Cinema of India
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South Asian cinema
Cinema of Afghanistan
Cinema of Bangladesh
Bengali cinema
Cinema of India
Assamese cinema
Bengali cinema
Bollywood
Karnataka cinema
Malayalam cinema
Marathi cinema
Punjwood
Tamil cinema
Tollywood
Cinema of Nepal
Cinema of Pakistan
Cinema of Sri Lanka
The Indian film industry is the largest in the world in terms of the ticket sales and the number of films produced annually (877 feature films and 1177 short films were released in the year 2003 alone).[1] Movie tickets in India are among the cheapest in the world.[2] India accounts for 73% of movie admissions in the Asia-Pacific region, and earnings are currently estimated at US$2.9 billion.[citation needed] The industry is mainly supported by the vast cinema-going Indian public. The Central Board of Film Certification of India cites on its website that every three months an audience as large as India's billion-strong population visits cinema halls.[3] Indian films are popular in various parts of the world, especially in countries with significant Indian communities.
Contents[hide]
1 The introduction of cinema in India
1.1 1896 - 1910
1.2 1910-1920
2 Regional film industries
2.1 Bhojpuri (Purvanchal) film industry
2.2 The Bengali (Bangla) film industry
2.3 The Hindi film industry (Bollywood)
2.4 The Kannada film industry
2.5 The Kashmiri film industry
2.6 The Malayalam film industry
2.7 The Marathi Film Industry
2.8 The Tamil film industry (Kollywood)
2.9 The Telugu film industry
3 Characteristics of Indian Movies
4 Art cinema in India
5 Globalization of Indian cinema
6 Awards
7 Film Training In India
8 References
9 Notes
10 External links
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[edit] The introduction of cinema in India

[edit] 1896 - 1910

Hiralal Sen
Cinema was introduced to India on July 7, 1896. It began with the Lumiere Brothers' Cinematography, unveiling six silent short films at the Watson Hotel in Bombay, namely Entry of Cinematographe, The Sea Bath, Arrival of a Train, A Demolition, Ladies & Soldiers on Wheels and Leaving the Factory[1]. The Times of India carried details of the "Living Photographic Pictures in Life-Size Reproductions by Mssrs. Lumiere Brotheres". In the same year, the Madras Photographic Store advertised "animated photographs". Daily screenings of films commenced in Bombay in 1897 by Clifton and Co.'s Meadows Street Photography Studio.
In 1898, Hiralal Sen started filming scenes of theatre productions at the Classic Theatre in Calcutta, inspired by Professor Stevenson (who had brought to India the country's first bioscope)'s, film presentation alongside the stage production of The Flower Of Persia; his debut was a contribution to this presentation. He continued making similar films to complement theatrical productions, which were shown as added attractions during intermission, in private screenings for high society households or taken to distant venues where the stage performers could not reach.

Lord and Lady Curzon on Elephant, Coronation Durbar, Delhi, 1903
Harischandra Sakharam Bhatavdekar (H. S. Bhatavdekar) alias Save Dada, who had attended the show, imported a cine-camera from London at a price of 21 guineas and filmed the first Indian documentary, a wrestling match in Hanging Gardens, Bombay, in 1897. In 1901, he recorded the return from Cambridge of 'Wrangler' Ragunath P. Paranjpye, who had secured a distinction in mathematics from Cambridge University, and M M Bhownuggree, considered the first Indian news film. [2][3]. He also filmed Lord Curzon (the Viceroy of India)'s Delhi Durbar that marked the enthronement of Edward VII in 1903.
The commercial potential of cinema was also tested during the time. F.B. Thanewala's "Grand Kinetoscope Newsreels" is one successful case. J.F. Madan was another highly successful film producer, who released hit films like Satyavadi Raja Harishchandra and Bilwamangal; also, he launched Madan Theatres Limited, which became India's largest film production-distribution-exhibition company and the biggest importer of American films after World War I. His films were marked by a high degree of technical sophistication, facilitated by his employment of experienced foreign directors like Eugenio De Liguoro and Camille Legrand. This expertise was complemented by grand sets and popular mythological storylines which ensured good returns.
Cinema houses were set up in major Indian cities in this period, like one in Madras (in 1900 by Major Warrick), the Novelty Cinema in Bombay (where newsreels from the Boer Wars were shown) and the Elphinstone Picture Palace in Calcutta (set up by J.F. Madan in 1907). Apart from these, a number of film shows were arranged in tents; examples are: shows arranged by two Italians, Colorello and Cornaglia, in tents at the Azad Maidan Bombay, J.F. Madan's tent cinema at the Calcutta Maidan. Another popular mode of broadcasting films was the touring cinema. In 1904, Manek Sethna started the Touring Cinema Co. in Bombay and a year later, Swamikannu Vincent, a draughtsman for the railways set up a touring cinema going around small towns and villages in the South of India. Pathe, the famous film production company set up an Indian Office in 1907.

[edit] 1910-1920

A scene from Raja Harishchandra
The first feature film made in India was a narrative named Pundalik, by N.G. Chitre and R.G. Torney. The first full-length Indian feature film was Raja Harishchandra (3700 feet as compared to 1500 for Pundalik), made in 1913 and released commercially in May that year, by Dadasaheb Phalke. Phalke had attended a screening of The Life of Christ at P.B. Mehta's American-Indian Cinema and was inspired to make films himself. He was convinced of the possibility of establishing an indigenous film industry by focusing on Indian themes. In this regard, he said Like the life of Christ, we shall make pictures on Rama and Krishna. The film was about an honest king who for the sake of his principles sacrifices his kingdom and family before the gods, who are impressed with his honesty and restore him to his former glory. The film was a success, and Phalke went on to make more mythological films till the advent of talkies, and commercialization of Indian films lessened his popularity.[4].
In 1916, Universal Pictures set up Hollywood's first Indian agency (see Hollywood meets India, below). The first South Indian feature was Rangaswamy Nataraja Mudaliar's Keechaka Vadham, released in 1918.[4] The following year, he made the film Draupadi Vastrapaharanam, featuring Anglo-Indian actress Marian Hill who played the role of Draupadi.[5]

[edit] Regional film industries

A cinema hall in Delhi
India is a large country where many languages are spoken. According to the 1991 Census of India there are about 10,400 'raw mother tongues' in India. If closely related and mutually comprehensible dialects are grouped, the number can be reduced to 1576 ‘rationalised’ mother tongues, or with even more consolidation, 114 main languages. These 114 languages are the ones surveyed in the Indian census.[6] Indian film producers have made films in thirty of the largest languages. However, only the very largest language groups support major regional industries. These are: Hindi, Tamil, Telugu, Bengali, Marathi, Kannada,Odiya,Malayalam. Official statistics categorise Indian films according to the languages in which they are distributed.
There is a great deal of mobility between the regional industries. Many workers in other regional industries, once their talent and popularity is established, move on to work in other film industries, nationally as well as internationally. For example, A. R. Rahman, one of the best known film music composers in Indian cinema, started his career in Tamil cinema in Chennai but has since worked in Bollywood, London, and New York. Similarly, films that succeed in one language are often remade or dubbed in others. Films like Padosan and Roja, for example, were re-made or dubbed from their original Bengali and Tamil versions respectively, into Hindi.

[edit] Bhojpuri (Purvanchal) film industry
Bhojpuri dialects, varieties, and creoles are also spoken in various parts of the world, including Brazil, Fiji, Guyana, Mauritius, South Africa, Suriname, and Trinidad and Tobago. During the late 1800s and early 1900s, many colonizers had faced labor shortages and were unable to obtain slaves from Africa due to the abolition of slavery; thus, they imported many Indians as indentured servants to labor on plantations. Today, many Indians in the West Indies, Oceania, and South America still speak Bhojpuri as a native or second language.

[edit] The Bengali (Bangla) film industry
Main article: Bengali cinema

Satyajit Ray

Chokher Bali
The history of cinema in Bengal dates back to the 1890s, when the first "bioscopes" were shown in theatres in Calcutta. Within a decade, the first seeds of the industry was sown by Hiralal Sen, considered a stalwart of Victorian era cinema when he set up the Royal Bioscope Company, producing scenes from the stage productions of a number of popular shows at the Star Theatre, Minerva Theatre, Classic Theatre. Following a long gap after Sen's works, Dhirendra Nath Ganguly (Known as D.G) established Indo British Film Co, the first Bengali owned production company, in 1918. However, the first Bengali Feature film, Billwamangal, was produced in 1919, under the banner of Madan Theatre. Bilat Ferat was the IBFC's first production in 1921. The New Theatre production of Dena Paona was the first Bengali talkie. A long history has been traversed since then, with stalwarts such as Satyajit Ray, Mrinal Sen and Ritwik Ghatak and others having earned international acclaim and securing their place in the movie history. Today, there are two Bengali film industries, one in Kolkata (Calcutta), India and the lesser known one in Dhaka, Bangladesh (called Dhallywood). The film industry based in Kolkata is sometimes referred to as Tollywood, a portmanteau of the words Tollygunge, the area of South Kolkata where this industry is based, and Hollywood. The Bengali film industry has long centred in the Tollygunge district of Kolkata (Calcutta). Its most famous film director is Satyajit Ray, who won an Oscar for lifetime achievement in cinema. However, Bengali films have always remained the hot favourites among the National Awards jury almost every year since its inception. Some of the most popular Bengali film personalities include Kishore Kumar, Mithun Chakraborty, Uttam Kumar, Soumitro Chatterjee, and recently Proshenjit. Some of the other Bengalis who have made it big are Ashok Kumar, Bimal Roy, Mrinal Sen, Ritwik Ghatak, Aparna Sen, Suchitra Sen, Hemanta Mukherjee (Hemanth Kumar), Manna Dey, Sandhya Mukhopadhyay, and Rituparno Ghosh.
List of Bengali films

[edit] The Hindi film industry (Bollywood)
Main article: Bollywood
The Hindi film industry, based in Mumbai (formerly Bombay), is the largest branch of Indian cinema. Hindi film Industry is often called 'Bollywood' (a melding of Hollywood and Bombay). The word "Bollywood" is sometimes applied to Indian cinema as a whole, especially outside South Asia and the South Asian diaspora, but this usage is incorrect. Bollywood has been recently greatly criticized for what critics see as a violation of Indian cultural values and its discussion of controversial topics. It is considered the most liberal out of the Indian language film industries.
Regional movies are distinctively different from Bollywood (Hindi) movies, as the stories and themes of these movies portray the culture of the region from which they originate, while most Bollywood movies nowadays are greatly influenced by Western culture.
Although Bollywood does not distribute a lot of films, it can be considered to be largest in terms of viewers. It is believed that Bollywood movies are watched by majority of the Indian movie goers. It also has international recognition, especially in Western countries such as the UK, USA, Canada, and Australia where there is a large South Asian community.

[edit] The Kannada film industry
Main article: Cinema of Karnataka

Dr.Rajkumar starrer Sri Krishnadevaraya
The Kannada film industry, based in Karnataka, is sometimes called 'Sandalwood', as Karnataka is known for its sandalwood; however, this term does not seem to be in widespread use. The Gubbi Veeranna Company, or Veeranna's Sri Chennabasaveshwara Krupa Poshita Nataka Sangha[7] and other groups established themselves first as theatre troupes, and later went on to dominate kannada cinema into the 1960s. "They provided all its key directors like H.L.N . Simha, B. R. Panthulu and G. V. Iyer, its stars led by Rajkumar and Leelavathi and most of its early commercial hits: Bedara Kannappa (1953), for instance. The first big success in Kannada cinema adapted a Gubbi Company stage play written by G. V. Iyer to introduce the mythological adventure movie into that language."[5]. Kannada films has become very popular after the recent hits like Jogi (2005) & Mungaru Male (2007). Mungaru Male has been the first Indian movie to be screened in many European countries[citation needed].

[edit] The Kashmiri film industry
The Kashmiri film industry, which had been lying dormant since the release of Habba Khatoon in 1967, was revived after a 39-year hiatus with the release of Akh Daleel Loolech in 2006. However critics dispute this claim because this film was a small budget digital film which did not play in any film theatres except in a few private and film festival screening. Besides Akh Daleel Lolach uses a film style which is common on Kashmiri television and by those standards Kashmiri video makers were making films since early 1980s. Cinema halls had been shut down for a long time in Kashmir, by militants protesting against the New Delhi based Government. There are few cinema halls and a handful of directors have been returning to shoot in the region. Though the region was favoured by many producers as a scenic locale in pre-militancy era Bollywood movies as a romantic backdrop [8], the regional industry was not very strong, due to lack of finances and infrastructure.[9]

[edit] The Malayalam film industry
Main article: Malayalam cinema

Mohanlal, Suresh Gopi and Mammootty, the mainstays of the Malayalam film industry since early 1990s.
The Malayalam film industry, based in Kerala. Malayalam movies are known for their artistic nature and they frequently figure in the national film awards. It is also currently known for being the most conservative out of the different film industries in India, despite the fact that it went through a liberal phase in the 80's. Notable personalities: filmmakers, Padmavibhushan Adoor Gopalakrishnan, Bharathan, Aravindan, Padmarajan, John Abraham; Sreenivasan, Shyamaprasad, Kamal, Renjith scriptwriter, M. T. Vasudevan Nair, Sreenivasan; cinematographer, Azhagappan, Santhosh Sivan, Shaji; actors, Bharath Gopi, Tilakan, Padmabhushan Prem Nazeer, Satyan, Padmashri Mammootty, Padmashri Mohanlal, Padmashri Balachandra Menon; playback singers, Padmabhushan Dr. K. J. Yesudas, Padmasree K. S. Chitra, P Jayachandran, M G Sreekumar and Sujatha.
The first 3D film which produced in India was in Malayalam. Its name was My Dear Kuttichatthan produced by Navodaya Productions. Padayottam, the first fully indigenous 70MM film with all its work done in India was in Malayalam which was also produced by Navodaya. The fist Cinemascope film in the world was produced in Malayalam. Chemmeen was the first film which earned a gold medal from the President from South India."Guru", directed by Rajiv Anchal, is the only Malayalam film proposed as the Indian entry by the Indian Film Industry council for Oscar Award so far.

[edit] The Marathi Film Industry
Main article: Marathi cinema
Marathi Film Industry, one of the oldest film industries in India, originated in Nasik, and developed in Kolhapur and Pune. In recent years, it has moved mostly to Mumbai (Bombay), Maharashtra.
Dadasaheb Phalke, recognized as the father of Indian cinema, was a pioneer of movies in Marathi. He produced the first Indian silent movie, and later some Marathi talkies. In his honor, a much coveted "Dadasaheb Phalke Award" is given annually for exceptional contribution to Indian cinema.
1940s and '50s formed the classical era of Marathi cinema, mainly because of some hallmark productions by the now extinct "Prabhat Film Company" in Kolhapur. As an offshoot of Prabhat, V. Shantaram founded "Rajkamal Studios" in Pune, and produced some excellent Marathi movies in the late 1950s and early '60s.
Because of the rise of Hindi movies in Bollywood, Marathi film industry underwent a decline in the 1980s and '90s. But recently it has been reviving with some quality movies like "Shwaas" (which earned an official Indian entry for an Oscar award in 2004), "Pak Pak Pakaak" (which won Swarovski Trophy in AFFF, Singapore, in 2005), "Uttaraayan", "Aga Bai, Arecchaa", "Shubhamangal Saavdhaan", and "Saatchya Aat Gharaat".
Bhalji Pendharkar, Baburao Painter, V.Shantaram, Dada Kondke, Raja Paranjpe, Mahesh Kothare, Smita Talwalkar, Sumitra Bhave, Sunil Sukthankar, Gajendra Ahire, Jabbar Patel, Amol Palekar, and Kedar Shinde are some of the notable directors and producers in Marathi cinema in the past few decades.
Modern Marathi actors include Dilip Prabhavalkar, Bharat Jadhav, and Sanjay Narvekar.
While some old Marathi movie songs remain popular, new composers like Ajay-Atul have been producing some very popular songs. Some of the old songs have also been remixed.

[edit] The Tamil film industry (Kollywood)
Main article: Tamil Cinema

Sivaji: The Boss
The Tamil film industry (Kollywood), based in the Kodambakkam area of Chennai is one of biggest film industries in India. Popularity and collections wise, the Tamil film industry is third only to the Hindi and Telugu film industries. Tamil films have enjoyed consistent popularity among Tamil speakers in India, Sri Lanka, Singapore, Malaysia and Mauritius. Tamil films also receive fame in countries which contain Tamil immigrant communities such as the United States, United Kingdom, Canada, and other European countries.
Kollywood remains third to Bollywood in India commercially and financially. Several technicians have crossed industries to encapture National fame such as Mani Ratnam, Selvaraghavan, A. R. Rahman, Shankar, Ravi K. Chandran and Jeeva. However unlike the technical counterparts, artistes from South India tend to fail to break into Bollywood, with only a handful breaking through, them being: Kamal Haasan, Sridevi, Madhavan, Siddharth Narayan and Asin Thottumkal.

Alaipayuthey (2000), mastered both the qualities of commercial and critical cinema.
Ironically, several Bollywood actresses made their débuts in Kollywood, with Aishwarya Rai appearing in Iruvar, Priyanka Chopra in Thamizhan, Lara Dutta in Arasatchi and Sushmita Sen in Ratchagan. Furthermore, several actresses have done Tamil films while struggling to breakthrough in Bollywood, such as Kajol and her sister, Tanisha as well as Amisha Patel.
In the Tamil film industry, directors such as K. Balachander, Shankar, Ameer, Bala, Bharathiraja, Balu Mahendra, and Mani Ratnam have achieved box-office success whilst producing films that have balanced art [[Rishabh and popular elements. The Tamil film industry accounts for approximately 1% of the gross domestic product of the state of Tamil Nadu. Costs of production have grown exponentially from just under Rs.4 million in 1980 to over Rs.110 million by 2005 for a typical star-studded big-budget film. Similarly, costs of processing per print have risen from just under Rs.2,500 in 1980 to nearly Rs.70,000 by 2005. There has been a growing presence of English in dialogue and songs as well. It is not uncommon to see movies that feature dialogue studded with English words and phrases, or even whole sentences. Some movies are also simultaneously released in two or three regional languages (either using subtitles or several soundtracks). Contemporary Tamil movies often feature Madras Bashai, a colloquial version of Tamil spoken in Madras especciealy in my district. A select few, Iruvar and older films based on epics, for instance, employ literary Tamil extensively in dialogues when the situation calls for it. Many Tamil films are also dubbed into Telugu and Hindi and released in their respective states.
The Release of Robot Starring Rajini Kanth directed by supremo Shankar is expected to make a history in Indian Cinema. Robot is Director Shankar's dream project.

[edit] The Telugu film industry

A still from Bhakta Prahlad (1931)
Main article: Telugu Cinema
The Telugu film industry is based in Andhra Pradesh's capital city, Hyderabad is second biggest industry in India after "Hindi" industry. The state also has what is claimed to be the largest film studio in the world, Ramoji Film City. The first studio for Telugu talkies was Vel Pictures, constructed in 1934 by P.V. Das, located at Madras. The first film made here was Sita Kalyanam. The first film made by a Telugu person, R.S. Prakash, was Bhishma Pratigna (The Pledge of Bhishma, 1922). Another important Telugu personality of this era was Y.V. Rao (1903-1973), an actor and director, whose silent film (directing) credits include Pandava Nirvana (1930), Pandava Agnathavaas (1930) and Hari Maya (1932). The first big movies in Telugu were made by the Surabhi Theatres troupes.[5] They produced the first Telugu talkie, Bhakta Prahlada, directed by Hanumappa Munioappa Reddy in 1931. In the first few years of Telugu talkies, films were all mythological stories, taken from the stage. In 1936, Krittiventi Nageswara Rao made the first Telugu film not based on mythology, Premavijayam. The film influenced other Telugu film-makers into making such films. Some popular themes of these films (often called 'social' films) were the feudal zamindari system (Raitu Bidda, 1939), untouchability (Maala pilla, 1938), and widow remarriage[10]. Since then, there have been both social (contemporary) and mythological or folk stories in Telugu cinema.
In the Telugu film industry, directors such as Kasinadhuni Viswanath (K.Viswanath), Ram Gopal Varma, Jandhyala, Krishna Vamsi and Singeetam SreenivasaRao have achieved box-office success whilst producing films that have balanced art and popular elements.Most number of guiness records are in the telugu industry.Most number of films directed.most films produced by a producer.most number of songs sung by a male singer.and more .telugu Films have large box office collections in United States and England (UK) and most popular among the Indian abroad. Telugu files are also Remaked and Dubbed in other languages like Tamil,Malayalam and Kannada and will be release in respective states.
Telugu films are released in Andhra Pradesh, Karnataka, East Maharastra, Orissa and few parts of West Bengal. Telugu movies are released world wide in United States, Canada, parts of Europe, South Africa, Malaysia and Singapore.

[edit] Characteristics of Indian Movies
Indian movies commonly include several song-and-dance routines. In high caliber movies, songs convey emotions and passions, ranging from love and pathos to triumph and celebration. In Indian movies, playback singers commonly sing the songs, and actors and actresses lip-sync them. The tunes of songs in an Indian movie strongly determine the extent of commercial success of the movie.
Indian movies are usually two to three hours long, often with an intermission. They feature romance, comedy, action, and suspense. The Indian Censor Board oversees the contents of the movies.

[edit] Art cinema in India
Main article: Parallel Cinema
In addition to commercial cinema, there is also Indian cinema that aspires to seriousness or art. This is known to film critics as "New Indian Cinema" or sometimes "the Indian New Wave" (see the Encyclopaedia of Hindi Cinema -), but most people in India simply call such films "art films". These films deal with a wide range of subjects but many are in general explorations of complex human circumstances and relationships within an Indian setting.
Tamizh cinema has an excellent mix of commercial and art cinemas. Every talent is aspiring from Tamizh industry gone to make records at national level. A few examples: Star (Kamalahaasan), Actor(Sivaji Ganeshen), Director (Mani Rathnam) And Music Director (AR Rahman and Illayaraja) are from Tamil nadu only. Unlike Bollywood, only a part of new comers in Tamizh would get inspired from Hollywood movies. Time magazine reported that Hollywood directors would envy the screen energy in Mani Rathnam's movies.
From the 1960s through the 1980s, art films were subsidised by Indian governments: aspiring directors could get federal or state government grants to produce non-commercial films on Indian themes. Many of these directors were graduates of the government-supported Film and Television Institute of India. Their films were showcased at government film festivals and on the government-run TV station, Doordarshan. These films also had limited runs in art house theatres in India and overseas. Since the 1980s, Indian art cinema has to a great extent lost its government patronage. Today, it must be made as independent films on a shoestring budget by aspiring auteurs, much as in today's Western film industry.
The art directors of this period owed more to foreign influences, such as Italian neorealism or the French New Wave, than they did to the genre conventions of commercial Indian cinema. The best known New Cinema directors were Bengali: Satyajit Ray, Mrinal Sen, Ritwik Ghatak, and Bimal Roy. Some well-known films of this movement include the Apu Trilogy by Ray , the Calcutta Trilogy of Sen, Meghe Dhaka Tara by Ghatak (all in Bengali) and Do Bigha Zameen by Roy (Hindi). Of these film-makers, Satyajit Ray was arguably the most well-known: his films obtained considerable international recognition during the mid-twentieth century. He was awarded an Oscar for life time achievement in 1992. His prestige, however, did not translate into large-scale commercial success[citation needed]. His films played primarily to art-house audiences (students and intelligentsia) in the larger Indian cities, or to film buffs on the international art-house circuit in India and abroad. Like him, Mrinal Sen who has primarily been a political film director and has received international acclaim, is not well known for commercial success, with the lone exception being Bhuvan Shome, which ushered the New Indian Cinema.
Art cinema was also well-supported in the South Indian state of Kerala. Some outstanding Malayalam movie makers are Adoor Gopalakrishnan, G. Aravindan, T. V. Chandran, Shaji N. Karun, and M. T. Vasudevan Nair. Some of their films include National Film Award-winning Elippathayam, Piravi (which won the Camera d'Or at the Cannes Film Festival), Vaanaprastham and Nizhalkkuthu (a FIPRESCI-Prize winner).
Starting in the 1970s, Kannada film makers from Karnataka state produced a string of serious, low-budget films. Girish Kasaravalli is one of the few directors from that period who continues to make non-commercial films. He is the only Indian director other than Satyajit Ray and Buddhadev Dasgupta to win the Golden Lotus Awards four times.
From the 1970s onwards Hindi cinema produced a wave of art films. The foremost among the directors who produced such films is Shyam Benegal. Others in this genre include Govind Nihalani, Mani Kaul, Kumar Shahani, M.S. Sathyu.
Many cinematographers, technicians and actors began in art cinema and moved to commercial cinema. The actor Naseeruddin Shah is one notable example; he has never achieved matinee idol status, but has turned out a solid body of work as a supporting actor and a star in independent films such as Mira Nair's Monsoon Wedding.
Marathi art cinema has been continuously churning out gems even when Marathi mainstream cinema had no suffered a setback. Dr.Jabbar Patel, Bhave-Sukthankar, Amol Palekar are some of the notable names while acclaimed movie titles are Umbartha, Dhyaasparva, Uttarayan, Vaastupurush etc.
And let's not forget women filmmakers. Noteworthy Indian Art Cinema women filmmakers from the diaspora include Shashwati Talukdar, Nandini Sikand, Sonali Gulati, Prema Karanth, Nisha Ganatra, Eisha Marjara, Pratibha Parmar, Liggy Pullappally, and Shanti Thakur.

[edit] Globalization of Indian cinema

Cinema admissions in 1995
Contact between Indian and Western cinemas was established in the early days of film in India. Dadasaheb Phalke was moved to make Raja Harishchandra after watching the film Life of Christ at P.B. Mehta's American-Indian Cinema. Similarly, some other early film directors were inspired by Western movies.
In India at least 80 percent of films shown in the late 1920s were American, even though twenty-one studios manufactured local films, eight or nine of them in regular production. American serials such as Perils of Pauline and Exploits of Elaine, and the spectacular sets of films like Quo Vadis and Cabira were popular and inspiring during the World War I era. Universal Pictures set up an Indian agency in 1916, which went on to dominate the Indian distribution system[6]. J. F. Madan's Elphinstone Bioscope Company at first focused on distribution of foreign films and organization of their regular screenings Additionally, J.P. Madan, the prolific producer, employed Western directors for many of his films.
A number of Indian films have been accused of plagiarising from Hollywood Movies. Due to the long time taken by courts to decide a case, few cases relating to copyright violations are brought up. One of the reasons Bollywood hesitates in purchasing rights is the assumption that these would run into millions of dollars, though according to some like screenwriter-director Anurag Kashyap, this is incorrect; He argues that while the films may cost millions of dollars in the west, the rights would be less expensive for Hindi remakes because the price would be based on the audience's buying power, the economy and the number of bidders.[11]In 2003, best-selling fiction writer Barbara Taylor Bradford brought a copyright infringement suit against Sahara Television for allegedly making a television series (Karishma: A miracle of destiny) out of her book, A Woman of Substance, without acquiring the legal rights to do so.
Today, Indian cinema is becoming increasingly westernised. This trend is most strongly apparent in Bollywood. Newer Bollywood movies sometimes include Western actors (such as Rachel Shelley in Lagaan), try to meet Western production standards, conduct filming overseas, adopt some English in their scripts or incorporate some elements of Western-style plots. Bollywood also produces box-office hit like the films Dilwale Dulhaniya Le Jayenge and Kal Ho Naa Ho, both of which deal with the overseas Indian's experience.
However, the meeting between west and India is a two-way process: Western audiences mostly of Indian origin are becoming more interested in India[citation needed], as evidenced by the mild success of Lagaan, Bride and Prejudice and Sivaji. As Western audiences for Indian cinema grow, Western producers are funding maverick Indian filmmakers like Gurinder Chadha (Bride and Prejudice) and Mira Nair (Monsoon Wedding). Both Chadha and Nair are of Indian origin but do not live in India, and who made their names in Western independent films; they have now been funded to create films that "interpret" the Indian cinematic tradition for Westerners. A similar filmmaker is Deepa Mehta of Canada, whose films include the trilogy Fire, Earth and Water.
Indian cinema is also influencing the English and American musical; Baz Luhrmann's Moulin Rouge! (2001) incorporates a Bollywood-style dance sequence; The Guru and The 40-Year-Old Virgin feature Indian-style song-and-dance sequences; A. R. Rahman, a film composer, was recruited for Andrew Lloyd Webber's Bombay Dreams; and a musical version of Hum Aapke Hain Koun has played in London's West End.

[edit] Awards
The Filmfare Awards ceremony is one of the oldest and most prominent film events given for Hindi films in India [12] and is sometimes referred to as the "Bollywood Oscars." [13] The Filmfare awards were first introduced in 1954, the same year as the National Film Awards and gave awards to the best films of 1953. The ceremony was referred to as the Clare Awards after the magazine's editor. A dual voting system was developed in 1956. [14] Under this system, "in contrast to the National Film Awards, which are decided by a panel appointed by Indian Government, the Filmfare Awards are voted for by both the public and a committee of experts." [15]
Since 1973, the Indian government has sponsored the National Film Awards (which first began in 1954), awarded by the government run Directorate of Film Festivals (DFF). The DFF screens films from all the Indian movie industries and independent/art films. These awards are handed out at an annual ceremony presided over by the President of India.
Additional ceremonies held within India are:
Stardust Awards
Star Screen Awards
Ceremonies held overseas are:
Bollywood Movie Awards - Long Island, New York, United States
Global Indian Film Awards - (different country each year)
IIFA Awards - (different country each year)
Zee Cine Awards - (different country each year)
Most of these award ceremonies are lavishly staged spectacles, featuring singing, dancing, and lots of stars and starlets.

[edit] Film Training In India
Film And Television Institute Of India, Pune
Satyajit Ray Film and Television Institute, Kolkatta
R. K. Films & Media Academy, Karol Bagh, New Delhi

[edit] References
Shedde, M. (2003) "Plagiarism issue jolts Bollywood" The Times of India, May 18. Available from: http://timesofindia.indiatimes.com/cms.dll/html/uncomp/articleshow?msid=46715385. Accessed 23 November 2006.
"The World-wide Spread of Cinema". The Oxford History of World Cinema. (1996). Ed. Nowell-Smith, G.. Oxford University Press. ISBN 0-19-811257-2.
Thoraval, Y. (2000). The Cinemas of India. Macmillan India. ISBN 0-333-93410-5.

[edit] Notes
^ Central Board of Film Certification of India
^ Deccan Herald-Indian movie tickets cheapest in the world-survey
^ Film Collection
^ http://www.hinduonnet.com/thehindu/mp/2002/05/09/stories/2002050900170300.htm
^ Cite error: Invalid tag; no text was provided for refs named oxf399
^ Thoraval, Y: "The Cinemas of India", Chapter 1, page 12, "The Cinemas of India"

[edit] External links
Download Indian Movies Legally
IMDB
DownMelodyLane.com - Encyclopedia of Indian Cinema
Timeline of Cinematography In India
Upperstall film guide - noncommercial
Cinema on Indian Stamps
Indian Online Radio's
R. K. Films & Media Academy
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