industry, and showmanship' while noting its
commercial value.[16] Patil further recommended setting up of a Film Finance Corporation under the Ministry of
Finance.[17] This advice was later taken up in 1960 and the institution came into being to provide financial
support to talented filmmakers throughout India.[17] The Indian government had established a Films Division by
1949 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
theaters across the country.[18]
The Indian People's Theatre Association (IPTA), an art movement with a communist inclination, began to take
shape through the 1940s and the 1950s.[16] 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.[16] The IPTA movement continued to emphasize on reality and went on to produce Mother India and
Pyaasa, among of India's most recognizable cinematic productions.[19]
Golden Age of Indian cinema
Cinema of India - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Indian_film
4 of 24 5/4/2010 10:33 AM
A scene from Ritwik Ghatak's
Nagarik (1952), considered Bengali
cinema's earliest art film.
Wide open eyes, a continual motif
in Satyajit Ray's The Apu Trilogy
(1955–1959).
Guru Dutt in Pyaasa (1957), for
which he was the director,
producer and leading actor.
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.[20][21][22] Some of the most critically acclaimed Indian films of
all time were produced during this period. In commercial Hindi cinema,
examples of famous 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.[23] Some of the most famous epic films of Hindi
cinema 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,[24] and K. Asif's Mughal-e-Azam
(1960).[25] V. Shantaram's Do Aankhen Barah Haath (1957) is believed
to have inspired the Hollywood film The Dirty Dozen (1967).[26]
Madhumati (1958), directed by Bimal Roy and written by Ritwik
Ghatak, popularized the theme of reincarnation in Western popular
culture.[27] Other mainstream Hindi filmmakers at the time included
Kamal Amrohi and Vijay Bhatt.
While commercial Indian cinema was thriving, the period also saw the
emergence of a new Parallel Cinema movement, mainly led by Bengali
cinema.[23] Early examples of films in this movement include Chetan
Anand's Neecha Nagar (1946),[28] Ritwik Ghatak's Nagarik (1952),
[29][30] and Bimal Roy's Two Acres of Land (1953), laying the
foundations for Indian neorealism[31] and the "Indian New Wave".
[32]
Pather Panchali (1955), the first part of the The Apu Trilogy
(1955–1959) by Satyajit Ray, marked his entry in Indian cinema.[33] 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".[34]
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.[23] 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.[17]
The cinematographer Subrata Mitra, who made his debut with Satyajit Ray's The Apu Trilogy, also had an
importance 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.[35] Some of the experimental techniques which Satyajit Ray pioneered
include photo-negative flashbacks and X-ray digressions while filming Pratidwandi (1972).[36] Ray's 1967 script
for a film to be called The Alien, which was eventually cancelled, is also widely believed to have been the
Cinema of India - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Indian_film
5 of 24 5/4/2010 10:33 AM
inspiration for Steven Spielberg's E.T. (1982).[37][38][39] Some of Ritwik Ghatak's films also have strong
similarities to later famous international films, such as Bari Theke Paliye (1958) resembling François Truffaut's
The 400 Blows (1959) and Ajantrik (1958) having elements that resemble Taxi Driver (1976) and the Herbie
films (1967–2005).
Other regional industries also had their 'Golden Age' during this period. Commercial Tamil cinema experienced a
growth in the number of commercially successful films produced. Some of the most famous Tamil film
personalities at the time included M. G. Ramachandran, Sivaji Ganesan, M. N. Nambiyar, Asokan and
Nagesh.[40] Marathi cinema also ushered in a 'Golden Age' at this time, with some of its directors such as V.
Shantaram later playing in instrumental role in mainstream Hindi cinema's 'Golden Age'.[41]
Ever since Chetan Anand's social realist film Neecha Nagar won the Grand Prize at the first Cannes Film
Festival,[28] 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.[42] 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.[42][43] Ray is regarded as
one of the greatest auteurs of 20th century cinema,[44] while Dutt
[45] and Ghatak
[46] are also among the
greatest filmmakers of all time. In 1992, the Sight & Sound Critics' Poll ranked Ray at #7 in its list of "Top 10
Directors" of all time,[47] while Dutt was ranked #73 in the 2002 Sight & Sound greatest directors poll.
[45]
A number of Indian films from this era are often included among the greatest films of all time in various critics'
and directors' polls. A number of Satyajit Ray films appeared in the Sight & Sound Critics' Poll, including The
Apu Trilogy (ranked #4 in 1992 if votes are combined),[48] The Music Room (ranked #27 in 1992), Charulata
(ranked #41 in 1992)[49] and Days and Nights in the Forest (ranked #81 in 1982).
[50] 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.[51] In 1998, the critics' poll conducted by the Asian film magazine Cinemaya included The Apu
Trilogy (ranked #1 if votes are combined), Ray's Charulata and The Music Room (both tied at #11), and
Ghatak's Subarnarekha (also tied at #11).[46] In 1999, The Village Voice top 250 "Best Film of the Century"
critics' poll also included The Apu Trilogy (ranked #5 if votes are combined).[52] In 2005, The Apu Trilogy and
Pyaasa were also featured in Time magazine's "All-TIME" 100 best movies list.[53]
Modern Indian cinema
Cinema of India - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Indian_film
6 of 24 5/4/2010 10:33 AM
A scene from Adoor
Gopalakrishnan's Mathilukal
(1989).
Roja, the village girl played by
Madhoo, in Mani Ratnam's Tamil
feature film Roja (1992).
Some filmmakers such as Shyam Benegal continued to produce realistic
Parallel Cinema throughout the 1970s,[54] alongside Satyajit Ray, Ritwik
Ghatak, Mrinal Sen, Buddhadeb Dasgupta and Gautam Ghose in Bengali
cinema; Adoor Gopalakrishnan, John Abraham and G. Aravindan in
Malayalam cinema; and Mani Kaul, Kumar Shahani, Ketan Mehta,
Govind Nihalani and Vijaya Mehta in Hindi cinema.[23] 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.[55] 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.[55] The devotional classic
Jai Santoshi Ma was also released in 1975.[55] 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.[56]
Commercial cinema further grew throughout the 1980s and the 1990s with the release of films such as Mr India
(1987), Qayamat Se Qayamat Tak (1988), Tezaab (1988), Chandni (1989), Maine Pyar Kiya (1989), Baazigar
(1993), Darr (1993),[55] Dilwale Dulhaniya Le Jayenge (1995) and Kuch Kuch Hota Hai (1998), many of
which starred Aamir Khan, Salman Khan and Shahrukh Khan.
The 1990s also saw a surge in the national popularity of Tamil cinema as
films directed by Mani Ratnam captured India's imagination.[55] Such
films included Roja (1992) and Bombay (1995). Ratnam's earlier film
Nayagan (1987), starring Kamal Haasan, was included in Time
magazine's "All-TIME" 100 best movies, alongside four earlier Indian
films: Satyajit Ray's The Apu Trilogy (1955–1959) and Guru Dutt's
Pyaasa (1957).[53] Another Tamil director S. Shankar also made waves
through his film Kadhalan, famous for its music and actor Prabhu Deva's
dancing. The South Indian film industry not only released cinema with
national appeal but also featured multicultural music which found
appreciation among the national Indian audience.[57] Some Tamil filmi
composers such as A. R. Rahman and Ilaiyaraaja have since acquired a large national, and later international,
following. Rahman's debut soundtrack for Roja was included in Time Magazine's "10 Best Soundtracks" of all
time,[58] and he would later go on to win two Academy Awards for his international Slumdog Millionaire
(2008) soundtrack. Tabarana Kathe, a Kannada film, was screened at various film festivals including Tashkent,
Nantes, Tokyo, and the Film Festival of Russia.[59]
Long after the Golden Age of Indian cinema, South India's Malayalam cinema of Kerala 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.[60] Adoor Gopalakrishnan, who is often considered to be Satyajit Ray's spiritual heir,
[61] 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.[62] 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
Cinema of India - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Indian_film
7 of 24 5/4/2010 10:33 AM
Kamal Hassan as Velu Nayakar in
Nayagan,was included in Time
magazine's "All-TIME" 100 best
movies
Bhuvan (Aamir Khan) with his
cricket team consisting of
village-folk, in Ashutosh
Gowarikar's Lagaan (2001).
Festival.[63]
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,[64] urban films reflecting social problems in the
city of Mumbai.[65] 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),
and Irfan Kamal's Thanks Maa (2009). Other art film directors active today include Mrinal Sen, Buddhadeb
Dasgupta, Gautam Ghose, Sandip Ray, Aparna Sen and Rituparno Ghosh in Bengali cinema; Adoor
Gopalakrishnan, Shaji N. Karun and T. V. Chandran in Malayalam cinema; Mani Kaul, Kumar Shahani, Ketan
Mehta, Govind Nihalani, Shyam Benegal,[23] Mira Nair, Nagesh Kukunoor, Sudhir Mishra and Nandita Das in
Hindi cinema; Mani Ratnam and Santosh Sivan in Tamil cinema; and Deepa Mehta, Anant Balani, Homi
Adajania, Vijay Singh and Sooni Taraporevala in Indian English cinema.
Influences
Cinema of India - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Indian_film
8 of 24 5/4/2010 10:33 AM
Prasads IMAX Theatre houses at
Hyderabad, the 2nd largest
IMAX-3D in the world (2nd to the
world's largest in Sydney,
Australia).[66]
PVR Cinemas in Bangalore is one
of the largest cinema chains in
India
MG Road Gurgaon, one of the
longest commercial streets in
Asia
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 stylized 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),
characterizing them as spectacular dance-dramas which has continued in
Indian cinema.[67] 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),[68] and
internationally-acclaimed Bengali films directed by Satyajit Ray.[69]
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 Bengal, the Ramlila of Uttar
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."[67] All of these influences are clearly evident in the masala film
genre that was popularized 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.[68]
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."[70] The final influence was
Western musical television, particularly MTV, which has had an increasing influence since the 1990s, as can be
Cinema of India - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Indian_film
9 of 24 5/4/2010 10:33 AM
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).[71]
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.[69] 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.[32]
Regional industries
Marathi cinema
Main article: Marathi cinema
Marathi cinema (मराठ� िचऽपट) refers to films produced in the Marathi language in the state of Maharashtra,India. It is the oldest film industry in India. The first film in India was a silent film called Raja Harishchandra
(1913), which was made in Marathi by a Maharashtrian, Dadasaheb Phalke and a Marathi crew who were
performing Marathi & Sanskrit Sangeet natikas (musicals) and plays in marathi at that period. 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. The industry is based in Mumbai,
Maharashtra.
Marathi Cinema is as old as 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 & NIFD part of Marathi cinema as it was made by a
Marathi crew.
Assamese cinema
Main article: Cinema of Assam
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[72] in 1935, under the banner of Critrakala
Movietone. 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 [73].
Bengali cinema
Cinema of India - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Indian_film
10 of 24 5/4/2010 10:33 AM
Satyajit Ray, Bengali
filmmaker.
Main articles: Bengali cinema and Cinema of West Bengal
The Bengali language cinematic tradition of Tollygunge in West Bengal has had
reputable filmmakers such as Satyajit Ray, Ritwik Ghatak and Mrinal Sen among its
most acclaimed.[74] Recent Bengali films that have captured national attention
include Rituparno Ghosh's Choker Bali, starring Aishwarya Rai.[75] Bengali
filmmaking also includes Bangla science fiction films and films that focus on social
issues.[76] In 1993, the Bengali industry's net output was 57 films.
[77]
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, 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.[78]
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 the Mumbai-based industry later overtook Tollygunge as the center of the Indian film industry,
and many other Hollywood-inspired names.[79] 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
Main article: Bhojpuri cinema
Bhojpuri language films predominantly cater to people who live in the regions of Bihar and eastern Uttar
Pradesh. These films also have a large audience 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[80]. 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.[81] 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.[82] 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[83]. Although a smaller industry
compared to other Indian film industries, the extremely rapid success of their films has led to dramatic increases
Cinema of India - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Indian_film
11 of 24 5/4/2010 10:33 AM
Nargis and Raj Kapoor in
Awaara (1951), also directed
and produced by Kapoor.
in Bhojpuri cinema's visibility, and the industry now supports an awards show[84] and a trade magazine,
Bhojpuri City[85].
Bhojpuri film have got a distuingsed name in whole world. The chief minister of Bihar Mr. Nitish Kumar is going
to start a film Industry in Rajgir ( distance from Patna is 80 km). That film industry will provide job for a lot of
people belongs to Bihar and East UP. There are many films in which the bollywood actors such as Amitabh
Bachchan, Ajay Deogan, Nagama, Mithun Chakravarti etc. worked it and supported to Bhojpuri film
industry.........
Hindi Cinema
Main article: Bollywood
The Hindi language film industry of Mumbai—also known as Bombay Film
Industry—is the largest and most popular branch of Indian cinema.[86]
Hindi Cinema initially explored issues of caste and culture in films such as
Achhut Kanya (1936) and Sujata (1959).[87] International visibility came to
the industry with Raj Kapoor's Awara.[88] Hindi Cinema grew during the
1990s with the release of as many as 215 films in 1991.[8] With Dilwale
Dulhania Le Jayenge, Hindi Cinema registered its commercial presence in
the Western world.[8]
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.[8] With growth in commercial appeal the earnings of known Indian stars such as Shahrukh Khan,
Aamir Khan and Hrithik Roshan reached 150 million rupees per film by the year 2010.[9] Female stars such as
Madhuri Dixit, too, earned as much as 12.5 million rupees for a film.[8] Many actors signed contracts for
simultaneous work in 3–4 films.[9] Institutions such as the Industrial Development Bank of India also came
forward to finance Hindi films.[9] A number of magazines such as Filmfare,Stardust, Cineblitz etc. became
popular.[89]
Gujarati cinema
This regional film industry of Gujarat started its journey in 1932. Since then the Gujarati films immensely
contributed to the 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 various stories and issues from the Indian society. Furthermore,
Gujarat has immense contribution to the Bollywood as several Gujarati actors have brought glamour to the
Indian film industry.
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 the Indian family culture. Thus, there can be no turning
away from the essential humanity of these Gujarati cinema. The first Gujarati movie was released in the year
1932 `Narasinh Mehta` which was directed by Nanubhai Vakil. The film starred Mohanlala, Marutirao, Master
Manhar, and Miss Mehtab. It was of the `Saint film` genre and was 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
Cinema of India - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Indian_film
12 of 24 5/4/2010 10:33 AM
A painting of Rajkumar in a
streetboard in Bangalore
featured a `resident son-in-law` (ghar jamai) and his escapades as well as his problematic attitude towards the
freedom of women. It was a comedy oriented movie and 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 with a wide variety of dimension. The Gujarati movies such as Kariyavar,
directed by Chaturbhuj Doshi, Vadilona Vanke 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 a strong
realism and reformism.
The film industry in Gujarat experimented with various issues. Gujarati films such as Leeludi Dharti reflect the
rural world with its fertility rituals. In 1975 Tanariri, directed by Chandrakant Sangani presents highlights the
little known side of Akbar who is usually presented as a consistently benign ruler. The first cinemascope film of
Gujarati cinema was Sonbaini Chundadi, directed by Girish Manukant released in the year 1976. Besides these,
Bhavni Bhavai released in the year 1980 was directed by Ketan Mehta. It boasted of superlative performances,
fine camerawork and won two awards - National Award for Best Feature Film on National Integration, and
another award at the Nantes festival in France. In 1992, Hun Hunshi Hunshilal, directed by Sanjiv Shah was
sought to be post-modern.
Gujarati films were further enriched by the brilliant performances of the film personalities. Anupama, Upendra
Trivedi, Arvind Trivedi, Ramesh Mehta and Veljibhai Gajjar, Dilip Patel, Ranjitraj, Sohil Virani, Narayan
Rajgor, Premshankar Bhatt, Jay Patel, Ashvin Patel, Girija Mitra, Anjana, Manmohan Desai, Sanjay Gadhvi,
Kalyanji Anandji, Deepika Chikhalia, Bindu Desai, Renuka Sahane and Priti Parekh are the celebrities who
have contributed a lot to the Gujarati film industry.
Kannada cinema
Main article: Kannada cinema
Kannada film industry, also known as Sandalwood, is based in Bangalore
and caters mostly to the population of state of Karnataka.
Dr.Rajkumar is an icon for Kannada film industry. In his career, he
performed versatile characters and sung nearly 3000 songs for movies
and albums[citation needed]
. Some of the noted Kannada directors include
Girish Kasaravalli, Puttanna Kanagal, G.V.Iyer, Girish Karnad, T.S.
Nagabharana,Yograj Bhat,Suri. The popular actors include
Vishnuvardhan, Ambarish, Ravichandran, Ramesh, Ananth Nag,
Shankar Nag, Prabhakar, Upendra, Sudeep, Darshan, Shivaraj Kumar,
Puneet Rajkumar, Kalpana, Bharathi, Jayanthi, Pandari bai, B
Sarojadevi, Sudharani, Malashri, Tara, Umashri and Ramya.
G.K. Venkatesh, Vijaya Bhaskar, TG lingappa, Rajan-Nagendra,
Hamsalekha and Gurukiran are noted music directors.
Kannada cinema, along with the Bengali Movies and Malayalam Movies,
has contributed to Indian parallel cinema. Some of the influential movies
in this genre are Samskara (based on a novel by U R Ananthmurthy), Chomana Dudi by B. V. Karanth,
Tabarana Kathe. Samskara, Vamshavruksha, Paniyamma, Kadu Kudure, Hamsageethe, Chomana Dudi,
Accident, Ghata Shradhdha, Akramana, Mooru Dhaarigalu, Tabarana Kathe, Bannadha Vesha, Mane, Kraurya,
Cinema of India - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Indian_film
13 of 24 5/4/2010 10:33 AM
Adoor Gopalakrishnan, Malayalam
filmmaker.
Taayi Saaheba, Dweepa are other acclaimed arthouse movies.
Malayalam cinema
Main article: Malayalam cinema
The Malayalam film industry, based in the southern state of Kerala, is
known for films that bridge the gap between parallel cinema and
mainstream cinema by portraying thought-provoking social issues. Noted
filmmakers include Adoor Gopalakrishnan, Shaji N. Karun, G.
Aravindan, Padmarajan, Sathyan Anthikad, Priyadarsan and
Sreenivasan.
Vigathakumaran, a silent movie released in 1928 produced and directed
by J. C. Daniel, marked the beginning of Malayalam cinema. Balan,
released in 1938, was the first Malayalam "talkie". Malayalam films
were mainly produced by Tamil producers till 1947, when the first major
film studio, Udaya, was established in Kerala. 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[90]. 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 Malayalam film to win
the National Film Award for Best Film[91][92]
. This early period of Malayalam cinema was dominated by actors
Prem Nazir, Sathyan, Sheela and Sharada.
The 70s saw the emergence of 'New Wave Malayalam Cinema'. Adoor Gopalakrishnan captured international
acclaim through his debut film Swayamvaram (1972). Other noted movies of the period include Nirmalyam by
M. T. Vasudevan Nair, Uttarayanam by G. Aravindan, Cheriachante Krurakrithyangal (1979) and Amma
Ariyan (1986) by John Abraham etc.
The period from late 1980s to early 1990s is popularly regarded as the 'Golden Age of Malayalam Cinema' with
the emergence of actors Mammootty and Mohanlal and filmmakers like I.V. Sasi, Bharathan, Padmarajan,
Sathyan Anthikad, Priyadarsan, A. K. Lohithadas, Siddique-Lal and Sreenivasan. This period of popular cinema
is characterized by the adaptation of everyday life themes and exploration of social and individual
relationships.[93] These movies interlaced themes of individual struggle with creative humour as in Nadodikkattu
(1988). Piravi (1989) by Shaji N. Karun was the first Malayalam film to win the Caméra d'Or-Mention at the
Cannes Film Festival. This period also marked the beginning of movies rich in well-crafted humour like Ramji
Rao Speaking (1989). Malayalam is the original version of first 3D movie in India (My Dear Kuttichattan 3D)
by Navodaya Appachan, a notable film producer of Kerala.
During late 1990s and 2000s, Malayalam cinema witnessed a shift towards formulaic movies and slapstick
comedies. The Malayalam film industry in recent times has also been affected by the rise of satellite television
and widespread film piracy.
Oriya cinema
Main article: Oriya cinema
Cinema of India - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Indian_film
14 of 24 5/4/2010 10:33 AM
Kamalhassan and Amala in the
poster of Pushpak,a black comedy
film directed by Singeetham
Srinivasa Rao
The Oriya Film Industry refers to 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.[94] The first Oriya talkie Sita Bibaha was made by Mohan Sunder Deb Goswami in 1936. Mohammed
Mohsin started the revolution in the oriya film industry by not only securing the essence of the oriya culture but
also bringing in the newness in the was the film industry was watching oriya movies. His movies heralded in the
golden era of the oriya film industry by bringing in freshness to Oriya movies.[95] then 1st color film was made
by a legend cinematographer Mr. Surendra Sahu.named " A Banara Chhai" Shadow of this forest.
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 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.
Tamil cinema
Main article: Tamil cinema
The Tamil language film industry, known as Tamil cinema, is one of the
largest film industries in India in terms of quality and technology, and is
based in the Kodambakkam district of Chennai, Tamil Nadu. Tamil films
are screened by the Tamil diaspora all over the world and people of all
states of South India. Tamil films have good portrayal of Tamil culture
which has subdued sexual expressions and moderate glamour, unlike its
northern counterpart.[96] Tamil cinema has been a force in the local
politics of the Tamil Nadu state with some of the industry's personalities,
such as [['M. G. Ramachandran']], M. Karunanidhi, and J. Jayalalitha,
having held political offices.[97] With the establishment of the Madras
film Institute the quality of Tamil cinema improved during the 1980s and
it further gained international exposure with the works of filmmakers like
Mani Ratnam.Today, Tamil films are distributed to various theatres
around the world such as in Sri Lanka, Singapore, South Korea,
Malayasia, Mauritius, South Africa, Western Europe, North America,
and other significant Tamil diaspora regions.[98] In 1993 the Tamil
industry's net output was 168 films.[77] Tamil stars such as Kamal
Hassan earning the most National Film Awards and Filmfare Awards,
and also has the distinction of being the actor with the most number of
films submitted by India in contest for the Academy Award for Best
Foreign Language Film and Rajinikanth has hugest fans and the most
popular and the highest paid actor in India .[98] Great music directors like Ilaiyaraja, A.R.Rahman are from
Tamil film Industries.
Cinema of India - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Indian_film
15 of 24 5/4/2010 10:33 AM
Telugu cinema
Main article: Cinema of Andhra Pradesh
The Telugu language film industry of Andhra Pradesh is currently the largest in India in terms of number of
movies produced in a year.[99] The state of Andhra Pradesh has the highest number of cinema halls in India. In
2006, the Telugu film industry produced the largest number of films in India, with about 245 films produced that
year.[100]
The largest film studio complex in the world – Ramoji Film City is in the outskirts of Hyderabad, the
capital city of Andhra Pradesh.
The film industry of India comprises several smaller regional industries, each catering largely to a specific
language audience.[77] However, a significant degree of regional interaction is seen between the various regions
as filmmakers and actors from one region often contribute to films meant for another region.[77] K Vishwanath,
Bapu, Jandhyala, Singitham Srinivasarao, Ramgopal Varma, Kranthi Kumar, Dasari Narayana Rao,
Raghavendhra Rao, Krishna Vamshi, Puri Jagganath, Raja Mouli, VV Vinayak, Surendra Reddy, Bommarillu
Bhaskar,Sekhar Kammula are some of the best directors of Telugu cinema history. Legendary actors NTR and
ANR are from Telugu Industry. Chiranjeevi a politician in Andhra Pradesh started his career as an actor in the
Telugu film industry.
Genres and styles
Masala films
Main article: Masala (film genre)
Masala is a style of Indian cinema, especially in Bollywood 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 term used to describe a mixture of spices in Indian cuisine.
Parallel cinema
Main article: 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, 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 stradling 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.[31][32][101]
The most famous Indian "neo-realist" was the Bengali filmmaker Satyajit Ray, closely followed by Ritwik
Ghatak, Mrinal Sen, Shyam Benegal, Adoor Gopalakrishnan[23] and Girish Kasaravalli.
[96] Ray's most famous
films were The Apu Trilogy, consisting of Pather Panchali (1955), Aparajito (1956) and The World of Apu
Cinema of India - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Indian_film
16 of 24 5/4/2010 10:33 AM
Indian film dances usually follow
filmi songs.
(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.[52][53][102][103]
Film music
See also: Filmi
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.[9] The major film music companies of India are
Saregama, Sony Music etc.[9] Commercially, film music accounts for
48% India's net music sales.[9] A film in India may have many
choreographed songs spread throughout its length.[104]
The demands of a multicultural, increasingly globalized Indian audience
often led to a mixing of various local and international musical
traditions.[104]
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.[104] Playback
singers such as Lata Mangeshkar drew large crowds with national and international film music stage shows.[104]
The end of the 19th century and the beginning of the 21st saw extensive interaction between artists from India
and the western world.[105]
Artists from Indian diaspora blended the traditions of their heritage to those of their
country to give rise rise to popular contemporary music.[105]
Global discourse
Indians during the colonial rule bought film equipment from Europe.[14] 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.[106]
One such story was Burma
Rani, which depicted civilian resistance offered to Japanese occupation by the British and Indians present in
Myanmar.[106]
Pre-independence businessmen such as J. F. Madan and Abdulally Esoofally traded in global
cinema.[13]
Indian cinema's early contacts with other regions became visible with its films making early inroads into the
Soviet Union, Middle East, Southeast Asia,[107]
and China. Mainstream Hindi film stars like Raj Kapoor gained
international fame across Asia[108][109] and Eastern Europe.[110][111] Indian films also appeared in international
fora and film festivals.[107]
This allowed 'Parallel' Bengali filmmakers such as Satyajit Ray to achieve worldwide
fame, with his films gaining success among European, American and Asian audiences.[112]
Ray's work
subsequently had a worldwide impact, with filmmakers such as Martin Scorsese,[113]
James Ivory,[114]
Abbas
Kiarostami, Elia Kazan, François Truffaut,[115]
Steven Spielberg,[37][38][39]
Carlos Saura,[116]
Jean-Luc
Godard,[117]
Isao Takahata,[118]
Gregory Nava, Ira Sachs and Wes Anderson[119]
being influenced by his
cinematic style, and many others such as Akira Kurosawa praising his work.[120]
The "youthful coming-of-age
dramas that have flooded art houses since the mid-fifties owe a tremendous debt to the Apu trilogy".[34] Subrata
Mitra's cinematographic technique of bounce lighting also originates from The Apu Trilogy.[35] Since the 1980s,
some previously overlooked Indian filmmakers such as Ritwik Ghatak [121] and Guru Dutt [122] have
posthumously gained international acclaim.
Cinema of India - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Indian_film
17 of 24 5/4/2010 10:33 AM
Many Asian and 'South Asian' countries increasingly came to find Indian cinema as more suited to their
sensibilities than Western cinema.[107] 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.[123]
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.[124]
The critical and financial
success of Moulin Rouge! renewed interest in the then-moribund Western musical genre, subsequently fueling a
renaissance of the genre.[125]
Danny Boyle's Oscar-winning film Slumdog Millionaire (2008) was also directly
inspired by Indian films,[56][126]
and is considered to be a "homage to Hindi commercial cinema".[28] 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.[127]
Awards
Award Since Awarded by
National Film Awards 1954 Directorate of Film Festivals, Government of India
Bengal Film Journalists' Association
Awards1937
Bengal Film Journalists' Association Awards, Government of
West Bengal
Filmfare Awards 1954 Filmfare
Star Screen Awards 1995 STAR TV (Asia)
Zee Cine Awards 1998 Zee Entertainment Enterprises
IIFA 2000
Other awards include the International Indian Film Academy Awards, International Tamil Film Awards,
Bollywood Movie Awards, the Nandi Awards and the Global Indian Film Awards.
Film Institutes in India
Several institutes, both government run and private, provide formal education in various aspects of filmmaking.
A few of them include:
The Script Hub
M.G.R Govt. Film & Television Institute,Taramani,Chennai
Film and Television Institute of India, Pune
L.V. Prasad Film and Television Academy, Hyderabad
Satyajit Ray Film and Television Institute, Kolkata
Whistling Woods International
Mindscreen Film Institute
Asian Academy of Film & Television
Note: This is not an exhaustive list.
Notes
Cinema of India - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Indian_film
18 of 24 5/4/2010 10:33 AM
^ a b Khanna, 1551.
^ a b Khanna, 1582.
^ Khanna, 158–1593.
^ Khanna, 1594.
^ Watson (2009)5.
^ a b c Khanna, "The Business
of Hindi Films", 140
6.
^ a b c d Khanna, 1567.
^ a b c d e Potts, 748.
^ a b c d e f g h Potts, 759.
^ A city within a city, Ramoji
Film City (RFC) claims to be
the largest, most comprehensive,
and most professionally planned
film production center in the
world....With more than seven
thousand five hundred
employees working in
twenty-nine departments, RFC
has the capacity to
accommodate the production of
twenty international films at any
one time and cater to at least
forty Indian films
simultaneously – Kumar, 132.
10.
^ a b c d e Burra & Rao, 25211.
^ McKernan, Luke
(1996-12-31). "Hiralal Sen
(copyright British Film
Institute)" (http://www.victorian-
cinema.net/sen.htm) .
http://www.victorian-cinema.net
/sen.htm. Retrieved 2006-11-01.
12.
^ a b c d e f g Burra & Rao, 25313.
^ a b c d Burra & Rao, 252–25314.
^ a b c d e f g Burra & Rao, 25415.
^ a b c d Rajadhyaksa, 67916.
^ a b c Rajadhyaksa, 68417.
^ Rajadhyaksa, 681–68318.
^ Rajadhyaksa, 68119.
^ K. Moti Gokulsing, K.
Gokulsing, Wimal Dissanayake
(2004), Indian Popular
Cinema: A Narrative of
Cultural Change, Trentham
Books, p. 17,
ISBN 1858563291
20.
^ Sharpe, Jenny (2005),
"Gender, Nation, and
Globalization in Monsoon
Wedding and Dilwale Dulhania
Le Jayenge", Meridians:
feminism, race,
21.
transnationalism 6 (1): 58–81
[60 & 75]
^ Gooptu, Sharmistha (July
2002), "Reviewed work(s): The
Cinemas of India (1896–2000)
by Yves Thoraval", Economic
and Political Weekly 37 (29):
3023–4
22.
^ a b c d e f K. Moti Gokulsing,
K. Gokulsing, Wimal
Dissanayake (2004), Indian
Popular Cinema: A Narrative
of Cultural Change, Trentham
Books, p. 18,
ISBN 1858563291
23.
^ Mother India
(http://www.imdb.com/title
/tt0050188/) at the Internet
Movie Database
24.
^ "Film Festival – Bombay
Melody"
(http://www.international.ucla.e
du/calendar
/showevent.asp?eventid=1618) .
University of California, Los
Angeles. 17 March 2004.
http://www.international.ucla.ed
u/calendar
/showevent.asp?eventid=1618.
Retrieved 2009-05-20.
25.
^ Bobby Sing (10 February
2008). "Do Ankhen Barah
Haath (1957)"
(http://bobbytalkscinema.com
/recentpost.php?postid=postid0
41609102834) . Bobby Talks
Cinema.
http://bobbytalkscinema.com
/recentpost.php?postid=postid0
41609102834. Retrieved
2009-05-30.
26.
^ Doniger, Wendy (2005),
"Chapter 6: Reincarnation", The
woman who pretended to be
who she was: myths of
self-imitation, Oxford
University Press, pp. 112–136
[135], ISBN 0195160169
27.
^ a b c Maker of innovative,
meaningful movies
(http://www.thehindu.com
/fr/2007/06/15/stories
/2007061551020100.htm) . The
Hindu, 15 June 2007
28.
^ Ghatak, Ritwik (2000), Rows29.
and Rows of Fences: Ritwik
Ghatak on Cinema, Ritwik
Memorial & Trust Seagull
Books, pp. ix & 134–36,
ISBN 8170461782
^ Hood, John (2000), The
Essential Mystery: The Major
Filmmakers of Indian Art
Cinema, Orient Longman
Limited, pp. 21–4,
ISBN 8125018700
30.
^ a b Do Bigha Zamin at
filmreference
(http://www.filmreference.com
/Films-De-Dr/Do-Bigha-
Zamin.html)
31.
^ a b c Srikanth Srinivasan (4
August 2008). "Do Bigha
Zamin: Seeds of the Indian New
Wave" (http://dearcinema.com
/review-do-bigha-zamin-
bimal-roy) . Dear Cinema.
http://dearcinema.com/review-
do-bigha-zamin-bimal-roy.
Retrieved 2009-04-13.
32.
^ Rajadhyaksa, 68333.
^ a b Sragow, Michael (1994),
"An Art Wedded to Truth"
(http://satyajitray.ucsc.edu
/articles/sragow.html) , The
Atlantic Monthly (University of
California, Santa Cruz),
http://satyajitray.ucsc.edu
/articles/sragow.html, retrieved
2009-05-11
34.
^ a b "Subrata Mitra"
(http://www.cinematographers.nl
/GreatDoPh/mitra.htm) . Internet
Encyclopedia of
Cinematographers.
http://www.cinematographers.nl
/GreatDoPh/mitra.htm.
Retrieved 2009-05-22.
35.
^ Nick Pinkerton (April 14,
2009). "First Light: Satyajit Ray
From the Apu Trilogy to the
Calcutta Trilogy"
(http://www.villagevoice.com
/2009-04-15/film/first-light-
satyajit-ray-from-the-apu-
trilogy-to-the-calcutta-trilogy) .
The Village Voice.
http://www.villagevoice.com
/2009-04-15/film/first-light-
36.
Cinema of India - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Indian_film
19 of 24 5/4/2010 10:33 AM
satyajit-ray-from-the-apu-
trilogy-to-the-calcutta-trilogy.
Retrieved 2009-07-09.
^ a b Ray, Satyajit. "Ordeals of
the Alien"
(http://www.satyajitrayworld.co
m/raysfilmography
/unmaderay.aspx) . The
Unmade Ray. Satyajit Ray
Society.
http://www.satyajitrayworld.co
m/raysfilmography
/unmaderay.aspx. Retrieved
2008-04-21.
37.
^ a b Neumann P. "Biography
for Satyajit Ray"
(http://www.imdb.com
/name/nm0006249/bio) . Internet
Movie Database Inc.
http://www.imdb.com
/name/nm0006249/bio.
Retrieved 2006-04-29.
38.
^ a b Newman J (2001-09-17).
"Satyajit Ray Collection
receives Packard grant and
lecture endowment"
(http://www.ucsc.edu/currents
/01-02/09-17/ray.html) . UC
Santa Cruz Currents online.
http://www.ucsc.edu/currents
/01-02/09-17/ray.html.
Retrieved 2006-04-29.
39.
^ "Nagesh: A legacy like no
other"
(http://www.indiaglitz.com
/channels/tamil/article
/44687.html) . India Glitz. 1
February 2009.
http://www.indiaglitz.com
/channels/tamil/article
/44687.html. Retrieved
2009-05-21.
40.
^ Mukta Rajadhyaksha (29
August 2004). "Marathi cinema
gets a shot in the arm"
(http://timesofindia.indiatimes.c
om/articleshow/831206.cms) .
Times of India.
http://timesofindia.indiatimes.co
m/articleshow/831206.cms.
Retrieved 2009-05-29.
41.
^ a b "India and Cannes: A
Reluctant Courtship"
(http://passionforcinema.com
42.
/india-and-cannes-a-reluctant-
courtship) . Passion For
Cinema. 2008.
http://passionforcinema.com
/india-and-cannes-a-reluctant-
courtship. Retrieved
2009-05-20.
^ K. Moti Gokulsing, K.
Gokulsing, Wimal Dissanayake
(2004), Indian Popular
Cinema: A Narrative of
Cultural Change, Trentham
Books, pp. 18–9,
ISBN 1858563291
43.
^ Santas, Constantine (2002),
Responding to film: A Text
Guide for Students of Cinema
Art, Rowman & Littlefield,
p. 18, ISBN 0830415807
44.
^ a b Kevin Lee (2002-09-05).
"A Slanted Canon"
(http://www.asianamericanfilm.c
om/archives/000026.html) .
Asian American Film
Commentary.
http://www.asianamericanfilm.c
om/archives/000026.html.
Retrieved 2009-04-24.
45.
^ a b Totaro, Donato (31
January 2003), "The “Sight &
Sound” of Canons"
(http://www.horschamp.qc.ca
/new_offscreen/canon.html) ,
Offscreen Journal (Canada
Council for the Arts),
http://www.horschamp.qc.ca
/new_offscreen/canon.html,
retrieved 2009-04-19
46.
^ "Sight and Sound Poll 1992:
Critics"
(http://alumnus.caltech.edu
/~ejohnson/sight/1992_1.html) .
California Institute of
Technology.
http://alumnus.caltech.edu
/~ejohnson/sight/1992_1.html.
Retrieved 2009-05-29.
47.
^ Aaron and Mark Caldwell
(2004). "Sight and Sound"
(http://www.geocities.com
/aaronbcaldwell/dimsscri.html) .
Top 100 Movie Lists.
http://www.geocities.com
/aaronbcaldwell/dimsscri.html.
Retrieved 2009-04-19.
48.
^ "SIGHT AND SOUND 1992
RANKING OF FILMS"
(http://www.geocities.com
/the7thart/ranking.html) .
http://www.geocities.com
/the7thart/ranking.html.
Retrieved 2009-05-29.
49.
^ "SIGHT AND SOUND 1982
RANKING OF FILMS"
(http://www.geocities.com
/the7thart/1982.html) .
http://www.geocities.com
/the7thart/1982.html. Retrieved
2009-05-29.
50.
^ "2002 Sight & Sound Top
Films Survey of 253
International Critics & Film
Directors"
(http://www.cinemacom.com
/2002-sight-sound.html) .
Cinemacom. 2002.
http://www.cinemacom.com
/2002-sight-sound.html.
Retrieved 2009-04-19.
51.
^ a b "Take One: The First
Annual Village Voice Film
Critics' Poll"
(http://web.archive.org
/web/20070826201343/http:
//www.villagevoice.com
/specials/take/one
/full_list.php3?category=10) .
The Village Voice. 1999.
Archived from the original
(http://www.villagevoice.com
/specials/take/one
/full_list.php3?category=10) on
2007-08-26.
http://web.archive.org
/web/20070826201343/http:
//www.villagevoice.com
/specials/take/one
/full_list.php3?category=10.
Retrieved 2006-07-27.
52.
^ a b c " (http://www.time.com
/time/2005/100movies
/the_complete_list.html)
All-Time 100 Best Movies".
Time (Time, Inc.). 2005.
http://www.time.com/time/2005
/100movies
/the_complete_list.html.
Retrieved 2008-05-19.
53.
^ Rajadhyaksa, 68554.
^ a b c d e Rajadhyaksa, 68855.
Cinema of India - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Indian_film
20 of 24 5/4/2010 10:33 AM
^ a b Amitava Kumar (23
December 2008). "Slumdog
Millionaire's Bollywood
Ancestors"
(http://www.vanityfair.com
/online/oscars/2008/12
/slumdog-millionaires-
bollywood-ancestors.html) .
Vanity Fair.
http://www.vanityfair.com
/online/oscars/2008/12
/slumdog-millionaires-
bollywood-ancestors.html.
Retrieved 2008-01-04.
56.
^ Rajadhyaksa, 688–68957.
^ Corliss, Richard (2005). "Best
Soundtracks – ALL TIME 100
MOVIES – TIME"
(http://www.time.com/time/2005
/100movies
/0,23220,soundtracks,00.html) .
TIME. http://www.time.com
/time/2005/100movies
/0,23220,soundtracks,00.html.
Retrieved 24 February 2008.
58.
^ Kasbekar, Asha (2006). Pop
Culture India!: Media, Arts and
Lifestyle
(http://books.google.co.uk
/books?id=Sv7Uk0UcdM8C&
pg=PA215&
dq=A.+R.+Rehman+tamil&lr=)
. ABC-CLIO. pp. 215.
ISBN 9781851096367.
http://books.google.co.uk
/books?id=Sv7Uk0UcdM8C&
pg=PA215&
dq=A.+R.+Rehman+tamil&lr=.
"Songs play as important a part
in South Indian films and some
South Indian music directors
such as A. R. Rehman and
Ilyaraja have an enthusiastic
national and even international
following"
59.
^ "Cinema History Malayalam
Cinema"
(http://malayalamcinema.com
/Content-4/CinemaHistory.html)
. Malayalamcinema.com.
http://malayalamcinema.com
/Content-4/CinemaHistory.html.
Retrieved 2008-12-30.
60.
^ "The Movie Interview: Adoor
Gopalakrishnan"
61.
(http://www.rediff.com/movies
/jul/31adoor.htm) . Rediff. 31
July 1997.
http://www.rediff.com/movies
/jul/31adoor.htm. Retrieved
2009-05-21.
^ Adoor Gopalakrishnan
(http://www.imdb.com
/name/nm0329715/) at the
Internet Movie Database
62.
^ Shaji N. Karun
(http://www.imdb.com
/name/nm0440267/) at the
Internet Movie Database .Other
malayalam film "YODHA" got
critical acclaim for its excellent
action sequences and
technological aspects from all
over india.
63.
^ Aruti Nayar (2007-12-16).
"Bollywood on the table"
(http://www.tribuneindia.com
/2007/20071216/spectrum
/main11.htm) . The Tribune.
http://www.tribuneindia.com
/2007/20071216/spectrum
/main11.htm. Retrieved
2008-06-19.
64.
^ Christian Jungen (4 April
2009). "Urban Movies: The
Diversity of Indian Cinema"
(http://www.fipresci.org
/festivals/archive/2009/fribourg
/indian_cinema_chjungen.htm) .
FIPRESCI.
http://www.fipresci.org/festivals
/archive/2009/fribourg
/indian_cinema_chjungen.htm.
Retrieved 2009-05-11.
65.
^ http://www.rediff.com/money
/2003/jun/10imax.htm
66.
^ a b K. Moti Gokulsing, K.
Gokulsing, Wimal Dissanayake
(2004), Indian Popular
Cinema: A Narrative of
Cultural Change, Trentham
Books, p. 98,
ISBN 1858563291
67.
^ a b Matthew Jones (January
2010), "Bollywood, Rasa and
Indian Cinema: Misconceptions,
Meanings and Millionaire",
Visual Anthropology 23 (1):
33–43
68.
^ a b Cooper, Darius (2000),69.
The Cinema of Satyajit Ray:
Between Tradition and
Modernity, Cambridge
University Press, pp. 1–4,
ISBN 0521629802
^ K. Moti Gokulsing, K.
Gokulsing, Wimal Dissanayake
(2004), Indian Popular
Cinema: A Narrative of
Cultural Change, Trentham
Books, pp. 98–99,
ISBN 1858563291
70.
^ K. Moti Gokulsing, K.
Gokulsing, Wimal Dissanayake
(2004), Indian Popular
Cinema: A Narrative of
Cultural Change, Trentham
Books, p. 99,
ISBN 1858563291
71.
^ Joymoti (1935) [1]
(http://www.imdb.com/title
/tt0151153/) , IMDB.com
72.
^ Lakshmi B. Ghosh, A rare
peep into world of Assamese
cinema [2]
(http://www.hindu.com/2006/01
/05/stories
/2006010504870200.htm) , The
Hindu, 2006
73.
^ Gokulsing & Dissanayake,
138
74.
^ Gokulsing & Dissanayake,
139
75.
^ Gokulsing & Dissanayake,
138–140
76.
^ a b c d Gokulsing &
Dissanayake, 129
77.
^ IMDB page on Jamai
Shashthi: first Bengali talkie
(http://www.imdb.com/title
/tt0316049/)
78.
^ Sarkar, Bhaskar (2008), "The
Melodramas of Globalization",
Cultural Dynamics 20: 31–51
[34]
79.
^ Mesthrie, Rajend (1991).
Language in Indenture: A
Sociolinguistic History of
Bhojpuri-Hindi in South Africa.
London: Routledge. pp. 19–32.
ISBN 041506404X.
80.
^ IMDB (http://www.imdb.com
/title/tt0233774/)
81.
^
http://www.telegraphindia.com
82.
Cinema of India - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Indian_film
21 of 24 5/4/2010 10:33 AM
/1060414/asp/etc
/story_6075200.asp
^ "Move over Bollywood,
Here's Bhojpuri," BBC News
Online: http://news.bbc.co.uk
/go/pr/fr/-/1/hi/world/south_asia
/4512812.stm
83.
^
http://www.bhojpurifilmaward.com/
84.
^ http://www.bhojpuricity.com/85.
^ Pippa de Bruyn; Niloufer
Venkatraman; Keith Bain
(2006). Frommer's India.
Frommer's. pp. 579.
ISBN 0471794341.Crusie,
Jennifer;Yeffeth, Glenn (2005).
Flirting with Pride &
Prejudice. BenBella Books,
Inc.. pp. 92. ISBN 1932100725.
86.
^ Gokulsing & Dissanayake,
10–11
87.
^ Gokulsing & Dissanayake, 1088.
^ Gokulsing & Dissanayake, 1189.
^
http://www.cinemaofmalayalam.net
/malayalam_his_2.html
90.
^
http://www.cinemaofmalayalam.net
/malayalam_his_3.html
91.
^ http://www.asia.si.edu/kerala
/Malayalam_Cinema.pdf
92.
^
http://www.indiancinemas.com
/News-
21/History+of+Malayalam+Cinema.html?newsid=143&
linkid=21
93.
^ "History Of Oriya Film
Industry"
(http://www.izeans.com
/ollywoodhistory) .
www.izeans.com.
http://www.izeans.com
/ollywoodhistory. Retrieved
2008-10-23.
94.
^ "Orissa Cinema :: History of
Orissa Cinema, Chronology of
Orissa Films"
(http://orissacinema.com
/history.html) .
orissacinema.com.
http://orissacinema.com
/history.html. Retrieved
2008-10-23.
95.
^ a b Gokulsing & Dissanayake,
132
96.
^ Gokulsing & Dissanayake,
132–133
97.
^ a b Gokulsing & Dissanayake,
133
98.
^ http://www.blonnet.com
/2007/11/06/stories
/2007110650842300.htm
99.
^ Telugu film industry enters
new era
(http://www.blonnet.com
/2007/11/06/stories
/2007110650842300.htm)
100.
^ Trends and genres
(http://www.filmreference.com
/encyclopedia/Independent-
Film-Road-Movies/India-
TRENDS-AND-GENRES.html)
101.
^ "The Sight & Sound Top Ten
Poll: 1992"
(http://www.bfi.org.uk
/sightandsound/topten/history
/1992.html) . Sight & Sound.
British Film Institute.
http://www.bfi.org.uk
/sightandsound/topten/history
/1992.html. Retrieved
2008-05-20.
102.
^ The Best 1,000 Movies Ever
Made (http://www.nytimes.com
/ref/movies/1000best.html) By
THE FILM CRITICS OF THE
NEW YORK TIMES, New
York Times 2002.
103.
^ a b c d Thompson, 74104.
^ a b Zumkhawala-Cook, 312105.
^ a b Velayutham, 174106.
^ a b c Desai, 38107.
^ Anil K. Joseph (20 November
2002). "Lagaan revives
memories of Raj Kapoor in
China"
(http://www.expressindia.com
/news/fullstory.php?newsid=169
83) . Press Trust of India.
http://www.expressindia.com
/news/fullstory.php?newsid=169
83. Retrieved 2009-01-30.
108.
^ "Rahman's 'Lagaan' cast a
spell on me" (http://sify.com
/peopleandplaces
/fullstory.php?id=13388284) .
Sify. 13 February 2004.
http://sify.com/peopleandplaces
/fullstory.php?id=13388284.
109.
Retrieved 2009-02-24.
^ "RussiaToday : Features :
Bollywood challenges
Hollywood in Russia"
(http://www.russiatoday.ru
/features/news/11895) .
http://www.russiatoday.ru
/features/news/11895.
110.
^ Ashreena, Tanya. "Promoting
Bollywood Abroad Will Help to
Promote India"
(http://www.chillibreeze.com
/articles/Indian-films.asp) .
http://www.chillibreeze.com
/articles/Indian-films.asp.
111.
^ Arthur J Pais (14 April 2009).
"Why we admire Satyajit Ray
so much"
(http://movies.rediff.com/report
/2009/apr/14/why-we-admire-
satyajit-ray-so-much.htm) .
Rediff.com.
http://movies.rediff.com/report
/2009/apr/14/why-we-admire-
satyajit-ray-so-much.htm.
Retrieved 2009-04-17.
112.
^ Chris Ingui. "Martin Scorsese
hits DC, hangs with the Hachet"
(http://media.www.gwhatchet.co
m/media/storage/paper332
/news/2002/03/04
/Arts/Martin.Scorsese.Hits.Dc.
Hangs.With.The.Hachet-
195598.shtml) . Hatchet.
http://media.www.gwhatchet.co
m/media/storage/paper332
/news/2002/03/04
/Arts/Martin.Scorsese.Hits.Dc.
Hangs.With.The.Hachet-
195598.shtml. Retrieved
2009-06-06.
113.
^ Sheldon Hall. "Ivory, James
(1928–)"
(http://www.screenonline.org.uk
/people/id/532213/index.html) .
Screen Online.
http://www.screenonline.org.uk
/people/id/532213/index.html.
Retrieved 2007-02-12.
114.
^ Dave Kehr (5 May 1995).
"THE 'WORLD' OF
SATYAJIT RAY: LEGACY
OF INDIA'S PREMIER FILM
MAKER ON DISPLAY"
(http://www.nydailynews.com
115.
Cinema of India - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Indian_film
22 of 24 5/4/2010 10:33 AM
/archives/entertainment/1995/05
/05/1995-05-05_the__world__of
_satyajit_ray_.html) . Daily
News.
http://www.nydailynews.com
/archives/entertainment/1995/05
/05/1995-05-05_the__world__of
_satyajit_ray_.html. Retrieved
2009-06-06.
^ Suchetana Ray (11 March
2008). "Satyajit Ray is this
Spanish director's inspiration"
(http://ibnlive.in.com
/news/satyajit-ray-is-
this-spanish-directors-
inspiration/60900-8.html) .
CNN-IBN. http://ibnlive.in.com
/news/satyajit-ray-is-
this-spanish-directors-
inspiration/60900-8.html.
Retrieved 2009-06-06.
116.
^ André Habib. "Before and
After: Origins and Death in the
Work of Jean-Luc Godard"
(http://www.sensesofcinema.co
m/contents/01/16
/godard_habib.html) . Senses of
Cinema.
http://www.sensesofcinema.com
/contents/01/16
/godard_habib.html. Retrieved
2006-06-29.
117.
^ Daniel Thomas (20 January
2003). "Film Reviews: Grave of
the Fireflies (Hotaru no Haka)"
(http://www.danielthomas.org
118.
/pop/film_reviews/fireflies.htm)
. http://www.danielthomas.org
/pop/film_reviews/fireflies.htm.
Retrieved 2009-05-30.
^ "On Ray's Trail"
(http://www.thestatesman.net
/page.arcview.php?clid=30&
id=172929&usrsess=1) . The
Statesman.
http://www.thestatesman.net
/page.arcview.php?clid=30&
id=172929&usrsess=1.
Retrieved 2007-10-19.
119.
^ Robinson, A (2003), Satyajit
Ray: The Inner Eye: The
Biography of a Master
Film-Maker, I. B. Tauris, p. 96,
ISBN 1860649653
120.
^ Carrigy, Megan (October
2003), "Ritwik Ghatak"
(http://archive.sensesofcinema.c
om/contents/directors
/03/ghatak.html) , Senses of
Cinema,
http://archive.sensesofcinema.co
m/contents/directors
/03/ghatak.html, retrieved
2009-05-03
121.
^ "Asian Film Series No.9
GURU DUTT Retorospective"
(http://www.jpf.go.jp/e/culture
/new/old/0101/01_03.html) .
Japan Foundation. 2001.
http://www.jpf.go.jp/e/culture
/new/old/0101/01_03.html.
Retrieved 2009-05-13.
122.
^ Desai, 37123.
^ "Baz Luhrmann Talks Awards
and "Moulin Rouge""
(http://movies.about.com/library
/weekly/aa030902a.htm) .
About.com.
http://movies.about.com/library
/weekly/aa030902a.htm.
Retrieved 2009-05-15.
124.
^ "Guide Picks – Top Movie
Musicals on Video/DVD"
(http://movies.about.com/library
/weekly/aatpmusicals.htm) .
About.com.
http://movies.about.com/library
/weekly/aatpmusicals.htm.
Retrieved 2009-05-15.
125.
^ "Slumdog draws crowds, but
not all like what they see"
(http://www.theage.com.au
/world/slumdog-draws-crowds-
but-not-all-like-what-they-
see-20090124-7p33.html) . The
Age. 25 January 2009.
http://www.theage.com.au/world
/slumdog-draws-crowds-but-not-
all-like-what-they-
see-20090124-7p33.html.
Retrieved 2008-01-24.
126.
^ "Indian film-makers going
global" (http://news.bbc.co.uk
/2/hi/south_asia/7412344.stm) .
BBC News. 2008-05-21.
http://news.bbc.co.uk
/2/hi/south_asia/7412344.stm.
Retrieved 2010-04-30.
127.
References
Bollywood Showplaces, Cinema Theatres in India, David Vinnels & Brent Skelly, ISBN 0-9516563-5-X
Burra, Rani Day & Rao, Maithili (2006), "Cinema", Encyclopedia of India (vol. 1), Thomson Gale, ISBN
0-684-31350-2.
Desai, Jigna (2004), Beyond Bollywood: The Cultural Politics of South Asian Diasporic Film, Routledge,
ISBN 0-415-96684-1.
Gokulsing, K. M. & Dissanayake, W. (2004), Indian Popular Cinema: A Narrative of Cultural Change
(2nd Edition), Trentham Books, ISBN 1-85856-329-1.
Khanna, Amit (2003), "The Business of Hindi Films", Encyclopaedia of Hindi Cinema: historical record,
the business and its future, narrative forms, analysis of the medium, milestones, biographies,
Encyclopædia Britannica (India) Private Limited, ISBN 81-7991-066-0.
Khanna, Amit (2003), "The Future of Hindi Film Business", Encyclopaedia of Hindi Cinema: historical
record, the business and its future, narrative forms, analysis of the medium, milestones, biographies,
Encyclopædia Britannica (India) Private Limited, ISBN 81-7991-066-0.
Kumar, Shanti (2008), "Bollywood and Beyond: The Transnational Economy of Film Production in
Cinema of India - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Indian_film
23 of 24 5/4/2010 10:33 AM
This page was last modified on 30 April 2010 at 13:48.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may
apply. See Terms of Use for details.
Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
Ramoji Film City, Hyderabad", Global Bollywood: Travels of Hindi Song and Dance, University of
Minnesota Press, ISBN 978-0-8166-4578-7.
Potts, Michel W. (2006), "Film Industry", Encyclopedia of India (vol. 2), Thomson Gale, ISBN
0-684-31351-0.
Rajadhyaksa, Ashish (1996), "India: Filming the Nation", The Oxford History of World Cinema, Oxford
University Press, ISBN 0-19-811257-2.
Thompson, Gordon (2006), "Filmigit", Encyclopedia of India (vol. 2), Thomson Gale, ISBN
0-684-31351-0.
Velayutham, Selvaraj (2008), "The diaspora and the global circulation of Tamil cinema", Tamil Cinema:
The cultural politics of India’s other film industry, Routledge, ISBN 978-0-415-39680-6.
Watson, James L. (2009), Globalization, Encyclopædia Britannica.
Zumkhawala-Cook, Richard (2008), "Bollywood Gets Funky: American Hip-Hop, Basement Bhangra,
and the Racial Politics of Music", Global Bollywood: Travels of Hindi Song and Dance, University of
Minnesota Press, ISBN 978-0-8166-4578-7.
Info Site
German Bollywood Lexicon (http://www.bollypedia.de)
Retrieved from "http://en.wikipedia.org/wiki/Cinema_of_India"
Categories: Cinema of India | Cinema by country
Cinema of India - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Indian_film
24 of 24 5/4/2010 10:33 AM