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ⓘ Cinema of India




Cinema of India
                                     

ⓘ Cinema of India

The cinema of India consists of films produced in the nation of India. Cinema is immensely popular in India, with as many as 2.000 films produced in various languages every year. Indian cinema produces more films watched by more people than any other country; in 2011, over 3.5 billion tickets were sold across India, 900.000 more than Hollywood. Mumbai, Hyderabad, Kolkata, Chennai, Kochi and Bangalore are the major centres of film production in India.

As of 2013, India ranked first in terms of annual film output, followed by Nollywood, Hollywood and China. In 2012, India produced 1.602 feature films. The Indian film industry reached overall revenues of $1.86 billion ₹ 93 billion in 2011. In 2015, India had a total box office gross of US$2.1 billion, third largest in the world.

The overall revenue of Indian cinema reached US$ 1.3 billion in 2000. The industry is segmented by language. The Hindi language film industry is known as Bollywood, the largest sector, representing 43% of box office revenue. The combined revenue of the Telugu and Tamil film industries represent 36%. The South Indian film industry encompasses five film cultures: Telugu, Tamil, Malayalam, Kannada and Tulu. Another prominent film culture is Bengali cinema, known as Tollywood, which was largely associated with the parallel cinema movement, in contrast to the masala films more prominent in Bollywood and Tamil films at the time.

Indian cinema is a global enterprise. Its films have a following throughout Southern Asia and across Europe, North America, Asia, the Greater Middle East, Eastern Africa, China and elsewhere, reaching in over 90 countries. Biopics including Dangal became transnational blockbusters grossing over $300 million worldwide. Millions of Indians overseas watch Indian films, accounting for some 12% of revenues. Music rights alone account for 4–5% of net revenues.

Global enterprises such as Universal Pictures, 20th Century Fox, Sony Pictures, Walt Disney Pictures and Warner Bros. invested in the industry along with Indian enterprises such as AVM Productions, Prasads Group, Sun Pictures, PVP Cinemas, Zee, UTV, Suresh Productions, Eros International, Ayngaran International, Pyramid Saimira, Aascar Films and Adlabs. By 2003 as many as 30 film production companies had been listed in the National Stock Exchange of India NSE.

                                     

1. History

The history of cinema in India extends back to the beginning of the film era. Following the screening of the Lumiere and Robert Paul moving pictures in London 1896, commercial cinematography became a worldwide sensation and by mid-1896 both Lumiere and Robert Paul films had been shown in Bombay.

                                     

1.1. History Silent films 1890s–1920s

In 1897, a film presentation by Professor Stevenson featured a stage show at Calcuttas Star Theatre. With Stevensons encouragement and camera Hiralal Sen, an Indian photographer, made a film of scenes from that show, namely The Flower of Persia 1898. The Wrestlers 1899 by H. S. Bhatavdekar, showing a wrestling match at the Hanging Gardens in Bombay, was the first film to be shot by an Indian and the first Indian documentary film.

The first Indian film released in India was Shree Pundalik, a silent film in Marathi by Dadasaheb Torne on 18 May 1912 at Coronation Cinematograph, Bombay. Some have argued that Pundalik was not the first Indian film, because it was a photographic recording of a play, and because the cameraman was a British man named Johnson and the film was processed in London.

The first full-length motion picture in India was produced by Dadasaheb Phalke, Phalke is seen as the pioneer of the Indian film industry and a scholar of Indias languages and culture. He employed elements from Sanskrit epics to produce his Raja Harishchandra 1913, a silent film in Marathi. The female characters in the film were played by male actors. Only one print of the film was made, for showing at the Coronation Cinematograph on 3 May 1913. It was a commercial success. The first silent film in Tamil, Keechaka Vadham was made by R. Nataraja Mudaliar in 1916.

The first chain of Indian cinemas, Madan Theatre was owned by Parsi entrepreneur Jamshedji Framji Madan, who oversaw production of 10 films annually and distributed them throughout India beginning in 1902. He founded Elphinstone Bioscope Company in Calcutta. Elphinstone merged into Madan Theatres Limited in 1919, which had brought many of Bengals most popular literary works to the stage. He also produced Satyawadi Raja Harishchandra in 1917, a remake of Phalkes Raja Harishchandra 1913.

Raghupathi Venkaiah Naidu was an Indian artist and a film pioneer. From 1909, he was involved in many aspects of Indian cinema, travelling across Asia. He was the first to build and own cinemas in Madras. He was credited as the father of Telugu cinema. In South India, the first Tamil talkie Kalidas was released on 31 October 1931. Nataraja Mudaliar established South Indias first film studio in Madras.

Film steadily gained popularity across India. Tickets were affordable to the masses as low as an anna one-sixteenth of a rupee in Bombay) with additional comforts available at a higher price.

Young producers began to incorporate elements of Indian social life and culture into cinema. Others brought ideas from across the world. Global audiences and markets soon became aware of Indias film industry.

In 1927, the British Government, to promote the market in India for British films over American ones, formed the Indian Cinematograph Enquiry Committee. The ICC consisted of three Brits and three Indians, led by T. Rangachari, a Madras lawyer. This committee failed to support the desired recommendations of supporting British Film, instead recommending support for the fledgling Indian film industry. Their suggestions were shelved.

                                     

1.2. History Talkies 1930s–mid-1940s

Ardeshir Irani released Alam Ara, the first Indian talkie, on 14 March 1931. Irani later produced the first south Indian talkie film Kalidas directed by H. M. Reddy released on 31 October 1931. Jumai Shasthi was the first Bengali talkie. Chittor V. Nagaiah, was one of the first multilingual film actor/singer/composer/producer/directors in India. He was known as Indias Paul Muni.

In 1932, the name "Tollywood" was coined for the Bengali film industry because Tollygunge rhymed with "Hollywood". Tollygunge was then the centre of the Indian film industry. Bombay later overtook Tollygunge as the industrys center, spawning "Bollywood" and many other Hollywood-inspired names.

In 1933, East India Film Company produced its first Telugu film, Savitri. Based on a stage play by Mylavaram Bala Bharathi Samajam, the film was directed by C. Pullaiah with stage actors Vemuri Gaggaiah and Dasari Ramathilakam. The film received an honorary diploma at the 2nd Venice International Film Festival.

On 10 March 1935, another pioneer film maker Jyoti Prasad Agarwala made his first film Joymoti in Assamese. Jyoti Prasad went to Berlin to learn more about films. Indramalati is another film he himself produced and directed after Joymoti. The first film studio in South India, Durga Cinetone was built in 1936 by Nidamarthi Surayya in Rajahmundry, Andhra Pradesh. 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 Indian films. Studios emerged by 1935 in major cities such as Madras, Calcutta and Bombay as filmmaking became an established craft, exemplified by the success of Devdas. directed by an Assamese film maker Pramathesh Baruah. In 1937, Kisan Kanhiya directed by Moti B was released, the first colour film made in India. The 1940 film, Vishwa Mohini, is the first Indian film to depict the Indian movie world. The film was directed by Y. V. Rao and scripted by Balijepalli Lakshmikanta Kavi.

Swamikannu Vincent, who had built the first cinema of South India in Coimbatore, introduced the concept of "Tent Cinema" in which a tent was erected on a stretch of open land to screen films. The first of its kind was in Madras, called Edisons Grand Cinemamegaphone. This was due to the fact that electric carbons were used for motion picture projectors. Bombay Talkies opened in 1934 and Prabhat Studios in Pune began production of Marathi films meant. R. S. D. Choudhury produced Wrath 1930, which was banned by the British Raj for its depiction of Indian actors as leaders during the Indian independence movement. Sant Tukaram, a 1936 film based on the life of Tukaram 1608–50, a Varkari Sant and spiritual poet became the first Indian film to be screened at an international film festival, at the 1937 edition of the Venice Film Festival. The film was judged one of the three best films of the year. In 1938, Gudavalli Ramabrahmam, co-produced and directed the social problem film, Raithu Bidda, which was also banned by the British administration, for depicting the peasant uprising among the Zamindars during the British raj.

The Indian Masala film - a term used for mixed-genre films that combined song, dance, romance etc. - arose following World War II. During the 1940s cinema in South India accounted for nearly half of Indias cinema halls and cinema came to be viewed as an instrument of cultural revival. The partition of India following independence divided the nations assets and a number of studios moved to Pakistan. Partition became an enduring film subject thereafter.

After Indian independence the film industry was investigated by the S. K. Patil Commission. Patil recommended setting up a Film Finance Corporation FFC under the Ministry of Finance. This advice was adopted in 1960 and FFC provide financial support to filmmakers. The Indian government had established a Films Division by 1948, which eventually became one of the worlds largest documentary film producers with an annual production of over 200 short documentaries, each released in 18 languages with 9.000 prints for permanent film theatres across the country.

The Indian Peoples Theatre Association IPTA, an art movement with a communist inclination, began to take shape through the 1940s and the 1950s. Realist IPTA plays, such as Nabanna 1944, Bijon Bhattacharya prepared the ground for realism in Indian cinema, exemplified by Khwaja Ahmad Abbass Dharti Ke Lal Children of the Earth in 1946. The IPTA movement continued to emphasise realism and went on to produce Mother India and Pyaasa, among Indias most recognisable cinematic productions.



                                     

1.3. History Golden Age late 1940s–1960s

The period from the late 1940s to the early 1960s is regarded by film historians as the Golden Age of Indian cinema.

This period saw the emergence of the Parallel Cinema movement, mainly led by Bengalis, which then accounted for a quarter of Indias film output. The movement emphasised social realism. Early examples include Dharti Ke Lal 1946, Khwaja Ahmad Abbas, Neecha Nagar 1946, Chetan Anand, Nagarik 1952, Ritwik Ghatak and Do Bigha Zamin 1953, Bimal Roy, laying the foundations for Indian neorealism and the Indian New Wave.

The Apu Trilogy 1955–1959, Satyajit Ray won major prizes at all the major international film festivals and firmly established the Parallel Cinema movement. Pather Panchali 1955, the first part of the trilogy, marked Rays entry in Indian cinema. The trilogys influence on world cinema can be felt in the "youthful coming-of-age dramas that flooded art houses since the mid-fifties", which "owe a tremendous debt to the Apu trilogy".

Cinematographer Subrata Mitra, who debuted in the trilogy, had his own important influence on cinematography globally. 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 trilogy. Ray pioneered other effects such as the photo-negative flashbacks and X-ray digressions in Pratidwandi 1972.

During the 1960s, Indira Gandhis intervention during her reign as the Information and Broadcasting Minister of India supported production of off-beat cinematic by FFC.

Commercial Hindi cinema began thriving, including acclaimed films Pyaasa 1957 and Kaagaz Ke Phool 1959, Guru Dutt Awaara 1951 and Shree 420 1955, Raj Kapoor. 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.

Epic film Mother India 1957, Mehboob Khan, a remake of his earlier Aurat 1940, was the first Indian film to be nominated for the Academy Award for Best Foreign Language Film. Mother India defined the conventions of Hindi cinema for decades. It spawned a new genre of dacoit films. Gunga Jumna 1961, Dilip Kumar was a dacoit crime drama about two brothers on opposite sides of the law, a theme that became common in Indian films in the 1970s. Madhumati 1958, Bimal Roy popularised the theme of reincarnation in Western popular culture.

Dilip Kumar Muhammad Yusuf Khan debuted in the 1940s and rose to fame in the 1950s and was one of the biggest Indian movie stars. He was a pioneer of method acting, predating Hollywood method actors such as Marlon Brando. Much like Brandos influence on New Hollywood actors, Kumar inspired Indian actors, including Amitabh Bachchan, Naseeruddin Shah, Shah Rukh Khan and Nawazuddin Siddiqui.

Neecha Nagar won the Palme dOr at Cannes, putting Indian films in competition for the Palme dOr for nearly every year in the 1950s and early 1960s, with many winning major prizes. Ray won the Golden Lion at the Venice Film Festival for Aparajito 1956 and the Golden Bear and two Silver Bears for Best Director at the Berlin International Film Festival. The films of screenwriter Khwaja Ahmad Abbas were nominated for the Palme dOr three times. Neecha Nagar won, with nominations for Awaara and Pardesi 1957).

Rays contemporaries Ghatak and Dutt were overlooked in their own lifetimes, but generated international recognition in the 1980s and 1990s. Ray is regarded as one of the greatest auteurs of 20th century cinema, with Dutt and Ghatak. In 1992, the Sight & Sound Critics Poll ranked Ray at No. 7 in its list of "Top 10 Directors" of all time, while Dutt ranked No. 73 in the 2002 Sight & Sound poll.

Multiple films from this era are included among the greatest films of all time in various critics and directors polls. Multiple Ray films appeared in the Sight & Sound Critics Poll, including The Apu Trilogy ranked No. 4 in 1992 if votes are combined, Jalsaghar ranked No. 27 in 1992, Charulata ranked No. 41 in 1992 and Aranyer Din Ratri ranked No. 81 in 1982. The 2002 Sight & Sound critics and directors poll also included the Dutt films Pyaasa and Kaagaz Ke Phool both tied at #160, Ghataks films Meghe Dhaka Tara ranked #231 and Komal Gandhar ranked #346, and Raj Kapoors Awaara, Vijay Bhatts Baiju Bawra, Mehboob Khans Mother India and K. Asifs Mughal-e-Azam all tied at #346. In 1998, the critics poll conducted by the Asian film magazine Cinemaya included The Apu Trilogy ranked No. 1 if votes are combined, Rays Charulata and Jalsaghar both tied at #11, and Ghataks Subarnarekha also tied at #11.

South Indian cinema saw the production works based on the epic Mahabharata, such as Mayabazar listed by IBN Lives 2013 Poll as the greatest Indian film of all time. Sivaji Ganesan became Indias first actor to receive an international award when he won the "Best Actor" award at the Afro-Asian film festival in 1960 and was awarded the title of Chevalier in the Legion of Honour by the French Government in 1995. Tamil cinema is influenced by Dravidian politics, with prominent film personalities C N Annadurai, M G Ramachandran, M Karunanidhi and Jayalalithaa becoming Chief Ministers of Tamil Nadu.

Kamal Haasan was introduced as child actor in 1960 Tamil language movie Kalathur Kannamma, Haasans performance earned him the Presidents Gold Medal at the age of 6.

                                     

1.4. History Classic Bollywood 1970s–1980s

Realistic Parallel Cinema continued throughout the 1970s, practised in many Indian film cultures. The FFCs art film orientation came under criticism during a Committee on Public Undertakings investigation in 1976, which accused the body of not doing enough to encourage commercial cinema.

Hindi commercial cinema continued with films such as Aradhana 1969, Sachaa Jhutha 1970, Haathi Mere Saathi 1971, Anand 1971, Kati Patang 1971 Amar Prem 1972, Dushman 1972 and Daag 1973.

By the early 1970s, Hindi cinema was experiencing thematic stagnation, dominated by musical romance films. The arrival of screenwriter duo Salim-Javed, consisting of Salim Khan and Javed Akhtar, revitalised the industry. They established the genre of gritty, violent, Bombay underworld crime films, with films such as Zanjeer 1973 and Deewaar 1975. They reinterpreted the rural themes of Mother India and Gunga Jumna in an urban context reflecting 1970s India, channelling the growing discontent and disillusionment among the masses, unprecedented growth of slums and urban poverty, corruption and crime, as well as anti-establishment themes. This resulted in their creation of the "angry young man", personified by Amitabh Bachchan, who reinterpreted Kumars performance in Gunga Jumna, and gave a voice to the urban poor.

By the mid-1970s, crime-action films like Zanjeer and Sholay 1975 solidified Bachchans position as a lead actor. The devotional classic Jai Santoshi Ma 1975 was made on a shoe-string budget and became a box office success and a cult classic. Another important film was Deewaar 1975, Yash Chopra. This crime film pitted "a policeman against his brother, a gang leader based on the real-life smuggler Haji Mastan", portrayed by Bachchan. Danny Boyle described it as "absolutely key to Indian cinema".

"Bollywood" was coined in the 70s, when the conventions of commercial Bollywood films were established. Key to this was Nasir Hussain and Salim-Javeds creation of the masala film genre, which combines elements of action, comedy, romance, drama, melodrama and musical. Another Hussain/Salim-Javed concoction, Yaadon Ki Baarat 1973, was identified as the first masala film and the "first" quintessentially "Bollywood" film. Salim-Javed wrote more successful masala films in the 1970s and 1980s. Masala films made Bachchan the biggest Bollywood movie star of the period. Another landmark was Amar Akbar Anthony 1977, Manmohan Desai. Desai further expanded the genre in the 1970s and 1980s.

Commercial Hindi cinema grew in the 1980s, with films such as Ek Duuje Ke Liye 1981, Himmatwala 1983, Tohfa 1984, Naam 1986, Mr India 1987, and Tezaab 1988.

                                     

1.5. History New Bollywood 1990s–present

In the late 1980s, Hindi cinema experienced another period of stagnation, with a decline in box office turnout, due to increasing violence, decline in musical melodic quality, and rise in video piracy, leading to middle-class family audiences abandoning theatres. The turning point came with Yash Chopras musical romance Chandni 1989, starring Sridevi. It was instrumental in ending the era of violent action films in Indian Cinema and rejuvenating the romantic musical genre. It also set a new template for Bollywood musical romance films that defined Hindi cinema in the coming years. Commercial Hindi cinema grew in the late 80s and 1990s, with the release of Mr. India 1987, Qayamat Se Qayamat Tak 1988, Chaalbaaz 1989, Maine Pyar Kiya 1989, Lamhe 1991, Saajan 1991, Khuda Gawah 1992, Khalnayak 1993, Darr 1993, Hum Aapke Hain Koun.! 1994, Dilwale Dulhaniya Le Jayenge 1995, Dil To Pagal Hai 1997, Pyar Kiya Toh Darna Kya 1998 and Kuch Hota Hai 1998. Cult classic Bandit Queen 1994, Shekhar Kapur received international recognition and controversy.

In the late 1990s, Parallel Cinema began a resurgence in Hindi cinema, largely due to the critical and commercial success of crime films such as Satya 1998 and Vaastav 1999. These films launched a genre known as Mumbai noir, urban films reflecting social problems there.

Since the 1990s, the three biggest Bollywood movie stars have been the "Three Khans": Aamir Khan, Shah Rukh Khan, and Salman Khan. Combined, they starred in the top ten highest-grossing Bollywood films. The three Khans have had successful careers since the late 1980s, and have dominated the Indian box office since the 1990s. Shah Rukh Khan was the most successful for most of the 1990s and 2000s, while Aamir Khan has been the most successful since the late 2000s; according to Forbes, Aamir Khan is "arguably the worlds biggest movie star" as of 2017, due to his immense popularity in India and China. Other Hindi stars include Akshay Kumar, Ajay Devgan, Anil Kapoor, Madhuri Dixit and Kajol. Haider 2014, Vishal Bhardwaj, the third instalment of the Indian Shakespearean Trilogy after Maqbool 2003 and Omkara 2006, won the Peoples Choice Award at the 9th Rome Film Festival in the Mondo Genere category making it the first Indian film to achieve this honour.

The 2010s also saw the rise of a new generation of popular actors like Ranbir Kapoor, Ranveer Singh, Varun Dhawan, Sidharth Malhotra, Sushant Singh Rajput, Arjun Kapoor, Aditya Roy Kapur and Tiger Shroff, as well as actresses like Vidya Balan, Priyanka Chopra, Katrina Kaif, Kangana Ranaut, Deepika Padukone, Sonam Kapoor, Anushka Sharma, Sonakshi Sinha, Jacqueline Fernandez, Shraddha Kapoor and Alia Bhatt, with Balan and Ranaut gaining wide recognition for successful female-centric films such as The Dirty Picture 2011, Kahaani 2012., Queen and Tanu Weds Manu Returns 2015. Kareena Kapoor and Bipasha Basu are among the few working actresses from the 2000s who successfully completed 15 years in the industry.



                                     

1.6. History Regional cinema 1970s–present

Kannada film Samskara 1970, Pattabhirama Reddy, pioneered the parallel cinema movement in south Indian cinema. The film won Bronze Leopard at the Locarno International Film Festival.

Malayalam cinema experienced its own Golden Age in the 1980s and early 1990s. Acclaimed Malayalam filmmakers industry, included Adoor Gopalakrishnan, G. Aravindan, T. V. Chandran and Shaji N. Karun. Gopalakrishnan, is often considered to be Rays spiritual heir. He directed some of his most acclaimed films during this period, including Elippathayam 1981 which won the Sutherland Trophy at the London Film Festival. Karuns debut film Piravi 1989 won the Camera dOr at the 1989 Cannes Film Festival, while his second film Swaham 1994 was in competition for the Palme dOr at the 1994 event. Vanaprastham was screened at the Un Certain Regard section of the Cannes Film Festival. Commercial Malayalam cinema began gaining popularity with the action films of Jayan, a popular stunt actor who died while filming a helicopter stunt.

Telugu cinema has a history of producing internationally noted fantasy and mythological films such as the 1933 film Savitri having received an honorary diploma at the 2nd Venice International Film Festival, as well as works such as Nartanasala, Mayabazar, and the Baahubali series having won the American Saturn Award for Best International Film. Daasi and Matti Manushulu directed by B. Narsing Rao won the Diploma of Merit award at the Moscow International Film Festival in 1989 and 1991 respectively. Maa Ooru directed by him won the Media Wave Award at the Hungary International festival of visual arts. Sankarabharanam 1980 dealt with the revival of Indian classical music, won the Prize of the Public at the 1981 Besancon Film Festival of France. Swati Mutyam was selected by India as its entry for the Best Foreign Language Film for the Academy Awards in 1986. The film was screened at the Moscow Film Festival, the Asian and African film festival in Tashkent, the 11th International Film Festival of India in the inaugural mainstream section, and the Asia Pacific Film Festival where it won awards for "Best Film" and "Best Actor" categories.

Tamil language films appeared at multiple film festivals. Kannathil Muthamittal Ratnam, Veyyil Vasanthabalan and Paruthiveeran Ameer Sultan, Kanchivaram Priyadarshan premiered at the Toronto International Film Festival. Tamil films were submitted by India for the Academy Award for Best Foreign Language on eight occasions. Nayakan 1987, Kamal Haasan was included in Time magazines "All-TIME" 100 best movies list. In 1991, Marupakkam directed by K.S. Sethu Madhavan, became the first Tamil film to win the National Film Award for Best Feature Film, the feat was repeated by Kanchivaram in 2007.

Salim-Javed were highly influential in South Indian cinema. In addition to writing two Kannada films, many of their Bollywood films had remakes produced in other regions, including Tamil, Telugu and Malayalam cinema. While the Bollywood directors and producers held the rights to their films in Northern India, Salim-Javed retained the rights in South India, where they sold remake rights, usually for around ₹ 1 lakh equivalent to ₹ 31 lakh or US$43.000 in 2019 each, for films such as Zanjeer, Yaadon Ki Baarat and Don. Several of these remakes became breakthroughs for Rajinikanth, who portrayed Bachchans role for several Tamil remakes.

Sridevi was widely considered as the first female superstar of Bollywood cinema due to her pan-Indian appeal and a rare actor who had an equally successful career in the major Indian film industries: Hindi, Telugu and Tamil. Shes also the only movie star in history of Bollywood to star in the top 10 highest grossers of the year throughout her active period 1983-1997.

By 1996, the Indian film industry had an estimated domestic cinema viewership of 600 million viewers, establishing India as one of the largest film markets, with the largest regional industries being Hindi and Telugu films. In 2001, in terms of ticket sales, Indian cinema sold an estimated 3.6 billion tickets annually across the globe, compared to Hollywoods 2.6 billion tickets sold.

                                     

2. Influence for cinema of India

Moti Gokulsing and Wimal Dissanayake identify six major influences that have shaped Indian popular cinema:

  • Ancient Sanskrit drama, with its emphasis on spectacle, combined 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, featuring spectacular dance-dramas. The Rasa method of performance, dating to ancient times, is one of the fundamental features that differentiate Indian from Western cinema. 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 is apparent in the performances of Hindi actors such as Bachchan and Shah Rukh Khan and in Hindi films such as Rang De Basanti 2006, and Rays works.
  • Hollywood made popular musicals from the 1920s through the 1960s. Indian musical makers 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 peoples day-to-day lives in complex and interesting ways."
  • Western musical television, particularly MTV, had an increasing influence in the 1990s, as can be seen in the pace, camera angles, dance sequences and music of recent Indian films. An early example of this approach was Bombay 1995, Mani Ratnam.
  • Parsi theatre "blended realism and fantasy, music and dance, narrative and spectacle, earthy dialogue and ingenuity of stage presentation, integrating them into a dramatic melodrama. The Parsi plays contained crude humour, melodious songs and music, sensationalism and dazzling stagecraft." These influences are clearly evident in masala films such as Coolie 1983, and to an extent in more recent critically acclaimed films such as Rang De Basanti.
  • Traditional folk theatre became popular around the 10th century with the decline of Sanskrit theatre. These regional traditions include the Yatra of West Bengal, the Ramlila of Uttar Pradesh, Yakshagana of Karnataka, Chindu Natakam of Andhra Pradesh and the Terukkuttu of Tamil Nadu.
  • The ancient epics of Mahabharata and Ramayana influenced the narratives of Indian cinema. Examples of this influence include the techniques of a side story, back-story and story within a story. Indian popular films often have plots that branch into sub-plots; such narrative dispersals can clearly be seen in the 1993 films Khalnayak and Gardish.

Sharmistha Gooptu and Bhaumik identify Indo-Persian/Islamicate culture as another major influence. In the early 20th century, Urdu was the lingua franca of popular performances across northern India, established in performance art traditions such as nautch dancing, Urdu poetry and Parsi theatre. Urdu and related Hindi dialects were the most widely understood across northern India, thus Hindustani became the standardised language of early Indian talkies. One Thousand and One Nights Arabian Nights had a strong influence on Parsi theatre, which adapted "Persianate adventure-romances" into films, and on early Bombay cinema where Arabian Nights cinema" became a popular genre. Stadtman identifies foreign influences on commercial Bollywood masala films: New Hollywood, Hong Kong martial arts cinema and Italian exploitation films.

Like mainstream Indian popular cinema, Indian Parallel Cinema was influenced by a combination of Indian theatre and Indian literature such as Bengali literature and Urdu poetry, but differs when it comes to foreign influences, where it is influenced more by European cinema particularly Italian neorealism and French poetic realism than by Hollywood. Ray cited Vittorio De Sicas Bicycle Thieves 1948 and Jean Renoirs The River 1951, on which he assisted, as influences on his debut film Pather Panchali 1955.

                                     

3. Influence of cinema of India

During colonial rule Indians bought film equipment from Europe. The British funded wartime propaganda films during World War II, some of which showed the Indian army pitted against the Axis powers, specifically the Empire of Japan, which had managed to infiltrate India. One such story was Burma Rani, which depicted civilian resistance to Japanese occupation by British and Indian forces in Myanmar. Pre-independence businessmen such as J. F. Madan and Abdulally Esoofally traded in global cinema.

Early Indian films made early inroads into the Soviet Union, Middle East, Southeast Asia and China. Mainstream Indian movie stars gained international fame across Asia and Eastern Europe. For example, Indian films were more popular in the Soviet Union than Hollywood films and occasionally domestic Soviet films. From 1954 to 1991, 206 Indian films were sent to the Soviet Union, drawing higher average audience figures than domestic Soviet productions, Films such as Awaara and Disco Dancer drew more than 60 million viewers. Films such as Awaara, 3 Idiots and Dangal, were one of the 20 highest-grossing films in China.

Indian films frequently appeared in international fora and film festivals. This allowed Parallel Bengali filmmakers to achieve worldwide fame.

Many Asian and South Asian countries increasingly found Indian cinema as more suited to their sensibilities than Western cinema. Jigna Desai holds that by the 21st century, Indian cinema had become deterritorialised, spreading to parts of the world where Indian expatriatres were present in significant numbers, and had become an alternative to other international cinema.

Indian cinema more recently began influencing Western musical films, and played a particularly instrumental role in the revival of the genre in the Western world. Rays work had a worldwide impact, with filmmakers such as Martin Scorsese, James Ivory, Abbas Kiarostami, François Truffaut, Carlos Saura, Isao Takahata and Gregory Nava citing his influence, and others such as Akira Kurosawa praising his work. The "youthful coming-of-age dramas that have flooded art houses since the mid-fifties owe a tremendous debt to the Apu trilogy". Since the 1980s, overlooked Indian filmmakers such as Ghatak and Dutt posthumously gained international acclaim. Baz Luhrmann stated that his successful musical film Moulin Rouge! 2001 was directly inspired by Bollywood musicals. That films success renewed interest in the then-moribund Western musical genre, subsequently fuelling a renaissance. Danny Boyles Oscar-winning film Slumdog Millionaire 2008 was directly inspired by Indian films, and is considered to be an "homage to Hindi commercial cinema".

Indian cinema has been recognised repeatedly at the Academy Awards. Indian films Mother India 1957, Salaam Bombay! 1988 and Lagaan 2001, were nominated for the Academy Award for Best Foreign Language Film. Indian Oscar winners include Bhanu Athaiya costume designer, Ray filmmaker, A. R. Rahman music composer, Resul Pookutty sound editor and Gulzar lyricist, Cottalango Leon and Rahul Thakkar Sci-Tech Award.

                                     

4.1. Genres and styles Masala film

Masala is a style of Indian cinema that mix genres in one work, especially in Bollywood, West Bengal and South India. For example, one film can portray action, comedy, drama, romance and melodrama. These films tend to be musicals, with songs filmed in picturesque locations. Plots for such movies may seem illogical and improbable to unfamiliar viewers. The genre is named after masala, a mixture of spices in Indian cuisine.

                                     

4.2. Genres and styles Parallel cinema

Parallel Cinema, is also known as Art Cinema or the Indian New Wave, is known for its realism and naturalism, addressing the sociopolitical climate. This movement is distinct from mainstream Bollywood cinema and began around the same time as the French and Japanese New Waves. The movement began in Bengal led by Ray, Sen and Ghatak and then gained prominence in the regions. The movement was launched by Roys Do Bigha Zamin 1953, which was both a commercial and critical success, winning the International Prize at the 1954 Cannes Film Festival. Rays films include The Apu Trilogy. Its three films won major prizes at the Cannes, Berlin and Venice Film Festivals, and are frequently listed among the greatest films of all time.

Other neo-realist filmmakers were Shyam Benegal, Karun, Gopalakrishnan and Kasaravalli.

                                     

4.3. Genres and styles Multilingual

Some Indian films are known as "multilinguals", filmed in similar but non-identical versions in different languages. This was done in the 1930s. According to Rajadhyaksha and Willemen in the Encyclopaedia of Indian Cinema 1994, in its most precise form, a multilingual is

a bilingual or a trilingual was the kind of film made in the 1930s in the studio era, when different but identical takes were made of every shot in different languages, often with different leading stars but identical technical crew and music.

Rajadhyaksha and Willemen note that in seeking to construct their Encyclopedia, they often found it "extremely difficult to distinguish multilinguals in this original sense from dubbed versions, remakes, reissues or, in some cases, the same film listed with different titles, presented as separate versions in different languages. it will take years of scholarly work to establish definitive data in this respect".



                                     

5. Music

Music is a substantial revenue generator, with music rights alone accounting for 4–5% of net revenues. The major film music companies are Saregama, T-Series, Sony Music and Zee Music Company. Film music accounts for 48% of net music sales. A typical film may feature 5–6 choreographed songs.

The demands of a multicultural, increasingly globalised Indian audience led to a mixing of local and international musical traditions. Local dance and music remain a recurring theme in India and followed the Indian diaspora. Playback singers such as Mohammad Rafi, Kishore Kumar, Lata Mangeshkar, Asha Bhosle, Kumar Sanu, Udit Narayan, S. P. Balasubrahmanyam and K. J. Yesudas drew crowds to film music stage shows. In the 21st century interaction increased between Indian artists and others.

                                     

6. Film location

In filmmaking, a location is any place where acting and dialogue are recorded. Sites where filming without dialogue takes place is termed a second unit photography site. Filmmakers often choose to shoot on location because they believe that greater realism can be achieved in a "real" place. Location shooting is often motivated by budget considerations.

The most popular locations are the main cities for each regional industry. Other locations include Manali and Shimla in Himachal Pradesh, Srinagar and Ladakh in Jammu and Kashmir, Darjeeling in West Bengal, Lucknow, Agra and Varanasi in Uttar Pradesh, Ooty in Tamil Nadu, Amritsar in Punjab, Darjeeling in West Bengal, Udaipur, Jodhpur, Jaisalmer and Jaipur in Rajasthan, Delhi, Kerala and Goa.

                                     

7. Production companies

More than 1000 production organisations operate in the Indian film industry, but few are successful. AVM Productions is the oldest surviving studio in India. Other major production houses include Yash Raj Films, T-series, Red Chillies Entertainment, Dharma Productions, Eros International, Ajay Devgn FFilms, Balaji Motion Pictures, UTV Motion Pictures, Raaj Kamal Films International, Wunderbar Films, Aashirvad Cinemas Indian Movies Limited and Geetha Arts.

                                     

8. Cinema by language

Films are made in many cities and regions in India including Assam, Bengal, Bihar, Gujarat, Haryana, Jammu, Kashmir, Jharkhand, Karnataka, Konkan Goa, Kerala, Maharashtra, Manipur, Odisha, Chhattisgarh, Punjab, Rajasthan, Tamil Nadu and Andhra Pradesh and Telangana, Tripura and Mizoram.

                                     

8.1. Cinema by language Assamese

The Assamese language film industry traces its origin to the works of revolutionary visionary Rupkonwar Jyotiprasad Agarwala, who was a distinguished poet, playwright, composer and freedom fighter. He was instrumental in the production of the first Assamese film Joymati in 1935, under the banner of Critrakala Movietone. Due to the lack of trained technicians, Jyotiprasad, while making his maiden film, had to shoulder the added responsibilities as the screenwriter, producer, director, choreographer, editor, set and costume designer, lyricist and music director. The film, completed with a budget of 60.000 rupees, was released on 10 March 1935. The picture failed miserably. Like many early films, the negatives and prints of Joymati are missing. Some effort has been made privately by Altaf Mazid to restore and subtitle what is left of the prints. Despite the significant financial loss from Joymati, a second picture, Indramalati, was released in 1939. The 21st century has produced Bollywood-style Assamese movies.

                                     

8.2. Cinema by language Bengali Tollywood

The Bengali language cinematic tradition of Tollygunge located in West Bengal, also known as Tollywood named after Tollygunge, hosted filmmaking masters such as Satyajit Ray, Ritwik Ghatak and Mrinal Sen. Recent Bengali films that have captured national attention include Choker Bali.Rituparno Ghosh Bengal has produced science fiction and issue films.

Bengali cinema dates to the 1890s, when the first "bioscopes" were shown in theatres in Calcutta. Within five years, Hiralal Sen 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 and Classic Theatre. Following a long gap after Sen, Dhirendra Nath Ganguly Known as D.G. established Indo British Film Co, the first Bengali owned production company, in 1918. The first Bengali Feature film Billwamangal was produced in 1919 under the banner of Madan Theatre. Bilat Ferat 1921 was the IBFCs first production. Madan Theatres production of Jamai Shashthi was the first Bengali talkie.

In 1932, the name "Tollywood" was coined for the Bengali film industry because Tollygunge rhymes with "Hollywood" and because it was then the centre of the Indian film industry. The Parallel Cinema movement began in Bengal. Bengali stalwarts such as Ray, Mrinal Sen, Ghatak and others earned international acclaim. Actors including Uttam Kumar and Soumitra Chatterjee led the Bengali film industry.

Other Bengali art film directors include Mir Shaani, Buddhadeb Dasgupta, Gautam Ghose, Sandip Ray and Aparna Sen.

                                     

8.3. Cinema by language Braj Bhasha

Braj Bhasha language films present Brij culture mainly to rural people, predominant in the nebulous Braj region centred around Mathura, Agra, Aligarh and Hathras in Western Uttar Pradesh and Bharatpur and Dholpur in Rajasthan. It is the predominant language in the central stretch of the Ganges-Yamuna Doab in Uttar Pradesh. The first Brij Bhasha movie India was Brij Bhoomi 1982, Shiv Kumar, which was a success throughout the country. Later Brij Bhasha cinema saw the production of films like Jamuna Kinare, Brij Kau Birju, Bhakta Surdas and Jesus. The culture of Brij is presented in Krishna Tere Desh Main Hindi, Kanha Ki Braj Bhumi, Brij ki radha dwarika ke shyam and Bawre Nain.

                                     

8.4. Cinema by language Bhojpuri

Bhojpuri language films predominantly cater to residents of western Bihar and eastern Uttar Pradesh and also have a large audience in Delhi and Mumbai due to migration of Bhojpuri speakers to these cities. Besides India, markets for these films developed in other Bhojpuri speaking countries of the West Indies, Oceania and South America.

Bhojpuri film history begins with Ganga Maiyya Tohe Piyari Chadhaibo. Throughout the following decades, few films were produced. Films such as Bidesiya Foreigner, 1963, S. N. Tripathi and Ganga Ganges, 1965, Kumar were profitable and popular, but in general Bhojpuri films were not common in the 1960s and 1970s.

The industry experienced a revival in 2001 with the hit Saiyyan Hamar My Sweetheart, Mohan Prasad, which shot Ravi Kissan to superstardom. This was followed by several other successes, including Panditji Batai Na Biyah Kab Hoi, and Sasura Bada Paisa Wala Both did much better business in Uttar Pradesh and Bihar than mainstream Bollywood hits, and both earned more than ten times their production costs. Although smaller than other Indian film industries, these successes increased Bhojpuri cinemas visibility, leading to an awards show and a trade magazine, Bhojpuri City.

                                     

8.5. Cinema by language Chakma Chakwood

Chakma cinema is a small industry in the country of Bangladesh and in India state of Tripura and Mizoram.

                                     

8.6. Cinema by language Chhattisgarhi Chhollywood

Chhollywood was born in 1965 with the first Chhattisgarhi film Kahi Debe Sandesh In Black and White, Manu Nayak. Naidu wrote the lyrics for the film, and two songs were sung by Mohammad Rafi. That film and Ghar Dwar 1971, Niranjan Tiwari bombed. No Chhollywood movie was produced for nearly 30 years thereafter.

                                     

8.7. Cinema by language English

Deepa Mehta, Anant Balani, Homi Adajania, Vijay Singh, Vierendrra Lalit and Sooni Taraporevala have garnered recognition in Indian English cinema.

                                     

8.8. Cinema by language Hindi Bollywood

The Hindi language film industry of Bombay - also known as Bollywood - is the largest and most powerful branch. Hindi cinema explored issues of caste and culture in films such as Achhut Kanya 1936 and Sujata 1959. International visibility came to the industry with Raj Kapoors Awara and later in Shakti Samanthas Aradhana. Hindi cinema grew during the 1990s with the release of as many as 215 films annually.

Many actors signed contracts for simultaneous work in 3–4 films. Institutions such as the Industrial Development Bank of India financed Hindi films. Magazines such as Filmfare, Stardust and Cine Blitz became popular.

In Hindi cinema audiences participate by clapping, singing and reciting familiar dialogue.

Art film directors include Kaul, Kumar Shahani, Ketan Mehta, Govind Nihalani, Shyam Benegal, Mira Nair, Nagesh Kukunoor, Sudhir Mishra and Nandita Das.

                                     

8.9. Cinema by language Kannada Sandalwood

The Kannada film industry, also referred to as Sandalwood, is based in Bangalore and caters mostly to Karnataka. Gubbi Veeranna 1891 – 1972 was an Indian theatre director and artist and an awardee of the Padma Shri award conferred by the President of India. He was one of the pioneers and most prolific contributors to Kannada theatre. Kannada actor Rajkumar began working with Veeranna and later became an important actor.

Veeranna founded Karnataka Gubbi Productions. He produced Sadarame 1935, Raja Chandrasekar, in which he acted in the lead role. He then produced Subhadra and Jeevana Nataka 1942. He took the lead role in Hemareddy Mallamma 1945. Karnataka Gubbi Productions was later called Karnataka Films Ltd., and is credited with starting the career of Rajkumar when it offered him the lead role in his debut film Bedara Kannappa. He produced silent movies including His Love Affair, Raphel Algoet. Veeranna was the lead, accompanied by his wife, Jayamma.

Veeranna produced Bedara Kannappa 1954, H. L. N. Simha which received the first Certificate of Merit. However, the first "Presidents Silver Medal for Best Feature Film in Kannada" was awarded at the 5th National Film Awards ceremony to Premada Puthri 1957, R. Nagendra Rao. Rajkumar was the legendary actor along with Vishnuvardhan, Ambarish, Anant Nag, Shankar Nag, Prabhakar, Udaya Kumar, Kalyan Kumar, Gangadhar, Ravichandran, Shivarajkumar, Shashikumar, Ramesh Arvind, Devaraj, Jaggesh, Saikumar, Vinodraj, Charanraj, Ramkumar, Sudeep, Darshan, Puneeth Rajkumar, Yash, Leelavathi, Kalpana, Bharathi, Jayanthi, Pandari Bai, Aarathi, Jaimala, Tara, Umashri and Ramya.

Kannada Directors include H. L. N. Simha, R. Nagendra Rao, B. R. Panthulu, M. S. Sathyu, Puttanna Kanagal, G. V. Iyer, Karnad, T. S. Nagabharana Siddalingaiah, B. V. Karanth, A K Pattabhi, T. V. Singh Thakur, Y. R. Swamy, M. R. Vittal, Sundar Rao Nadkarni, P. S. Moorthy, S. K. A. Chari, Hunsur Krishnamurthy, Prema Karanth, Rajendra Singh Babu, N. Lakshminarayan, Shankar Nag, Girish Kasaravalli, Umesh Kulkarni and Suresh Heblikar. Other noted film personalities in Kannada are, Bhargava, G.K. Venkatesh, Vijaya Bhaskar, Rajan-Nagendra, Geethapriya, Hamsalekha, R. N. Jayagopal, M. Ranga Rao and Yogaraj Bhat.

Kannada cinema contributed to Indian parallel cinema. Influential Kannada films in this genre include Samskara, Chomana Dudi B. V. Karanth, "Bangarada Manushya", "Mayura", "Jeevana Chaitra", "Gauri Ganesha", "Udbhava", Tabarana Kathe, Vamshavruksha, Kaadu Kudure, Hamsageethe, Bhootayyana Maga Ayyu, Accident, Maanasa Sarovara, Bara, Chitegoo Chinte, Galige, Ijjodu, Kanneshwara Rama, Ghatashraddha, Tabarana Kathe, Mane, Kraurya, Thaayi Saheba, Bandhana, Muthina Haara, Banker Margayya, Dweepa, Munnudi, Bettada Jeeva, Mysore Mallige and Chinnari Muththa.

The Government Film and Television Institute, Bangalore formerly a part of S.J. Polytechnic is believed to be the first government institute in India to start technical film courses.

                                     

8.10. Cinema by language Konkani

Konkani language films are mainly produced in Goa. It is one of Indias smallest film regions, producing four films in 2009. Konkani language is spoken mainly in the states of Goa, Maharashtra and Karnataka and to a smaller extent in Kerala. The first full length Konkani film was Mogacho Anvddo 1950, Jerry Braganza, under the banner of Etica Pictures. The films release date, 24 April, is celebrated as Konkani Film Day. Karnataka is the hub of many Konkani speaking people. An immense body of Konkani literature and art is a resource for filmmakers. Kazar Marriage, 2009, Richard Castelino and Ujvaadu Shedding New Light on Old Age Issues, Kasaragod Chinna are major releases. The pioneering Mangalorean Konkani film is Mog Ani Maipas.

                                     

8.11. Cinema by language Malayalam Mollywood

The Malayalam film industry, Indias fourth largest, is based in Kochi. Filmmakers include Gopalakrishnan, Karun, Aravindan, K. G. George, Padmarajan, Sathyan Anthikad, Chandran and Bharathan.

The first full-length Malayalam feature was Vigathakumaran 1928, J. C. Daniel. This movie is credited as the first Indian social drama feature film. Daniel is considered the father of the Malayalam film industry. Balan 1938, S. Nottani was the first Malayalam "talkie".

Malayalam films were mainly produced by Tamil producers until 1947, when the first major film studio, Udaya Studio, opened in Kerala. Neelakkuyil 1954 captured national interest by winning the Presidents silver medal. Scripted by the well-known Malayalam novelist, Uroob P. Bhaskaran and Ramu Kariat is often considered the first authentic Malayali film. Newspaper Boy 1955, made by a group of students, was the first neo-realistic film offering. Chemmeen 1965, Ramu Kariat based on a story by Thakazhi Sivasankara Pillai, became the first South Indian film to win the National Film Award for Best Feature Film.

The first neorealistic film Newspaper Boy 1955-P. Ramdas, The first CinemaScope film Thacholi Ambu 1978-Navodaya Appachan, The first 70 mm film Padayottam 1982-Jijo Punnoose, The first 3D film My Dear Kuttichathan 1984-Jijo Punnoose, The first Digital film Moonnamathoral 2006-V. K. Prakash, The first Smartphone film Jalachhayam 2010-Sathish Kalathil, The first 8K resolution film Villain 2017-B. Unnikrishnan of India were made in Malayalam.

The period from the late 1980s to early 1990s is regarded as the Golden Age of Malayalam cinema with the emergence of actors Mohanlal, Mammootty, Suresh Gopi, Jayaram, Bharath Gopi, Murali, Thilakan and Nedumudi Venu. The major actors who emerged after the Golden Age include Dileep, Jayasurya, Fahadh Faasil, Nivin Pauly, Prithviraj Sukumaran, Dulquer Salmaan, Biju Menon, Tovino Thomas, Kunchacko Boban, Asif Ali and Manju Warrier.

Notable filmmakers such as I. V. Sasi, Bharathan, Padmarajan, K. G. George, Sathyan Anthikad, Priyadarshan, A. K. Lohithadas, Siddique-Lal, T. K. Rajeev Kumar and Sreenivasan. Art film directors include Puttanna Kanagal, Dore Bhagavan, Siddalingaiah in Kannada; Gopalakrishnan, Karun and T.V. Chandran.

K. R. Narayanan National Institute of Visual Science and Arts KRNNIVSA is an autonomous institute established by the Government of Kerala at Thekkumthala in Kottayam District in Kerala state as a training-cum-research centre in film/audio-visual technology.

                                     

8.12. Cinema by language Meitei

Meitei cinema is a small industry in the state of Manipur. This regions debut was a full-length black and white film Matamgee Manipur 1972. Meitei cinema started in the 1980s. Langlen Thadoi 1984 was Meitei cinemas first full-length colour film.

Meitei cinema gained momentum following a ban on the screening of Hindi films in entertainment houses in Manipur. Screening of Hindi movies came to a halt despite reiterated appeals made by successive Chief Ministers. 80-100 movies are made each year. Cinemas opened in Imphal after World War II. The first full-length Meitei movie was made in 1972, followed by a boom in 2002.

Imagi Ningthem Aribam Syam Sharma won the Grand Prix in the 1992 Nantes International Film Festival. A nationwide French telecast of Imagi Ningthem expanded the audience. After watching Ishanou Aribam Syam Sharma, westerners began research on Lai Haraoba and Manipurs rich folklore. Maipak, Son of Manipur 1971 was the first Meitei documentary film.

Among the notable Meitei films are Phijigee Mani, Leipaklei and Pallepfam.

                                     

8.13. Cinema by language Marathi

Marathi films are produced in the Marathi language in Maharashtra. It is one of the oldest efforts in Indian cinema. Dadasaheb Phalke made the first indigenous silent film Raja Harishchandra 1913 with a Marathi crew, which is considered by IFFI and NIFD to be part of Marathi cinema.

The first Marathi talkie, Ayodhyecha Raja 1932, Prabhat Films. Shwaas 2004 and Harishchandrachi Factory 2009, became Indias official Oscar entries. Today the industry is based in Mumbai, but it began in Kolhapur and then Pune.

Some of the more notable films are Sangte Aika, Ek Gaon Bara Bhangadi, Pinjara, Sinhasan, Pathlaag, Jait Re Jait, Saamana, Santh Wahate Krishnamai, Sant Tukaram and Shyamchi Aai.

Marathi films feature the work of actors including Durga Khote, V. Shantaram, Lalita Pawar, Nanda, Shriram Lagoo, Ramesh Deo, Seema Deo, Nana Patekar, Smita Patil, Sadashiv Amrapurkar, Sonali Kulkarni, Sonali Bendre, Urmila Matondkar, Reema Lagoo, Padmini Kolhapure, Ashok Saraf, Laxmikant Berde and Sachin Khedekar.

                                     

8.14. Cinema by language Nagpuri

Nagpuri films produced in the Nagpuri language in Jharkhand. The first Nagpuri feature film was Sona Kar Nagpur 1992 which was produced and directed by Dhananjay Nath Tiwari.

                                     

8.15. Cinema by language Gorkha

Gorkha cinema consists of Nepali language films produced by Nepali-speaking Indians.

                                     

8.16. Cinema by language Odia Ollywood

The Odia language film industry operates in Bhubaneswar and Cuttack. The first Odia talkie Sita Bibaha 1936 came from Mohan Sunder Deb Goswami. Shreeram Panda, Prashanta Nanda, Uttam Mohanty and Bijay Mohanty started the Oriya film industry by finding an audience and a fresh presentation. The first colour film, Gapa Hele Be Sata Although a Story, It Is True, was made by Nagen Ray and photographed by Pune Film Institute-trained cinematographer Surendra Sahu. The best year for Odia cinema was 1984 when Maya Miriga Nirad Mohapatra and Dhare Alua were showcased in Indian Panorama and Maya Miriga was invited to Critics Week at Cannes. The film received the Best Third World Film award at Mannheim Film Festival, Jury Award at Hawaii and was shown at the London Film Festival.

                                     

8.17. Cinema by language Punjabi Pollywood

K.D. Mehra made the first Punjabi film, Sheela also known as Pind di Kudi Rustic Girl). Baby Noor Jehan was introduced as an actress and singer in this film. Sheela was made in Calcutta and released in Lahore; it was a hit across the province. Its success led many more producers to make Punjabi films. As of 2009, Punjabi cinema had 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 the 2000s Punjabi cinema revived with more releases every year featuring bigger budgets. Manny Parmar made the first 3D Punjabi film, Pehchaan 3D 2013.

                                     

8.18. Cinema by language Sindhi

The Sindhi film industry produces movies at intervals. The first was Abana 1958, which was a success throughout the country. Sindhi cinema then produced some Bollywood-style films such as Hal Ta Bhaji Haloon, Parewari, Dil Dije Dil Waran Khe, Ho Jamalo, Pyar Kare Dis: Feel the Power of Love and The Awakening. Numerous Sindhi have contributed in Bollywood, including G P Sippy, Ramesh Sippy, Nikhil Advani, Tarun Mansukhani, Ritesh Sidhwani and Asrani.

                                     

8.19. Cinema by language Sherdukpen

Director Songe Dorjee Thongdok introduced the first Sherdukpen-language film Crossing Bridges 2014. Sherdukpen is native to the north-eastern state of Arunachal Pradesh.

                                     

8.20. Cinema by language Tamil

Chennai once served as a base for all South Indian films.

The first south Indian talkie film Kalidas H. M. Reddy was shot in Tamil and Telugu. Sivaji Ganesan became Indias first actor to receive an international award when he won Best Actor at the Afro-Asian film festival in 1960 and the title of Chevalier in the Legion of Honour by the French Government in 1995.

AVM studios is the oldest surviving studio in India.

Tamil cinema is influenced by Dravidian politics, led by film personalities such as C N Annadurai, M G Ramachandran, M Karunanidhi and Jayalalithaa who became Chief Ministers of Tamil Nadu. K. B. Sundarambal was the first film personality to enter a state legislature in India. She was also the first to command a salary of one lakh rupees.

Tamil films are distributed to various parts of Asia, Southern Africa, Northern America, Europe and Oceania. The industry inspired Tamil film-making in Sri Lanka, Malaysia, Singapore and Canada.

Rajnikanth is referred to as "Superstar" and holds matinee idol status in South India. Kamal Haasan debuted in 1960 Kalathur Kannamma, for which he won the Presidents Gold Medal for Best Child Actor. Amitabh Bachchan has won the most Best Actor National Film Awards, with four awards. With seven submissions, Kamal Haasan has starred in the highest number of Academy Award submissions. Today actors like Vijay and Ajith Kumar are some of the most popular names across south India.Critically acclaimed composers such as Ilaiyaraaja and A. R. Rahman work in Tamil cinema. Art film directors include Santosh Sivan. Sridevi, Vyjayanthimala, Hema malini were debuted in Tamil films and became as female superstars ever in Indian cinema.

                                     

8.21. Cinema by language Telugu Tollywood

Indias most number of theatres are located in Andhra Pradesh and Telangana known for producing feature films in Telugu. Ramoji Film City, which holds the Guinness World Record for the worlds largest film production facility, is located in Hyderabad. Tollywood is the second largest industry after Bollywood interms of market and number films made in India. The Prasad IMAX in Hyderabad is the worlds largest 3D IMAX screen and is the worlds most viewed screen. Raghupathi Venkaiah Naidu is considered the "father of Telugu cinema". The annual Raghupati Venkaiah Award was incorporated into the Nandi Awards to recognise contributions to the industry.

Chittor V. Nagaiah was the first multilingual Indian film actor, thespian, composer, director, producer, writer and playback singer. Nagaiah made significant contributions to Telugu cinema, and starred in some two hundred productions. Regarded as one of the finest Indian method actors, he was Telugus first matinee idol. His forte was intense characters, often immersing himself in the characters traits and mannerisms. He was the first from South India to be honoured with the Padma Shri. He became known as Indias Paul Muni. S. V. Ranga Rao was one of the first Indian actors to receive the international award at the Indonesian Film Festival, held in Jakarta, for Narthanasala in 1963. N. T. Rama Rao was one of the most successful Telugu actors of his time.

B. Narsing Rao, K. N. T. Sastry and Pattabhirama Reddy garnered international recognition for their pioneering work in Parallel Cinema. Adurthi Subba Rao won ten National Film Awards, Telugu cinemas highest individual awards, for his directorial work. N.T. Rama Rao was an Indian actor, producer, director, editor and politician who earned three National Film Awards. He served as Chief Minister of Andhra Pradesh for seven years over three terms.

Bhanumathi Ramakrishna was a multilingual Indian film actress, drector, music director, singer, producer, author and songwriter. Widely known as the first female super star of Telugu cinema, she is also known for her work in Tamil cinema. Ghantasala Venkateswara Rao was an Indian film, composer, playback singer known for his works predominantly in South Indian cinema. S. P. Balasubramanyam holds the Guinness World Record of having sung the most songs for any male playback singer; the majority were in Telugu.

S. V. Ranga Rao, N. T. Rama Rao, Kanta Rao, Bhanumathi Ramakrishna, Savitri, Gummadi and Sobhan Babu received the Rashtrapati Award for best performance in a leading role. Sharada, Archana, Vijayashanti, Rohini, and P. L. Narayana received the National Film Award for the best performance in acting. Chiranjeevi was listed among "the men who changed the face of the Indian Cinema" by IBN-live India., The Telugu cinema history created the two part of Baahubali: The Beginning 2015 and Baahubali 2: The Conclusion 2017. The Baahubali franchise has achieved the highest grossing Indian multilingual film franchise of all time globally, with a box office of approximately ₹ 1.900 crore US$270 million. The first edition, Baahubali: The Beginning was nominated for Saturn Award for Best Fantasy Film, while the second edition, Baahubali 2: The Conclusion received the Saturn Award for Best International Film by the American Academy of Science Fiction, Fantasy and Horror Films. The second edition, garnered the Australian Telstra Peoples Choice Award at the 2017 Indian Film Festival of Melbourne.

                                     

8.22. Cinema by language Tulu

30 to 40 films are made annually in Tulu. K. N. Tailor and Machchendra nath Pandeshwar are Tulu icons. Usually Tulu films are released in theatres across the Kanara region of Karnataka.

Enna Thangadi, was the first, released in 1971. The critically acclaimed Suddha won the award for Best Indian Film at the Osian film festival held at New Delhi in 2006. Oriyardori Asal, released in 2011, is the most successful. Koti Chennaya 1973, Vishu Kumar was the first history-based. The first colour film was Kariyani Kattandi Kandani 1978, Aroor Bhimarao.

                                     

9. Awards

Dadasaheb Phalke is known as the "Father of Indian cinema". The Dadasaheb Phalke Award, for lifetime contribution to cinema, was instituted in his honour by the Government of India in 1969, and is the countrys most prestigious and coveted film award.