Indian Cinema

INTRODUCTION

In terms of the quantity of films produced each year as well as the number of jobs they create, Indian films are without a doubt the most watched films in the whole globe. Not just referring to the billion-strong audiences in India itself, where 12 million people are reported to visit the movies daily but also to sizable audiences in unlikely locations like Russia, China, the Middle East, the Far East, Egypt, Turkey and Africa.

There is a strong affection for Indian popular film among people from quite various cultural and social backgrounds, and many of these people have been lovers of Hindi films for more than fifty years.

EVOLUTION OF INDIAN CINEMA

The Indian cinema business makes films in a variety of regional languages, including Hindi, Telugu, Tamil, Bhojpuri, Marathi, Malayalam, Kannada and English. In terms of income, it is the second-largest film business in the world after Hollywood. Bollywood is the name of the Hindi film industry, which accounts for 43% of global box office receipts. The Telugu and Tamil cinema industries split the remaining 36% of earnings, with the rest going to other sources.

Major multinational media companies like Disney, 20th Century Fox, Warner Bros., etc. have invested in the Indian film business as a result of a clause that was recently enacted allowing complete foreign direct investment in the film industry.

Dhundiraj Govind Phalke, also popularly known as Dada Saheb Phalke created the first indigenous Indian silent cinema in 1913 named Raja Harishchandra. He is regarded as the father of Indian cinema and is responsible for films such as Mohini Bhasmasur and Satyavan Savitri.

It took nearly 20 years after Raja Harishchandra for the first sound motion film, Alam Ara, directed by Ardeshir Irani, to be released. In 1918, the Indian Cinematography Act was established. It mandated the licensing of movie theatres as well as the censoring of both domestic and international films. Beginning in 1920, the provinces formed the board of censors. In 1937, Moti B Gidwani’s film ‘Kisan Kanya’ planted the germ of colour cinema.

Fatma Begum was the first Indian woman to create and direct her own film, Bulbul-e-Paristan, in 1926. The first cinema censorship issue occurred in Madras in 1921, when the picture Bhakta Vidur was banned.

Ardeshir Irani directed the first talking picture, Alam-Ara, in 1931. India’s first vocalist W.M. Khan’s song De de khuda ke naam par was the first recorded song in Indian cinema history. In 1935, PC. Barua’s Devdas was the first picture to adopt the studio system.

During this time, other foreign partnerships were also formed. Through experimenting, coloured films were produced, including Sairandhri, the first colour film made in India by Prabhat in 1933 but processed and printed in Germany. Ardeshir Irani’s Kisan Kanya is remarkable for being the first locally made colour film.

The theme of Indian cinema was based on mythology, history, freedom movement etc. Some authors and directors, such as V. Shantaram, created films addressing social themes, such as Amar Jyoti, a film about women’s empowerment. The freedom struggle of India was mirrored in the films e.g. Dharti ke Lal, Do Aankhen Barah Haath, etc. Many films with tragic love tales and fictional historical accounts were also produced e.g. Chandralekha, Laila Majnu, Sikander, and Chitralekha.

The Central Board of Film Certification, founded in the 1950s to control the content of the enormous number of films made in north and south India, marked the birth of Indian cinema. Sohrab Modi created the first technicolour film, Jhansi Ki Rani, in 1953.

Additionally, around this time, India began to gain popularity as a destination for international film festivals. In 1952, Bombay hosted the inaugural International Film Festival of India (IFFI). This made it possible for more Indian films to be recognised internationally. Do Bigha Zameen by Bimal Roy was the first Indian movie to take home a prize at Cannes. Pather Panchali, directed by Satyajit Ray, was another well-known movie to receive a Cannes Award. In 1957, Mother India received an Oscar nomination for Best Foreign Language Film. The Indian government established the National Film Awards, which were initially presented to the motion picture Shyamchi Aai, taking inspiration from the

global scene. Sohrab Modi’s 1954 film Mirza Ghalib was the first to get the President’s Gold Medal.

In the 1960s, the music business evolved into a crucial component of the cinema community. Music has increasingly been used in films as a selling factor. e.g. Jis desh mein Ganga behti hai, Guide, Waqt etc.

Because of their rapid entertainment value, “masala” films were popular in the 1970s and 1980s. Amitabh Bachchan, Vinod Khanna, Rajesh Khanna, Dev Anand, Nargis, Waheeda Rehman, Hema Malini, Sridevi, and many more were fans of the “masala” cinema genre. Horror, mystery, comedy, action, thriller, and romance films were popular during this time period. E.g. Sholay was the first Indian film to be shot in 70mm. It shattered all previous records and was the longest- running picture in theatres until the 1990s. The performers and actresses achieved superstardom and celebrity like never before. We progressed from traditional and time-tested movie stories to burlesque, unusual, experimental, and inventive flicks. The growth of sound technology, choreography and technical special effects set the ground for the globalisation of Indian film that we witness today.

From 1980 to the present, the face of Indian film has dramatically altered. There was a wave of films concerning social themes, as well as romantic comedies and family dramas. The late 1980s witnessed the birth of the ‘anti-hero’ image in films like Baazigar and Darr, which catapulted the Shahrukh Khan to popularity.

After 1992, when the entire nation experienced economic liberalisation, the Indian film industry, particularly Bollywood, saw a significant transformation. Foreign investors were investing money in the sector, which resulted in a huge budget rise for the production companies. Numerous films included foreign settings. Through expansion and changes of that time Bollywood gradually evolved into the industry it is now, where films are distributed globally. LPG allowed modern technologies to enter India in the 1990s. For instance, My Dear Kuttichathan was India’s first 3D film, produced in Malayalam. Another key technology, the Dolby Sound System, was introduced to the Indian public.

PARALLEL CINEMA

Parallel cinema is an Indian film movement that began in the 1950s in the state of West Bengal as an alternative to mainstream commercial Indian cinema, particularly popular Hindi cinema, now known as Bollywood. Bengali cinema was in the forefront of the movement, producing globally recognised directors like Satyajit Ray, Mrinal Sen, Ritwik Ghatak, Tapan Sinha and others.

Parallel Cinema is distinguished by its serious substance, realism and naturalism, symbolic components with a careful eye on the current socio-political context and serious handling of story, style and structure. The core concept of parallel cinema is that rather than being predictable and pandering to the public, these films are “different.” They do not adhere to a set of principles, are not written in a general fashion and

have varying subjects. These films are also not produced with stars in mind.

The reasons that contributed to the emergence of parallel cinema in India were -

Following WWII, the worldwide tendency changed towards neo-realism and the representation of human faults. This was represented in Indian cinema with notable films like Mother India, Shree 420 and others that focused on social issues.

There was now a profusion of film-related organisations available to individuals, such as the National Film Archive of India, which was established in 1964.

India became a popular destination for international film festivals, an increasing number of Indian directors were able to get access to worldwide cinematic trends, which were mirrored in their own work.

Satyajit Ray, who directed The Apu Trilogy-Pather Panchali, Apur Songsar, and Aparajito was a pioneer in the parallel cinema movement. These flicks brought him international renown and multiple accolades. Ritwik Ghatak was another notable personality who focused on the difficulties of the lower middle class in films such as Nagarik, Ajantrik and Meghe Dhaka Tara.

In the 1980s, parallel film began to emphasise the importance of women’s roles. Several female filmmakers rose to prominence during this time period. Sai Paranjpye (Chasme Buddoor, Sparsh), Kalpana Lajmi (Ek Pan) and Aparna Sen (36 Chowringhee Lane) were among the most renowned. Some even received international attention, such as Meera Nair, whose film Salaam Bombay earned an award at the Cannes Film Festival in 1989. The majority of these films addressed the changing position of women in our society.

Role of Women in Indian Cinema

The representation of women in film has altered over time. During the silent cinema period, filmmakers focused on the constraints that women faced. Most directors, such as

V. Shantaram, Dhiren Ganguli and Baburao Painter, created films addressing women’s emancipation subjects such as child marriage bans, sati abolition and so on between the 1920s and 1940s. The cinematic approach gradually expanded to incorporate widow remarriage, women’s education and

the right of women to equal pay in the workplace.

During the 1960s and 1980s, Hollywood portrayed women in stereotypical ways. They extolled motherhood, female faithfulness and making extraordinary sacrifices for her family while portraying the heroine or ‘ideal woman.’ The filmmakers invented the antiheroine or vamp, in contrast to the heroine. She was shown as drinking, engaging in extramarital relationships and acting cruelly or dishonestly. Filmmakers who have a great desire to advance women’s emancipation have only shown an Indian woman’s life in alternative cinema. In this field, renowned filmmakers include Satyajit Ray, Ritwik Ghatak, Guru Dutt, Shyam Bengal, and others.

Today’s movie is also exploring the idea of a modern woman who works for a living, has a kid and a job to manage and is still trying to find her own footing.

SOUTH INDIAN CINEMA

“South Indian cinema” refers to the five South Indian film industries as a whole: Tamil, Telugu, Kannada, Malayalam and Tulu (Coastal Karnataka). The two biggest among them are the Telugu and Tamil film industries. Tamil and Malayalam films have a considerable worldwide following whilst Kannada and Telugu films mostly cater to domestic audiences.

South Indian film frequently uses mythological, folkloric and literary themes from the classics.

There were several films with mythological themes created in Telugu. Epic tales like the Mahabharata and the Ramayana are quite well-known in Andhra Pradesh. For his portrayals of Krishna, Rama, Shiva, Arjuna and Bhima in films, N.T. Rama Rao is well known. In 17 films throughout his career, NTR played Krishna. He later achieved prominence as a politician.

Mythological myths are often shown in Tamil and Kannada films. The lead in the Kannada mythological films “Babruvahana” and “Ramanjaneya Yuddha” was portrayed by legendary actor Rajkumar. The critically regarded A.P. Nagarajan’s Tamil film “Tiruvilaiyadal” was a tremendous hit. Shiva was expertly portrayed in that masterwork by the famous actor Shivaji Ganeshan. Contrarily, films with socioeconomic themes predominate in South Indian cinema.

Importance of Indian Cinema

Indian cinema has served as an informational, entertaining, and educational medium.

Cinema is a potent tool for communication, a window into society, a catalyst for cultural change and a repository of history.

Indian cinema is a multi-billion-dollar industry that has gained recognition throughout South Asia and internationally. A Pan-Indian cinema movement has emerged as a result of the numerous languages that contemporary film releases are dubbed in. Bollywood is one of the world’s major film industries, with money generated from film production, distribution, and exhibition. Millions of people are employed in the film business, including actors, producers, directors, technicians, and crew workers.

• India’s soft power is based on its diverse cultural legacy, which includes yoga, Ayurveda, music, dance and food. Indian film has played an important role in promoting India’s soft power throughout the world.

• Many nations, including the United States, the United Kingdom, China and Russia, enjoy the popularity of Indian cinema. Millions of people across the world watch them, and they provide a window into Indian culture, values, and way of life.

• Indian film has contributed to a positive image of India throughout the world. It has shown India as a country rich in cultural variety and heritage.

• Indian film has also contributed to the spread of Indian ideals such as family, love and societal peace. The themes of Indian films appeal to individuals of many cultures, making them familiar and approachable.

• The unique narrative techniques and genres of Indian cinema have substantially contributed to its worldwide appeal.

• Indian film's is noted for its vivid music, dancing and colourful costumes, which provide the spectator with an exciting experience.

• The genres of Indian cinema include action, drama, romance, humour and social issue-based films, making it a broad and inclusive business.

• The themes and tales of Indian film are based on Indian culture and society, giving it an accurate reflection of Indian life and values.

• The global appeal of Indian film may be due to its distinct narrative styles, topics and genres. The popularity of Indian films and actors throughout the world demonstrates Indian cinema’s global influence.

• Indian film has crossed cultural barriers, carving out a worldwide place for itself.

• The rising popularity of Indian fashion, music and dance globally demonstrates the effect of Indian film on defining global cultural trends.

• The importance of Indian film in the context of India’s cultural variety and global ambitions cannot be understated.

• It has made an important contribution to India’s soft power by promoting Indian culture, society and values throughout the world.

• Indian film has served as a link between India and the rest of the globe, promoting cultural understanding and diplomatic connections.

• Indian film has also played an important part in promoting Indian tourism and developing a favourable image of India throughout the world.

Indian Cinematograph Act

The Indian government adopted the Indian Cinematograph Act in 1952 to control film certification. The major goal of the Act was to formalise the formation and functioning of the Central Board of Film Certification (CBFC), popularly known as the “Censor Board of India.”

The Act requires the Central Government to appoint a Chairman of the Censor Board as well as a team of twelve to twenty-five persons to assist the Chairman in his duties. The Board must screen a film if it offends a specified geographic area, age group, religious association or political group.

Before giving a certificate, it may also direct the applicant for the film to make additions and deletions to the picture. If these changes aren’t made, the Censor Board can decline to let the movie be screened in public.

The Central Government is in charge of film certification, while the state governments are in charge of implementing censorship in their own regions.

To classify Indian films, four categories are used. These are:

Central Board of Film Certification (CBFC)

The Central Board of Film Certification (CBFC) is a government body that governs and directs censorship in India. The Ministry of Information and Broadcasting nominates the Chairman and other governing members of the CBFC. They may be appointed for a term of three years or more, according to government rule. Members are frequently well-known and accomplished individuals from the film industry or other academics.

They also have an advisory committee at their regional office that is overseen by regional executives. In the case of a dispute between the filmmakers and the Censor Board, two- tier committees may be consulted. The two committees are the Examining Committee and the Revising Committee.

Every movie needs a Censor Board certificate. Even imported foreign films into India need to have CBFC certification. To ensure that the language change is not offensive in any manner, all films that are dubbed from one language to another must get a new certificate.

Films created expressly for Doordarshan, which is the official broadcaster of the Indian government and has its own set of guidelines for reviewing such films, are the only ones to be exempted from the CBFC certificate. The CBFC does not certify television programmes or serials.

In order to create cinema certification criteria that incorporate global best practices and offer enough room for artistic and creative expression, the Indian government launched the Shyam Benegal Committee in 2016.

National Film Policy

Given that India has the largest film production business in the world, it would seem that a national film policy is necessary. Over a thousand films are made each year, greatly boosting India’s GDP.

The film industry is mired in a paradox: although it continues to grow unfettered, the government’s Censor Board carefully controls the substance of the films that are made. As a result, the government’s involvement should be minimal for long- term growth.

Regional cinema is being progressively marginalised, and a policy is required to bring it on par with popular Hindi films. It is important to teach the craft of filmmaking and photography, and further film institutions modelled after

the Film and Television Institute of India (FTII) should be founded. A national policy can assist drive Indian film in the appropriate path since it has to be marketed internationally. A national film policy can guarantee that incentives for content digitization are offered. To keep up with the shifting socio-cultural environment, new censorship regulations are necessary. Amendments to make piracy illegal are necessary since Internet piracy is the biggest issue facing the sector. Strict consequences, including monetary fines, would work well against the perpetrators