Cinema of India
Cinema of India | |
---|---|
No. of screens | 9,382 (2022)[1] |
• Per capita | 6 per million (2021)[2] |
Produced feature films (2021–22)[3] | |
Total | 2886 |
Number of admissions (2016)[4] | |
Total | 2,020,000,000 |
• Per capita | 1.69 |
National films | 1,713,600,000 |
Gross box office (2022)[7] | |
Total | ₹15,000 crore[5] |
National films | $3.7 billion (2020)[6] |
Part of a series on the |
Culture of India |
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The Cinema of India, consisting of
Indian cinema is composed of multilingual and multi-ethnic film art. In 2022, Hindi cinema represented 33% of box office revenue, followed by Telugu representing 20%, Tamil representing 16%, Kannada representing 8% and Malayalam representing 6%.[32] Other prominent film industries are that of Bengali, Marathi, Odia, Punjabi, Gujarati and Bhojpuri.[32] As of 2022, the combined revenue of South Indian film industries have surpassed that of the Mumbai-based Hindi-language film industry (Bollywood).[33][34] As of 2022, Telugu cinema leads Indian cinema's box-office revenue.[35][36][10]
Indian cinema is a global enterprise
History
The history of cinema in India extends to the beginning of the film era. Following the screening of the Lumière and Robert Paul moving pictures in London in 1896, commercial cinematography became a worldwide sensation and these films were shown in Bombay (now Mumbai) that same year.[41]
Silent era (1890s–1920s)
In 1897, a film presentation by filmmaker Professor Stevenson featured a stage show at Calcutta's Star Theatre. With Stevenson's camera and encouragement, Indian photographer Hiralal Sen filmed scenes from that show, exhibited as The Flower of Persia (1898).[42] The Wrestlers (1899), by H. S. Bhatavdekar, showing a wrestling match at the Hanging Gardens in Bombay, was the first film to be shot by an Indian and the first Indian documentary film.[citation needed] From 1913 to 1931, all the movies made in India were silent films, which had no sound and had intertitles.[43]
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In 1913, Dadasaheb Phalke released Raja Harishchandra (1913) in Bombay, the first film made in India. It was a silent film incorporating Marathi and English intertitles.[48] It was premiered in Coronation cinema in Girgaon.[49]
Although some claim
In South India, film pioneer Raghupathi Venkayya, credited as the father of Telugu cinema, built the first cinemas in Madras (now Chennai), and a film studio was established in the city by Nataraja Mudaliar.[55][56][57]
The first Tamil and Malayam films, also silent films, were Keechaka Vadham (1917–1918, R. Nataraja Mudaliar)[58] and Vigathakumaran (1928, J. C. Daniel Nadar). The latter was the first Indian social drama film and featured the first Dalit-caste film actress.[citation needed]
The first chain of Indian cinemas, Madan Theatre, was owned by Parsi entrepreneur Jamshedji Framji Madan, who oversaw the production and distribution of films for the chain.[49] These included film adaptations from Bengal's popular literature and Satyawadi Raja Harishchandra (1917), a remake of Phalke's influential film.[citation needed]
Films steadily gained popularity across India as affordable entertainment for the masses (admission as low as an anna [one-sixteenth of a rupee] in Bombay).[41] Young producers began to incorporate elements of Indian social life and culture into cinema, others brought new ideas from across the world. Global audiences and markets soon became aware of India's film industry.[59]
In 1927, the British government, to promote the market in India for British films over American ones, formed the Indian Cinematograph Enquiry Committee. The ICC consisted of three British and three Indians, led by T. Rangachari, a Madras lawyer.[60] This committee failed to bolster the desired recommendations of supporting British Film, instead recommending support for the fledgling Indian film industry, and their suggestions were set aside.
Sound era
The first Indian
The first
Jumai Shasthi was the first Bengali talkie.[citation needed]
Jyoti Prasad Agarwala made his first film Joymoti (1935) in Assamese, and later made Indramalati.[citation needed] The first film studio in South India, Durga Cinetone, was built in 1936 by Nidamarthi Surayya in Rajahmundry, Andhra Pradesh.[68][contradictory] The advent of sound to Indian cinema launched musicals such as Indra Sabha and Devi Devyani, marking the beginning of song-and-dance in Indian films.[49] By 1935, studios emerged in major cities such as Madras, Calcutta and Bombay as filmmaking became an established industry, exemplified by the success of Devdas (1935).[69] The first colour film made in India was Kisan Kanya (1937, Moti B).[70] Viswa Mohini (1940) was the first Indian film to depict the Indian movie-making world.[71]
The Indian
Following independence, the 1947
Golden Age (late 1940s–1960s)
The period from the late 1940s to the early 1960s is regarded by film historians as the Golden Age of Indian cinema.
During the 1950s, Indian cinema reportedly became the world's second largest film industry, earning a gross annual income of ₹250 million (equivalent to ₹26 billion or US$330 million in 2023) in 1953.[98] The government created the Film Finance Corporation (FFC) in 1960 to provide financial support to filmmakers.[99] While serving as Information and Broadcasting Minister of India in the 1960s, Indira Gandhi supported the production of off-beat cinema through the FFC.[99]
Commercial
Actor Dilip Kumar rose to fame in the 1950s, and was the biggest Indian movie star of the time.[107][108] He was a pioneer of method acting, predating Hollywood method actors such as Marlon Brando. Much like Brando's influence on New Hollywood actors, Kumar inspired Indian actors, including Amitabh Bachchan, Naseeruddin Shah, Shah Rukh Khan and Nawazuddin Siddiqui.[109]
1970s–present
By 1986, India's annual film output had increased to 833 films annually, making India the world's largest film producer.[121] Hindi film production of Bombay, the largest segment of the industry, became known as "Bollywood".
By 1996, the Indian film industry had an estimated domestic cinema viewership of 600 million people, establishing India as one of the largest film markets, with the largest regional industries being Hindi, Telugu, and Tamil films.[122] In 2001, in terms of ticket sales, Indian cinema sold an estimated 3.6 billion tickets annually across the globe, compared to Hollywood's 2.6 billion tickets sold.[123][124]
Hindi
Realistic Parallel Cinema continued throughout the 1970s,[125] practised in many Indian film cultures. The FFC's art film orientation came under criticism during a Committee on Public Undertakings investigation in 1976, which accused the body of not doing enough to encourage commercial cinema.[126]
Hindi commercial cinema continued with films such as
By the early 1970s, Hindi cinema was experiencing thematic stagnation,
By the mid-1970s, Bachchan's position as a lead actor was solidified by crime-action films Zanjeer and
The term "
Commercial Hindi cinema grew in the 1980s, with films such as Ek Duuje Ke Liye (1981), Disco Dancer (1982), Himmatwala (1983), Tohfa (1984), Naam (1986), Mr India (1987), and Tezaab (1988).
In the late 1980s,[
In the late 1990s, there was a resurgence of Parallel Cinema in Bollywood, largely due to the critical and commercial success of
Since the 1990s, the three biggest Bollywood movie stars have been the "
.Haider (2014, Vishal Bhardwaj), the third instalment of the Indian Shakespearean Trilogy after Maqbool (2003) and Omkara (2006),[161] won the People's Choice Award at the 9th Rome Film Festival in the Mondo Genere making it the first Indian film to achieve this honour.[162][relevant?]
The 2000s and 2010s also saw the rise of a new generation of popular actors like
Telugu
Baburao Patel of Filmindia called B. N. Reddy's Malliswari (1951) an "inspiring motion picture" which would "save us the blush when compared with the best of motion pictures of the world".[165] Film historian Randor Guy called Malliswari scripted by Devulapalli Krishnasastri a "poem in celluloid, told with rare artistic finesse, which lingers long in the memory".[166]
Ram Gopal Varma's Siva (1989), which attained cult following[184] introduced steadicams and new sound recording techniques to Indian films.[185] Siva attracted the young audience during its theatrical run, and its success encouraged filmmakers to explore a variety of themes and make experimental films.[186] Varma introduced road movie and film noir to Indian screen with Kshana Kshanam (1991).[187] Varma experimented with close-to-life performances by the lead actors, which bought a rather fictional storyline a sense of authenticity at a time when the industry was being filled with commercial fillers.[188]
S.S Rajamouli followed up with the alternate historical film
Actors like Prabhas, Allu Arjun, Ram Charan and N. T. Rama Rao Jr. enjoy a nationwide popularity among the audiences after the release of their respective Pan-Indian films. Film critics, journalists and analysts, such as Baradwaj Rangan and Vishal Menon, have labelled Prabhas as the "first legit Pan-Indian Superstar".[207]
Tamil
Tamil cinema established Madras (now
Marupakkam (1991, K. S. Sethumadhavan) and Kanchivaram (2007) each won the National Film Award for Best Feature Film.[212] Tamil films receive significant patronage in neighbouring Indian states Kerala, Karnataka, Andhra Pradesh, Maharashtra, Gujarat and New Delhi. In Kerala and Karnataka the films are directly released in Tamil but in Telangana and Andhra Pradesh they are generally dubbed into Telugu.[213][214]
Tamil films have had international success for decades. Since
Malayalam
Malayalam cinema experienced its Golden Age during this time with works of filmmakers such as
Fazil's Manichitrathazhu (1993) scripted by Madhu Muttam; is inspired by a tragedy that happened in an Ezhava tharavad of Alummoottil meda' an old (Traditional house) located at Muttom, Alappuzha district, a central Travancore Channar family, in the 19th century.[228] It was remade in four languages – in Kannada as Apthamitra, in Tamil as Chandramukhi , in Bengali as Rajmohol and in Hindi as Bhool Bhulaiyaa – all being commercially successful.[229] Jeethu Joseph's Drishyam (2013) was remade into four other Indian languages: Drishya (2014) in Kannada, Drushyam (2014) in Telugu, Papanasam (2015) in Tamil and Drishyam (2015) in Hindi. Internationally, it was remade in Sinhala language as Dharmayuddhaya (2017) and in Chinese as Sheep Without a Shepherd (2019), and also in Indonesian.[230][231][232]
Kannada
Ethnographic works took prominence such as
Marathi
Cultural context
K. Moti Gokulsing and Wimal Dissanayake identified six major influences that have shaped Indian popular cinema:[248]
- The ancient Khalnayak and Gardish.
- Ancient dance and gesture combined "to create a vibrant artistic unit with dance and mime being central to the dramatic experience". Sanskrit dramas were known as natya, derived from the root word nrit (dance), featuring spectacular dance-dramas.[249] The Rasa method of performance, dating to ancient times, is one of the fundamental features that differentiate Indian from Western cinema. In the Rasa method, the performer conveys emotions to the audience through empathy, in contrast to the Western Stanislavski method where the actor must become "a living, breathing embodiment of a character". The rasa method is apparent in the performances of Hindi actors such as Bachchan and Shah Rukh Khan and in Hindi films such as Rang De Basanti (2006),[250] and Ray's works.[251]
- Traditional folk theatre, which became popular around the 10th century with the decline of Sanskrit theatre. These regional traditions include the Yatra of West Bengal, the Ramlila of Uttar Pradesh, Yakshagana of Karnataka, 'Chindu Natakam' of Andhra Pradesh and the Terukkuttu of Tamil Nadu.
- Hollywood-made popular musicals from the 1920s through the 1960s, though Indian films used musical sequences as another fantasy element in the song-and-dance tradition of narration, undisguised and "intersect[ing] with people's day-to-day lives in compelex and interesting ways."[252]
- Western music videos, particularly MTV, had an increasing influence in the 1990s, as can be seen in the pace, camera angles, dance sequences, and music of recent Indian films. An early example of this approach was Bombay (1995, Mani Ratnam).[253]
Sharmistha Gooptu and Bhaumik identify
Like mainstream Indian popular cinema, Indian
International influence
During colonial rule, Indians bought film equipment from Europe.
Early Indian films made early inroads into the
Many Asian and
Indian films frequently appeared in international fora and film festivals.[256] This allowed Parallel Bengali filmmakers to achieve worldwide fame.[271]
Indian cinema more recently began influencing Western musical films, and played a particularly instrumental role in the revival of the genre in the Western world. Ray's work had a worldwide impact, with filmmakers such as
Indian cinema has been recognised repeatedly at the US-based Academy Awards. Indian films Mother India (1957),
Genres and styles
Masala film
Masala is a style of Indian cinema that mixes multiple
Parallel cinema
Parallel Cinema, also known as Art Cinema or the Indian New Wave, is known for its realism and naturalism, addressing the sociopolitical climate. This movement is distinct from mainstream Bollywood cinema and began around the same time as the French and Japanese New Waves. The movement began in Bengal (led by Ray, Sen and Ghatak) and then gained prominence in other regions. The movement was launched by Bimal Roy's Do Bigha Zamin (1953), which was both a commercial and critical success, winning the International Prize at Cannes.[93][287][288] Ray's films include the three instalments of The Apu Trilogy which won major prizes at the Cannes, Berlin and Venice Film Festivals, and are frequently listed among the greatest films of all time.[289][290][291][292]
Other
Multilingual
Some Indian films are known as "multilinguals", filmed in similar but non-identical versions, in different languages. Chittoor Nagayya, was one of the first multilingual filmmakers in India.[66] Alam Ara and Kalidas are earliest examples of bilingual filmmaking in India. According to Ashish Rajadhyaksha and Paul Willemen in the Encyclopedia of Indian Cinema (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 different but identical takes were made of every shot in different languages, often with different leading stars but identical technical crew and music.[294]: 15
Rajadhyaksha and Willemen note that in seeking to construct their Encyclopedia, they often found it "extremely difficult to distinguish multilinguals in this original sense from dubbed versions, remakes, reissues or, in some cases, the same film listed with different titles, presented as separate versions in different languages ... it will take years of scholarly work to establish definitive data in this respect".[294]: 15
Pan-India film
Music
Music & Songs are a big part of Indian cinema and it's not just for entertainment but they play a crucial role in storytelling. Music and dance are a core part of Indian culture, and films weave them in to tell the story. Songs are used to express emotions that spoken dialogue might struggle to convey. Songs often used to move the plot forward. Lyrics might reveal a character's inner thoughts, motivations, or foreshadow future events. Sometimes the song itself can become a turning point in the story. While some may find them disruptive, songs remain a deeply rooted tradition in Indian cinema, reflecting both its culture and what audiences love.
Music is a substantial revenue generator for the Indian film industry, with music rights alone accounting for 4–5% of net revenues.[298] The major film music companies are T-Series at Delhi, Sony Music India at Chennai and Zee Music Company at Mumbai, Aditya Music at Hyderabad and Saregama at Kolkata.[298] Film music accounts for 48% of net music sales in the country.[298] A typical film may feature 5–6 choreographed songs.[299]
The demands of a multicultural, increasingly globalised Indian audience led to a mixing of local and international musical traditions.
In 2023, the song "Naatu Naatu" composed by M. M. Keeravani for the movie RRR won the Oscar for Best Original Song at the 95th Academy Awards, making it the first song from an Indian film, as well as the first from an Asian film, to win in this category. This made the film the first Indian film by an Indian production to win an Academy Award.[205][301]
Filming locations
A filming location is any place where acting and dialogue are recorded. Sites where filming without dialogue takes place are termed a second unit photography site. Filmmakers often choose to shoot on location because they believe that greater realism can be achieved in a "real" place. Location shooting is often motivated by budget considerations.[citation needed]
The most popular locations for filming in India are the main cities of their state for regional industry. Other locations include Manali and Shimla in Himachal Pradesh; Srinagar in Jammu and Kashmir; Ladakh; Darjeeling in West Bengal; Ooty and Kodaikanal in Tamil Nadu; Amritsar in Punjab; Udaipur, Jodhpur, Jaisalmer and Jaipur in Rajasthan; Delhi; Ottapalam in Kerala; Goa and Puducherry.[302][303]
Production companies
More than 1000 production organisations operate in the Indian film industry, but few are successful.
Cinema by language
This section needs to be updated. The reason given is: This info is of Indian cinema till 2019 but after COVID the situation is changed, Telugu and cinema of Karnataka dominating Indian box-office and worldwide revenue, needs update and pie chart.(January 2023) |
Films are made in many cities and regions in India including Assam, Bengal, Bihar, Gujarat, Haryana, Jammu, Kashmir, Jharkhand, Karnataka, Goa, Kerala, Maharashtra, Manipur, Odisha, Chhattisgarh, Punjab, Rajasthan, Tamil Nadu, Andhra Pradesh and Telangana, Tripura and Mizoram.
2019 Indian feature films certified by the Central Board of Film Certification by languages.[305] Note: This table indicates the number of films certified by the CBFC's regional offices in nine cities. The actual number of films produced may be less. | |
Language | No. of films |
---|---|
Hindi | 495 |
Kannada | 336 |
Telugu | 281 |
Tamil | 254 |
Malayalam | 219 |
Bengali | 193 |
Marathi | 164 |
Bhojpuri | 101 |
Gujarati | 80 |
Punjabi | 63 |
Odia
|
42 |
Assamese | 34 |
English | 28 |
Tulu | 16 |
Manipuri | 15 |
Nagamese | 11 |
Konkani | 10 |
Mizo | 10 |
Rajasthani | 8 |
Khasi | 7 |
Sindhi | 6 |
Banjari )
|
5 |
Urdu | 5 |
Nagpuri
|
4 |
Maithili | 2 |
Santali | 2 |
Others | 1 each |
Total | 1986 |
Assamese
The
Bengali
The
Braj Bhasha
Bhojpuri
Bhojpuri film history begins with Ganga Maiyya Tohe Piyari Chadhaibo (Mother Ganges, I will offer you a yellow sari, 1962, Kundan Kumar).[314] Throughout the following decades, few films were produced. The industry experienced a revival beginning with the hit Saiyyan Hamar (My Sweetheart, 2001, Mohan Prasad).[315] Although smaller than other Indian film industries, these successes increased Bhojpuri cinema's visibility, leading to an awards show[316] and a trade magazine, Bhojpuri City.[317]
Chakma
The Chakma language is spoken in Tripura and Mizoram (Northeast India), as well as in the Chittagong Hill Tracts region of Bangladesh. Films in Chakma include Tanyabi Firti (Tanyabi's Lake, 2005, Satarupa Sanyal).[318]
Chhattisgarhi
The
English
Indian filmmakers also produce English language films. Deepa Mehta, Anant Balani, Homi Adajania, Vijay Singh, Vierendrra Lalit and Sooni Taraporevala have garnered recognition in Indian English cinema.
Gujarati
The
Gujarati cinema ranges from mythology to history and from social to political. Gujarati films originally targeted a rural audience, but after its revival (c. 2005) catered to an urban audience.[323]
Hindi
The
Kannada
Kannada cinema, also known as Sandalwood or Chandanavana,
Konkani
Maithili
Maithili cinema is made in the Maithili language. The first full-length film was Kanyadan (1965).[345] There are numerous films made in the Maithili over the years[346] The film Mithila Makhaan (2019) won a National Award in the regional films category.[347]
Malayalam
The
Malayalam cinema has been in the forefront of technological innovation in Indian filmmaking. The first neorealistic film (Newspaper Boy),[220] the first CinemaScope film (Thacholi Ambu),[352] the first 70 mm film (Padayottam),[353] the first 3D film (My Dear Kuttichathan),[354] the first Panavision film (Vanaprastham), the first digital film (Moonnamathoral),[355] the first Smartphone film (Jalachhayam),[356] and the first 8K film (Villain)[357] in India were made in Malayalam.
The period from 1986 to 1990 is regarded as the Golden Age of Malayalam cinema,[358] with four Malayalam films recognised by selection at the Cannes Film Festival—Shaji N. Karun-directed Piravi (1989), Swaham (1994) and Vanaprastham (1999), and Murali Nair-directed Marana Simhasanam (1999). Piravi (1989) won the Caméra d'Or — Mention Spéciale and Marana Simhasanam has won the Caméra d'Or.[citation needed]
The Kerala State Film Awards established by the Government of Kerala recognises the best works in Malayalam cinema every year, along with J. C. Daniel Award for lifetime achievement in Malayalam cinema. K. R. Narayanan National Institute of Visual Science and Arts (KRNNIVSA) is a training and research centre for film and video technology.[359]
Manipuri
Manipuri cinema is a small film industry of
.Marathi
Marathi films are produced in the Marathi language in Maharashtra state. It the oldest of India's film industries, which began in Kolhapur, moved to Pune and is now based in old Mumbai.[243]
Some of the more notable films are Sangte Aika, Ek Gaon Bara Bhangadi,
Nagpuri
Nagpuri films are produced in the Nagpuri language in Jharkhand state. The first Nagpuri feature film was Sona Kar Nagpur (1992).[360][361] With a mainly rural population and cinema halls closing, non-traditional distribution models may be used.[362]
Gorkha
Gorkha cinema consists of films produced by Nepali-speaking Indians.
Odia
The
Punjabi
The
Rajasthani
The cinema of Rajasthan (Rajjywood) refers to films produced in Rajasthan in north-western India. These films are produced in various regional and tribal languages including Rajasthani varieties such as Mewari, Marwari, Hadoti etc.
Sindhi
The
The Sindhi film industry produces movies at intervals. The first was Abana (1958),[]
Sherdukpen
Director Songe Dorjee Thongdok introduced the first Sherdukpen-language film Crossing Bridges (2014). Sherdukpen is native to the north-eastern state of Arunachal Pradesh.[368][relevant?]
Tamil
The Tamil-language film industry based in Chennai, also known as Kollywood, once served as a hub for all South Indian film industries.[369] The first South Indian talkie film Kalidas (1931,
Tamil cinema is
Tamil films are distributed to Tamil diaspora populations in various parts of Asia, Southern Africa, Northern America, Europe, and Oceania.[370] The industry-inspired Tamil film-making in Sri Lanka, Malaysia, Singapore and Canada.[citation needed]
Telugu
The Film and Television Institute of Telangana, Film and Television Institute of Andhra Pradesh, Ramanaidu Film School and
The industry holds the
Tulu
The
Exhibition and distribution
Awards
The Dadasaheb Phalke Award, named for "father of Indian cinema" Dadasaheb Phalke,[44][45][46][47] is given in recognition of lifetime contribution to cinema. It was established by the government of India in 1969, and is the country's most prestigious film award.[385]
Award | Year of Inception |
Awarded by |
---|---|---|
Bengal Film Journalists' Association Awards | 1937 | Government of West Bengal |
National Film Awards | 1954 | Directorate of Film Festivals, Government of India |
Maharashtra State Film Awards | 1963 | Government of Maharashtra |
Nandi Awards | 1964 | Government of Andhra Pradesh |
Punjab Rattan Awards[386] |
1940 | Government of Punjab |
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 |
Award | Year of Inception |
Awarded by |
---|---|---|
Bhojpuri Film Awards | 2001 | AB5 Multimedia |
Sabrang Film Awards | 2014 | Godrej Consumer Products |
International Bhojpuri Film Awards | 2015 | Yashi Films International |
Filmfare Awards |
1954 | Bennett, Coleman and Co. Ltd. |
Filmfare Awards South | 1954 | Bennett, Coleman and Co. Ltd. |
South Indian International Movie Awards | 2012 | Vibri Media Group |
IIFA Awards | 2000 | Wizcraft International Entertainment Pvt Ltd |
IIFA Utsavam | 2016 | Wizcraft International Entertainment Pvt Ltd |
Zee Cine Awards Telugu | 2017 | Zee Entertainment Enterprises |
Zee Cine Awards | 1998 | Zee Entertainment Enterprises |
Sansui Viewer's Choice Movie Awards | 1998 | Pritish Nandy Communications[citation needed] |
Santosham Film Awards | 2004 | Santosham film magazine |
CineMAA Awards | 2004 | Tollywood Movie Artistes Association |
Asianet Film Awards | 1998 | Asianet |
Screen Awards | 1994 | Screen Weekly |
Stardust Awards | 2003 | Stardust |
Zee Gaurav Puraskar |
2003 | Zee Entertainment Enterprises |
TSR TV9 National Awards Telugu | 2007–
2008 |
Associated Broadcasting Company Private Limited |
Apsara Awards |
2004 | Apsara Producers Guild Awards |
Vijay Awards | 2007 | STAR Vijay |
Marathi International Film and Theatre Awards |
2010 | Marathi Film Industry |
Punjabi International Film Academy Awards | 2012 | Parvasi Media Inc. |
Prag Cine Awards | 2013 | Prag AM Television |
Filmfare Awards East | 2014 | Bennett, Coleman and Co. Ltd. |
Film education
Government-run and private institutes provide formal education in various aspects of filmmaking. Some of the prominent ones include:
- State Institute of Film and Television
- AJK Mass Communication Research Centre, Jamia Millia Islamia, New Delhi[citation needed]
- Annapurna International School of Film and Media, Hyderabad
- Asian Academy of Film and Television
- Biju Pattnaik Film and Television Institute of Odisha
- BOFTA – Blue Ocean Film and Television Academy, Kodambakkam, Chennai, Tamil Nadu[387]
- Centre for advanced media studies, Patiala[citation needed]
- Mass Communication and the New Media Central University of Jammu[citation needed]
- Department of Culture and Media studies, Central University of Rajasthan[citation needed]
- Film and Television Institute of India (FTII), Pune
- Film-Theater Studies, SOH, Tamil Nadu Open University, Saidapet, Chennai[citation needed]
- Government Film and Television Institute, Bangalore[388]
- K. R. Narayanan National Institute of Visual Science and Arts (KRNNIVSA), Kottayam, Kerala[389]
- L. V. Prasad Film and TV Academy, Chennai[390]
- M.G.R. Government Film and Television Training Institute, Chennai
- Matrikas Film School[391]
- National Institute of Design, Ahmedabad[392]
- Palme Deor Media College, Tambaram west, Chennai and Arulananda Nagar, Thanjavur[393]
- Regional Government Film and Television Institute (RGFTI), Guwahati[citation needed]
- Satyajit Ray Film and Television Institute, Calcutta
- School of Media and Cultural Studies, Tata Institute of Social Sciences, Mumbai[394]
- Srishti School of Art, Design, and Technology, Bangalore, Karnataka[citation needed]
- Whistling Woods International
- National School of Drama, Delhi
See also
- List of Indian movies by language
- List of Indian winners and nominees of the Academy Awards
- List of Indian winners and nominees of the Golden Globe Awards
- List of Indian winners and nominees at the Cannes Film Festival
- International Film Festival of India
- List of Indian animated movies
- Lists of Indian actors
- List of Indian film actresses
Explanatory notes
- ^
- Mumbai is known as the film capital of India and the hub of
- Hyderabad is the hub of the Telugu cinema.[14][15]
- Chennai is the hub of Tamil film industry.[16][17]
- Kolkata is the home of Bengali cinema.[18][19][20]
- Kochi is known as the hub of Malayalam cinema.[21][22][23][24]
- Bangalore is the hub of Kannada cinema.[25][26]
- The twin cities of Bhubaneswar & Cuttack play host to the Odia film industry.[27][28]
- Guwahati is the hub of Assamese cinema[29][30]
References
- ^ "India: number of cinema screens 2022". Statista. Retrieved 16 October 2023.
- ^ "Feature films: Cinema infrastructure – Capacity". UNESCO Institute for Statistics. UNESCO. Retrieved 7 May 2019.
- ^ "Indian Feature Films Certified in 2021—22" (PDF). Film Federation of India. Retrieved 8 September 2022.
- ^ "Culture: Feature Films". UNESCO Institute for Statistics. 2015. Archived from the original on 3 November 2013. Retrieved 7 May 2019.
- ^ a b Jacob, Shine (19 April 2023). "South Indian films outshine others in 2022, may maintain trend in 2023: CII". Business Standard. Retrieved 12 August 2023.
- ^ "Indian film industry's gross box office earnings may reach $3.7 billion by 2020: Report – Latest News & Updates at Daily News & Analysis". 26 September 2016.
- ^ "India Box Office collections: Regional cinema led by Tamil movies overtakes Bollywood". The Financial Express. 2020. Retrieved 9 May 2021.
- ^ Hasan Suroor (26 October 2012). "Arts: Sharmila Tagore honoured by Edinburgh University". The Hindu. Retrieved 1 November 2012.
- ^ a b
-
- "How India's COVID crisis has changed Bollywood". Deutsche Welle. 16 July 2021. Retrieved 10 August 2022.
- "Leading film markets worldwide by number of films produced 2018". Statista. Retrieved 7 June 2020.
- "Tamil leads as India tops film production". The Times of India. 22 August 2013. Retrieved 10 August 2022.
- "Electrolux-2nd" (PDF). Archived from the original (PDF) on 7 February 2012. Retrieved 6 February 2012.
-
- ^ a b c Mukherjee, Nairita; Joshi, Tushar (22 December 2021). "Is South cinema the new Bollywood?". India Today. Retrieved 20 January 2022.
- ^ ""10K Crore: Return of the box office"". 27 January 2023.
- ^ "The birth of India's film industry: how the movies came to Mumbai". The Guardian. 25 July 2013. Retrieved 2 January 2021.
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{{cite book}}
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{{cite book}}
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Further reading
- Celli, Carlo. (2013) "The Promises of India" National Identity in Global Cinema: How Movies Explain the World. Palgrave MacMillan, 61–70. ISBN 978-1137379023.
- Suresh Chabria; Paolo Cherchi Usai (1994). Light of Asia: Indian Silent Cinema, 1912–1934. 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. ISBN 81-7991-066-0.
- 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 0-948911-40-9
- 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.
- OCLC 10696565.
- 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.
- Report of the Indian Cinematograph Committee 1927–1928. Superintendent, The Government Press, Madras. 1928.
- Dwyer, Rachel; Patel, Divia (2002). Cinema India: The Visual Culture of Hindi Film. Rutgers University Press. 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.