5/6/2014 Cinema of India - Wikipedia, the free encyclopedia

http://en.wikipedia.org/wiki/Cinema_of_India 1/35

Cinema of India

Alam Ara poster, 1931

Number of screens 10,020 (2010)[1]

• Per capita 0.9 per 100,000 (2010)[1]

Produced feature films (2005–2009)[2]

Total 1,178 (average)

Number of admissions (2010)[3]

Total 2,706,000,000

Gross Box Office (2013)[4]

Total $1.5 billion

Cinema of IndiaFrom Wikipedia, the free encyclopedia

The cinema of India consists of films produced acrossIndia, which includes the cinematic cultures of AndhraPradesh, Assam, Bihar, Gujarat, Haryana, Jammu andKashmir, Jharkhand, Karnataka, Kerala, Maharashtra,Manipur, Odisha, Punjab, Rajasthan, Tamil Nadu, Uttar

Pradesh and West Bengal.[5] Indian films came to befollowed throughout Southern Asia, the Greater Middle East,Southeast Asia, and the former Soviet Union. The cinema asa medium gained popularity in the country as many as 1,000

films in various languages of India were produced annually.[6]

Expatriates in countries such as the United Kingdom and theUnited States garnered international audiences for Indianfilms of various languages. Dadasaheb Phalke is the Father

of Indian cinema.[7][8][9][10] The Dadasaheb Phalke Award,for lifetime contribution to cinema, was instituted in hishonour, by the Government of India in 1969, and is the most

prestigious and coveted award in Indian cinema.[11]

In the 20th century, Indian cinema, along with the Hollywood

and Chinese film industries, became a global enterprise.[12]

At the end of 2010 it was reported that in terms of annual

film output, India ranks first, followed by Nollywood,[13]

Hollywood and China.[14] Indian film industry reached overallrevenues of $1.86 billion (Rs 93 billion) in 2011. This is

projected to rise to $3 billion (Rs 150 billion) in 2016.[15]

Enhanced technology paved the way for upgrading fromestablished cinematic norms of delivering product, altering themanner in which content reached the target audience. Visualeffects based, super hero and science fiction films like

Enthiran, Ra.One, Eega, and Krrish 3 emerged as blockbusters.[12] Indian cinema found markets in over 90

countries where films from India are screened.[16]

Directors such as Satyajit Ray, Ritwik Ghatak, Mrinal Sen, Adoor Gopalakrishnan, Buddhadeb Dasgupta, G.Aravindan, Aparna Sen, Shaji N. Karun and Girish Kasaravalli have made significant contributions to ParallelCinema and won global acclaim. Other filmmakers such as Shekhar Kapur, Mira Nair and Deepa Mehta have

found success overseas.[17] The Indian government extended film delegations to foreign countries such as theUnited States of America and Japan while the country's Film Producers Guild sent similar missions through

Europe.[18]

5/6/2014 Cinema of India - Wikipedia, the free encyclopedia

http://en.wikipedia.org/wiki/Cinema_of_India 2/35

India is the world's largest producer of films.[19][20] In 2009, India produced a total of 2961 films on celluloid, that

include 1288 feature films.[21] The provision of 100% foreign direct investment has made the Indian film market

attractive for foreign enterprises such as 20th Century Fox, Sony Pictures, Walt Disney Pictures[22][23] and Warner

Bros..[24] Indian enterprises such as Prasad's Group, Sun Pictures, PVP Cinemas, Zee, UTV, Suresh Productions,

and Adlabs also participated in producing and distributing films.[24] Tax incentives to multiplexes have aided the

multiplex boom in India.[24] 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.[24]

The South Indian film industry defines the four film cultures of South India as a single entity. They are the Kannada,the Malayalam, the Tamil and the Telugu industries. Although developed independently for a long period of time,gross exchange of film performers and technicians as well as globalisation helped to shape this new identity.

The Indian diaspora consists of millions of Indians overseas for which films are made available both through

mediums such as DVDs and by screening of films in their country of residence wherever commercially feasible.[25]

These earnings, accounting for some 12% of the revenue generated by a mainstream film, contribute substantially to

the overall revenue of Indian cinema, the net worth of which was found to be US$1.3 billion in 2000.[26] Music inIndian cinema is another substantial revenue generator, with the music rights alone accounting for 4–5% of the net

revenues generated by a film in India.[26]

Contents

1 History

2 Golden Age of Indian cinema

3 Modern Indian cinema

4 Global discourse

5 Influences

6 Multilinguals

7 Regional industries

7.1 Assamese cinema

7.2 Bengali cinema

7.3 Bhojpuri cinema

7.4 Chhattisgarhi Cinema

7.5 Gujarati cinema

7.6 Hindi cinema

7.7 Kannada cinema

7.8 Konkani cinema

7.9 Malayalam cinema

7.10 Marathi cinema

5/6/2014 Cinema of India - Wikipedia, the free encyclopedia

http://en.wikipedia.org/wiki/Cinema_of_India 3/35

Advertisement in The Times of India

of 25 May 1912 announcing the

screening of the first feature film of

India, Shree Pundalik by Dadasaheb

Torne

7.11 Oriya cinema

7.12 Punjabi cinema

7.13 Sindhi Cinema

7.14 Tamil cinema

7.15 Telugu cinema

8 Genres and styles

8.1 Masala films

8.2 Parallel cinema

9 Film music

10 Awards

11 Film Institutes in India

12 See also

13 Notes

14 References

15 External links

16 Further reading

History

Following the screening of the Lumière moving pictures in London(1895) cinema became a sensation across Europe and by July 1896 the

Lumière films had been in show in Bombay (now Mumbai).[27] In thenext year a film presentation by one Professor Stevenson featured a stageshow at Calcutta's Star Theatre. With Stevenson's encouragement andcamera Hiralal Sen, an Indian photographer, made a film of scenes from

that show, namely The Flower of Persia (1898).[28] The Wrestlers(1899) by H. S. Bhatavdekar showing a wrestling match at the HangingGardens in Mumbai was the first film ever to be shot by an Indian. It wasalso the first Indian documentary film.

The first Indian film released in India was Shree pundalik a silent film inMarathi by Dadasaheb Torne on 18 May 1912 at 'Coronation

Cinematograph', Mumbai.[29][30] Some have argued that Pundalik doesnot deserve the honour of being called the first Indian film because it wasa photographic recording of a popular Marathi play, and because thecameraman—a man named Johnson—was a British national and the film

was processed in London.[31][32]

5/6/2014 Cinema of India - Wikipedia, the free encyclopedia

http://en.wikipedia.org/wiki/Cinema_of_India 4/35

A scene from Raja Harishchandra

(1913) – The full-length motion

picture.

producer-director-screenwriter

Dadasaheb Phalke, the Father of

Indian cinema.[7][8][9][10]

The first full-length motionpicture in India was producedby Dadasaheb Phalke,Dadasaheb is the pioneer ofIndian film industry a scholaron India's languages andculture, who brought togetherelements from Sanskrit epics toproduce his RajaHarishchandra (1913), asilent film in Marathi. Thefemale roles in the film were

played by male actors.[33] Thefilm marked a historicbenchmark in the film industryin India. Only one print of thefilm was made and shown atthe Coronation Cinematograph on 3 May 1913. It was a commercialsuccess and paved the way for more such films.

The first Indian chain of cinema theatres was owned by the parsientrepreneur Jamshedji Framji Madan, who oversaw production of 10films annually and distributed them throughout the Indian subcontinent

starting from 1902.[33] He founded Elphinstone Bioscope Company inCalcutta. Elphinstone merged into Madan Theatres Limited in 1919which brought many of Bengal's most popular literary works to the stage.He also produced Satyawadi Raja Harishchandra in 1917, a remake ofPhalke's Raja Harishchandra (1913).

Raghupathi Venkaiah Naidu was an Indian artist and a pioneer in the production of silent Indian movies and

talkies.[34] Starting from 1909, he was involved in many aspects of Indian cinema's history, like travelling todifferent regions in Asia, to promote film work. He was the first to build and own cinema halls in Madras. In SouthIndia, R. Nataraja Mudaliar pioneered the production of silent films by producing Keechaka Vadham, South

India's first silent film.[35] he also established South India's first film studio in Madras.[36] Soon others like R. S.Prakash, Y. V. Rao and A. Narayanan followed them.

During the early twentieth century cinema as a medium gained popularity across India's population and its many

economic sections.[27] Tickets were made affordable to the common man at a low price and for the financially

capable additional comforts meant additional admission ticket price.[27] Audiences thronged to cinema halls as this

affordable medium of entertainment was available for as low as an anna (4 paisa) in Bombay.[27] The content of

Indian commercial cinema was increasingly tailored to appeal to these masses.[27] Young Indian producers began

to incorporate elements of India's social life and culture into cinema.[37] Others brought with them ideas from across

the world.[37] This was also the time when global audiences and markets became aware of India's film industry.[37]

5/6/2014 Cinema of India - Wikipedia, the free encyclopedia

http://en.wikipedia.org/wiki/Cinema_of_India 5/35

In 1927, the British Government, to promote the market in India for British films over American ones, formed theIndian Cinematograph Enquiry Committee. The ICC consisted of three British and three Indians, led by T.

Rangachari, a Madras lawyer.[38] This committee failed to support the desired recommendations of supportingBritish Film, instead recommending support for the fledgling Indian film industry. Their suggestions were shelved.

Ardeshir Irani released Alam Ara which was the first Indian talking film, on 14 March 1931.[33] H.M. Reddy,

produced and directed Bhakta Prahlada (Telugu), released on 15 September 1931 and Kalidas (Tamil)[39]

released on 31 October 1931. Kalidas was produced by Ardeshir Irani and directed by H.M. Reddy. These two

films are south India's first talkie films to have a theatrical release.[40] Jumai Shasthi was the first Bengali talkie.Following the inception of 'talkies' in India some film stars were highly sought after and earned comfortable incomes

through acting.[33] Actor of the time, Chittor V. Nagaiah, was one of the first multilingual film actor, singer, music

composer, producer and director's in India. He was known as the Paul Muni of India in the media.[41][42]

In 1933, East India Film Company has produced its first Indian film Sati Savithri Shot in Calcutta on a budget of 75 thousand, based on a noted stage play by Mylavaram Bala Bharathi Samajam, the film was directed by C.

Pullaiah casting stage actors Vemuri Gaggaiah and Dasari Ramathilakam as Yama and Savithri, respectively.[43]

The blockbuster film has received an honorary diploma at Venice Film Festival.[44] The first film studio in South

India, Durga Cinetone was built in 1936 by Nidamarthi Surayya in Rajahmundry, Andhra Pradesh.[45] As soundtechnology 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.[33] Studios emerged across major citiessuch 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.[46] 1940 film, Vishwa Mohini, is the firstIndian film, depicting the Indian movie world. The film was directed by Y. V. Rao and scripted by Balijepalli

Lakshmikanta Kavi.[47]

Bombay Talkies came up in 1934 and Prabhat Studios in Pune had begun production of films meant for the Marathi

language audience.[46] Filmmaker R. S. D. Choudhury produced Wrath (1930), banned by the British Raj in Indiaas it depicted actors as Indian leaders, an expression censored during the days of the Indian independence

movement.[33] Sant Tukaram, a 1936 film based on the life of Tukaram (1608–50), a Varkari Sant and spiritualpoet, was screened at the 1937 edition of Venice Film Festival and thus became the first Indian film to be screenedat an international film festival. The film was subsequently adjudged as one of the three best films of the year in the

World.[48] In 1938, Gudavalli Ramabrahmam, has co-produced and directed the social problem film, RaithuBidda, which was banned by the British administration in the region, for depicting the uprise of the peasantry among

the Zamindar's during the British raj.[49][50]

The Indian Masala film—a slang used for commercial films with song, dance, romance etc.—came up following

the second world war.[46] South Indian cinema gained prominence throughout India with the release of S.S.

Vasan's Chandralekha.[46] 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.[46] The partition of India following its

independence divided the nation's assets and a number of studios went to the newly formed Pakistan.[46] The strife

of partition would become an enduring subject for film making during the decades that followed.[46]

5/6/2014 Cinema of India - Wikipedia, the free encyclopedia

http://en.wikipedia.org/wiki/Cinema_of_India 6/35

Devika Rani and Ashok Kumar in

Achhut Kanya (1936).

Apu and Durga running to catch a

glimpse of a train, a famous scene of

the famous Bengali film Pather

Panchali[55]

After Indian independence the cinema of India was inquired by the S. K.

Patil Commission.[51] S.K. Patil, head of the commission, viewed cinemain India as a 'combination of art, industry, and showmanship' while noting

its commercial value.[51] Patil further recommended setting up of a Film

Finance Corporation under the Ministry of Finance.[52] This advice waslater taken up in 1960 and the institution came into being to provide

financial support to talented filmmakers throughout India.[52] The Indiangovernment had established a Films Division by 1948 which eventuallybecame one of the largest documentary film producers in the world withan annual production of over 200 short documentaries, each released in18 languages with 9000 prints for permanent film theatres across the

country.[53]

The Indian People's Theatre Association (IPTA), an art movement with a communist inclination, began to take

shape through the 1940s and the 1950s.[51] A number of realistic IPTA plays, such as Bijon Bhattacharya'sNabanna in 1944 (based on the tragedy of the Bengal famine of 1943), prepared the ground for the solidificationof realism in Indian cinema, exemplified by Khwaja Ahmad Abbas's Dharti Ke Lal (Children of the Earth) in

1946.[51] The IPTA movement continued to emphasize on reality and went on to produce Mother India and

Pyaasa, among India's most recognizable cinematic productions.[54]

Golden Age of Indian cinema

Following India's independence, the period from the late 1944s to the1960s are regarded by film historians as the 'Golden Age' of Indian

cinema.[56][57][58] Some of the most critically acclaimed Indian films of alltime were produced during this period. This period saw the emergence of

a new Parallel Cinema movement, mainly led by Bengali cinema.[59] Earlyexamples of films in this movement include Chetan Anand's Neecha

Nagar (1946),[60] Ritwik Ghatak's Nagarik (1952),[61][62] and BimalRoy's Do Bigha Zameen (1953), laying the foundations for Indian

neorealism[63] and the "Indian New Wave".[64] Pather Panchali (1955),the first part of The Apu Trilogy (1955–1959) by Satyajit Ray, marked

his entry in Indian cinema.[65] The Apu Trilogy won major prizes at allthe major international film festivals and led to the 'Parallel Cinema'movement being firmly established in Indian cinema. Its influence onworld 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".[66] Thecinematographer Subrata Mitra, who made his debut with Satyajit Ray's The Apu Trilogy, also had an importantinfluence on cinematography across the world. One of his most important techniques was bounce lighting, torecreate the effect of daylight on sets. He pioneered the technique while filming Aparajito (1956), the second part

of The Apu Trilogy.[67] Some of the experimental techniques which Satyajit Ray pioneered include photo-negative

flashbacks and X-ray digressions while filming Pratidwandi (1972).[68] Ray's 1967 script for a film to be calledThe Alien, which was eventually cancelled, is also widely believed to have been the inspiration for Steven

5/6/2014 Cinema of India - Wikipedia, the free encyclopedia

http://en.wikipedia.org/wiki/Cinema_of_India 7/35

A dance scene from the Tamil movie

Chandralekha (1948)

Spielberg's E.T. (1982).[69][70][71] Satyajit Ray and Ritwik Ghatak wenton to direct many more critically acclaimed 'art films', and they werefollowed by other acclaimed Indian independent filmmakers such asMrinal Sen, Mani Kaul, Adoor Gopalakrishnan, G. Aravindan and

Buddhadeb Dasgupta.[59] During the 1960s, Indira Gandhi's interventionduring her reign as the Information and Broadcasting Minister of Indiafurther led to production of off-beat cinematic expression being

supported by the official Film Finance Corporation.[52]

Commercial Hindi cinema also began thriving, with examples ofacclaimed 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 filmsexpressed 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.[59] Some epic films were also produced atthe time, including Mehboob Khan's Mother India (1957), which was nominated for the Academy Award for Best

Foreign Language Film,[72] and K. Asif's Mughal-e-Azam (1960).[73] V. Shantaram's Do Aankhen Barah Haath

(1957) is believed to have inspired the Hollywood film The Dirty Dozen (1967).[74] Madhumati (1958), directed

by Bimal Roy and written by Ritwik Ghatak, popularised the theme of reincarnation in Western popular culture.[75]

Other mainstream Hindi filmmakers at the time included Kamal Amrohi and Vijay Bhatt.

Ever since Chetan Anand's social realist film Neecha Nagar won the Grand Prize at the first Cannes Film

Festival,[60] Indian films were frequently in competition for the Palme d'Or at the Cannes Film Festival for nearlyevery year in the 1950s and early 1960s, with a number of them winning major prizes at the festival. Satyajit Rayalso 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.[76] Ray'scontemporaries, Ritwik Ghatak and Guru Dutt, were overlooked in their own lifetimes but had belatedly generated

international recognition much later in the 1980s and 1990s.[76][77] Ray is regarded as one of the greatest auteurs of

20th century cinema,[78] with Dutt[79] and Ghatak.[80] In 1992, the Sight & Sound Critics' Poll ranked Ray at No.

7 in its list of "Top 10 Directors" of all time,[81] while Dutt was ranked No. 73 in the 2002 Sight & Sound greatest

directors poll.[79]

A number of Indian films from different regions, from this era are often included among the greatest films of all timein various critics' and directors' polls. At this juncture, Telugu cinema and Tamil cinema experienced their respectivegolden age and during this time the production of Indian folklore, fantasy and mythological films like Mayabazar,

listed by IBN Live's 2013 Poll as the greatest Indian film of all time,[82] and Narthanasala grew up. A number ofSatyajit Ray films appeared in the Sight & Sound Critics' Poll, including The Apu Trilogy (ranked No. 4 in 1992 if

votes are combined),[83] The Music Room (ranked No. 27 in 1992), Charulata (ranked No. 41 in 1992)[84] and

Days and Nights in the Forest (ranked No. 81 in 1982).[85] The 2002 Sight & Sound critics' and directors' pollalso included the Guru Dutt films Pyaasa and Kaagaz Ke Phool (both tied at #160), the Ritwik Ghatak filmsMeghe 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.[86] In 1998,the critics' poll conducted by the Asian film magazine Cinemaya included The Apu Trilogy (ranked No. 1 if votesare combined), Ray's Charulata and The Music Room (both tied at #11), and Ghatak's Subarnarekha (also tied

5/6/2014 Cinema of India - Wikipedia, the free encyclopedia

http://en.wikipedia.org/wiki/Cinema_of_India 8/35

at #11).[80] In 1999, The Village Voice top 250 "Best Film of the Century" critics' poll also included The Apu

Trilogy (ranked No. 5 if votes are combined).[87] In 2005, The Apu Trilogy and Pyaasa were also featured in

Time magazine's "All-TIME" 100 best movies list.[88]

Modern Indian cinema

Some filmmakers such as Shyam Benegal continued to produce realistic Parallel Cinema throughout the 1970s,[89]

alongside Satyajit Ray, Ritwik Ghatak, Mrinal Sen, Buddhadeb Dasgupta and Gautam Ghose in Bengali cinema;Adoor Gopalakrishnan, Shaji N. Karun, John Abraham and G. Aravindan in Malayalam cinema; Nirad Mohapatrain Oriya cinema; K. N. T. Sastry and B. Narsing Rao in Telugu cinema;and Mani Kaul, Kumar Shahani, Ketan

Mehta, Govind Nihalani and Vijaya Mehta in Hindi cinema.[59] However, the 'art film' bent of the Film FinanceCorporation came under criticism during a Committee on Public Undertakings investigation in 1976, which accused

the body of not doing enough to encourage commercial cinema.[90]

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.[90] The devotional classic Jai Santoshi Ma was also

released in 1975.[90] Another important film from 1975 was Deewar, directed by Yash Chopra and written bySalim-Javed. A crime film pitting "a policeman against his brother, a gang leader based on real-life smuggler HajiMastan", portrayed by Amitabh Bachchan, it was described as being "absolutely key to Indian cinema" by Danny

Boyle.[91] 1979 Telugu film, Sankarabharanam, which dealt with the revival of Indian classical music, has won the

Prize of the Public at the Besancon Film Festival of France in the year 1981.[92] 1987 Kannada film, TabaranaKathe, which dealt with the inadequate governance, was screened at various film festivals including Tashkent,

Nantes, Tokyo, and the Film Festival of Russia.[93]

Long after the Golden Age of Indian cinema, South India's Malayalam cinema of Kerala regarded as one of thebest Indian film genres experienced its own 'Golden Age' in the 1980s and early 1990s. Some of the mostacclaimed Indian filmmakers at the time were from the Malayalam industry, including Adoor Gopalakrishnan, G.

Aravindan, T. V. Chandran and Shaji N. Karun.[94] Adoor Gopalakrishnan, who is often considered to be Satyajit

Ray's spiritual heir,[95] 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.[96]

Shaji N. Karun's debut film Piravi (1989) won the Camera d'Or at the 1989 Cannes Film Festival, while his

second film Swaham (1994) was in competition for the Palme d'Or at the 1994 Cannes Film Festival.[97]

Commercial Malayalam cinema also began gaining popularity with the action films of Jayan, a popular stunt actorwhose success was short-lived when he died while filming a dangerous helicopter stunt, followed by Mohanlal,whose film Yodha was acclaimed for its action sequences and technical aspects.

Commercial Hindi cinema further grew throughout the 1980s and the 1990s with the release of films such as EkDuuje Ke Liye (1981) Mr India (1987), Qayamat Se Qayamat Tak (1988), Tezaab (1988), Chandni (1989),

Maine Pyar Kiya (1989), Baazigar (1993), Darr (1993),[90] Dilwale Dulhaniya Le Jayenge (1995) and KuchKuch Hota Hai (1998), many of which starred Sridevi, Shahrukh Khan, Aamir Khan and Salman Khan.

5/6/2014 Cinema of India - Wikipedia, the free encyclopedia

http://en.wikipedia.org/wiki/Cinema_of_India 9/35

In the late 1990s, 'Parallel Cinema' began experiencing a resurgence in Hindi cinema, largely due to the critical andcommercial success of Satya (1998), a low-budget film based on the Mumbai underworld, directed by Ram GopalVarma and written by Anurag Kashyap. The film's success led to the emergence of a distinct genre known as

Mumbai noir,[98] urban films reflecting social problems in the city of Mumbai.[99] Later films belonging to theMumbai noir genre include Madhur Bhandarkar's Chandni Bar (2001) and Traffic Signal (2007), Ram GopalVarma's Company (2002) and its prequel D (2005), Anurag Kashyap's Black Friday (2004), Rahul Dholakia's"Parzania", Irfan Kamal's Thanks Maa (2009), and Deva Katta's Prasthanam (2010).

Other art film directors active today include Mrinal Sen, Mir Shaani, Buddhadeb Dasgupta, Gautam Ghose, SandipRay, Aparna Sen and Rituparno Ghosh in Bengali cinema; Adoor Gopalakrishnan, Shaji N. Karun and T. V.Chandran in Malayalam cinema; Nirad Mohapatra in Oriya cinema; Mani Kaul, Kumar Shahani, Ketan Mehta,

Govind Nihalani, Shyam Benegal,[59] Mira Nair, Nagesh Kukunoor, Sudhir Mishra and Nandita Das in Hindicinema; Pattabhirami Reddy, K. N. T. Sastry, B. Narsing Rao, and Akkineni Kutumba Rao in Telugu cinema;Santosh Sivan in Tamil cinema; Deepa Mehta, Anant Balani, Homi Adajania, Vijay Singh and Sooni Taraporevalagarnered recognition in Indian English cinema.

Global discourse

Indians during the colonial rule bought film equipment from Europe.[37] The British funded wartime propagandafilms 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.[100] One such story was Burma Rani,which depicted civilian resistance offered to Japanese occupation by the British and Indians present in

Myanmar.[100] Pre-independence businessmen such as J. F. Madan and Abdulally Esoofally traded in global

cinema.[33]

Indian cinema's early contacts with other regions became visible with its films making early inroads into the Soviet

Union, Middle East, Southeast Asia,[101] and China. Mainstream Hindi film stars like Raj Kapoor gained

international fame across Asia[102][103] and Eastern Europe.[104][105] Indian films also appeared in international fora

and film festivals.[101] This allowed 'Parallel' Bengali filmmakers such as Satyajit Ray to achieve worldwide fame,

with his films gaining success among European, American and Asian audiences.[106] Ray's work subsequently had a

worldwide impact, with filmmakers such as Martin Scorsese,[107] James Ivory,[108] Abbas Kiarostami, Elia Kazan,

François Truffaut,[109] Steven Spielberg,[69][70][71] Carlos Saura,[110] Jean-Luc Godard,[111] Isao Takahata,[112]

Gregory Nava, Ira Sachs and Wes Anderson[113] being influenced by his cinematic style, and many others such as

Akira Kurosawa praising his work.[114] The "youthful coming-of-age dramas that have flooded art houses since the

mid-fifties owe a tremendous debt to the Apu trilogy".[66] Subrata Mitra's cinematographic technique of bounce

lighting also originates from The Apu Trilogy.[67] Ray's film Kanchenjungha (1962) also introduced a narrative

structure that resembles later hyperlink cinema.[115] Since the 1980s, some previously overlooked Indian

filmmakers such as Ritwik Ghatak[116] and Guru Dutt[117] have posthumously gained international acclaim.

Many Asian and 'South Asian' countries increasingly came to find Indian cinema as more suited to their sensibilities

than Western cinema.[101] 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

5/6/2014 Cinema of India - Wikipedia, the free encyclopedia

http://en.wikipedia.org/wiki/Cinema_of_India 10/35

Victoria Public Hall, is a historical

building in Chennai, named after

Victoria, Empress of India. It served

as a theatre in the late 19th century

and the early 20th century.

numbers, and becoming an alternative to other international cinema.[118]

Indian cinema has more recently begun influencing Western musical films, and played a particularly instrumental rolein 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.[119] The critical and financial success of MoulinRouge! renewed interest in the then-moribund Western musical genre, subsequently fuelling a renaissance of the

genre.[120] Danny Boyle's Oscar-winning film Slumdog Millionaire (2008) was also directly inspired by Indian

films,[91][121] and is considered to be a "homage to Hindi commercial cinema".[122] Other Indian filmmakers arealso 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.[123]

Indian Cinema was also recognised at the American Academy Awards. Three Indian films, Mother India (1957),Salaam Bombay! (1988), and Lagaan (2001), were nominated for the Academy Award for Best ForeignLanguage Film. Indian winners of the Academy Awards include Bhanu Athaiya (costume designer), Satyajit Ray

(filmmaker), A. R. Rahman (music composer), Resul Pookutty (sound editor) and Gulzar (lyricist).[124]

Influences

There have generally been six major influences that have shaped theconventions of Indian popular cinema. The first was the ancient Indianepics of Mahabharata and Ramayana which have exerted a profoundinfluence on the thought and imagination of Indian popular cinema,particularly in its narratives. Examples of this influence include thetechniques of a side story, back-story and story within a story. Indianpopular films often have plots which branch off into sub-plots; suchnarrative dispersals can clearly be seen in the 1993 films Khalnayak andGardish.

The second influence was the impact of ancient Sanskrit drama, with itshighly stylised nature and emphasis on spectacle, where music, dance andgesture combined "to create a vibrant artistic unit with dance and mimebeing central to the dramatic experience." Sanskrit dramas were knownas natya, derived from the root word nrit (dance), characterising them

as spectacular dance-dramas which has continued in Indian cinema.[129]

The Rasa method of performance, dating back to ancient Sanskrit drama, is one of the fundamental features thatdifferentiate Indian cinema from that of the Western world. In the Rasa method, empathetic "emotions areconveyed by the performer and thus felt by the audience," in contrast to the Western Stanislavski method where theactor must become "a living, breathing embodiment of a character" rather than "simply conveying emotion." Therasa 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),[130] and

internationally acclaimed Bengali films directed by Satyajit Ray.[131]

The third influence was the traditional folk theatre of India, which became popular from around the 10th centurywith the decline of Sanskrit theatre. These regional traditions include the Yatra of West Bengal, the Ramlila of UttarPradesh, Yakshagana of Karnataka, 'Chindu Natakam' of Andhra Pradesh, and the Terukkuttu of Tamil Nadu.The fourth influence was Parsi theatre, which "blended realism and fantasy, music and dance, narrative and

5/6/2014 Cinema of India - Wikipedia, the free encyclopedia

http://en.wikipedia.org/wiki/Cinema_of_India 11/35

Prasads IMAX Theatre located at

Hyderabad, is the world's largest 3D-

IMAX screen, and also the most

attended screen in the

world.[125][126][127]

Ramoji Film City located in

Hyderabad, holds Guinness World

Record as the World's largest film

studio.[128]

PVR Cinemas in Bangalore is one of

the largest cinema chains in India

spectacle, earthy dialogue and ingenuity of stage presentation, integratingthem into a dramatic discourse of melodrama. The Parsi plays containedcrude humour, melodious songs and music, sensationalism and dazzling

stagecraft."[129] All of these influences are clearly evident in the masalafilm genre that was popularised by Manmohan Desai's films in the 1970sand early 1980s, particularly in Coolie (1983), and to an extent in more

recent critically acclaimed films such as Rang De Basanti.[130]

The fifth influence was Hollywood, where musicals were popular fromthe 1920s to the 1950s, though Indian filmmakers departed from theirHollywood counterparts in several ways. "For example, the Hollywoodmusicals had as their plot the world of entertainment itself. Indianfilmmakers, while enhancing the elements of fantasy so pervasive inIndian popular films, used song and music as a natural mode ofarticulation in a given situation in their films. There is a strong Indiantradition of narrating mythology, history, fairy stories and so on throughsong and dance." In addition, "whereas Hollywood filmmakers strove toconceal the constructed nature of their work so that the realistic narrativewas wholly dominant, Indian filmmakers made no attempt to conceal thefact that what was shown on the screen was a creation, an illusion, afiction.

However, they demonstrated how this creation intersected with people's

day to day lives in complex and interesting ways."[132] The final influencewas Western musical television, particularly MTV, which has had anincreasing influence since the 1990s, as can be seen in the pace, cameraangles, dance sequences and music of recent Indian films. An early

example of this approach was in Mani Ratnam's Bombay (1995).[133]

Like mainstream Indian popular cinema, Indian Parallel Cinema was alsoinfluenced also by a combination of Indian theatre (particularly Sanskritdrama) and Indian literature (particularly Bengali literature), but differswhen it comes to foreign influences, where it is more influenced byEuropean cinema (particularly Italian neorealism and French poeticrealism) rather than Hollywood. Satyajit Ray cited Italian filmmakerVittorio De Sica's Bicycle Thieves (1948) and French filmmaker JeanRenoir's The River (1951), which he assisted, as influences on his debutfilm Pather Panchali (1955). Besides the influence of European cinemaand Bengali literature, Ray is also indebted to the Indian theatricaltradition, particularly the Rasa method of classical Sanskrit drama. Thecomplicated doctrine of Rasa "centers predominantly on feelingexperienced not only by the characters but also conveyed in a certainartistic way to the spectator. The duality of this kind of a rasa

imbrication" shows in The Apu Trilogy.[131] Bimal Roy's Two Acres ofLand (1953) was also influenced by De Sica's Bicycle Thieves and inturn paved the way for the Indian New Wave, which began around the same time as the French New Wave and

5/6/2014 Cinema of India - Wikipedia, the free encyclopedia

http://en.wikipedia.org/wiki/Cinema_of_India 12/35

the Japanese New Wave.[64] Ray known as one of the most important influences to Parallel Cinema, was depictedas an auteur (Wollen). The focus of the majority of his stories portrayed the lower middle class and the unemployed

(Wollen). It wasn’t until the late 1960s that Parallel Cinema support grew (Wollen).[134]

Multilinguals

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

a bilingual or a trilingual [that] was the kind of film made in the 1930s in the studio era, when differentbut identical takes were made of every shot in different languages, often with different leading stars but

identical technical crew and music.[135]:15

Rajadhyaksha and Willemen note that in seeking to construct their Encclopedia, it they often found it "extremelydifficult 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."[135]:15

Regional industries

5/6/2014 Cinema of India - Wikipedia, the free encyclopedia

http://en.wikipedia.org/wiki/Cinema_of_India 13/35

First Assamese motion

picture – Joymati filmed in

1935

Table: Break-up by languages

Break-up of 2012 Indian feature films certified by the Central Board of Film Certification

sorted by languages.[136]

Language No. of films

Tamil 262

Telugu 256

Hindi 221

Malayalam 185

Kannada 128

Bengali 123

Marathi 123

Bhojpuri 87

Gujarati 72

Oriya 30

Punjabi 26

Chattisgarhi 20

Assamese 11

English 10

Rajasthani 8

Haryanvi 6

Konkani 4

Tulu 4

Others 1 each

Total 1602

Assamese cinema

Main article: Cinema of Assam

The Assamese language film industry traces its origins works of revolutionaryvisionary 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[137] in 1935, under the banner of CritrakalaMovietone. Due to the lack of trained technicians, Jyotiprasad, while making hismaiden film, had to shoulder the added responsibilities as the script writer,producer, director, choreographer, editor, set and costume designer, lyricist andmusic director. The film, completed with a budget of 60,000 rupees was releasedon 10 March 1935. The picture failed miserably. Like so many early Indian films,

5/6/2014 Cinema of India - Wikipedia, the free encyclopedia

http://en.wikipedia.org/wiki/Cinema_of_India 14/35

Satyajit Ray, Bengali filmmaker.

A scene from Dena Paona, 1931 –

first Bengali talkie

the negatives and complete prints of Joymati are missing. Some effort has been made privately by Altaf Mazid torestore and subtitle whatever is left of the prints. [3] Despite the significant financial loss from Joymati, the secondpicture Indramalati was filmed between 1937 and 1938 finally released in 1939.

Although the beginning of the 21st century has seen Bollywood-style Assamese movies hitting the screen, theindustry has not been able to compete in the market, significantly overshadowed by the larger industries such as

Bollywood.[138]

Assamese cinema has never really managed to make the breakthrough on the national scene despite its film industrymaking a mark in the National Awards over the years

Bengali cinema

Main article: Cinema of West Bengal

The Bengali language cinematic tradition of Tollygunge located in WestBengal has had reputable filmmakers such as Satyajit Ray, Ritwik Ghatak

and Mrinal Sen among its most acclaimed.[139] Recent Bengali films thathave captured national attention include Rituparno Ghosh's Choker Bali,

starring Aishwarya Rai.[140] Bengali filmmaking also includes Bengali

science fiction films and films that focus on social issues.[141] In 1993, the

Bengali industry's net output was 57 films.[142]

The history of cinema in Bengal dates back to the 1890s, when the first"bioscopes" were shown in theatres in Kolkata. Within a decade, the firstseeds of the industry was sown by Hiralal Sen, considered a stalwart ofVictorian era cinema when he set up the Royal Bioscope Company,producing scenes from the stage productions of a number of popularshows 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 Bengaliowned production company, in 1918. However, the first Bengali Featurefilm, Billwamangal, was produced in 1919, under the banner of MadanTheatre. Bilat Ferat was the IBFC's first production in 1921. The Madan

Theatres production of Jamai Shashthi was the first Bengali talkie.[143]

In 1932, the name "Tollywood" was coined for the Bengali film industrydue to Tollygunge rhyming with "Hollywood" and because it was thecenter of the Indian film industry at the time. It later inspired the name"Bollywood", as Mumbai (then called Bombay) later overtookTollygunge as the center of the Indian film industry, and many other

Hollywood-inspired names.[144] The 'Parallel Cinema' movement began in the Bengali film industry in the 1950s. Along history has been traversed since then, with stalwarts such as Satyajit Ray, Mrinal Sen, Ritwik Ghatak andothers having earned international acclaim and securing their place in the history of film.

Bhojpuri cinema

5/6/2014 Cinema of India - Wikipedia, the free encyclopedia

http://en.wikipedia.org/wiki/Cinema_of_India 15/35

Main article: Bhojpuri cinema

Bhojpuri language films predominantly cater to people who live in the regions of western Bihar and eastern UttarPradesh. These films also have a large audience of like in the cities of Delhi and Mumbai due to migration to thesemetros 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.[145] Bhojpuri language film's history begins in1962 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.[146] Throughout the following decades, films were produced only infits 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 commonlyproduced 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.[147] This success was quicklyfollowed by several other remarkably successful films, including Panditji Batai Na Biyah Kab Hoi ("Priest, tell mewhen I will marry," 2005, directed by Mohan Prasad) and Sasura Bada Paisa Wala ("My father-in-law, the richguy," 2005). In a measure of the Bhojpuri film industry's rise, both of these did much better business in the states ofUttar 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.[148] Although a smaller industry compared toother Indian film industries, the extremely rapid success of their films has led to dramatic increases in Bhojpuri

cinema's visibility, and the industry now supports an awards show[149] and a trade magazine, Bhojpuri City.[150]

Chhattisgarhi Cinema

Main article: Chhollywood

Chhollywood was born in 1965 with the first Chhattisgarhi film Kahi Debe Sandesh ("In Black and White")

directed and produced by Manu Nayak was released.[151] It was a story of intercaste love and it is said that former

Indian Prime minister Indira Gandhi watched the movie.[citation needed] Dr Naidu wrote the lyrics for the film,[152]

and two songs of the movie were sung by Indian singer Mohammad Rafi. Then came the next, Niranjan Tiwari'sdirected Ghar Dwar in 1971, produced by Vijay Kumar Pandey. However, both movies did not do well at the

box office, and disappointed the producers. No movie was produced for nearly 30 years thereafter.[153]

Gujarati cinema

Main article: Gujarati cinema

The film industry of Gujarat started its journey in 1932. Since then Gujarati films immensely contributed to Indiancinema. Gujarati cinema has gained popularity among the regional film industry in India. Gujarati cinema is alwaysbased on scripts from mythology to history and social to political. Since its origin Gujarati cinema has experimentedwith stories and issues from the Indian society. Furthermore, Gujarat has immense contribution to Bollywood asseveral Gujarati actors have brought glamour to the Indian film industry. Gujarati film industry has included the workof actors including Sanjeev Kumar, Rajendra Kumar, Bindu, Asha Parekh, Kiran Kumar, Arvind Trivedi, ArunaIrani, Mallika Sarabhai, Naresh Kanodia, Mahesh Kanodia and Asrani.

5/6/2014 Cinema of India - Wikipedia, the free encyclopedia

http://en.wikipedia.org/wiki/Cinema_of_India 16/35

The scripts and stories dealt in the Gujarati films are intrinsically humane. They include relationship- and family-oriented subjects with human aspirations and deal with Indian family culture. Thus, there can be no turning awayfrom the essential humanity of these Gujarati cinema. The first Gujarati movie, Narasinh Mehta, was released in theyear 1932 and was directed by Nanubhai Vakil. The film starred Mohanlala, Marutirao, Master Manhar, and MissMehtab. It was of the `Saint film` genre and was based on the life of the saint Narasinh Mehta who observed acreed that was followed centuries later by Mahatma Gandhi. The film was matchless as it avoided any depiction ofmiracles. In 1935, another social movie, Ghar Jamai was released, directed by Homi Master. The film starredHeera, Jamna, Baby Nurjehan, Amoo, Alimiya, Jamshedji, and Gulam Rasool. The film featured a `resident son-in-law` (ghar jamai) and his escapades as well as his problematic attitude toward the freedom of women. It was acomedy-oriented movie that was a major success in the industry.

Gujarati films thus proceeded with several other important social, political as well as religious issues. The years1948, 1950, 1968, 1971 moved in a wide variety of dimensions. The Gujarati movies such as Kariyavar, directedby Chaturbhuj Doshi, Vadilona Vank directed by Ramchandra Thakur, Gadano Bel directed by Ratibhai Punatarand Leeludi Dharti directed by Vallabh Choksi brought immense success to the industry. The problems ofmodernisation are the underlying concern of several films. The movies like Gadano Bel had strong realism andreformism.

Hindi cinema

Main article: Bollywood

The Hindi language film industry of Mumbai—also known as Bollywood—is the largest and most popular branch of

Indian cinema.[154] Hindi cinema initially explored issues of caste and culture in films such as Achhut Kanya (1936)

and Sujata (1959).[155] International visibility came to the industry with Raj Kapoor's Awara and later in Shakti

Samantha's Aradhana starring Rajesh Khanna and Sharmila Tagore.[156] Hindi cinema grew during the 1990s

with the release of as many as 215 films.[25] With Dilwale Dulhania Le Jayenge, Hindi cinema registered its

commercial presence in the Western world.[25]

In 1995 the Indian economy began showing sustainable annual growth, and Hindi cinema, as a commercial

enterprise, grew at a growth rate of 15% annually.[25] The salary of lead stars increased greatly. Many actors

signed contracts for simultaneous work in 3–4 films.[26] Institutions such as the Industrial Development Bank of

India also came forward to finance Hindi films.[26] A number of magazines such as Filmfare, Stardust, Cineblitz,

etc., became popular.[157]

The audience's reaction towards Hindi cinema is distinctive with involvement in the films by audience's clapping,

singing, reciting familiar dialogue with the actors.[158]

Kannada cinema

Main article: Kannada cinema

Kannada film industry, also referred as Sandalwood, is based in Bengaluru and caters mostly to the state ofKarnataka. Rajkumar was eminent in Kannada film industry. In his career, he performed versatile characters andsung hundreds of songs for film and albums. Other notable Kannada and Tulu actors include Vishnuvardhan,

5/6/2014 Cinema of India - Wikipedia, the free encyclopedia

http://en.wikipedia.org/wiki/Cinema_of_India 17/35

Statue of Rajkumar at KG Road (near

Santosh theatre) in Bengaluru

Ambarish, Ravichandran, Girish Karnad, Prakash Raj, Shankar Nag, Ananth Nag, Upendra, Darshan, Sudeep,Ganesh, Shivaraj Kumar, Puneet Rajkumar, Kalpana, Bharathi, Jayanthi, Pandari Bai, Tara, Umashri and Ramya.

Film directors from the Kannada film industry like Girish Kasaravalli, P.Sheshadri have garnered nationalrecognition. Other noted directors include Puttanna Kanagal, G. V. Iyer,Girish Karnad, T. S. Nagabharana, Upendra, Yograj Bhat, Soori. G.K.Venkatesh, Vijaya Bhaskar, Rajan-Nagendra, Hamsalekha, Gurukiran,Anoop Seelin and V. Harikrishna are other noted music directors.

Kannada cinema, along with Bengali and Malayalam films, contributedsimultaneously to the age of Indian parallel cinema. Some of the influentialKannada films in this genre are Samskara (based on a novel by U. R.Ananthamurthy), Chomana Dudi by B. V. Karanth, Tabarana Kathe,Vamshavruksha, Kadu Kudure, Hamsageethe, Bhootayyana MagaAyyu, Accident, Maanasa Sarovara, Ghatashraddha, TabaranaKathe, Mane, Kraurya, Thaayi Saheba, Dweepa. Munnudi, Atithi,Beru', Thutturi, Vimukthi, Bettada Jeeva, Bharath Stores

Konkani cinema

Main article: Konkani cinema

Konkani language films are mainly produced in Goa. It is one of the smallest film industries in India with just 4 films

produced in 2009.[21] Konkani language is spoken mainly in the states of Goa, Maharashtra and Karnataka and toa smaller extent in Kerala. The first full length Konkani film was Mogacho Anvddo, released on 24 April 1950, and

was produced and directed by Jerry Braganza, a native of Mapusa, under the banner of Etica Pictures.[159][160]

Hence, 24 April is celebrated as Konkani Film Day.[161] Karnataka is the hub of a good number of Konkanispeaking people. There is an immense Konkani literature and art in Karnataka. Several films have been notedamong the Karnataka Konkani folks. Kazar (English: Marriage) is a 2009 Konkani film directed by RichardCastelino and produced by Frank Fernandes. Konkani Movie 'Ujvaadu' – Shedding New Light on Old AgeIssues. The director and producer of the Konkani film "Ujvaadu", Kasaragod Chinna, whose stage name is SujeerSrinivas Rao. The pioneering Mangalorean Konkani Film is Mog Ani Maipas. It was well appreciated among theKaranataka film makers.

Malayalam cinema

Main article: Cinema of Kerala

The Malayalam film industry, (some film magazines call Mollywood), is based in Kerala. It is considered to be thefourth largest among the film industries in India. Malayalam film industry is known for films that bridge the gapbetween parallel cinema and mainstream cinema by portraying thought-provoking social issues with top notchtechnical perfection but with low budgets. Filmmakers include Adoor Gopalakrishnan, Shaji N. Karun, G.Aravindan, K. G. George, Padmarajan, Sathyan Anthikad, T. V. Chandran and Bharathan.

Vigathakumaran, a silent movie released in 1928 produced and directed by J. C. Daniel, marked the beginning of

Malayalam cinema.[162] Balan, released in 1938, was the first Malayalam "talkie".[163][164] Malayalam films weremainly produced by Tamil producers till 1947, when the first major film studio, Udaya Studio, was established in

5/6/2014 Cinema of India - Wikipedia, the free encyclopedia

http://en.wikipedia.org/wiki/Cinema_of_India 18/35

Shaji N. Karun, Malayalam film

director

Kerala.[165] 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.[166] Newspaper Boy, made by a group of students in 1955, was the

first neo-realistic film in Malayalam.[167] Chemmeen (1965), directed by Ramu Kariat and based on a story byThakazhi Sivasankara Pillai, went on to become immensely popular, and became the first South Indian film to win

the National Film Award for Best Feature Film.[168]

The period from late 1980s to early 1990s is popularly regarded as the 'Golden Age of Malayalam Cinema'[169]

with the emergence of actors Mohanlal, Mammootty, Suresh Gopi,Jayaram, Murali, Thilakan and Nedumudi Venu and filmmakers such asI.V. Sasi, Bharathan, Padmarajan, K. G. George, Sathyan Anthikad,Priyadarshan, A. K. Lohithadas, Siddique-Lal, TK Rajeev Kumar andSreenivasan. In 2012, the total number of Malayalam movies releasedwhere 128 out of which about 40 movies managed to break even.

Marathi cinema

Main article: Marathi cinema

Marathi cinema is the films produced in the Marathi language in the stateof Maharashtra, India. Marathi Cinema is one of the oldest industry inIndian Cinema. In fact the pioneer of cinema in Union of India wasDadasaheb Phalke, who brought the revolution of moving images to Indiawith his first indigenously made silent film Raja Harishchandra in 1913,which is considered by IFFI and NIFD part of Marathi cinema as it wasmade by a Marathi crew.

The first Marathi talkie film, Ayodhyecha Raja (produced by Prabhat Films) was released in 1932, just one yearafter "Alam Ara" the first Hindi talkie film. Marathi cinema has grown in recent years, with two of its films, namely"Shwaas" (2004) and "Harishchandrachi Factory" (2009), being sent as India's official entries for the Oscars.Today the industry is based in Mumbai, Maharashtra, but it sprouted and grew first from Kolhapur and then Pune.

There are many marathi movies, the list of best films in Marathi will be very big very few can be named like'Sangate Aika','Ek Gao Bara Bhangdi,'Pinjara' of V. Shantaram,'Sinhasan', 'Paathlaag' 'Jait Re Jait' 'Saamana',Santh Wahate Krishnamai','Sant Tukaram','Shyamchi Aai' by Acharya Atre, based on Sane Guruji's best novelShamchi Aai, and so on. Maharashtra has immense contribution to Bollywood as several Maharashtrian actorshave brought glamour to the Indian film industry. Marathi film industry has included the work of actors including,Nutan, Tanuja, V Shantaram, Dr. Shriram Lagoo, Ramesh Dev and Seema Dev, Nana Patekar, Smita Patil,Madhuri Dixit, Sonali Kulkarni, Sonali Bendre, Urmila Matondkar , Reema Lagoo, Lalita Pawar, Mamta Kulkarni,Nanda, Padmini Kolhapure, Sadashiv Amrapurkar, Sachin Khedekar, Durga Khote, and Others

Oriya cinema

Main article: Oriya cinema

5/6/2014 Cinema of India - Wikipedia, the free encyclopedia

http://en.wikipedia.org/wiki/Cinema_of_India 19/35

The Oriya Film Industry is the Bhubaneswar and Cuttack based Oriya language film industry. Sometimes called

Ollywood a portmanteau of the words Oriya and Hollywood, although the origins of the name are disputed.[170]

The first Oriya talkie Sita Bibaha was made by Mohan Sunder Deb Goswami in 1936. Shreeram panda, PrashantaNanda, Uttam Mohanty, Bijay Mohanty started the revolution in the Oriya film industry by not only securing a hugeaudience but also bringing in a newness in his presentation. His movies heralded in the golden era of the Oriya

commercial industry by bringing in freshness to Oriya movies.[171] Then the first color film was made by Nagen Rayand photographed by a Pune Film Institute trained cinematographer Mr. Surendra Sahu titled " Gapa Hele BeSata"- meaning although its a story, its true. But the golden phase of Oriya Cinema was 1984 when two Oriya films'Maya Miriga' and 'Dhare Alua' was showcased in 'Indian Panorama' and Nirad Mohapatra's 'Maya Miriga' wasinvited for the 'Critics Week' in Cannes. The film received 'Best Third World Film'award at Mannheim FilmFestival, Jury Award at Hawaii and was shown at London Film Festival.

Punjabi cinema

Main article: Punjabi cinema

K.D. Mehra made the first Punjabi film Sheila (also known as Pind di Kudi). Baby Noor Jehan was introduced asan actress and singer in this film. Sheila was made in Calcutta (now Kolkata) and released in Lahore, the capital ofPunjab; it ran very successfully and was a hit across the province. Due to the success of this first film many moreproducers started making Punjabi films. As of 2009, Punjabi cinema has produced between 900 and 1,000movies. 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 the 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. Manny Parmar made the first 3DPunjabi film, Pehchaan 3D, which released in 2013.

Sindhi Cinema

Main article: Sindhi cinema

Though Striving hard to survive, mainly because not having a state or region to represent, Sindhi film industry hasbeen producing movies in intervals of time. The very first Sindhi movie produced in India was 1958 film Abanawhich was a success throughout the country. In the later time Sindhi cinema has seen the production of someBollywood style films like Hal ta Bhaji Haloon, Parewari, Dil Dije Dil Waran Khe, Ho Jamalo, Pyar Kare Dis:Feel the Power of Love and The Awakening. There are a numerous personalities from Sindhi descent who havebeen and are contributing in Bollywood G P Sippy, Ramesh Sippy, Nikhil Advani, Tarun Mansukhani, RiteshSidhwani, Asrani and many more.

Tamil cinema

Main article: Tamil cinema

The Tamil film industry, also known as Kollywood is based in Chennai. The city once served as a base for all South

Indian films and to date remains South India's largest film production centre.[172] Sivaji Ganesan became India's firstever actor to receive an international award when he won the "Best Actor" award at the Afro-Asian film festival in

1960.[173] In Tamil films Music plays an important role with acclaimed composers such as Ilaiyaraaja and A. R.

5/6/2014 Cinema of India - Wikipedia, the free encyclopedia

http://en.wikipedia.org/wiki/Cinema_of_India 20/35

Kalidas (1931), Tamil cinema's

first talkie

Rahman having "international following". Tamil cinema is also influenced by Dravidian politics,[174] with prominent

film personalities turning Chief Ministers of Tamil Nadu.[175] Tamil films are distributed to various parts of Asia,

Southern Africa, Northern America, Europe and Oceania.[176] The industry has inspired Tamil film-making in SriLanka, Malaysia, Singapore and Canada.

Telugu cinema

Main article: Telugu cinema

In the years 2005, 2006 and 2008 the Telugu Film industry produced thelargest number of films in India exceeding the number of films produced in

Bollywood, with 268, 245 and 286 films in each year respectively.[177][178]

As of 2012, the Telugu film Industry produced the second highest number of

films in the country.[136]

Ramoji Film City, which holds the Guinness World Record for the world's

largest film production facility, is located in Hyderabad, India.[179] The

Prasad's IMAX located in Hyderabad is the world's largest 3D IMAX Screen[125][126] and it is the most attended

screen in the world.[127] Hyderabad is the only city in India which has six functional Film studios.

The state of Andhra Pradesh has the most number of Cinema Theaters in India[180]

Play back singer S. P. Balasubramanyam holds the Guinness World Record of having sung the most number of

songs for any male playback singer in the world.[181][182][183] In 2002, the Guinness Book of Records namedVijaya Nirmala as the female director with most number of films; she made 47 films. In a career spanningapproximately two decades, she acted in over 200 films with 25 each in Malayalam and Tamil. She also produced

15 films.[184] Telugu actor Brahmanandam holds the Guinness World Record for acting in the most number of films

in a single language.[31][179][185][186] Movie producer D.Rama Naidu holds the Guinness World Record as the most

prolific producer with 130 films.[187] The highest number of theaters for any state in India is in Andhra Pradesh

2809 out of 10167 [188]

Genres and styles

Masala films

Main article: Masala (film genre)

Masala is a style of Indian cinema, especially in Bollywood, Cinema of West Bengal and South Indian films, inwhich there is a mix of various genres in one film. For example, a film can portray action, comedy, drama, romanceand melodrama all together. Many of these films also tend to be musicals, including songs filmed in picturesquelocations, which is now very common in Bollywood films. Plots for such movies may seem illogical and improbableto unfamiliar viewers. The genre is named after the masala, a mixture of spices in Indian cuisine.

Parallel cinema

5/6/2014 Cinema of India - Wikipedia, the free encyclopedia

http://en.wikipedia.org/wiki/Cinema_of_India 21/35

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 of realism and naturalism, with a keen eye on the social-political climate of the times.This movement is distinct from mainstream Bollywood cinema and began around the same time as the French NewWave and Japanese New Wave. The movement was initially led by Bengali cinema (which has producedinternationally acclaimed filmmakers such as Satyajit Ray, Mrinal Sen, Ritwik Ghatak, and others) and then gainedprominence in the other film industries of India. Some of the films in this movement have garnered commercialsuccess, successfully straddling art and commercial cinema. An early example of this was Bimal Roy's Two Acresof 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.[63][64][189]

The neo-realist filmmakers were the Bengali filmmaker Satyajit Ray, closely followed by Ritwik Ghatak, Mrinal

Sen, Shyam Benegal, Shaji N.Karun, Adoor Gopalakrishnan[59] and Girish Kasaravalli[190] Ray's films include TheApu Trilogy, consisting of Pather Panchali (1955), Aparajito (1956) and The World of Apu (1959). The threefilms won major prizes at the Cannes, Berlin and Venice Film Festivals, and are frequently listed among the greatest

films of all time.[87][88][191][192]

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.[26] The major film music companies of India are Saregama, Sony Music

etc.[26] Commercially, film music accounts for 48% India's net music sales.[26] A typical Indian film may have

around 5–6 choreographed songs spread throughout the film's length.[193]

The demands of a multicultural, increasingly globalised Indian audience often led to a mixing of various local and

international musical traditions.[193] 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.[193] Playback singers such as

Mohammad Rafi, Lata Mangeshkar drew large crowds with national and international film music stage shows.[193]

The end of the 20th century and the beginning of the 21st saw extensive interaction between artists from India and

the western world.[194] Artists from Indian diaspora blended the traditions of their heritage to those of their country

to give rise to popular contemporary music.[194]

Awards

This section lists the most important film awards given for Indian cinema by national and state authorities.

5/6/2014 Cinema of India - Wikipedia, the free encyclopedia

http://en.wikipedia.org/wiki/Cinema_of_India 22/35

Award Year of Inception Awarded by

Bengal Film Journalists' Association Awards 1937 Government of West Bengal

National Film Awards 1954Directorate of Film Festivals,

Government of India

Maharashtra State Film Awards 1963 Government of Maharashtra

Nandi Awards 1964 Government of Andhra Pradesh

Tamil Nadu State Film Awards 1967 Government of Tamil Nadu

Karnataka State Film Awards 1967 Government of Karnataka

Orissa State Film Awards 1968 Government of Odisha

Kerala State Film Awards 1969 Government of Kerala

Below are the major non-governmental (private) awards.

Award Year of Inception Awarded by

Filmfare Awards

Filmfare Awards South1954 Bennett, Coleman and Co. Ltd.

Screen Awards 1994 Screen Weekly

Zee Cine Awards 1998 Zee Entertainment Enterprises

IIFA Awards 2000 Wizcraft International Entertainment Pvt Ltd

Stardust Awards 2003 Stardust

Apsara Awards 2004 Apsara Producers Guild

South Indian International Movie Awards 2012 South Indian Film Industry

Film Institutes in India

Several institutes, both government run and private, provide formal education in various aspects of filmmaking.Some of the prominent ones include:

AJK Mass Communication Research Centre, Jamia Millia Islamia, New Delhi

Annapurna International School of Film and Media, Hyderabad

Arya Film and Television Academy, Jaipur

Asian Academy of Film & Television

Biju Pattanaik Film and Television Institute, Cuttack

Centre for advanced media studies, Patiala

City Pulse Institute of Film & Television, Gandhinagar, Gujarat

Department of Culture & Media studies, Central University of Rajasthan

Film and Television Institute of India (FTII), Pune

Govt. Film and Television Institute, Bangalore

5/6/2014 Cinema of India - Wikipedia, the free encyclopedia

http://en.wikipedia.org/wiki/Cinema_of_India 23/35

See also

International Film Festival of India

International Film Festival of Kerala

Kolkata International Film Festival

List of cinema of the world

Notes

Govt. Film and Television Institute, Bangalore

L V Prasad Film & TV Academy, Chennai[195]

Madras Film Institute, Chennai

Matrikas Film School[196]

National Institute of Design, Ahmedabad[197]

Regional Government Film and Television Institute (RGFTI), Guwahati.

Satyajit Ray Film and Television Institute, Kolkata

Srishti School of Art, Design and Technology, Bengaluru, Karnataka

Whistling Woods International

1. a b "Table 8: Cinema Infrastructure - Capacity" (http://stats.uis.unesco.org/unesco/TableViewer/tableView.aspx?

ReportId=5542). UNESCO Institute for Statistics. Retrieved 5 November 2013.

2. ^ "Average national film production" (http://www.uis.unesco.org/culture/Documents/average-film-production-

2009.xls). UNESCO Institute for Statistics. Retrieved 5 November 2013.

3. ^ "Table 11: Exhibition - Admissions & Gross Box Office (GBO)"

(http://stats.uis.unesco.org/unesco/TableViewer/tableView.aspx?ReportId=5538). UNESCO Institute for Statistics.

Retrieved 5 November 2013.

4. ^ "Theatrical Market Statistics" (http://www.mpaa.org/wp-content/uploads/2014/03/MPAA-Theatrical-Market-

Statistics-2013_032514-v2.pdf). Motion Picture Association of America. p. 5. Retrieved 23 April 2014.

5. ^ Hasan Suroor (26 October 2012). "Arts : Sharmila Tagore honoured by Edinburgh University"

(http://www.thehindu.com/arts/sharmila-tagore-honoured-by-edinburgh-university/article4031942.ece). The Hindu.

Retrieved 1 November 2012.

6. ^ "Electrolux-2nd" (http://www.sebi.gov.in/dp/gvfilms.pdf) (PDF). Retrieved 6 February 2012.

7. a b "Dadasaheb Phalke Father of Indian Cinema" (http://www.thecolorsofindia.com/dadasaheb-phalke/father-

indian-cinema.html). Thecolorsofindia.com. Retrieved 1 November 2012.

8. a b Bāpū Vāṭave; National Book Trust (2004). Dadasaheb Phalke, the father of Indian cinema

(http://books.google.com/?id=zTZnAAAAMAAJ). National Book Trust. ISBN 978-81-237-4319-6. Retrieved 1

November 2012.

5/6/2014 Cinema of India - Wikipedia, the free encyclopedia

http://en.wikipedia.org/wiki/Cinema_of_India 24/35

9. a b Sachin Sharma (28 June 2012). "Godhra forgets its days spent with Dadasaheb Phalke"

(http://articles.timesofindia.indiatimes.com/2012-06-28/vadodara/32456429_1_godhra-dadasaheb-phalke-father-of-

indian-cinema). The Times of India. Retrieved 1 November 2012.

10. a b Vilanilam, J. V. (2005). Mass Communication in India: A Sociological Perspective

(http://books.google.com/?id=nADAQgAACAAJ&pg=PA128). New Delhi: Sage Publications. p. 128. ISBN 81-

7829-515-6.

11. ^ "::Directorate of Film Festivals::" (http://www.dff.nic.in/dadasahebphalke.asp). Dff.nic.in. 10 June 2012.

Retrieved 1 November 2012.

12. a b Khanna, 155

13. ^ "Nigeria surpasses Hollywood as world's second largest film producer – UN"

(http://www.un.org/apps/news/story.asp?NewsID=30707). United Nations. 5 May 2009. Retrieved 26 March

2013.

14. ^ "Chinese film industry races close to Bollywood" (http://articles.timesofindia.indiatimes.com/2011-01-

10/india/28358616_1_film-industry-chinese-film-chinese-movie). The Times of India. 10 January 2011.

15. ^ Bollywood 2012: Nine Blockbusters (http://www.hollywoodreporter.com/news/bollywood-2012-nine-

blockbusters-406727). Hollywoodreporter.com (2012-12-28). Retrieved on 2013-07-29.

16. ^ Khanna, 158

17. ^ Khanna, 158–159

18. ^ Khanna, 159

19. ^ Watson (2009)

20. ^ Khanna, "The Business of Hindi Films", 140

21. a b Annual report 2009

(http://cbfcindia.gov.in/CbfcWeb/fckeditor/editor/images/Uploadedfiles/file/Publications/ANR2009-ch6-SI.pdf)

(PDF). Central Board of Film Certification, Ministry of Information and Broadcasting, GOVERNMENT OF

INDIA. Retrieved 16 July 2010.

22. ^ "Business Line: Today's Paper / MARKETING: Disney fantasy film in Telugu, Tamil"

(http://www.thehindubusinessline.com/todays-paper/tp-marketing/article989714.ece?ref=archive). Business Line.

22 April 2010. Retrieved 6 February 2012.

23. ^ "Walt Disney picks Shruti, Siddharth!" (http://articles.timesofindia.indiatimes.com/2010-03-17/news-

interviews/28114703_1_walt-disney-characters-film). The Times of India. 17 March 2010.

24. a b c d Khanna, 156

25. a b c d Potts, 74

26. a b c d e f g Potts, 75

27. a b c d e Burra & Rao, 252

28. ^ McKernan, Luke (31 December 1996). "Hiralal Sen (copyright British Film Institute)" (http://www.victorian-

cinema.net/sen.htm). Retrieved 1 November 2006.

29. ^ Kadam, Kumar (24 April 2012). "दादासाहब तोरण�च �व�मरण नको!"

(http://author.blogs.maharashtratimes.com/kokan/entry/%E0%A4%A6-%E0%A4%A6-%E0%A4%B8-

5/6/2014 Cinema of India - Wikipedia, the free encyclopedia

http://en.wikipedia.org/wiki/Cinema_of_India 25/35

(http://author.blogs.maharashtratimes.com/kokan/entry/%E0%A4%A6-%E0%A4%A6-%E0%A4%B8-

%E0%A4%B9-%E0%A4%AC).

30. ^ Raghavendara, MK (5 May 2012). "What a journey" (http://www.dailypioneer.com/home/online-channel/top-

story/62942-what-a-journey.html).

31. a b Damle, Manjiri (21 April 2012). "Torne's 'Pundlik' came first, but missed honour"

(http://articles.timesofindia.indiatimes.com/2012-04-21/pune/31378416_1_english-films-subtitles-bourne). The

Times Of India.

32. ^ Mishra, Garima (3 May 2012). "Bid to get Pundalik recognition as first Indian feature film"

(http://www.indianexpress.com/news/bid-to-get-pundalik-recognition-as-first-indian-feature-film/944727/).

33. a b c d e f g Burra & Rao, 253

34. ^ The Hindu : Friday Review Hyderabad : `Nijam cheppamantara, abaddham cheppamantara... '

(http://www.hindu.com/thehindu/fr/2007/02/09/stories/2007020901390100.htm)

35. ^ Narasimham, M.L. (5 May 2013). "Time to introspect" (http://www.thehindu.com/todays-paper/tp-features/tp-

cinemaplus/time-to-introspect/article4684928.ece). The Hindu. Retrieved 21 April 2014.

36. ^ Muthiah, S. (7 September 2009). "The pioneer‘Tamil’ film-maker"

(http://www.hindu.com/mp/2009/09/07/stories/2009090750790300.htm). The Hindu. Retrieved 21 April 2014.

37. a b c d Burra & Rao, 252–253

38. ^ Purohit, Vinayak (1988). Arts of transitional India twentieth century, Volume 1 (http://books.google.com/?

id=ae1Zrmz6ETwC&pg=PA986). Popular Prakashan. p. 985. ISBN 978-0-86132-138-4. Retrieved 16 December

2011.

39. ^ [Narayanan, Arandhai (2008) (in Tamil) Arambakala Tamil Cinema (1931–1941). Chennai: Vijaya Publications.

pp. 10–11. ISBN].

40. ^ "Articles – History of Birth And Growth of Telugu Cinema" (http://www.cinegoer.com/telugucinema3.htm).

CineGoer.com. Retrieved 12 November 2010.

41. ^ "Nagaiah – noble, humble and kind-hearted"

(http://www.hindu.com/fr/2005/04/08/stories/2005040800220400.htm). The Hindu (Chennai, India). 8 April 2005.

42. ^ "Paul Muni of India – Chittoor V. Nagayya" (http://bharatjanani.com/paul-muni-of-india-chittoor-v-nagayya/).

Bharatjanani.com. 6 May 2011. Retrieved 21 September 2011.

43. ^ Narasimham, M. L. (7 November 2010). "SATI SAVITHRI (1933)" (http://www.thehindu.com/todays-paper/tp-

features/tp-cinemaplus/article871376.ece). The Hindu. Retrieved 8 July 2011.

44. ^ Bhagwan Das Garg (1996). So many cinemas: the motion picture in India (http://books.google.com/books?

id=wXRZAAAAMAAJ&q=%22East+India+Film+Company%22+-

inpublisher:icon&dq=%22East+India+Film+Company%22+-inpublisher:icon&cd=4). Eminence Designs. p. 86.

ISBN 81-900602-1-X.

45. ^ "The Hindu News" (http://www.hindu.com/fr/2005/05/06/stories/2005050601300300.htm). 6 May 2005.

46. a b c d e f g Burra & Rao, 254

47. ^ "A revolutionary filmmaker" (http://www.hindu.com/thehindu/fr/2003/08/22/stories/2003082201400400.htm).

The Hindu. 22 August 2003. Retrieved 12 June 2013.

48. ^ "Citation on the participation of Sant Tukaram in the 5th Mostra Internazionale d'Arte Cinematographica in 1937"

5/6/2014 Cinema of India - Wikipedia, the free encyclopedia

http://en.wikipedia.org/wiki/Cinema_of_India 26/35

(http://www.nfaipune.gov.in/venice_festival.htm). National Film Archive of India. Retrieved 14 November 2012.

49. ^ "How free is freedom of speech?" (http://postnoon.com/2012/05/21/how-free-is-freedom-of-speech/49700).

Postnoon. 2012-05-21. Retrieved 2014-04-25.

50. ^ https://indiancinema100.in/swadeshi/

51. a b c d Rajadhyaksa, 679

52. a b c Rajadhyaksa, 684

53. ^ Rajadhyaksa, 681–683

54. ^ Rajadhyaksa, 681

55. ^ Cousins 2004, pp. 237–238.

56. ^ K. Moti Gokulsing, K. Gokulsing, Wimal Dissanayake (2004). Indian Popular Cinema: A Narrative of Cultural

Change. Trentham Books. p. 17.

57. ^ Sharpe, Jenny (2005). "Gender, Nation, and Globalization in Monsoon Wedding and Dilwale Dulhania Le

Jayenge". Meridians: feminism, race, transnationalism 6 (1): 58–81 [60 & 75]. doi:10.1353/mer.2005.0032

(http://dx.doi.org/10.1353%2Fmer.2005.0032).

58. ^ Gooptu, Sharmistha (July 2002). "Reviewed work(s): The Cinemas of India (1896–2000) by Yves Thoraval".

Economic and Political Weekly 37 (29): 3023–4.

59. 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.

60. a b Maker of innovative, meaningful movies

(http://www.hindu.com/fr/2007/06/15/stories/2007061551020100.htm). The Hindu, 15 June 2007

61. ^ Ghatak, Ritwik (2000). Rows and Rows of Fences: Ritwik Ghatak on Cinema. Ritwik Memorial & Trust Seagull

Books. pp. ix & 134–36.

62. ^ Hood, John (2000). The Essential Mystery: The Major Filmmakers of Indian Art Cinema. Orient Longman

Limited. pp. 21–4.

63. a b "Do Bigha Zamin" (http://www.filmreference.com/Films-De-Dr/Do-Bigha-Zamin.html). Filmreference.com. 3

August 1980. Retrieved 12 November 2010.

64. 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. Retrieved 13 April 2009.

65. ^ Rajadhyaksa, 683

66. 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). Retrieved 11 May 2009.

67. a b "Subrata Mitra" (http://www.cinematographers.nl/GreatDoPh/mitra.htm). Internet Encyclopedia of

Cinematographers. Retrieved 22 May 2009.

68. ^ Nick Pinkerton (14 April 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. Retrieved 9 July 2009.

69. a b Ray, Satyajit. "Ordeals of the Alien"

5/6/2014 Cinema of India - Wikipedia, the free encyclopedia

http://en.wikipedia.org/wiki/Cinema_of_India 27/35

(http://web.archive.org/web/20080427215538/http://www.satyajitrayworld.com/raysfilmography/unmaderay.aspx)

. The Unmade Ray. Satyajit Ray Society. Archived from the original

(http://www.satyajitrayworld.com/raysfilmography/unmaderay.aspx) on 27 April 2008. Retrieved 21 April 2008.

70. a b Neumann P. "Biography for Satyajit Ray" (http://www.imdb.com/name/nm0006249/bio). Internet Movie

Database Inc. Retrieved 29 April 2006.

71. a b Newman J (17 September 2001). "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. Retrieved 29 April 2006.

72. ^ Mother India (http://www.imdb.com/title/tt0050188/) at the Internet Movie Database

73. ^ "Film Festival – Bombay Melody" (http://www.international.ucla.edu/calendar/showevent.asp?eventid=1618).

University of California, Los Angeles. 17 March 2004. Retrieved 20 May 2009.

74. ^ Bobby Sing (10 February 2008). "Do Ankhen Barah Haath (1957)"

(http://bobbytalkscinema.com/recentpost.php?postid=postid041609102834). Bobby Talks Cinema. Retrieved 30

May 2009.

75. ^ 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].

76. a b "India and Cannes: A Reluctant Courtship" (http://passionforcinema.com/india-and-cannes-a-reluctant-

courtship). Passion For Cinema. 2008. Retrieved 20 May 2009.

77. ^ K. Moti Gokulsing, K. Gokulsing, Wimal Dissanayake (2004). Indian Popular Cinema: A Narrative of Cultural

Change. Trentham Books. pp. 18–9.

78. ^ Santas, Constantine (2002). Responding to film: A Text Guide for Students of Cinema Art. Rowman &

Littlefield. p. 18. ISBN 978-0-8304-1580-9.

79. a b Kevin Lee (5 September 2002). "A Slanted Canon"

(http://www.asianamericanfilm.com/archives/000026.html). Asian American Film Commentary. Retrieved 24 April

2009.

80. 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).

Retrieved 19 April 2009.

81. ^ "Sight and Sound Poll 1992: Critics" (http://alumnus.caltech.edu/~ejohnson/sight/1992_1.html). California

Institute of Technology. Retrieved 29 May 2009.

82. ^ " 'Mayabazar' is India's greatest film ever: IBNLive poll" (http://ibnlive.in.com/news/mayabazar-is-indias-greatest-

film-ever-ibnlive-poll/391184-8-66.html). Ibnlive.in.com. Retrieved 12 June 2013.

83. ^ Aaron and Mark Caldwell (2004). "Sight and Sound"

(http://web.archive.org/web/20090729180509/http://geocities.com/aaronbcaldwell/dimsscri.html). Top 100 Movie

Lists. Archived from the original (http://www.geocities.com/aaronbcaldwell/dimsscri.html) on 29 July 2009.

Retrieved 19 April 2009.

84. ^ "SIGHT AND SOUND 1992 RANKING OF FILMS"

(http://web.archive.org/web/20091022115725/http://geocities.com/the7thart/ranking.html). Archived from the

original (http://www.geocities.com/the7thart/ranking.html) on 22 October 2009. Retrieved 29 May 2009.

85. ^ "SIGHT AND SOUND 1982 RANKING OF FILMS"

5/6/2014 Cinema of India - Wikipedia, the free encyclopedia

http://en.wikipedia.org/wiki/Cinema_of_India 28/35

85. ^ "SIGHT AND SOUND 1982 RANKING OF FILMS"

(http://web.archive.org/web/20091022225459/http://geocities.com/the7thart/1982.html). Archived from the original

(http://www.geocities.com/the7thart/1982.html) on 22 October 2009. Retrieved 29 May 2009.

86. ^ "2002 Sight & Sound Top Films Survey of 253 International Critics & Film Directors"

(http://www.cinemacom.com/2002-sight-sound.html). Cinemacom. 2002. Retrieved 19 April 2009.

87. 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 26 August 2007. Retrieved 27 July

2006.

88. a b "All-Time 100 Best Movies" (http://www.time.com/time/2005/100movies/the_complete_list.html). Time. 12

February 2005. Retrieved 19 May 2008.

89. ^ Rajadhyaksa, 685

90. a b c d Rajadhyaksa, 688

91. 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.

Retrieved 4 January 2008.

92. ^ "Directorate of Film Festival" (http://iffi.nic.in/Dff2011/Frm29thNFAAward.aspx?PdfName=29NFA.pdf).

Iffi.nic.in. Retrieved 12 June 2013.

93. ^ Kasbekar, Asha (2006). Pop Culture India!: Media, Arts and Lifestyle (http://books.google.com/?

id=Sv7Uk0UcdM8C&pg=PA215). ABC-CLIO. p. 215. ISBN 978-1-85109-636-7. "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"

94. ^ "Cinema History Malayalam Cinema" (http://malayalamcinema.com/Content-4/CinemaHistory.html).

Malayalamcinema.com. Retrieved 30 December 2008.

95. ^ "The Movie Interview: Adoor Gopalakrishnan" (http://www.rediff.com/movies/jul/31adoor.htm). Rediff. 31 July

1997. Retrieved 21 May 2009.

96. ^ Adoor Gopalakrishnan (http://www.imdb.com/name/nm0329715/) at the Internet Movie Database

97. ^ Shaji N. Karun (http://www.imdb.com/name/nm0440267/) at the Internet Movie Database

98. ^ Aruti Nayar (16 December 2007). "Bollywood on the table"

(http://www.tribuneindia.com/2007/20071216/spectrum/main11.htm). The Tribune. Retrieved 19 June 2008.

99. ^ 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. Retrieved 11

May 2009.

100. a b Velayutham, 174

101. a b c Desai, 38

102. ^ Anil K. Joseph (20 November 2002). "Lagaan revives memories of Raj Kapoor in China"

(http://www.expressindia.com/news/fullstory.php?newsid=16983). Press Trust of India. Retrieved 30 January

2009.

5/6/2014 Cinema of India - Wikipedia, the free encyclopedia

http://en.wikipedia.org/wiki/Cinema_of_India 29/35

2009.

103. ^ "Rahman's 'Lagaan' cast a spell on me" (http://sify.com/peopleandplaces/fullstory.php?id=13388284). Sify. 13

February 2004. Retrieved 24 February 2009.

104. ^ "RussiaToday : Features: Bollywood challenges Hollywood in Russia"

(http://www.russiatoday.ru/features/news/11895).

105. ^ Ashreena, Tanya. "Promoting Bollywood Abroad Will Help to Promote India"

(http://www.chillibreeze.com/articles/Indian-films.asp).

106. ^ 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. Retrieved 17

April 2009.

107. ^ Chris Ingui. "Martin Scorsese hits DC, hangs with the Hachet"

(http://media.www.gwhatchet.com/media/storage/paper332/news/2002/03/04/Arts/Martin.Scorsese.Hits.Dc.Hangs

.With.The.Hachet-195598.shtml). Hatchet. Retrieved 6 June 2009.

108. ^ Sheldon Hall. "Ivory, James (1928–)" (http://www.screenonline.org.uk/people/id/532213/index.html). Screen

Online. Retrieved 12 February 2007.

109. ^ Dave Kehr (5 May 1995). "THE 'WORLD' OF SATYAJIT RAY: LEGACY OF INDIA'S PREMIER FILM

MAKER ON DISPLAY" (http://www.nydailynews.com/archives/entertainment/1995/05/05/1995-05-

05_the__world__of_satyajit_ray_.html). Daily News. Retrieved 6 June 2009.

110. ^ 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. Retrieved 6

June 2009.

111. ^ André Habib. "Before and After: Origins and Death in the Work of Jean-Luc Godard"

(http://web.archive.org/web/20060614150838/http://www.sensesofcinema.com/contents/01/16/godard_habib.html

). Senses of Cinema. Archived from the original

(http://archive.sensesofcinema.com/contents/01/16/godard_habib.html) on 14 June 2006. Retrieved 29 June 2006.

112. ^ Daniel Thomas (20 January 2003). "Film Reviews: Grave of the Fireflies (Hotaru no Haka)"

(http://www.danielthomas.org/pop/film_reviews/fireflies.htm). Retrieved 30 May 2009.

113. ^ "On Ray's Trail" (http://web.archive.org/web/20080103071501/http://www.thestatesman.net/page.arcview.php?

clid=30&id=172929&usrsess=1). The Statesman. Archived from the original

(http://www.thestatesman.net/page.arcview.php?clid=30&id=172929&usrsess=1) on 3 January 2008. Retrieved 19

October 2007.

114. ^ Robinson, A (2003). Satyajit Ray: The Inner Eye: the Biography of a Master Film-maker. I. B. Tauris. p. 96.

ISBN 978-1-86064-965-3.

115. ^ "An Interview with Satyajit Ray" (http://raylifeandwork.blogspot.com/2009/02/interview-with-satyajit-ray.html).

1982. Retrieved 24 May 2009.

116. ^ Carrigy, Megan (October 2003). "Ritwik Ghatak"

(http://archive.sensesofcinema.com/contents/directors/03/ghatak.html). Senses of Cinema. Retrieved 3 May 2009.

117. ^ "Asian Film Series No.9 GURU DUTT Retorospective"

(http://www.jpf.go.jp/e/culture/new/old/0101/01_03.html). Japan Foundation. 2001. Retrieved 13 May 2009.

118. ^ Desai, 37

5/6/2014 Cinema of India - Wikipedia, the free encyclopedia

http://en.wikipedia.org/wiki/Cinema_of_India 30/35

118. ^ Desai, 37

119. ^ "Baz Luhrmann Talks Awards and 'Moulin Rouge' " (http://movies.about.com/library/weekly/aa030902a.htm).

About.com. Retrieved 15 May 2009.

120. ^ "Guide Picks – Top Movie Musicals on Video/DVD" (http://movies.about.com/library/weekly/aatpmusicals.htm).

About.com. Retrieved 15 May 2009.

121. ^ "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 (Melbourne). 25 January 2009. Retrieved 24

January 2008.

122. ^ " 'Slumdog Millionaire' has an Indian co-director"

(http://www.hindu.com/thehindu/holnus/009200901110925.htm). The Hindu (Chennai, India). 11 January 2009.

Retrieved 23 January 2009.

123. ^ Chatterjee, Saibal (21 May 2008). "Indian film-makers going global"

(http://news.bbc.co.uk/2/hi/south_asia/7412344.stm). BBC News. Retrieved 30 April 2010.

124. ^ "Slumdog gets 10 Oscar noms" (http://inhome.rediff.com/movies/2009/jan/22three-oscar-noms-for-

slumdog.htm). Rediff News. Retrieved 23 January 2009.

125. a b "CNN Travel" (http://travel.cnn.com/explorations/escape/worlds-10-coolest-movie-theaters-355218). CNN.

126. a b "Thehindu.com King of Good times Prasad's Imax" (http://www.thehindu.com/todays-paper/tp-features/tp-

downtown/article2332172.ece?). The Hindu Newspaper. 7 August 2011.

127. a b "The Seven IMAX Wonders of the World" (http://gizmodo.com/5273201/the-seven-imax-wonders-of-the-

world). Gizmodo.com. Retrieved 12 June 2013.

128. ^ "Ramoji Film City sets record"

(http://www.thehindubusinessline.com/2005/08/03/stories/2005080301301901.htm). Business Line. Retrieved 3

August 2007.

129. a b K. Moti Gokulsing, K. Gokulsing, Wimal Dissanayake (2004). Indian Popular Cinema: A Narrative of

Cultural Change. Trentham Books. p. 98.

130. a b Matthew Jones (January 2010). "Bollywood, Rasa and Indian Cinema: Misconceptions, Meanings and

Millionaire". Visual Anthropology 23 (1): 33–43. doi:10.1080/08949460903368895

(http://dx.doi.org/10.1080%2F08949460903368895).

131. a b Cooper, Darius (2000). The Cinema of Satyajit Ray: Between Tradition and Modernity. Cambridge University

Press. pp. 1–4. ISBN 978-0-521-62980-5.

132. ^ K. Moti Gokulsing, K. Gokulsing, Wimal Dissanayake (2004). Indian Popular Cinema: A Narrative of Cultural

Change. Trentham Books. pp. 98–99.

133. ^ K. Moti Gokulsing, K. Gokulsing, Wimal Dissanayake (2004). Indian Popular Cinema: A Narrative of Cultural

Change. Trentham Books. p. 99.

134. ^ Wollen, Peter. "Third World Third Cinema". dogCORP5Billion. Retrieved from

http://www.dc5b.com/twtc/india/india.html#top

135. a b Rajadhyaksha, Ashish; Willemen, Paul; Paul Willemen (1994). Encyclopaedia of Indian Cinema. New Delhi:

Oxford University Press; British Film Institute (London). ISBN 019-563579-5.

136. a b "Indian Feature Films certified during the year 2012" (http://www.filmfed.org/IFF2012.html). Retrieved 21

5/6/2014 Cinema of India - Wikipedia, the free encyclopedia

http://en.wikipedia.org/wiki/Cinema_of_India 31/35

136. a b "Indian Feature Films certified during the year 2012" (http://www.filmfed.org/IFF2012.html). Retrieved 21

April 2014.

137. ^ http://www.imdb.com/title/tt0151153/

138. ^ Lakshmi B. Ghosh, A rare peep into world of Assamese cinema The Hindu: New Delhi News: A rare peep into

world of Assamese cinema (http://www.hindu.com/2006/01/05/stories/2006010504870200.htm), The Hindu, 2006

139. ^ Gokulsing & Dissanayake, 138

140. ^ Gokulsing & Dissanayake, 139

141. ^ Gokulsing & Dissanayake, 138–140

142. ^ Gokulsing & Dissanayake, 129

143. ^ Jamai Shashthi (http://www.imdb.com/title/tt0316049/) at the Internet Movie Database: first Bengali talkie

144. ^ Sarkar, Bhaskar (2008). "The Melodramas of Globalization". Cultural Dynamics 20 (1): 31–51 [34].

doi:10.1177/0921374007088054 (http://dx.doi.org/10.1177%2F0921374007088054).

145. ^ Mesthrie, Rajend (1991). Language in Indenture: A Sociolinguistic History of Bhojpuri-Hindi in South Africa.

London: Routledge. pp. 19–32. ISBN 978-0-415-06404-0.

146. ^ Ganga Maiyya Tohe Piyari Chadhaibo (http://www.imdb.com/title/tt0233774/) at the Internet Movie Database

147. ^ "The Telegraph – Calcutta: etc" (http://www.telegraphindia.com/1060414/asp/etc/story_6075200.asp). The

Telegraph (Calcutta). 14 April 2006. Retrieved 12 November 2010.

148. ^ "Move over Bollywood, Here's Bhojpuri," BBC News Online: http://news.bbc.co.uk/go/pr/fr/-

/1/hi/world/south_asia/4512812.stm

149. ^ "Home" (http://www.bhojpurifilmaward.com/). Bhojpuri Film Award. Retrieved 12 November 2010.

150. ^ "bhojpuricity.com" (http://www.bhojpuricity.com/). bhojpuricity.com. Retrieved 2014-04-25.

151. ^ Pg 37 ''A film entitled "Kahi Debe Sandesh" the first film to be produced in Chhatisgarh dialect was released

for commercial exhibition at Durg'' (http://books.google.com/books?

id=2NYDAAAAMAAJ&q=%22Kahi+Debe+Sandesh%22&dq=%22Kahi+Debe+Sandesh%22&hl=en&sa=X&ei=wr

ZAUojJA4_C4APxo4HIAg&ved=0CDMQ6AEwAQ). Books.google.com. Retrieved 2014-04-25.

152. ^ P.E.N. All-India Centre, Bombay (1969). "The Indian P.E.N., Volume 35" (http://books.google.com/?

id=RL1jAAAAMAAJ&q=kahi+debe+sandesh&dq=kahi+debe+sandesh). The Indian P.E.N., Volume 35 35: 362.

Retrieved 5 September 2013.

153. ^ Ghosh, Avijit. "Chhollywood calling" (http://articles.timesofindia.indiatimes.com/2010-05-16/special-

report/28314831_1_film-industry-silver-jubilee-raipur). Times of India. Times of India. Retrieved 16 May 2010.

154. ^ Pippa de Bruyn; Niloufer Venkatraman; Keith Bain; Niloufer Venkatraman, Keith Bain (2006). Frommer's India.

Frommer's. p. 579. ISBN 978-0-471-79434-9. Crusie, Jennifer; Yeffeth, Glenn (2005). Flirting with Pride &

Prejudice. BenBella Books, Inc. p. 92. ISBN 978-1-932100-72-3.

155. ^ Gokulsing & Dissanayake, 10–11

156. ^ Gokulsing & Dissanayake, 10

157. ^ Gokulsing & Dissanayake, 11

158. ^ Rajadhyaksha, Ashish (1998). Oxford Guide to Film Studies. Eds. John Hill and Church Gibson. Oxford:

Oxford University Press.

159. ^ "Panaji Konkani Cinema – A Long Way to Go" (http://www.daijiworld.com/news/news_disp.asp?

n_id=59256&n_tit=Panaji%3A+Konkani+Cinema+-+A+Long+Way+to+Go). Daijiworld.com. Retrieved 6 February

5/6/2014 Cinema of India - Wikipedia, the free encyclopedia

http://en.wikipedia.org/wiki/Cinema_of_India 32/35

n_id=59256&n_tit=Panaji%3A+Konkani+Cinema+-+A+Long+Way+to+Go). Daijiworld.com. Retrieved 6 February

2012.

160. ^ "Yahoo! Groups" (http://groups.yahoo.com/group/gulf-goans/message/31478). Yahoo!. Retrieved 6 February

2012.

161. ^ "Konkani Cinema Day – Some Reflections | iGoa" (http://www.navhindtimes.in/panorama/konkani-cinema-day-

some-reflections). Navhindtimes.in. 23 April 2011. Retrieved 6 February 2012.

162. ^ N. J. Nair (23 October 2005). "His pioneering effort set the cameras rolling"

(http://www.hindu.com/2005/10/23/stories/2005102311400400.htm). The Hindu. Retrieved 29 April 2011.

163. ^ B. Vijayakumar (7 September 2009). "Balan 1938"

(http://www.hindu.com/mp/2009/09/07/stories/2009090750600400.htm). The Hindu. Retrieved 29 April 2011.

164. ^ Jonathan Crow. "Balan (1938)" (http://movies.nytimes.com/movie/253937/Balan/overview). The New York

Times. Retrieved 29 April 2011.

165. ^ "Renaissance for Udaya Studio" (http://www.hindu.com/2009/04/29/stories/2009042951290300.htm). The

Hindu. 29 April 2009. Retrieved 29 April 2011.

166. ^ B. Vijayakumar (1 November 2008). "Neelakuyil 1954"

(http://www.hindu.com/mp/2008/11/01/stories/2008110150781100.htm). The Hindu. Retrieved 29 April 2011.

167. ^ B. Vijayakumar (20 May 2005). "Newspaper Boy: a flashback to the Fifties"

(http://www.hindu.com/fr/2005/05/20/stories/2005052003150200.htm). The Hindu. Retrieved 29 April 2011.

168. ^ B. Vijayakumar (22 November 2010). "Chemmeen 1965"

(http://www.hindu.com/mp/2010/11/22/stories/2010112250310400.htm). The Hindu. Retrieved 29 April 2011.

169. ^ "Filmfare for Malayalam Films" (http://www.india-server.com/awards/features/filmfare-for-malayalam-films-

81.html).

170. ^ "History of Oriya Film Industry" (http://www.izeans.com/ollywoodhistory). izeans.com. Retrieved 23 October

2008.

171. ^ "Orissa Cinema:: History of Orissa Cinema, Chronology of Orissa Films" (http://orissacinema.com/history.html).

orissacinema.com. Retrieved 23 October 2008.

172. ^ Kasbekar, Asha (2006). Pop Culture India!: Media, Arts, and Lifestyle (http://books.google.com/books?

id=Sv7Uk0UcdM8C). ABC-CLIO. p. 213. ISBN 978-1-85109-636-7.

173. ^ "Sivaji Ganesan's birth anniversary" (http://timesofindia.indiatimes.com/entertainment/tamil/movies/news-

interviews/Sivaji-Ganesans-birth-anniversary/articleshow/23338524.cms). The Times of India. 1 October 2013.

Retrieved 29 April 2014.

174. ^ Gokulsing & Dissanayake, 132–133

175. ^ Kasbekar, Asha (2006). Pop Culture India!: Media, Arts, and Lifestyle (http://books.google.com/books?

id=Sv7Uk0UcdM8C). ABC-CLIO. p. 215. ISBN 978-1-85109-636-7.

176. ^ Gokulsing & Dissanayake, 133

177. ^ "ACTUAL ARTICLE TITLE BELONGS HERE!" (http://articles.timesofindia.indiatimes.com/2010-10-

02/hyderabad/28254733_1_film-industry-telugu-tollywood-and-bollywood). The Times of India. 2 October 2010.

178. ^ "Telugu film industry enters new era" (http://www.blonnet.com/2007/11/06/stories/2007110650842300.htm).

Blonnet.com. 6 November 2007. Retrieved 12 November 2010.

a b "Largest film studio" (http://www.guinnessworldrecords.com/world-records/1/largest-film-studio).

5/6/2014 Cinema of India - Wikipedia, the free encyclopedia

http://en.wikipedia.org/wiki/Cinema_of_India 33/35

References

179. a b "Largest film studio" (http://www.guinnessworldrecords.com/world-records/1/largest-film-studio).

Guinnessworldrecords.com. 1 January 2005. Retrieved 1 November 2012.

180. ^ "STATEWISE NUMBER OF SINGLE SCREENS" (http://www.filmfed.org/singlescreen.html). Film Federation

of India. Retrieved 21 April 2014.

181. ^ "Wish singer SPB on his birthday today" (http://articles.timesofindia.indiatimes.com/2013-06-04/news-

interviews/39740041_1_playback-singer-guinness-book-spb). The Times of India. 4 June 2013. Retrieved 1

January 2014.

182. ^ http://entertainment.oneindia.in/celebs/s-p-balasubramaniam/biography.html

183. ^ http://www.lokvani.com/lokvani/article.php?article_id=3493

184. ^ The Hindu Article Guinness Record for Vijaya Nirmala

(http://www.thehindu.com/arts/cinema/article2969786.ece?service=mobile).

185. ^ "Guinness record for Brahmanandam" (http://articles.timesofindia.indiatimes.com/2007-12-15/news-

interviews/27960977_1_brahmanandam-rare-honour-telugu). The Times of India. 15 December 2007. Retrieved 10

October 2010.

186. ^ "Home of the Longest, Shortest, Fastest, Tallest facts and feats"

(http://www.guinnessworldrecords.com/Search/Details/Most-screen-credits-for-a-living-actor/59409.htm).

Guinness World Records. Retrieved 21 September 2011.

187. ^ "Press Information Bureau English Releases" (http://pib.nic.in/newsite/erelease.aspx?relid=65641). Pib.nic.in.

Retrieved 25 August 2012.

188. ^ "Film Federation Of India" (http://www.filmfed.org/singlescreen.html). Filmfed.org. Retrieved 2014-04-29.

189. ^ "Trends and genres" (http://www.filmreference.com/encyclopedia/Independent-Film-Road-Movies/India-

TRENDS-AND-GENRES.html). Filmreference.com. Retrieved 12 November 2010.

190. ^ Gokulsing & Dissanayake, 132

191. ^ "The Sight & Sound Top Ten Poll: 1992" (http://www.bfi.org.uk/sightandsound/topten/history/1992.html). Sight

& Sound. British Film Institute. Retrieved 20 May 2008.

192. ^ The Best 1,000 Movies Ever Made (http://www.nytimes.com/ref/movies/1000best.html) By THE FILM

CRITICS OF THE NEW YORK TIMES, The New York Times, 2002.

193. a b c d Thompson, 74

194. a b Zumkhawala-Cook, 312

195. ^ L.V.Prasad Film & TV Academy. "prasadacademy.com" (http://www.prasadacademy.com).

prasadacademy.com. Retrieved 2014-04-25.

196. ^ "matrikasfilmschool.com" (http://www.matrikasfilmschool.com). matrikasfilmschool.com. Retrieved 2014-04-

25.

197. ^ "National Institute of Design - Film and Video Communication" (http://www.nid.edu/education/postgraduate-

diploma-programme-in-design/film-video-communication/p-overview). Nid.edu. Retrieved 2014-04-25.

5/6/2014 Cinema of India - Wikipedia, the free encyclopedia

http://en.wikipedia.org/wiki/Cinema_of_India 34/35

Suresh Chabria; Paolo Cherchi Usai (1994). Light of Asia: Indian Silent Cinema, 1912–1934

(http://books.google.com/books?id=CORkAAAAMAAJ). Wiley Eastern. ISBN 978-81-224-0680-1.

Stanley A. Wolpert (2006). Encyclopedia of India. ISBN 978-0-684-31350-4.

Desai, Jigna (2004). Beyond Bollywood: The Cultural Politics of South Asian Diasporic Film.

Psychology Press. ISBN 978-0-415-96684-9.

K. Moti Gokulsing; Wimal Dissanyake (2004). Indian Popular Cinema: A Narrative of Cultural

Change. Trentham Books Limited. ISBN 978-1-85856-329-9.

Gulzar, Govin Nihalanni, & Saibel Chatterjee. Encyclopaedia of Hindi Cinema New Delhi: Encyclopædia

Britannica, 2003. ISBN 8179910660.

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 978-81-7991-066-5.

Gopal, Sangita; Moorti, Sujata (2008). Global Bollywood: Travels of Hindi Song and Dance. University

of Minnesota Press. ISBN 978-0-8166-4578-7.

Narweker, Sanjit, ed. Directory of Indian Film-Makers and Films. Flicks Books, 1994. ISBN

0948911409

Stanley A. Wolpert (2006). Encyclopedia of India. ISBN 978-0-684-31351-1.

Nowell-Smith, Geoffrey (1996). The Oxford History of World Cinema. Oxford University Press, US.

ISBN 978-0-19-811257-0.

Rajadhyaksha, Ashish; Willemen, Paul (1999). Encyclopedia of Indian Cinema. Routledge. ISBN 978-1-

57958-146-6.

Stanley A. Wolpert (2006). Encyclopedia of India. ISBN 978-0-684-31351-1.

Velayutham, Selvaraj (2008). Tamil Cinema: The Cultural Politics of India's Other Film Industry.

Psychology Press. ISBN 978-0-415-39680-6.

Watson, James L. (2009), Globalization, Encyclopædia Britannica.

Gopal, Sangita; Moorti, Sujata (2008). Global Bollywood: Travels of Hindi Song and Dance. University

of Minnesota Press. ISBN 978-0-8166-4578-7.

External links

DearCinema.com (http://dearcinema.com/) - Indian website that covers Indian cinema from an international

perspective

Further reading

Report of the Indian Cinematograph Committee 1927–1928

(http://www.archive.org/stream/reportoftheindia030105mbp#page/n5/mode/2up). Superintendent, The

5/6/2014 Cinema of India - Wikipedia, the free encyclopedia

http://en.wikipedia.org/wiki/Cinema_of_India 35/35

Government Press, Madras. 1928.

Dwyer, Rachel; Patel, Divia (2002). Cinema India: The Visual Culture of Hindi Film. ISBN 978-0-

8135-3175-5.

Culture and Representation: The Emerging Field of Media Semiotics/J A H Khatri/Ruby Press & Co./ISBN

978-93-82395-12-6/ 2013. www.rubypressco.com

Retrieved from "http://en.wikipedia.org/w/index.php?title=Cinema_of_India&oldid=607176599"

Categories: Cinema of India

This page was last modified on 5 May 2014 at 13:45.Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply.By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademarkof the Wikimedia Foundation, Inc., a non-profit organization.