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Hindi cinema

Hindi cinema, popularly known as Bollywood and formerly as Bombay cinema,[4] refers to the film industry based in Mumbai, engaged in production of motion pictures in Hindi language. The popular term Bollywood, is a portmanteau of "Bombay" (former name of Mumbai) and "Hollywood". The industry is a part of the larger Indian cinema, which also includes South Cinema and other smaller film industries.[3][5][6]

In 2017, Indian cinema produced 1,986 feature films, of which the largest number, 364 have been from Hindi.[3] As per data from 2014, Hindi cinema represented 43 percent of Indian net box-office revenue; Tamil and Telugu cinema represented 36 percent, and the remaining regional cinema constituted 21 percent.[7] Hindi cinema has overtaken the U.S. film industry to become the largest centre for film production in the world.[8][9][10] In 2001 ticket sales, Indian cinema (including Hindi films) reportedly sold an estimated 3.6 billion tickets worldwide, compared to Hollywood's 2.6 billion tickets sold.[11][12][13] Earlier Hindi films tended to use vernacular Hindustani, mutually intelligible by speakers of either Hindi or Urdu, while modern Hindi productions increasingly incorporate elements of Hinglish.[14]

The most popular commercial genre in Hindi cinema since the 1970s has been the masala film, which freely mixes different genres including action, comedy, romance, drama and melodrama along with musical numbers.[15][16] Masala films generally fall under the musical film genre, of which Indian cinema has been the largest producer since the 1960s when it exceeded the American film industry's total musical output after musical films declined in the West; the first Indian musical talkie was Alam Ara (1931), several years after the first Hollywood musical talkie The Jazz Singer (1927). Alongside commercial masala films, a distinctive genre of art films known as parallel cinema has also existed, presenting realistic content and avoidance of musical numbers. In more recent years, the distinction between commercial masala and parallel cinema has been gradually blurring, with an increasing number of mainstream films adopting the conventions which were once strictly associated with parallel cinema.

The term Bollywood

"Bollywood" is a portmanteau derived from Bombay (the former name of Mumbai) and "Hollywood", a shorthand reference for the American film industry which is based in Hollywood, California.[17]

The term "Tollywood", for the Tollygunge-based cinema of West Bengal, predated "Bollywood".[18] It was used in a 1932 American Cinematographer article by Wilford E. Deming, an American engineer who helped produce the first Indian sound picture.[18]

"Bollywood" was probably invented in Bombay-based film trade journals in the 1960s or 1970s, though the exact inventor varies by account.[19][20] Film journalist Bevinda Collaco claims she coined the term for the title of her column in Screen magazine.[21] Her column entitled "On the Bollywood Beat" covered studio news and celebrity gossip.[21] Other sources state that lyricist, filmmaker and scholar Amit Khanna was its creator.[22] It's unknown if it was derived from "Hollywood" through "Tollywood", or was inspired directly by "Hollywood".

The term has been criticised by some film journalists and critics, who believe it implies that the industry is a poor cousin of Hollywood.[17][23]

"Bollywood" has since inspired a long list of Hollywood-inspired nicknames.

History

Early history (1890s–1930s)

In 1897, a film presentation by Professor Stevenson featured a stage show at Calcutta's Star Theatre. With Stevenson's encouragement and camera, Hiralal Sen, an Indian photographer, made a film of scenes from that show, The Flower of Persia (1898).[24] The Wrestlers (1899) by H. S. Bhatavdekar showed a wrestling match at the Hanging Gardens in Bombay.[25]

 
Dadasaheb Phalke is considered the father of Indian cinema, including Hindi cinema.[26][27][28]

Dadasaheb Phalke's silent Raja Harishchandra (1913) is the first feature film made in India. By the 1930s, the industry was producing over 200 films per year.[29] The first Indian sound film, Ardeshir Irani's Alam Ara (1931), was commercially successful.[30] With a great demand for talkies and musicals, Hindustani cinema (as Hindi cinema was then known as)[31] and the other regional film industries quickly switched to sound films.

Challenges and market expansion (1930s–1940s)

The 1930s and 1940s were tumultuous times; India was buffeted by the Great Depression, World War II, the Indian independence movement, and the violence of the Partition. Although most early Bombay films were unabashedly escapist, a number of filmmakers tackled tough social issues or used the struggle for Indian independence as a backdrop for their films.[32] Irani made the first Hindi colour film, Kisan Kanya, in 1937. The following year, he made a colour version of Mother India. However, colour did not become a popular feature until the late 1950s. At this time, lavish romantic musicals and melodramas were cinematic staples.

 
Number of Hindi movies released since 1930. A rapid expansion was seen from the mid-1940s.

The decade of the 1940s saw an expansion of Bombay cinema's commercial market and its presence in the national consciousness. The year 1943 saw the arrival of Indian cinema's first 'blockbuster' offering, the movie Kismet, which grossed in excess of the important barrier of one crore (10 million) rupees, made on a budget of only two lakh (200,000) rupees.[33] Kismet tackled contemporary issues, especially those arising from the Indian Independence movement, and went on to become "the longest running hit of Indian cinema", a title it held till the 1970s.[34] Film personalities like Bimal Roy, Sahir Ludhianvi and Prithviraj Kapoor participated in the creation of a national movement against colonial rule in India, while simultaneously leveraging the popular political movement to increase their own visibility and popularity.[35][36] Themes from the Independence Movement deeply influenced Bombay film directors, screen-play writers, and lyricists, who saw their films in the context of social reform and the problems of the common people.[37]

Before the Partition, the Bombay film industry was closely linked to the Lahore film industry (now the Pakistani film industry also known as "Lollywood"); both produced films in Hindustani (also known as Hindi-Urdu), the lingua franca of northern and central India.[38] Another centre of Hindustani-language film production was the Bengal film industry in Calcutta, Bengal Presidency (now Kolkata, West Bengal), which produced Hindustani-language films and local Bengali language films.[39][40] Many actors, filmmakers and musicians from the Lahore industry migrated to the Bombay industry during the 1940s, including actors K. L. Saigal, Prithviraj Kapoor, Dilip Kumar and Dev Anand as well as playback singers Mohammed Rafi, Noorjahan and Shamshad Begum. Around the same time, filmmakers and actors from the Calcutta film industry began migrating to Bombay; as a result, Bombay became the center of Hindustani-language film production.[40]

The 1947 partition of India divided the country into the Republic of India and Pakistan, which precipitated the migration of filmmaking talent from film production centres like Lahore and Calcutta, which bore the brunt of the partition violence.[38][41][40] This included actors, filmmakers and musicians from Bengal, Punjab (particularly the present-day Pakistani Punjab),[38] and the North-West Frontier Province (present-day Khyber Pakhtunkhwa).[42] These events further consolidated the Bombay film industry's position as the preeminent center for film production in India.

Golden age (late 1940s–1960s)

The period from the late 1940s to the early 1960s, after India's independence, is regarded by film historians as the Golden Age of Hindi cinema.[43][44][45] Some of the most critically acclaimed Hindi films of all time were produced during this time. Examples include Pyaasa (1957) and Kaagaz Ke Phool (1959), directed by Guru Dutt and written by Abrar Alvi; Awaara (1951) and Shree 420 (1955), directed by Raj Kapoor and written by Khwaja Ahmad Abbas, and Aan (1952), directed by Mehboob Khan and starring Dilip Kumar. The films explored social themes, primarily dealing with working-class life in India (particularly urban life) in the first two examples. Awaara presented the city as both nightmare and dream, and Pyaasa critiqued the unreality of urban life.[46]

Mehboob Khan's Mother India (1957), a remake of his earlier Aurat (1940), was the first Indian film nominated for the Academy Award for Best Foreign Language Film; it lost by a single vote.[47] Mother India defined conventional Hindi cinema for decades.[48][49][50] It spawned a genre of dacoit films, in turn defined by Gunga Jumna (1961).[51] Written and produced by Dilip Kumar, Gunga Jumna was a dacoit crime drama about two brothers on opposite sides of the law (a theme which became common in Indian films during the 1970s).[52] Some of the best-known epic films of Hindi cinema were also produced at this time, such as K. Asif's Mughal-e-Azam (1960).[53] Other acclaimed mainstream Hindi filmmakers during this period included Kamal Amrohi and Vijay Bhatt.

 
Nargis, Raj Kapoor and Dilip Kumar in Andaz (1949). Kapoor and Kumar are among the greatest and most influential movie stars in the history of Indian cinema,[54][55] and Nargis is one of its greatest actresses.[56]

The three most popular male Indian actors of the 1950s and 1960s were Dilip Kumar, Raj Kapoor, and Dev Anand, each with a unique acting style. Kapoor adopted Charlie Chaplin's tramp persona; Anand modeled himself on suave Hollywood stars like Gregory Peck and Cary Grant, and Kumar pioneered a form of method acting which predated Hollywood method actors such as Marlon Brando. Kumar, who was described as "the ultimate method actor" by Satyajit Ray, inspired future generations of Indian actors. Much like Brando's influence on Robert De Niro and Al Pacino, Kumar had a similar influence on Amitabh Bachchan, Naseeruddin Shah, Shah Rukh Khan and Nawazuddin Siddiqui.[54][55] Veteran actresses such as Suraiya, Nargis, Sumitra Devi, Madhubala, Meena Kumari, Waheeda Rehman, Nutan, Sadhana, Mala Sinha and Vyjayanthimala have had their share of influence on Hindi cinema.[57]

While commercial Hindi cinema was thriving, the 1950s also saw the emergence of a parallel cinema movement.[46] Although the movement (emphasising social realism) was led by Bengali cinema, it also began gaining prominence in Hindi cinema. Early examples of parallel cinema include Dharti Ke Lal (1946), directed by Khwaja Ahmad Abbas and based on the Bengal famine of 1943,;[58] Neecha Nagar (1946) directed by Chetan Anand and written by Khwaja Ahmad Abbas,[59] and Bimal Roy's Do Bigha Zamin (1953). Their critical acclaim and the latter's commercial success paved the way for Indian neorealism and the Indian New Wave (synonymous with parallel cinema).[60] Internationally acclaimed Hindi filmmakers involved in the movement included Mani Kaul, Kumar Shahani, Ketan Mehta, Govind Nihalani, Shyam Benegal, and Vijaya Mehta.[46]

 
Rajesh Khanna in 2010. The first Indian actor to be called a "superstar", he starred in 15 consecutive hit films from 1969 to 1971.

After the social-realist film Neecha Nagar received the Palme d'Or at the inaugural 1946 Cannes Film Festival,[59] Hindi films were frequently in competition for Cannes' top prize during the 1950s and early 1960s and some won major prizes at the festival.[61] Guru Dutt, overlooked during his lifetime, received belated international recognition during the 1980s.[61][62] Film critics polled by the British magazine Sight & Sound included several of Dutt's films in a 2002 list of greatest films,[63] and Time's All-Time 100 Movies lists Pyaasa as one of the greatest films of all time.[64]

During the late 1960s and early 1970s, the industry was dominated by musical romance films with romantic-hero leads.[65]

Classic Hindi cinema (1970s–1980s)

 
 
The Salim–Javed screenwriting duo, consisting of Salim Khan (left) and Javed Akhtar, revolutionized Indian cinema in the 1970s[66] and are considered Hindi cinema's greatest screenwriters.[67]

By 1970, Hindi cinema was thematically stagnant[68] and dominated by musical romance films.[65] The arrival of screenwriting duo Salim–Javed (Salim Khan and Javed Akhtar) was a paradigm shift, revitalising the industry.[68] They began the genre of gritty, violent, Bombay underworld crime films early in the decade with films such as Zanjeer (1973) and Deewaar (1975).[69][70] Salim-Javed reinterpreted the rural themes of Mehboob Khan's Mother India (1957) and Dilip Kumar's Gunga Jumna (1961) in a contemporary urban context, reflecting the socio-economic and socio-political climate of 1970s India[68][71] and channeling mass discontent, disillusionment[68] and the unprecedented growth of slums[72] with anti-establishment themes and those involving urban poverty, corruption and crime.[73][74] Their "angry young man", personified by Amitabh Bachchan,[74] reinterpreted Dilip Kumar's performance in Gunga Jumna in a contemporary urban context[68][71] and anguished urban poor.[72]

By the mid-1970s, romantic confections had given way to gritty, violent crime films and action films about gangsters (the Bombay underworld) and bandits (dacoits). Salim-Javed's writing and Amitabh Bachchan's acting popularised the trend with films such as Zanjeer and (particularly) Deewaar, a crime film inspired by Gunga Jumna[52] which pitted "a policeman against his brother, a gang leader based on real-life smuggler Haji Mastan" (Bachchan); according to Danny Boyle, Deewaar was "absolutely key to Indian cinema".[75] In addition to Bachchan, several other actors followed by riding the crest of the trend (which lasted into the early 1990s).[76] Actresses from the era include Hema Malini, Jaya Bachchan, Raakhee, Shabana Azmi, Zeenat Aman, Parveen Babi, Rekha, Dimple Kapadia, Smita Patil, Jaya Prada and Padmini Kolhapure.[57]

 

The name "Bollywood" was coined during the 1970s,[20][21] when the conventions of commercial Hindi films were defined.[77] Key to this was the masala film, which combines a number of genres (action, comedy, romance, drama, melodrama, and musical). The masala film was pioneered early in the decade by filmmaker Nasir Hussain,[78] and the Salim-Javed screenwriting duo,[77] pioneering the Bollywood-blockbuster format.[77] Yaadon Ki Baarat (1973), directed by Hussain and written by Salim-Javed, has been identified as the first masala film and the first quintessentially "Bollywood" film.[77][79] Salim-Javed wrote more successful masala films during the 1970s and 1980s.[77] Masala films made Amitabh Bachchan the biggest star of the period. A landmark of the genre was Amar Akbar Anthony (1977),[79][80] directed by Manmohan Desai and written by Kader Khan, and Desai continued successfully exploiting the genre.

Both genres (masala and violent-crime films) are represented by the blockbuster Sholay (1975), written by Salim-Javed and starring Amitabh Bachchan. It combined the dacoit film conventions of Mother India and Gunga Jumna with spaghetti Westerns, spawning the Dacoit Western (also known as the curry Western) which was popular during the 1970s.[51]

Some Hindi filmmakers, such as Shyam Benegal, Mani Kaul, Kumar Shahani, Ketan Mehta, Govind Nihalani and Vijaya Mehta, continued to produce realistic parallel cinema throughout the 1970s.[46][81] Although the art film bent of the Film Finance Corporation was criticised during a 1976 Committee on Public Undertakings investigation which accused the corporation of not doing enough to encourage commercial cinema, the decade saw the rise of commercial cinema with films such as Sholay (1975) which consolidated Amitabh Bachchan's position as a star. The devotional classic Jai Santoshi Ma was also released that year.[82]

By 1983, the Bombay film industry was generating an estimated annual revenue of ₹700 crore ( 7 billion,[83] $693.14 million),[84] equivalent to $1.89 billion (₹12,667 crore, 111.33 billion) when adjusted for inflation. By 1986, India's annual film output had increased from 741 films produced annually to 833 films annually, making India the world's largest film producer.[85] The most internationally acclaimed Hindi film of the 1980s was Mira Nair's Salaam Bombay! (1988), which won the Camera d'Or at the 1988 Cannes Film Festival and was nominated for the Academy Award for Best Foreign Language Film.

New Hindi cinema (1990s–2000s)

 
Shah Rukh Khan, one of the "Three Khans", in 2012.
 
Aamir Khan, one of the "Three Khans", in 2008.

Hindi cinema experienced another period of stagnation during the late 1980s with a box-office decline due to increasing violence, a decline in musical quality, and a rise in video piracy. One of the turning points came with such films as Qayamat Se Qayamat Tak (1988), presenting a blend of youthfulness, family entertainment, emotional intelligence and strong melodies, all of which lured audiences back to the big screen.[86][87] It brought back the template for Bollywood musical romance films which went on to define 1990s Hindi cinema.[87]

Known since the 1990s as "New Bollywood",[88] contemporary Bollywood is linked to economic liberalization in India during the early 1990s.[89] Early in the decade, the pendulum swung back toward family-centered romantic musicals. Qayamat Se Qayamat Tak (1988) was followed by blockbusters such as Maine Pyar Kiya (1989), Hum Aapke Hain Kaun (1994), Dilwale Dulhania Le Jayenge (1995), Raja Hindustani (1996), Dil To Pagal Hai (1997) and Kuch Kuch Hota Hai (1998), introducing a new generation of popular actors, including the three Khans: Aamir Khan, Shah Rukh Khan, and Salman Khan,[90][91] who have starred in most of the top ten highest-grossing Bollywood films. The Khans and have had successful careers since the late 1980s and early 1990s,[90] and have dominated the Indian box office for three decades.[92][93] Shah Rukh Khan was the most successful Indian actor for most of the 1990s and 2000s, and Aamir Khan has been the most successful Indian actor since the mid 2000s.[57][94] Action and comedy films, starring such actors as Akshay Kumar and Govinda.[95][96]

The decade marked the entrance of new performers in art and independent films, some of which were commercially successful. The most influential example was Satya (1998), directed by Ram Gopal Varma and written by Anurag Kashyap. Its critical and commercial success led to the emergence of a genre known as Mumbai noir:[97] urban films reflecting the city's social problems.[98] This led to a resurgence of parallel cinema by the end of the decade.[97] The films featured actors whose performances were often praised by critics.

 
Salman Khan, one of the Three Khans, with Bollywood actresses (from left) Kareena Kapoor, Rani Mukerji, Preity Zinta, Katrina Kaif, Karisma Kapoor and Priyanka Chopra in Mumbai (2010).

The 2000s saw increased Bollywood recognition worldwide due to growing (and prospering) NRI and Desi communities overseas. The growth of the Indian economy and a demand for quality entertainment in this era led the country's film industry to new heights in production values, cinematography and screenwriting as well as technical advances in areas such as special effects and animation.[99] Some of the largest production houses, among them Yash Raj Films and Dharma Productions were the producers of new modern films.[99] Some popular films of the decade were Kaho Naa... Pyaar Hai (2000), Kabhi Khushi Kabhie Gham... (2001), Gadar: Ek Prem Katha (2001), Lagaan (2001), Koi... Mil Gaya (2003), Kal Ho Naa Ho (2003), Veer-Zaara (2004), Rang De Basanti (2006), Lage Raho Munna Bhai (2006), Dhoom 2 (2006), Krrish (2006), and Jab We Met (2007), among others, showing the rise of new movie stars.

During the 2010s, the industry saw established stars such as making big-budget masala films like Dabangg (2010), Singham (2011), Ek Tha Tiger (2012), Son of Sardaar (2012), Rowdy Rathore (2012), Chennai Express (2013), Kick (2014) and Happy New Year (2014) with much-younger actresses. Although the films were often not praised by critics, they were commercially successful. Some of the films starring Aamir Khan, from Taare Zameen Par (2007) and 3 Idiots (2009) to Dangal (2016) and Secret Superstar (2018), have been credited with redefining and modernising the masala film with a distinct brand of socially conscious cinema.[100][101]

Most stars from the 2000s continued successful careers into the next decade, and the 2010s saw a new generation of popular actors in different films. Among new conventions, female-centred films such as The Dirty Picture (2011), Kahaani (2012), and Queen (2014), Parched (2015), Pink (2016) started gaining wide financial success.

 
Akshay Kumar in 2013.

Influences on Hindi cinema

Moti Gokulsing and Wimal Dissanayake identify six major influences which have shaped Indian popular cinema:[102]

  • The branching structures of ancient Indian epics, like the Mahabharata and Ramayana. Indian popular films often have plots which branch off into sub-plots.
  • Ancient Sanskrit drama, with its stylised nature and emphasis on spectacle in which music, dance and gesture combine "to create a vibrant artistic unit with dance and mime being central to the dramatic experience." Matthew Jones of De Montfort University also identifies the Sanskrit concept of rasa, or "the emotions felt by the audience as a result of the actor’s presentation", as crucial to Bollywood films.[103]
  • Traditional folk theater, which became popular around the 10th century with the decline of Sanskrit theater. Its regional traditions include the Jatra of Bengal, the Ramlila of Uttar Pradesh, and the Terukkuttu of Tamil Nadu.
  • Parsi theatre, which "blended realism and fantasy, music and dance, narrative and spectacle, earthy dialogue and ingenuity of stage presentation, integrating them into a dramatic discourse of melodrama. The Parsi plays contained crude humour, melodious songs and music, sensationalism and dazzling stagecraft."
  • Hollywood, where musicals were popular from the 1920s to the 1950s.
  • Western musical television (particularly MTV), which has had an increasing influence since the 1990s. Its pace, camera angles, dance sequences and music may be seen in 2000s Indian films. An early example of this approach was Mani Ratnam's Bombay (1995).

Sharmistha Gooptu identifies Indo-Persian-Islamic culture as a major influence. During the early 20th century, Urdu was the lingua franca of popular cultural performance across northern India and established in popular performance art traditions such as nautch dancing, Urdu poetry, and Parsi theater. Urdu and related Hindi dialects were the most widely understood across northern India, and Hindustani became the standard language of early Indian talkies. Films based on "Persianate adventure-romances" led to a popular genre of "Arabian Nights cinema".[104]

Scholars Chaudhuri Diptakirti and Rachel Dwyer and screenwriter Javed Akhtar identify Urdu literature as a major influence on Hindi cinema.[105][106][107] Most of the screenwriters and scriptwriters of classic Hindi cinema came from Urdu literary backgrounds,[105][106][108] from Khwaja Ahmad Abbas and Akhtar ul Iman to Salim–Javed and Rahi Masoom Raza; a handful came from other Indian literary traditions, such as Bengali and Hindi literature.[106] Most of Hindi cinema's classic scriptwriters wrote primarily in Urdu, including Salim-Javed, Gulzar, Rajinder Singh Bedi, Inder Raj Anand, Rahi Masoom Raza and Wajahat Mirza.[105][108] Urdu poetry and the ghazal tradition strongly influenced filmi (Bollywood lyrics).[105][107] Javed Akhtar was also greatly influenced by Urdu novels by Pakistani author Ibn-e-Safi, such as the Jasoosi Dunya and Imran series of detective novels;[109] they inspired, for example, famous Bollywood characters such as Gabbar Singh in Sholay (1975) and Mogambo in Mr. India (1987).[110]

Todd Stadtman identifies several foreign influences on 1970s commercial Bollywood masala films, including New Hollywood, Italian exploitation films, and Hong Kong martial arts cinema.[76] After the success of Bruce Lee films (such as Enter the Dragon) in India,[111] Deewaar (1975) and other Bollywood films incorporated fight scenes inspired by 1970s martial arts films from Hong Kong cinema until the 1990s.[112] Bollywood action scenes emulated Hong Kong rather than Hollywood, emphasising acrobatics and stunts and combining kung fu (as perceived by Indians) with Indian martial arts such as pehlwani.[113]

Influence of Hindi cinema

India

Perhaps Hindi cinema's greatest influence has been on India's national identity, where (with the rest of Indian cinema) it has become part of the "Indian story".[114] In India, Bollywood is often associated with India's national identity. According to economist and Bollywood biographer Meghnad Desai, "Cinema actually has been the most vibrant medium for telling India its own story, the story of its struggle for independence, its constant struggle to achieve national integration and to emerge as a global presence".[114]

Scholar Brigitte Schulze has written that Indian films, most notably Mehboob Khan's Mother India (1957), played a key role in shaping the Republic of India's national identity in the early years after independence from the British Raj; the film conveyed a sense of Indian nationalism to urban and rural citizens alike.[115] Bollywood has long influenced Indian society and culture as the biggest entertainment industry; many of the country's musical, dancing, wedding and fashion trends are Bollywood-inspired. Bollywood fashion trendsetters have included Madhubala in Mughal-e-Azam (1960) and Madhuri Dixit in Hum Aapke Hain Koun..! (1994).[90]

Hindi films have also had a socio-political impact on Indian society, reflecting Indian politics.[116] In classic 1970s Bollywood films, Bombay underworld crime films written by Salim–Javed and starring Amitabh Bachchan such as Zanjeer (1973) and Deewaar (1975) reflected the socio-economic and socio-political realities of contemporary India. They channeled growing popular discontent and disillusionment and state failure to ensure welfare and well-being at a time of inflation, shortages, loss of confidence in public institutions, increasing crime[68] and the unprecedented growth of slums.[72] Salim-Javed and Bachchan's films dealt with urban poverty, corruption and organised crime;[73] they were perceived by audiences as anti-establishment, often with an "angry young man" protagonist presented as a vigilante or anti-hero[74] whose suppressed rage voiced the anguish of the urban poor.[72]

Overseas

Hindi films have been a significant form of soft power for India, increasing its influence and changing overseas perceptions of India.[117][118] In Germany, Indian stereotypes included bullock carts, beggars, sacred cows, corrupt politicians, and catastrophes before Bollywood and the IT industry transformed global perceptions of India.[119] According to author Roopa Swaminathan, "Bollywood cinema is one of the strongest global cultural ambassadors of a new India."[118][120] Its role in expanding India's global influence is comparable to Hollywood's similar role with American influence.[90] Monroe Township, Middlesex County, New Jersey, in the New York metropolitan area, has been profoundly impacted by Bollywood; this U.S. township has displayed one of the fastest growth rates of its Indian population in the Western Hemisphere, increasing from 256 (0.9%) as of the 2000 Census[121] to an estimated 5,943 (13.6%) as of 2017,[122] representing a 2,221.5% (a multiple of 23) numerical increase over that period, including many affluent professionals and senior citizens as well as charitable benefactors to the COVID-19 relief efforts in India in official coordination with Monroe Township, as well as actors with second homes.

During the 2000s, Hindi cinema began influencing musical films in the Western world and was instrumental role in reviving the American musical film. Baz Luhrmann said that his musical film, Moulin Rouge! (2001), was inspired by Bollywood musicals;[123] the film incorporated a Bollywood-style dance scene with a song from the film China Gate. The critical and financial success of Moulin Rouge! began a renaissance of Western musical films such as Chicago, Rent, and Dreamgirls.[124]

Indian film composer A. R. Rahman wrote the music for Andrew Lloyd Webber's Bombay Dreams, and a musical version of Hum Aapke Hain Koun was staged in London's West End. The sports film Lagaan (2001) was nominated for the Academy Award for Best Foreign Language Film, and two other Hindi films (2002's Devdas and 2006's Rang De Basanti) were nominated for the BAFTA Award for Best Film Not in the English Language.

Danny Boyle's Slumdog Millionaire (2008), which won four Golden Globes and eight Academy Awards, was inspired by mainstream Hindi films[75][125] and is considered an "homage to Hindi commercial cinema".[126] It was also inspired by Mumbai-underworld crime films, such as Deewaar (1975), Satya (1998), Company (2002) and Black Friday (2007).[75] Deewaar had a Hong Kong remake, The Brothers (1979),[127] which inspired John Woo's internationally acclaimed breakthrough A Better Tomorrow (1986);[127][128] the latter was a template for Hong Kong action cinema's heroic bloodshed genre.[129][130] "Angry young man" 1970s epics such as Deewaar and Amar Akbar Anthony (1977) also resemble the heroic-bloodshed genre of 1980s Hong Kong action cinema.[131]

The influence of filmi may be seen in popular music worldwide. Technopop pioneers Haruomi Hosono and Ryuichi Sakamoto of the Yellow Magic Orchestra produced a 1978 electronic album, Cochin Moon, based on an experimental fusion of electronic music and Bollywood-inspired Indian music.[132] Truth Hurts' 2002 song "Addictive", produced by DJ Quik and Dr. Dre, was lifted[clarification needed] from Lata Mangeshkar's "Thoda Resham Lagta Hai" in Jyoti (1981).[133] The Black Eyed Peas' Grammy Award winning 2005 song "Don't Phunk with My Heart" was inspired by two 1970s Bollywood songs: "Ye Mera Dil Yaar Ka Diwana" from Don (1978) and "Ae Nujawan Hai Sub" from Apradh (1972).[134] Both songs were composed by Kalyanji Anandji, sung by Asha Bhosle, and featured the dancer Helen.[135]

The Kronos Quartet re-recorded several R. D. Burman compositions sung by Asha Bhosle for their 2005 album, You've Stolen My Heart: Songs from R.D. Burman's Bollywood, which was nominated for Best Contemporary World Music Album at the 2006 Grammy Awards. Filmi music composed by A. R. Rahman (who received two Academy Awards for the Slumdog Millionaire soundtrack) has frequently been sampled by other musicians, including the Singaporean artist Kelly Poon, the French rap group La Caution and the American artist Ciara. Many Asian Underground artists, particularly those among the overseas Indian diaspora, have also been inspired by Bollywood music.[136]

Genres

 
Melodrama and romance are common ingredients in Bollywood films, such as Achhut Kanya (1936).

Hindi films are primarily musicals, and are expected to have catchy song-and-dance numbers woven into the script. A film's success often depends on the quality of such musical numbers.[137] A film's music and song and dance portions are usually produced first and these are often released before the film itself, increasing its audience.[138]

Indian audiences expect value for money, and a good film is generally referred to as paisa vasool, (literally "money's worth").[139] Songs, dances, love triangles, comedy and dare-devil thrills are combined in a three-hour show (with an intermission). These are called masala films, after the Hindi word for a spice mixture. Like masalas, they are a mixture of action, comedy and romance; most have heroes who can fight off villains single-handedly. Bollywood plots have tended to be melodramatic, frequently using formulaic ingredients such as star-crossed lovers, angry parents, love triangles, family ties, sacrifice, political corruption, kidnapping, villains, kind-hearted courtesans, long-lost relatives and siblings, reversals of fortune and serendipity.

Parallel cinema films tended to be less popular at the box office. A large Indian diaspora in English-speaking countries and increased Western influence in India have nudged Bollywood films closer to Hollywood.[140]

According to film critic Lata Khubchandani, "Our earliest films ... had liberal doses of sex and kissing scenes in them. Strangely, it was after Independence the censor board came into being and so did all the strictures."[141] Although Bollywood plots feature Westernised urbanites dating and dancing in clubs rather than pre-arranged marriages, traditional Indian culture continues to exist outside the industry and is an element of resistance by some to Western influences.[140] Bollywood plays a major role, however, in Indian fashion.[140] Studies have indicated that some people, unaware that changing fashion in Bollywood films is often influenced by globalisation, consider the clothes worn by Bollywood actors as authentically Indian.[140]

Casts and crews

Bollywood employs people from throughout India. It attracts thousands of aspiring actors hoping for a break in the industry. Models and beauty contestants, television actors, stage actors and ordinary people come to Mumbai with the hope of becoming a star. As in Hollywood, very few succeed. Since many Bollywood films are shot abroad, many foreign extras are employed.[142]

Very few non-Indian actors are able to make a mark in Hindi cinema, although many have tried. Hindi cinema can be insular, and relatives of film-industry figures have an edge in obtaining coveted roles in films or being part of a film crew. However, industry connections are no guarantee of a long career: competition is fierce, and film-industry scions will falter if they do not succeed at the box office. Stars such as Dilip Kumar, Dharmendra, Amitabh Bachchan, Rajesh Khanna, Anil Kapoor, Sridevi, Madhuri Dixit, Aishwarya Rai and Shah Rukh Khan lacked show-business connections.

Dialogues and lyrics

In Hindi films, scripts, dialogues and song lyrics might be written by different people. Earlier, scripts were usually written in an unadorned Hindustani, which would be understood by the largest possible audience.[143] Post-Independence, Hindi films tended to use a colloquial register of Hindustani, mutually intelligible by Hindi and Urdu speakers, but the use of the latter has declined over years.[14][144] Some films have used regional dialects to evoke a village setting, or archaic Urdu in medieval historical films. A number of the dominant early scriptwriters of Hindi cinema primarily wrote in Urdu; Salim-Javed wrote in Urdu script, which was then transcribed by an assistant into Devanagari script so Hindi readers could read them.[105] During the 1970s, Urdu writers Krishan Chander and Ismat Chughtai said that "more than seventy-five per cent of films are made in Urdu" but were categorised as Hindi films by the government.[145] Encyclopedia of Hindi Cinema noted a number of top Urdu writers for preserving the language through film.[146] Urdu poetry has strongly influenced Hindi film songs, whose lyrics also draw from the ghazal tradition (filmi-ghazal).[107] According to Javed Akhtar in 1996, despite the loss of Urdu in Indian society, Urdu diction dominated Hindi film dialogue and lyrics.[147]

In her book, The Cinematic ImagiNation, Jyotika Virdi wrote about the presence and decline of Urdu in Hindi films. Virdi notes that although Urdu was widely used in classic Hindi cinema decades after partition because it was widely taught in pre-partition India, its use has declined in modern Hindi cinema: "The extent of Urdu used in commercial Hindi cinema has not been stable ... the ultimate victory of Hindi in the official sphere has been more or less complete. This decline of Urdu is mirrored in Hindi films ... It is true that many Urdu words have survived and have become part of Hindi cinema's popular vocabulary. But that is as far as it goes. The fact is, for the most part, popular Hindi cinema has forsaken the florid Urdu that was part of its extravagance and retained a 'residual' Urdu", affected by an aggressive state policy that promoted a Sanskritized version of Hindi as the national language."[148]

Contemporary mainstream films also use English; according to the article "Bollywood Audiences Editorial", "English has begun to challenge the ideological work done by Urdu."[14][149] Some film scripts are first written in Latin script.[150] Characters may shift from one language to the other to evoke a particular atmosphere (for example, English in a business setting and Hindi in an informal one). The blend of Hindi and English sometimes heard in modern Hindi films, known as Hinglish, has become increasingly common.[144]

For years before the turn of the millennium and even after, cinematic language (in dialogues or lyrics) would often be melodramatic, invoking God, family, mother, duty, and self-sacrifice. Song lyrics are often about love and, especially in older films, frequently used the poetic vocabulary of court Urdu, with a number of Persian loanwords.[15] Another source for love lyrics in films such as Jhanak Jhanak Payal Baje and Lagaan is the long Hindu tradition of poetry about the loves of Krishna, Radha, and the gopis.

Music directors often prefer working with certain lyricists, and the lyricist and composer may be seen as a team. This phenomenon has been compared to the pairs of American composers and songwriters who created classic Broadway musicals.

Sound

Sound in early Bollywood films was usually not recorded on location (sync sound). It was usually created (or re-created) in the studio,[151] with the actors speaking their lines in the studio and sound effects added later; this created synchronisation problems.[151] Commercial Indian films are known for their lack of ambient sound, and the Arriflex 3 camera necessitated dubbing. Lagaan (2001) was filmed with sync sound,[151] and several Bollywood films have recorded on-location sound since then.

Bollywood films are also notorious for lack or less of Foley sound, due to which most of the times audience don't experience all the sounds from objects on screen. Sometimes lound background music makes dialogues inaudible. Usually Hindi film's makers do not write Foley artist's name in end credits.

Female makeup artists

In 1955, the Bollywood Cine Costume Make-Up Artist & Hair Dressers' Association (CCMAA) ruled that female makeup artists were barred from membership.[152] The Supreme Court of India ruled in 2014 that the ban violated Indian constitutional guarantees under Article 14 (right to equality), 19(1)(g) (freedom to work) and Article 21 (right to liberty).[152] According to the court, the ban had no "rationale nexus" to the cause sought to be achieved and was "unacceptable, impermissible and inconsistent" with the constitutional rights guaranteed to India's citizens.[152] The court also found illegal the rule which mandated that for any artist to work in the industry, they must have lived for five years in the state where they intend to work.[152] In 2015, it was announced that Charu Khurana was the first woman registered by the Cine Costume Make-Up Artist & Hair Dressers' Association.[153]

Song and dance

 
Group of Bollywood singers at the 2015 Indian Singers' Rights Association (ISRA) meeting
 
Bollywood dance performance by students in college.

Bollywood film music is called filmi (from the Hindi "of films"). Bollywood songs were introduced with Ardeshir Irani's Alam Ara (1931) song, "De De Khuda Ke Naam pay pyaare".[154] Bollywood songs are generally pre-recorded by professional playback singers, with the actors then lip syncing the words to the song on-screen (often while dancing). Although most actors are good dancers, few are also singers; a notable exception was Kishore Kumar, who starred in several major films during the 1950s while having a rewarding career as a playback singer. K. L. Saigal, Suraiyya, and Noor Jehan were known as singers and actors, and some actors in the last thirty years have sung one or more songs themselves.

Songs can make and break a film, determining whether it will be a flop or a hit: "Few films without successful musical tracks, and even fewer without any songs and dances, succeed".[155] Globalization has changed Bollywood music, with lyrics an increasing mix of Hindi and English. Global trends such as salsa, pop and hip hop have influenced the music heard in Bollywood films.[155]

Playback singers are featured in the opening credits, and have fans who will see an otherwise-lackluster film to hear their favourites. Notable singers are Lata Mangeshkar, Asha Bhosle, Geeta Dutt, Shamshad Begum, Kavita Krishnamurthy, Sadhana Sargam, Alka Yagnik and Shreya Goshal (female), and K. L. Saigal, Kishore Kumar, Talat Mahmood, Mukesh, Mohammed Rafi, Manna Dey, Hemant Kumar, Kumar Sanu, Udit Narayan and Sonu Nigam (male). Composers of film music, known as music directors, are also well-known. Remixing of film songs with modern rhythms is common, and producers may release remixed versions of some of their films' songs with the films' soundtrack albums.

Dancing in Bollywood films, especially older films, is modeled on Indian dance: classical dance, dances of north-Indian courtesans (tawaif) or folk dances. In modern films, Indian dance blends with Western dance styles as seen on MTV or in Broadway musicals; Western pop and classical-dance numbers are commonly seen side-by-side in the same film. The hero (or heroine) often performs with a troupe of supporting dancers. Many song-and-dance routines in Indian films contain unrealistically-quick shifts of location or changes of costume between verses of a song. If the hero and heroine dance and sing a duet, it is often staged in natural surroundings or architecturally-grand settings.

Songs typically comment on the action taking place in the film. A song may be worked into the plot, so a character has a reason to sing. It may externalise a character's thoughts, or presage an event in the film (such as two characters falling in love). The songs are often referred to as a "dream sequence", with things happening which would not normally happen in the real world. Song and dance scenes were often filmed in Kashmir but, due to political unrest in Kashmir since the end of the 1980s,[156] they have been shot in western Europe (particularly Switzerland and Austria).[157][158]

Contemporary movie stars attracted popularity as dancers, including Madhuri Dixit, Hrithik Roshan, Aishwarya Rai Bachchan, Sridevi, Meenakshi Seshadri, Malaika Arora Khan, Shahid Kapoor, Katrina Kaif and Tiger Shroff. Older dancers include Helen[159] (known for her cabaret numbers), Madhubala, Vyjanthimala, Padmini, Hema Malini, Mumtaz, Cuckoo Moray,[160] Parveen Babi[161] , Waheeda Rahman,[162] Meena Kumari,[163] and Shammi Kapoor.[164]

Film producers have been releasing soundtracks (as tapes or CDs) before a film's release, hoping that the music will attract audiences; a soundtrack is often more popular than its film. Some producers also release music videos, usually (but not always) with a song from the film.

Finances

Bollywood films are multi-million dollar productions, with the most expensive productions costing up to 1 billion (about US$20 million). The science-fiction film Ra.One was made on a budget of 1.35 billion (about $27 million), making it the most expensive Bollywood film of all time.[165] Sets, costumes, special effects and cinematography were less than world-class, with some notable exceptions, until the mid-to-late 1990s. As Western films and television are more widely distributed in India, there is increased pressure for Bollywood films to reach the same production levels (particularly in action and special effects). Recent Bollywood films, like Krrish (2006), have employed international technicians such as Hong Kong-based action choreographer Tony Ching. The increasing accessibility of professional action and special effects, coupled with rising film budgets, have seen an increase in action and science-fiction films.

Since overseas scenes are attractive at the box office, Mumbai film crews are filming in Australia, Canada, New Zealand, the United Kingdom, the United States, Europe and elsewhere. Indian producers have also obtained funding for big-budget films shot in India, such as Lagaan and Devdas.

Funding for Bollywood films often comes from private distributors and a few large studios. Although Indian banks and financial institutions had been forbidden from lending to film studios, the ban has been lifted.[166] Finances are not regulated; some funding comes from illegitimate sources such as the Mumbai underworld, which is known to influence several prominent film personalities. Mumbai organised-crime hitmen shot Rakesh Roshan, a film director and father of star Hrithik Roshan, in January 2000. In 2001, the Central Bureau of Investigation seized all prints of Chori Chori Chupke Chupke after the film was found to be funded by members of the Mumbai underworld.[167]

Another problem facing Bollywood is widespread copyright infringement of its films. Often, bootleg DVD copies of movies are available before they are released in cinemas. Manufacturing of bootleg DVD, VCD, and VHS copies of the latest movie titles is an established small-scale industry in parts of south and southeast Asia. The Federation of Indian Chambers of Commerce and Industry (FICCI) estimates that the Bollywood industry loses $100 million annually from unlicensed home videos and DVDs. In addition to the homegrown market, demand for these copies is large amongst portions of the Indian diaspora. Bootleg copies are the only way people in Pakistan can watch Bollywood movies, since the Pakistani government has banned their sale, distribution and telecast. Films are frequently broadcast without compensation by small cable-TV companies in India and other parts of South Asia. Small convenience stores, run by members of the Indian diaspora in the US and the UK, regularly stock tapes and DVDs of dubious provenance; consumer copying adds to the problem. The availability of illegal copies of movies on the Internet also contributes to industry losses.

Satellite TV, television and imported foreign films are making inroads into the domestic Indian entertainment market. In the past, most Bollywood films could make money; now, fewer do. Most Bollywood producers make money, however, recouping their investments from many sources of revenue (including the sale of ancillary rights). There are increasing returns from theatres in Western countries like the United Kingdom, Canada, and the United States, where Bollywood is slowly being noticed. As more Indians migrate to these countries, they form a growing market for upscale Indian films. In 2002, Bollywood sold 3.6 billion tickets and had a total revenue (including theatre tickets, DVDs and television) of $1.3 billion; Hollywood films sold 2.6 billion tickets, and had a total revenue of $51 billion.

Advertising

A number of Indian artists hand-painted movie billboards and posters. M. F. Husain painted film posters early in his career; human labour was found to be cheaper than printing and distributing publicity material.[168] Most of the large, ubiquitous billboards in India's major cities are now created with computer-printed vinyl. Old hand-painted posters, once considered ephemera, are collectible folk art.[168][169][170][171]

Releasing film music, or music videos, before a film's release may be considered a form of advertising. A popular tune is believed to help attract audiences.[172] Bollywood publicists use the Internet as a venue for advertising. Most bigger-budget films have a websites on which audiences can view trailers, stills and information on the story, cast, and crew.[173] Bollywood is also used to advertise other products. Product placement, used in Hollywood, is also common in Bollywood.[174]

International filming

Bollywood's increasing use of international settings such as Switzerland, London, Paris, New York, Mexico, Brazil and Singapore does not necessarily represent the people and cultures of those locales. Contrary to these spaces and geographies being filmed as they are, they are actually Indianised by adding Bollywood actors and Hindi speaking extras to them. While immersing in Bollywood films, viewers get to see their local experiences duplicated in different locations around the world.

According to Shakuntala Rao, "Media representation can depict India's shifting relation with the world economy, but must retain its 'Indianness' in moments of dynamic hybridity";[155] "Indianness" (cultural identity) poses a problem with Bollywood's popularity among varied diaspora audiences, but gives its domestic audience a sense of uniqueness from other immigrant groups.[175]

Awards

The Filmfare Awards are some of the most prominent awards given to Hindi films in India.[176] The Indian screen magazine Filmfare began the awards in 1954 (recognising the best films of 1953), and they were originally known as the Clare Awards after the magazine's editor. Modeled on the Academy of Motion Picture Arts and Sciences' poll-based merit format, individuals may vote in separate categories. A dual voting system was developed in 1956.[177] Often these award shows organised by private companies are criticized by many prominent actors, public and directors for lack authencity and for not awarding obvious deserving candidates.[178][179][180]

The National Film Awards were also introduced in 1954. The Indian government has sponsored the awards, given by its Directorate of Film Festivals (DFF), since 1973. The DFF screens Bollywood films, films from the other regional movie industries, and independent/art films. The awards are made at an annual ceremony presided over by the president of India. Unlike the Filmfare Awards, which are chosen by the public and a committee of experts, the National Film Awards are decided by a government panel.[181]

Other awards ceremonies for Hindi films in India are the Screen Awards (begun in 1995) and the Stardust Awards, which began in 2003. The International Indian Film Academy Awards (begun in 2000) and the Zee Cine Awards, begun in 1998, are held abroad in a different country each year.

Global markets

In addition to their popularity among the Indian diaspora from Nigeria and Senegal to Egypt and Russia, generations of non-Indians have grown up with Bollywood.[182] Indian cinema's early contacts with other regions made inroads into the Soviet Union, the Middle East, Southeast Asia,[183] and China.[184] Bollywood entered the consciousness of Western audiences and producers during the late 20th century,[99][185] and Western actors now seek roles in Bollywood films.[186]

Asia-Pacific

South Asia

Bollywood films are also popular in Pakistan, Bangladesh, and Nepal, where Hindustani is widely understood. Many Pakistanis understand Hindi, due to its linguistic similarity to Urdu.[187] Although Pakistan banned the import of Bollywood films in 1965, trade in unlicensed DVDs[188] and illegal cable broadcasts ensured their continued popularity. Exceptions to the ban were made for a few films, such as the colourised re-release of Mughal-e-Azam and Taj Mahal in 2006. Early in 2008, the Pakistani government permitted the import of 16 films.[189] More easing followed in 2009 and 2010. Although it is opposed by nationalists and representatives of Pakistan's small film industry, it is embraced by cinema owners who are making a profit after years of low receipts.[190] The most popular actors in Pakistan are the three Khans of Bollywood: Salman, Shah Rukh, and Aamir. The most popular actress is Madhuri Dixit;[191] at India-Pakistan cricket matches during the 1990s, Pakistani fans chanted "Madhuri dedo, Kashmir lelo!" ("Give Madhuri, take Kashmir!")[192] Bollywood films in Nepal earn more than Nepali films, and Salman Khan, Akshay Kumar and Shah Rukh Khan are popular in the country.

The films are also popular in Afghanistan due to its proximity to the Indian subcontinent and their cultural similarities, particularly in music. Popular actors include Shah Rukh Khan, Ajay Devgan, Sunny Deol, Aishwarya Rai, Preity Zinta, and Madhuri Dixit.[193] A number of Bollywood films were filmed in Afghanistan and some dealt with the country, including Dharmatma, Kabul Express, Khuda Gawah and Escape From Taliban.[194][195]

Southeast Asia

Bollywood films are popular in Southeast Asia, particularly in maritime Southeast Asia. The three Khans are very popular in the Malay world, including Indonesia, Malaysia, and Singapore. The films are also fairly popular in Thailand.[196]

India has cultural ties with Indonesia, and Bollywood films were introduced to the country at the end of World War II in 1945. The "angry young man" films of Amitabh Bachchan and Salim–Javed were popular during the 1970s and 1980s before Bollywood's popularity began gradually declining in the 1980s and 1990s. It experienced an Indonesian revival with the release of Shah Rukh Khan's Kuch Kuch Hota Hai (1998) in 2001, which was a bigger box-office success in the country than Titanic (1997). Bollywood has had a strong presence in Indonesia since then, particularly Shah Rukh Khan films such as Mohabbatein (2000), Kabhi Khushi Kabhie Gham... (2001), Kal Ho Naa Ho, Chalte Chalte and Koi... Mil Gaya (all 2003), and Veer-Zaara (2004).[197]

East Asia

Some Bollywood films have been widely appreciated in China, Japan, and South Korea. Several Hindi films have been commercially successful in Japan, including Mehboob Khan's Aan (1952, starring Dilip Kumar) and Aziz Mirza's Raju Ban Gaya Gentleman (1992, starring Shah Rukh Khan). The latter sparked a two-year boom in Indian films after its 1997 release,[198] with Dil Se.. (1998) a beneficiary of the boom.[199] The highest-grossing Hindi film in Japan is 3 Idiots (2009), starring Aamir Khan,[200] which received a Japanese Academy Award nomination.[201] The film was also a critical and commercial success in South Korea.[202]

Dr. Kotnis Ki Amar Kahani, Awaara, and Do Bigha Zamin were successful in China during the 1940s and 1950s, and remain popular with their original audience. Few Indian films were commercially successful in the country during the 1970s and 1980s, among them Tahir Hussain's Caravan, Noorie and Disco Dancer.[203] Indian film stars popular in China included Raj Kapoor, Nargis,[204] and Mithun Chakraborty.[203] Hindi films declined significantly in popularity in China during the 1980s.[205] Films by Aamir Khan have recently been successful,[203][206] and Lagaan was the first Indian film with a nationwide Chinese release in 2011.[205][207] Chinese filmmaker He Ping was impressed by Lagaan (particularly its soundtrack), and hired its composer A. R. Rahman to score his Warriors of Heaven and Earth (2003).[208]

When 3 Idiots was released in China, China was the world's 15th-largest film market (partly due to its widespread pirate DVD distribution at the time). The pirate market introduced the film to Chinese audiences, however, and it became a cult hit. According to the Douban film-review site, 3 Idiots is China's 12th-most-popular film of all time; only one domestic Chinese film (Farewell My Concubine) ranks higher, and Aamir Khan acquired a large Chinese fan base as a result.[206] After 3 Idiots, several of Khan's other films (including 2007's Taare Zameen Par and 2008's Ghajini) also developed cult followings.[209] China became the world's second-largest film market (after the United States) by 2013, paving the way for Khan's box-office success with Dhoom 3 (2013), PK (2014), and Dangal (2016).[206] The latter is the 16th-highest-grossing film in China,[210] the fifth-highest-grossing non-English language film worldwide,[211] and the highest-grossing non-English foreign film in any market.[212][213][214] Several Khan films, including Taare Zameen Par, 3 Idiots, and Dangal, are highly rated on Douban.[215][216] His next film, Secret Superstar (2017, starring Zaira Wasim), broke Dangal's record for the highest-grossing opening weekend by an Indian film and cemented Khan's status[217] as "a king of the Chinese box office";[218] Secret Superstar was China's highest-grossing foreign film of 2018 to date.[219] Khan has become a household name in China,[220] with his success described as a form of Indian soft power[221] improving China–India relations despite political tensions.[204][217] With Bollywood competing with Hollywood in the Chinese market,[222] the success of Khan's films has driven up the price for Chinese distributors of Indian film imports.[223] Salman Khan's Bajrangi Bhaijaan and Irrfan Khan's Hindi Medium were also Chinese hits in early 2018.[224]

Oceania

Although Bollywood is less successful on some Pacific islands such as New Guinea, it ranks second to Hollywood in Fiji (with its large Indian minority), Australia and New Zealand.[225] Australia also has a large South Asian diaspora, and Bollywood is popular amongst non-Asians in the country as well.[225] Since 1997, the country has been a backdrop for an increasing number of Bollywood films.[225] Indian filmmakers, attracted to Australia's diverse locations and landscapes, initially used the country as a setting for song-and-dance scenes;[225] however, Australian locations now figure in Bollywood film plots.[225] Hindi films shot in Australia usually incorporate Australian culture. Yash Raj Films' Salaam Namaste (2005), the first Indian film shot entirely in Australia, was the most successful Bollywood film of 2005 in that country.[226] It was followed by the box-office successes Heyy Babyy, (2007) Chak De! India (2007), and Singh Is Kinng (2008).[225] Prime Minister John Howard said during a visit to India after the release of Salaam Namaste that he wanted to encourage Indian filmmaking in Australia to increase tourism, and he appointed Steve Waugh as tourism ambassador to India.[227][failed verification] Australian actress Tania Zaetta, who appeared in Salaam Namaste and several other Bollywood films, was eager to expand her career in Bollywood.[228]

Eastern Europe and Central Asia

Bollywood films are popular in the former Soviet Union (Russia, Eastern Europe, and Central Asia),[229] and have been dubbed into Russian. Indian films were more popular in the Soviet Union than Hollywood films[230][231] and, sometimes, domestic Soviet films.[232] The first Indian film released in the Soviet Union was Dharti Ke Lal (1946), directed by Khwaja Ahmad Abbas and based on the Bengal famine of 1943, in 1949.[58] Three hundred Indian films were released in the Soviet Union after that;[233] most were Bollywood films with higher average audience figures than domestic Soviet productions.[231][234] Fifty Indian films had over 20 million viewers, compared to 41 Hollywood films.[235][236] Some, such as Awaara (1951) and Disco Dancer (1982), had more than 60 million viewers[237][238] and established actors Raj Kapoor, Nargis,[238] Rishi Kapoor[239] and Mithun Chakraborty in the country.[240]

According to diplomat Ashok Sharma, who served in the Commonwealth of Independent States,

The popularity of Bollywood in the CIS dates back to the Soviet days when the films from Hollywood and other Western cinema centers were banned in the Soviet Union. As there was no means of other cheap entertainment, the films from Bollywood provided the Soviets a cheap source of entertainment as they were supposed to be non-controversial and non-political. In addition, the Soviet Union was recovering from the onslaught of the Second World War. The films from India, which were also recovering from the disaster of partition and the struggle for freedom from colonial rule, were found to be a good source of providing hope with entertainment to the struggling masses. The aspirations and needs of the people of both countries matched to a great extent. These films were dubbed in Russian and shown in theatres throughout the Soviet Union. The films from Bollywood also strengthened family values, which was a big factor for their popularity with the government authorities in the Soviet Union.[241]

After the collapse of the Soviet film-distribution system, Hollywood filled the void in the Russian film market and Bollywood's market share shrank.[229] A 2007 Russia Today report noted a renewed interest in Bollywood by young Russians.[242]

In Poland, Shah Rukh Khan has a large following. He was introduced to Polish audiences with the 2005 release of Kabhi Khushi Kabhie Gham... (2001) and his other films, including Dil Se.. (1998), Main Hoon Na (2004) and Kabhi Alvida Naa Kehna (2006), became hits in the country. Bollywood films are often covered in Gazeta Wyborcza, formerly Poland's largest newspaper.[243][244]

The upcoming movie Squad, is the first Indian film to be shot in Belarus. A majority of the film was shot at Belarusfilm studios, in Minsk.[245]

Middle East and North Africa

Hindi films have become popular in Arab countries,[246] and imported Indian films are usually subtitled in Arabic when they are released. Bollywood has progressed in Israel since the early 2000s, with channels dedicated to Indian films on cable television;[247] MBC Bollywood and Zee Aflam show Hindi movies and serials.[248]

In Egypt, Bollywood films were popular during the 1970s and 1980s. In 1987, however, they were restricted to a handful of films by the Egyptian government.[249][250] Amitabh Bachchan has remained popular in the country[251] and Indian tourists visiting Egypt are asked, "Do you know Amitabh Bachchan?"[191]

Bollywood movies are regularly screened in Dubai cinemas, and Bollywood is becoming popular in Turkey; Barfi! was the first Hindi film to have a wide theatrical release in that country.[252] Bollywood also has viewers in Central Asia (particularly Uzbekistan[253] and Tajikistan).[254]

South America

Bollywood films are not influential in most of South America, although its culture and dance is recognised. Due to significant South Asian diaspora communities in Suriname and Guyana, however, Hindi-language movies are popular.[255] In 2006, Dhoom 2 became the first Bollywood film to be shot in Rio de Janeiro.[256] In January 2012, it was announced that UTV Motion Pictures would begin releasing films in Peru with Guzaarish.[257]

Africa

Hindi films were originally distributed to some parts of Africa by Lebanese businessmen.[182] In the 1950s, Hindi and Egyptian films were generally more popular than Hollywood films in East Africa. By the 1960s, East Africa was one of the largest overseas export markets for Indian films, accounting for about 20-50% of global earnings for many Indian films.[258]

Mother India (1957) continued to be screened in Nigeria decades after its release. Indian movies have influenced Hausa clothing, songs have been covered by Hausa singers, and stories have influenced Nigerian novelists. Stickers of Indian films and stars decorate taxis and buses in Nigeria's Northern Region, and posters of Indian films hang on the walls of tailoring shops and mechanics' garages. Unlike Europe and North America, where Indian films cater to the expatriate marke, Bollywood films became popular in West Africa despite the lack of a significant Indian audience. One possible explanation is cultural similarity: the wearing of turbans, animals in markets; porters carrying large bundles, and traditional wedding celebrations. Within Muslim culture, Indian movies were said to show "respect" toward women; Hollywood movies were seen as having "no shame". In Indian movies, women are modestly dressed; men and women rarely kiss and there is no nudity, so the films are said to "have culture" which Hollywood lacks. The latter "don't base themselves on the problems of the people"; Indian films are based on socialist values and the reality of developing countries emerging from years of colonialism. Indian movies permitted a new youth culture without "becoming Western."[182] The first Indian film shot in Mauritius was Souten, starring Rajesh Khanna, in 1983.[259]

In South Africa, film imports from India were watched by black and Indian audiences.[260] Several Bollywood figures have travelled to Africa for films and off-camera projects. Padmashree Laloo Prasad Yadav (2005) was filmed in South Africa.[261] Dil Jo Bhi Kahey... (2005) was also filmed almost entirely in Mauritius, which has a large ethnic-Indian population.

Bollywood, however, seems to be diminishing in popularity in Africa. New Bollywood films are more sexually explicit and violent. Nigerian viewers observed that older films (from the 1950s and 1960s) had more culture and were less Westernised.[182] The old days of India avidly "advocating decolonization ... and India's policy was wholly influenced by his missionary zeal to end racial domination and discrimination in the African territories" were replaced.[262] The emergence of Nollywood (West Africa's film industry) has also contributed to the declining popularity of Bollywood films, as sexualised Indian films became more like American films.

Kishore Kumar and Amitabh Bachchan have been popular in Egypt and Somalia.[263] In Ethiopia, Bollywood movies are shown with Hollywood productions in town square theatres such as the Cinema Ethiopia in Addis Ababa.[264] Less-commercial Bollywood films are also screened elsewhere in North Africa.[265]

Western Europe and North America

 
Bollywood dancing show in London

The first Indian film to be released in the Western world and receive mainstream attention was Aan (1952), directed by Mehboob Khan and starring Dilip Kumar and Nimmi. It was subtitled in 17 languages and released in 28 countries,[260] including the United Kingdom,[266] the United States, and France.[267] Aan received significant praise from British critics, and The Times compared it favourably to Hollywood productions.[268] Mehboob Khan's later Academy Award-nominated Mother India (1957) was a success in overseas markets, including Europe,[268] Russia, the Eastern Bloc, French territories, and Latin America.[269]

Many Bollywood films have been commercially successful in the United Kingdom. The most successful Indian actor at the British box office has been Shah Rukh Khan, whose popularity in British Asian communities played a key role in introducing Bollywood to the UK[270] with films such as Darr (1993),[271] Dilwale Dulhaniya Le Jayenge (1995),[272] and Kuch Kuch Hota Hai (1998).[270] Dil Se (1998) was the first Indian film to enter the UK top ten.[270] A number of Indian films, such as Dilwale Dulhaniya Le Jayenge and Kabhi Khushi Kabhie Gham (2001), have been set in London.

Bollywood is also appreciated in France, Germany, the Netherlands,[273] and Scandinavia. Bollywood films are dubbed in German and shown regularly on the German television channel RTL II.[274] Germany is the second-largest European market for Indian films, after the United Kingdom. The most recognised Indian actor in Germany is Shah Rukh Khan, who has had box-office success in the country with films such as Don 2 (2011)[244] and Om Shanti Om (2007).[119] He has a large German fan base,[191] particularly in Berlin (where the tabloid Die Tageszeitung compared his popularity to that of the pope).[119]

 
Michelle Obama joining students for a Bollywood dance clinic with Nakul Dev Mahajan in the White House State Dining Room, 2013

Bollywood has experienced revenue growth in Canada and the United States, particularly in the South Asian communities of large cities such as Toronto, Chicago, and New York City.[99] Yash Raj Films, one of India's largest production houses and distributors, reported in September 2005 that Bollywood films in the United States earned about $100 million per year in theatre screenings, video sales and the sale of movie soundtracks;[99] Indian films earn more money in the United States than films from any other non-English speaking country.[99] Since the mid-1990s, a number of Indian films have been largely (or entirely) shot in New York, Los Angeles, Vancouver or Toronto. Films such as The Guru (2002) and Marigold: An Adventure in India (2007) attempted to popularise Bollywood for Hollywood.[citation needed]

Plagiarism

Pressured by rushed production schedules and small budgets, some writers and musicians in Hindi cinema have been known to plagiarise.[275] Ideas, plot lines, tunes or riffs have been copied from other Indian film industries (including Telugu cinema, Tamil cinema, Malayalam cinema and others) or foreign films (including Hollywood and other Asian films) without acknowledging the source.[276]

Before the 1990s, plagiarism occurred with impunity. Copyright enforcement was lax in India, and few actors or directors saw an official contract.[277] The Hindi film industry was not widely known in the Global North (except in the Soviet states), who would be unaware that their material had been copied. Audiences may not have been aware of plagiarism, since many in India were unfamiliar with foreign films and music.[276] Although copyright enforcement in India is still somewhat lenient, Bollywood and other film industries are more aware of each other and Indian audiences are more familiar with foreign films and music.[citation needed] Organisations such as the India EU Film Initiative seek to foster a community between filmmakers and industry professionals in India and the European Union.[276]

A commonly-reported justification for plagiarism in Bollywood is that cautious producers want to remake popular Hollywood films in an Indian context. Although screenwriters generally produce original scripts, many are rejected due to uncertainty about whether a film will be successful.[276] Poorly-paid screenwriters have also been criticised for a lack of creativity.[278] Some filmmakers see plagiarism in Bollywood as an integral part of globalisation, with which Western (particularly American) culture is embedding itself into Indian culture.[278] Vikram Bhatt, director of Raaz (a remake of What Lies Beneath) and Kasoor (a remake of Jagged Edge), has spoken about the influence of American culture and Bollywood's desire to produce box-office hits based along the same lines: "Financially, I would be more secure knowing that a particular piece of work has already done well at the box office. Copying is endemic everywhere in India. Our TV shows are adaptations of American programmes. We want their films, their cars, their planes, their Diet Cokes and also their attitude. The American way of life is creeping into our culture."[278] According to Mahesh Bhatt, "If you hide the source, you're a genius. There's no such thing as originality in the creative sphere".[278]

Although very few cases of film-copyright violations have been taken to court because of a slow legal process,[276] the makers of Partner (2007) and Zinda (2005) were targeted by the owners and distributors of the original films: Hitch and Oldboy.[279][280] The American studio 20th Century Fox brought Mumbai-based B. R. Films to court over the latter's forthcoming Banda Yeh Bindaas Hai, which Fox alleged was an illegal remake of My Cousin Vinny. B. R. Films eventually settled out of court for about $200,000, paving the way for its film's release.[281] Some studios comply with copyright law; in 2008, Orion Pictures secured the rights to remake Hollywood's Wedding Crashers.[282]

Music

The Pakistani Qawwali musician Nusrat Fateh Ali Khan had a big impact on Hindi film music, inspiring numerous Indian musicians working in Bollywood, especially during the 1990s. However, there were many instances of Indian music directors plagiarising Khan's music to produce hit filmi songs.[283][284] Several popular examples include Viju Shah's hit song "Tu Cheez Badi Hai Mast Mast" in Mohra (1994) being plagiarised from Khan's popular Qawwali song "Dam Mast Qalandar",[283] "Mera Piya Ghar Aya" used in Yaarana (1995), and "Sanoo Ek Pal Chain Na Aaye" in Judaai (1997).[283] Despite the significant number of hit Bollywood songs plagiarised from his music, Nusrat Fateh Ali Khan was reportedly tolerant towards the plagiarism.[67][285] One of the Bollywood music directors who frequently plagiarised him, Anu Malik, claimed that he loved Khan's music and was actually showing admiration by using his tunes.[285] However, Khan was reportedly aggrieved when Malik turned his spiritual "Allah Hoo, Allah Hoo" into "I Love You, I Love You" in Auzaar (1997).[67] Khan said "he has taken my devotional song Allahu and converted it into I love you. He should at least respect my religious songs."[285]

Bollywood soundtracks also plagiarised Guinean singer Mory Kanté, particularly his 1987 album Akwaba Beach. His song, "Tama", inspired two Bollywood songs: Bappi Lahiri's "Tamma Tamma" in Thanedaar (1990) and "Jumma Chumma" in Laxmikant–Pyarelal's soundtrack for Hum (1991). The latter also featured "Ek Doosre Se", which copied Kanté's "Inch Allah".[286] His song "Yé ké yé ké" was used as background music in the 1990 Bollywood film Agneepath, inspired the Bollywood song "Tamma Tamma" in Thanedaar.[286]

See also

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Bibliography

Further reading

  • Alter, Stephen. Fantasies of a Bollywood Love-Thief: Inside the World of Indian Moviemaking. ISBN 0-15-603084-5.
  • Begum-Hossain, Momtaz. Bollywood Crafts: 20 Projects Inspired by Popular Indian Cinema, 2006. The Guild of Mastercraftsman Publications. ISBN 1-86108-418-8.
  • Bose, Mihir, Bollywood: A History, New Delhi, Roli Books, 2008. ISBN 978-81-7436-653-5.
  • Dwyer, Rachel. Bollywood's India: Hindi Cinema as a Guide to Contemporary India (Reaktion Books, distributed by University of Chicago Press; 2014) 295 pages
  • Ganti, Tejaswini. Bollywood, Routledge, New York and London, 2004.
  • Ganti, Tejaswini. Producing Bollywood: Inside the Contemporary Hindi Film Industry (Duke University Press; 2012) 424 pages; looks at how major changes in film production since the 1990s have been influenced by the liberal restructuring of India's state and economy.
  • Gibson, Bernard. 'Bollywood'. Passing the Envelope, 1994.
  • Jolly, Gurbir, Zenia Wadhwani, and Deborah Barretto, eds. Once Upon a Time in Bollywood: The Global Swing in Hindi Cinema, TSAR Publications. 2007. ISBN 978-1-894770-40-8.
  • Joshi, Lalit Mohan. Bollywood: Popular Indian Cinema. ISBN 0-9537032-2-3.
  • Kabir, Nasreen Munni. Bollywood, Channel 4 Books, 2001.
  • Mehta, Suketu. Maximum City, Knopf, 2004.
  • Mishra, Vijay. Bollywood Cinema: Temples of Desire. ISBN 0-415-93015-4.
  • Pendakur, Manjunath. Indian Popular Cinema: Industry, Ideology, and Consciousness. ISBN 1-57273-500-7.
  • Prasad, Madhava. Ideology of the Hindi Film: A Historical Construction, Oxford University Press, 2000. ISBN 0-19-565295-9.
  • Raheja, Dinesh and Kothari, Jitendra. Indian Cinema: The Bollywood Saga. ISBN 81-7436-285-1.
  • Raj, Aditya (2007) "Bollywood Cinema and Indian Diaspora" in Media Literacy: A Reader edited by Donaldo Macedo and Shirley Steinberg New York: Peter Lang
  • Rajadhyaksa, Ashish (1996), "India: Filming the Nation", The Oxford History of World Cinema, Oxford University Press, ISBN 0-19-811257-2.
  • Rajadhyaksha, Ashish and Willemen, Paul. Encyclopedia of Indian Cinema, Oxford University Press, revised and expanded, 1999.
  • Jha, Subhash and Bachchan, Amitabh (foreword). The Essential Guide to Bollywood. ISBN 978-81-7436-378-7.

External links

  • National Geographic Magazine: "Welcome to Bollywood"
  • National Institute Of Film and Fine Arts

hindi, cinema, this, article, about, hindi, film, industry, entire, film, culture, india, cinema, india, bollywood, redirects, here, other, uses, bollywood, disambiguation, popularly, known, bollywood, formerly, bombay, cinema, refers, film, industry, based, m. This article is about the Hindi film industry For the entire film culture of India see Cinema of India Bollywood redirects here For other uses see Bollywood disambiguation Hindi cinema popularly known as Bollywood and formerly as Bombay cinema 4 refers to the film industry based in Mumbai engaged in production of motion pictures in Hindi language The popular term Bollywood is a portmanteau of Bombay former name of Mumbai and Hollywood The industry is a part of the larger Indian cinema which also includes South Cinema and other smaller film industries 3 5 6 Hindi cinemaMain distributorsAA FilmsDharma ProductionsEros InternationalExcel EntertainmentFox Star StudiosRed Chillies EntertainmentReliance Big PicturesTips IndustriesUTV Motion PicturesViacom 18 Motion PicturesYash Raj FilmsZee Studios 1 2 Produced feature films 2017 3 Total364This article contains Indic text Without proper rendering support you may see question marks or boxes misplaced vowels or missing conjuncts instead of Indic text In 2017 Indian cinema produced 1 986 feature films of which the largest number 364 have been from Hindi 3 As per data from 2014 update Hindi cinema represented 43 percent of Indian net box office revenue Tamil and Telugu cinema represented 36 percent and the remaining regional cinema constituted 21 percent 7 Hindi cinema has overtaken the U S film industry to become the largest centre for film production in the world 8 9 10 In 2001 ticket sales Indian cinema including Hindi films reportedly sold an estimated 3 6 billion tickets worldwide compared to Hollywood s 2 6 billion tickets sold 11 12 13 Earlier Hindi films tended to use vernacular Hindustani mutually intelligible by speakers of either Hindi or Urdu while modern Hindi productions increasingly incorporate elements of Hinglish 14 The most popular commercial genre in Hindi cinema since the 1970s has been the masala film which freely mixes different genres including action comedy romance drama and melodrama along with musical numbers 15 16 Masala films generally fall under the musical film genre of which Indian cinema has been the largest producer since the 1960s when it exceeded the American film industry s total musical output after musical films declined in the West the first Indian musical talkie was Alam Ara 1931 several years after the first Hollywood musical talkie The Jazz Singer 1927 Alongside commercial masala films a distinctive genre of art films known as parallel cinema has also existed presenting realistic content and avoidance of musical numbers In more recent years the distinction between commercial masala and parallel cinema has been gradually blurring with an increasing number of mainstream films adopting the conventions which were once strictly associated with parallel cinema Contents 1 The term Bollywood 2 History 2 1 Early history 1890s 1930s 2 2 Challenges and market expansion 1930s 1940s 2 3 Golden age late 1940s 1960s 2 4 Classic Hindi cinema 1970s 1980s 2 5 New Hindi cinema 1990s 2000s 3 Influences on Hindi cinema 4 Influence of Hindi cinema 4 1 India 4 2 Overseas 5 Genres 6 Casts and crews 7 Dialogues and lyrics 8 Sound 9 Female makeup artists 10 Song and dance 11 Finances 12 Advertising 13 International filming 14 Awards 15 Global markets 15 1 Asia Pacific 15 1 1 South Asia 15 1 2 Southeast Asia 15 1 3 East Asia 15 1 4 Oceania 15 2 Eastern Europe and Central Asia 15 3 Middle East and North Africa 15 4 South America 15 5 Africa 15 6 Western Europe and North America 16 Plagiarism 16 1 Music 17 See also 18 References 19 Bibliography 20 Further reading 21 External linksThe term Bollywood Bollywood is a portmanteau derived from Bombay the former name of Mumbai and Hollywood a shorthand reference for the American film industry which is based in Hollywood California 17 The term Tollywood for the Tollygunge based cinema of West Bengal predated Bollywood 18 It was used in a 1932 American Cinematographer article by Wilford E Deming an American engineer who helped produce the first Indian sound picture 18 Bollywood was probably invented in Bombay based film trade journals in the 1960s or 1970s though the exact inventor varies by account 19 20 Film journalist Bevinda Collaco claims she coined the term for the title of her column in Screen magazine 21 Her column entitled On the Bollywood Beat covered studio news and celebrity gossip 21 Other sources state that lyricist filmmaker and scholar Amit Khanna was its creator 22 It s unknown if it was derived from Hollywood through Tollywood or was inspired directly by Hollywood The term has been criticised by some film journalists and critics who believe it implies that the industry is a poor cousin of Hollywood 17 23 Bollywood has since inspired a long list of Hollywood inspired nicknames HistoryEarly history 1890s 1930s In 1897 a film presentation by Professor Stevenson featured a stage show at Calcutta s Star Theatre With Stevenson s encouragement and camera Hiralal Sen an Indian photographer made a film of scenes from that show The Flower of Persia 1898 24 The Wrestlers 1899 by H S Bhatavdekar showed a wrestling match at the Hanging Gardens in Bombay 25 Dadasaheb Phalke is considered the father of Indian cinema including Hindi cinema 26 27 28 Dadasaheb Phalke s silent Raja Harishchandra 1913 is the first feature film made in India By the 1930s the industry was producing over 200 films per year 29 The first Indian sound film Ardeshir Irani s Alam Ara 1931 was commercially successful 30 With a great demand for talkies and musicals Hindustani cinema as Hindi cinema was then known as 31 and the other regional film industries quickly switched to sound films Challenges and market expansion 1930s 1940s The 1930s and 1940s were tumultuous times India was buffeted by the Great Depression World War II the Indian independence movement and the violence of the Partition Although most early Bombay films were unabashedly escapist a number of filmmakers tackled tough social issues or used the struggle for Indian independence as a backdrop for their films 32 Irani made the first Hindi colour film Kisan Kanya in 1937 The following year he made a colour version of Mother India However colour did not become a popular feature until the late 1950s At this time lavish romantic musicals and melodramas were cinematic staples Number of Hindi movies released since 1930 A rapid expansion was seen from the mid 1940s The decade of the 1940s saw an expansion of Bombay cinema s commercial market and its presence in the national consciousness The year 1943 saw the arrival of Indian cinema s first blockbuster offering the movie Kismet which grossed in excess of the important barrier of one crore 10 million rupees made on a budget of only two lakh 200 000 rupees 33 Kismet tackled contemporary issues especially those arising from the Indian Independence movement and went on to become the longest running hit of Indian cinema a title it held till the 1970s 34 Film personalities like Bimal Roy Sahir Ludhianvi and Prithviraj Kapoor participated in the creation of a national movement against colonial rule in India while simultaneously leveraging the popular political movement to increase their own visibility and popularity 35 36 Themes from the Independence Movement deeply influenced Bombay film directors screen play writers and lyricists who saw their films in the context of social reform and the problems of the common people 37 Before the Partition the Bombay film industry was closely linked to the Lahore film industry now the Pakistani film industry also known as Lollywood both produced films in Hindustani also known as Hindi Urdu the lingua franca of northern and central India 38 Another centre of Hindustani language film production was the Bengal film industry in Calcutta Bengal Presidency now Kolkata West Bengal which produced Hindustani language films and local Bengali language films 39 40 Many actors filmmakers and musicians from the Lahore industry migrated to the Bombay industry during the 1940s including actors K L Saigal Prithviraj Kapoor Dilip Kumar and Dev Anand as well as playback singers Mohammed Rafi Noorjahan and Shamshad Begum Around the same time filmmakers and actors from the Calcutta film industry began migrating to Bombay as a result Bombay became the center of Hindustani language film production 40 The 1947 partition of India divided the country into the Republic of India and Pakistan which precipitated the migration of filmmaking talent from film production centres like Lahore and Calcutta which bore the brunt of the partition violence 38 41 40 This included actors filmmakers and musicians from Bengal Punjab particularly the present day Pakistani Punjab 38 and the North West Frontier Province present day Khyber Pakhtunkhwa 42 These events further consolidated the Bombay film industry s position as the preeminent center for film production in India Golden age late 1940s 1960s The period from the late 1940s to the early 1960s after India s independence is regarded by film historians as the Golden Age of Hindi cinema 43 44 45 Some of the most critically acclaimed Hindi films of all time were produced during this time Examples include Pyaasa 1957 and Kaagaz Ke Phool 1959 directed by Guru Dutt and written by Abrar Alvi Awaara 1951 and Shree 420 1955 directed by Raj Kapoor and written by Khwaja Ahmad Abbas and Aan 1952 directed by Mehboob Khan and starring Dilip Kumar The films explored social themes primarily dealing with working class life in India particularly urban life in the first two examples Awaara presented the city as both nightmare and dream and Pyaasa critiqued the unreality of urban life 46 Mehboob Khan s Mother India 1957 a remake of his earlier Aurat 1940 was the first Indian film nominated for the Academy Award for Best Foreign Language Film it lost by a single vote 47 Mother India defined conventional Hindi cinema for decades 48 49 50 It spawned a genre of dacoit films in turn defined by Gunga Jumna 1961 51 Written and produced by Dilip Kumar Gunga Jumna was a dacoit crime drama about two brothers on opposite sides of the law a theme which became common in Indian films during the 1970s 52 Some of the best known epic films of Hindi cinema were also produced at this time such as K Asif s Mughal e Azam 1960 53 Other acclaimed mainstream Hindi filmmakers during this period included Kamal Amrohi and Vijay Bhatt Nargis Raj Kapoor and Dilip Kumar in Andaz 1949 Kapoor and Kumar are among the greatest and most influential movie stars in the history of Indian cinema 54 55 and Nargis is one of its greatest actresses 56 The three most popular male Indian actors of the 1950s and 1960s were Dilip Kumar Raj Kapoor and Dev Anand each with a unique acting style Kapoor adopted Charlie Chaplin s tramp persona Anand modeled himself on suave Hollywood stars like Gregory Peck and Cary Grant and Kumar pioneered a form of method acting which predated Hollywood method actors such as Marlon Brando Kumar who was described as the ultimate method actor by Satyajit Ray inspired future generations of Indian actors Much like Brando s influence on Robert De Niro and Al Pacino Kumar had a similar influence on Amitabh Bachchan Naseeruddin Shah Shah Rukh Khan and Nawazuddin Siddiqui 54 55 Veteran actresses such as Suraiya Nargis Sumitra Devi Madhubala Meena Kumari Waheeda Rehman Nutan Sadhana Mala Sinha and Vyjayanthimala have had their share of influence on Hindi cinema 57 While commercial Hindi cinema was thriving the 1950s also saw the emergence of a parallel cinema movement 46 Although the movement emphasising social realism was led by Bengali cinema it also began gaining prominence in Hindi cinema Early examples of parallel cinema include Dharti Ke Lal 1946 directed by Khwaja Ahmad Abbas and based on the Bengal famine of 1943 58 Neecha Nagar 1946 directed by Chetan Anand and written by Khwaja Ahmad Abbas 59 and Bimal Roy s Do Bigha Zamin 1953 Their critical acclaim and the latter s commercial success paved the way for Indian neorealism and the Indian New Wave synonymous with parallel cinema 60 Internationally acclaimed Hindi filmmakers involved in the movement included Mani Kaul Kumar Shahani Ketan Mehta Govind Nihalani Shyam Benegal and Vijaya Mehta 46 Rajesh Khanna in 2010 The first Indian actor to be called a superstar he starred in 15 consecutive hit films from 1969 to 1971 After the social realist film Neecha Nagar received the Palme d Or at the inaugural 1946 Cannes Film Festival 59 Hindi films were frequently in competition for Cannes top prize during the 1950s and early 1960s and some won major prizes at the festival 61 Guru Dutt overlooked during his lifetime received belated international recognition during the 1980s 61 62 Film critics polled by the British magazine Sight amp Sound included several of Dutt s films in a 2002 list of greatest films 63 and Time s All Time 100 Movies lists Pyaasa as one of the greatest films of all time 64 During the late 1960s and early 1970s the industry was dominated by musical romance films with romantic hero leads 65 Classic Hindi cinema 1970s 1980s The Salim Javed screenwriting duo consisting of Salim Khan left and Javed Akhtar revolutionized Indian cinema in the 1970s 66 and are considered Hindi cinema s greatest screenwriters 67 By 1970 Hindi cinema was thematically stagnant 68 and dominated by musical romance films 65 The arrival of screenwriting duo Salim Javed Salim Khan and Javed Akhtar was a paradigm shift revitalising the industry 68 They began the genre of gritty violent Bombay underworld crime films early in the decade with films such as Zanjeer 1973 and Deewaar 1975 69 70 Salim Javed reinterpreted the rural themes of Mehboob Khan s Mother India 1957 and Dilip Kumar s Gunga Jumna 1961 in a contemporary urban context reflecting the socio economic and socio political climate of 1970s India 68 71 and channeling mass discontent disillusionment 68 and the unprecedented growth of slums 72 with anti establishment themes and those involving urban poverty corruption and crime 73 74 Their angry young man personified by Amitabh Bachchan 74 reinterpreted Dilip Kumar s performance in Gunga Jumna in a contemporary urban context 68 71 and anguished urban poor 72 By the mid 1970s romantic confections had given way to gritty violent crime films and action films about gangsters the Bombay underworld and bandits dacoits Salim Javed s writing and Amitabh Bachchan s acting popularised the trend with films such as Zanjeer and particularly Deewaar a crime film inspired by Gunga Jumna 52 which pitted a policeman against his brother a gang leader based on real life smuggler Haji Mastan Bachchan according to Danny Boyle Deewaar was absolutely key to Indian cinema 75 In addition to Bachchan several other actors followed by riding the crest of the trend which lasted into the early 1990s 76 Actresses from the era include Hema Malini Jaya Bachchan Raakhee Shabana Azmi Zeenat Aman Parveen Babi Rekha Dimple Kapadia Smita Patil Jaya Prada and Padmini Kolhapure 57 Amitabh Bachchan in 2014 The name Bollywood was coined during the 1970s 20 21 when the conventions of commercial Hindi films were defined 77 Key to this was the masala film which combines a number of genres action comedy romance drama melodrama and musical The masala film was pioneered early in the decade by filmmaker Nasir Hussain 78 and the Salim Javed screenwriting duo 77 pioneering the Bollywood blockbuster format 77 Yaadon Ki Baarat 1973 directed by Hussain and written by Salim Javed has been identified as the first masala film and the first quintessentially Bollywood film 77 79 Salim Javed wrote more successful masala films during the 1970s and 1980s 77 Masala films made Amitabh Bachchan the biggest star of the period A landmark of the genre was Amar Akbar Anthony 1977 79 80 directed by Manmohan Desai and written by Kader Khan and Desai continued successfully exploiting the genre Both genres masala and violent crime films are represented by the blockbuster Sholay 1975 written by Salim Javed and starring Amitabh Bachchan It combined the dacoit film conventions of Mother India and Gunga Jumna with spaghetti Westerns spawning the Dacoit Western also known as the curry Western which was popular during the 1970s 51 Some Hindi filmmakers such as Shyam Benegal Mani Kaul Kumar Shahani Ketan Mehta Govind Nihalani and Vijaya Mehta continued to produce realistic parallel cinema throughout the 1970s 46 81 Although the art film bent of the Film Finance Corporation was criticised during a 1976 Committee on Public Undertakings investigation which accused the corporation of not doing enough to encourage commercial cinema the decade saw the rise of commercial cinema with films such as Sholay 1975 which consolidated Amitabh Bachchan s position as a star The devotional classic Jai Santoshi Ma was also released that year 82 By 1983 the Bombay film industry was generating an estimated annual revenue of 700 crore 7 billion 83 693 14 million 84 equivalent to 1 89 billion 12 667 crore 111 33 billion when adjusted for inflation By 1986 India s annual film output had increased from 741 films produced annually to 833 films annually making India the world s largest film producer 85 The most internationally acclaimed Hindi film of the 1980s was Mira Nair s Salaam Bombay 1988 which won the Camera d Or at the 1988 Cannes Film Festival and was nominated for the Academy Award for Best Foreign Language Film New Hindi cinema 1990s 2000s Shah Rukh Khan one of the Three Khans in 2012 Aamir Khan one of the Three Khans in 2008 Hindi cinema experienced another period of stagnation during the late 1980s with a box office decline due to increasing violence a decline in musical quality and a rise in video piracy One of the turning points came with such films as Qayamat Se Qayamat Tak 1988 presenting a blend of youthfulness family entertainment emotional intelligence and strong melodies all of which lured audiences back to the big screen 86 87 It brought back the template for Bollywood musical romance films which went on to define 1990s Hindi cinema 87 Known since the 1990s as New Bollywood 88 contemporary Bollywood is linked to economic liberalization in India during the early 1990s 89 Early in the decade the pendulum swung back toward family centered romantic musicals Qayamat Se Qayamat Tak 1988 was followed by blockbusters such as Maine Pyar Kiya 1989 Hum Aapke Hain Kaun 1994 Dilwale Dulhania Le Jayenge 1995 Raja Hindustani 1996 Dil To Pagal Hai 1997 and Kuch Kuch Hota Hai 1998 introducing a new generation of popular actors including the three Khans Aamir Khan Shah Rukh Khan and Salman Khan 90 91 who have starred in most of the top ten highest grossing Bollywood films The Khans and have had successful careers since the late 1980s and early 1990s 90 and have dominated the Indian box office for three decades 92 93 Shah Rukh Khan was the most successful Indian actor for most of the 1990s and 2000s and Aamir Khan has been the most successful Indian actor since the mid 2000s 57 94 Action and comedy films starring such actors as Akshay Kumar and Govinda 95 96 The decade marked the entrance of new performers in art and independent films some of which were commercially successful The most influential example was Satya 1998 directed by Ram Gopal Varma and written by Anurag Kashyap Its critical and commercial success led to the emergence of a genre known as Mumbai noir 97 urban films reflecting the city s social problems 98 This led to a resurgence of parallel cinema by the end of the decade 97 The films featured actors whose performances were often praised by critics Salman Khan one of the Three Khans with Bollywood actresses from left Kareena Kapoor Rani Mukerji Preity Zinta Katrina Kaif Karisma Kapoor and Priyanka Chopra in Mumbai 2010 The 2000s saw increased Bollywood recognition worldwide due to growing and prospering NRI and Desi communities overseas The growth of the Indian economy and a demand for quality entertainment in this era led the country s film industry to new heights in production values cinematography and screenwriting as well as technical advances in areas such as special effects and animation 99 Some of the largest production houses among them Yash Raj Films and Dharma Productions were the producers of new modern films 99 Some popular films of the decade were Kaho Naa Pyaar Hai 2000 Kabhi Khushi Kabhie Gham 2001 Gadar Ek Prem Katha 2001 Lagaan 2001 Koi Mil Gaya 2003 Kal Ho Naa Ho 2003 Veer Zaara 2004 Rang De Basanti 2006 Lage Raho Munna Bhai 2006 Dhoom 2 2006 Krrish 2006 and Jab We Met 2007 among others showing the rise of new movie stars During the 2010s the industry saw established stars such as making big budget masala films like Dabangg 2010 Singham 2011 Ek Tha Tiger 2012 Son of Sardaar 2012 Rowdy Rathore 2012 Chennai Express 2013 Kick 2014 and Happy New Year 2014 with much younger actresses Although the films were often not praised by critics they were commercially successful Some of the films starring Aamir Khan from Taare Zameen Par 2007 and 3 Idiots 2009 to Dangal 2016 and Secret Superstar 2018 have been credited with redefining and modernising the masala film with a distinct brand of socially conscious cinema 100 101 Most stars from the 2000s continued successful careers into the next decade and the 2010s saw a new generation of popular actors in different films Among new conventions female centred films such as The Dirty Picture 2011 Kahaani 2012 and Queen 2014 Parched 2015 Pink 2016 started gaining wide financial success Akshay Kumar in 2013 Ajay Devgn and Rohit Shetty on the sets of Jhalak Dikhhlaa Jaa 5 Influences on Hindi cinemaMoti Gokulsing and Wimal Dissanayake identify six major influences which have shaped Indian popular cinema 102 The branching structures of ancient Indian epics like the Mahabharata and Ramayana Indian popular films often have plots which branch off into sub plots Ancient Sanskrit drama with its stylised nature and emphasis on spectacle in which music dance and gesture combine to create a vibrant artistic unit with dance and mime being central to the dramatic experience Matthew Jones of De Montfort University also identifies the Sanskrit concept of rasa or the emotions felt by the audience as a result of the actor s presentation as crucial to Bollywood films 103 Traditional folk theater which became popular around the 10th century with the decline of Sanskrit theater Its regional traditions include the Jatra of Bengal the Ramlila of Uttar Pradesh and the Terukkuttu of Tamil Nadu Parsi theatre which blended realism and fantasy music and dance narrative and spectacle earthy dialogue and ingenuity of stage presentation integrating them into a dramatic discourse of melodrama The Parsi plays contained crude humour melodious songs and music sensationalism and dazzling stagecraft Hollywood where musicals were popular from the 1920s to the 1950s Western musical television particularly MTV which has had an increasing influence since the 1990s Its pace camera angles dance sequences and music may be seen in 2000s Indian films An early example of this approach was Mani Ratnam s Bombay 1995 Sharmistha Gooptu identifies Indo Persian Islamic culture as a major influence During the early 20th century Urdu was the lingua franca of popular cultural performance across northern India and established in popular performance art traditions such as nautch dancing Urdu poetry and Parsi theater Urdu and related Hindi dialects were the most widely understood across northern India and Hindustani became the standard language of early Indian talkies Films based on Persianate adventure romances led to a popular genre of Arabian Nights cinema 104 Scholars Chaudhuri Diptakirti and Rachel Dwyer and screenwriter Javed Akhtar identify Urdu literature as a major influence on Hindi cinema 105 106 107 Most of the screenwriters and scriptwriters of classic Hindi cinema came from Urdu literary backgrounds 105 106 108 from Khwaja Ahmad Abbas and Akhtar ul Iman to Salim Javed and Rahi Masoom Raza a handful came from other Indian literary traditions such as Bengali and Hindi literature 106 Most of Hindi cinema s classic scriptwriters wrote primarily in Urdu including Salim Javed Gulzar Rajinder Singh Bedi Inder Raj Anand Rahi Masoom Raza and Wajahat Mirza 105 108 Urdu poetry and the ghazal tradition strongly influenced filmi Bollywood lyrics 105 107 Javed Akhtar was also greatly influenced by Urdu novels by Pakistani author Ibn e Safi such as the Jasoosi Dunya and Imran series of detective novels 109 they inspired for example famous Bollywood characters such as Gabbar Singh in Sholay 1975 and Mogambo in Mr India 1987 110 Todd Stadtman identifies several foreign influences on 1970s commercial Bollywood masala films including New Hollywood Italian exploitation films and Hong Kong martial arts cinema 76 After the success of Bruce Lee films such as Enter the Dragon in India 111 Deewaar 1975 and other Bollywood films incorporated fight scenes inspired by 1970s martial arts films from Hong Kong cinema until the 1990s 112 Bollywood action scenes emulated Hong Kong rather than Hollywood emphasising acrobatics and stunts and combining kung fu as perceived by Indians with Indian martial arts such as pehlwani 113 Influence of Hindi cinemaIndia Perhaps Hindi cinema s greatest influence has been on India s national identity where with the rest of Indian cinema it has become part of the Indian story 114 In India Bollywood is often associated with India s national identity According to economist and Bollywood biographer Meghnad Desai Cinema actually has been the most vibrant medium for telling India its own story the story of its struggle for independence its constant struggle to achieve national integration and to emerge as a global presence 114 Scholar Brigitte Schulze has written that Indian films most notably Mehboob Khan s Mother India 1957 played a key role in shaping the Republic of India s national identity in the early years after independence from the British Raj the film conveyed a sense of Indian nationalism to urban and rural citizens alike 115 Bollywood has long influenced Indian society and culture as the biggest entertainment industry many of the country s musical dancing wedding and fashion trends are Bollywood inspired Bollywood fashion trendsetters have included Madhubala in Mughal e Azam 1960 and Madhuri Dixit in Hum Aapke Hain Koun 1994 90 Hindi films have also had a socio political impact on Indian society reflecting Indian politics 116 In classic 1970s Bollywood films Bombay underworld crime films written by Salim Javed and starring Amitabh Bachchan such as Zanjeer 1973 and Deewaar 1975 reflected the socio economic and socio political realities of contemporary India They channeled growing popular discontent and disillusionment and state failure to ensure welfare and well being at a time of inflation shortages loss of confidence in public institutions increasing crime 68 and the unprecedented growth of slums 72 Salim Javed and Bachchan s films dealt with urban poverty corruption and organised crime 73 they were perceived by audiences as anti establishment often with an angry young man protagonist presented as a vigilante or anti hero 74 whose suppressed rage voiced the anguish of the urban poor 72 Overseas Hindi films have been a significant form of soft power for India increasing its influence and changing overseas perceptions of India 117 118 In Germany Indian stereotypes included bullock carts beggars sacred cows corrupt politicians and catastrophes before Bollywood and the IT industry transformed global perceptions of India 119 According to author Roopa Swaminathan Bollywood cinema is one of the strongest global cultural ambassadors of a new India 118 120 Its role in expanding India s global influence is comparable to Hollywood s similar role with American influence 90 Monroe Township Middlesex County New Jersey in the New York metropolitan area has been profoundly impacted by Bollywood this U S township has displayed one of the fastest growth rates of its Indian population in the Western Hemisphere increasing from 256 0 9 as of the 2000 Census 121 to an estimated 5 943 13 6 as of 2017 122 representing a 2 221 5 a multiple of 23 numerical increase over that period including many affluent professionals and senior citizens as well as charitable benefactors to the COVID 19 relief efforts in India in official coordination with Monroe Township as well as actors with second homes During the 2000s Hindi cinema began influencing musical films in the Western world and was instrumental role in reviving the American musical film Baz Luhrmann said that his musical film Moulin Rouge 2001 was inspired by Bollywood musicals 123 the film incorporated a Bollywood style dance scene with a song from the film China Gate The critical and financial success of Moulin Rouge began a renaissance of Western musical films such as Chicago Rent and Dreamgirls 124 Indian film composer A R Rahman wrote the music for Andrew Lloyd Webber s Bombay Dreams and a musical version of Hum Aapke Hain Koun was staged in London s West End The sports film Lagaan 2001 was nominated for the Academy Award for Best Foreign Language Film and two other Hindi films 2002 s Devdas and 2006 s Rang De Basanti were nominated for the BAFTA Award for Best Film Not in the English Language Danny Boyle s Slumdog Millionaire 2008 which won four Golden Globes and eight Academy Awards was inspired by mainstream Hindi films 75 125 and is considered an homage to Hindi commercial cinema 126 It was also inspired by Mumbai underworld crime films such as Deewaar 1975 Satya 1998 Company 2002 and Black Friday 2007 75 Deewaar had a Hong Kong remake The Brothers 1979 127 which inspired John Woo s internationally acclaimed breakthrough A Better Tomorrow 1986 127 128 the latter was a template for Hong Kong action cinema s heroic bloodshed genre 129 130 Angry young man 1970s epics such as Deewaar and Amar Akbar Anthony 1977 also resemble the heroic bloodshed genre of 1980s Hong Kong action cinema 131 The influence of filmi may be seen in popular music worldwide Technopop pioneers Haruomi Hosono and Ryuichi Sakamoto of the Yellow Magic Orchestra produced a 1978 electronic album Cochin Moon based on an experimental fusion of electronic music and Bollywood inspired Indian music 132 Truth Hurts 2002 song Addictive produced by DJ Quik and Dr Dre was lifted clarification needed from Lata Mangeshkar s Thoda Resham Lagta Hai in Jyoti 1981 133 The Black Eyed Peas Grammy Award winning 2005 song Don t Phunk with My Heart was inspired by two 1970s Bollywood songs Ye Mera Dil Yaar Ka Diwana from Don 1978 and Ae Nujawan Hai Sub from Apradh 1972 134 Both songs were composed by Kalyanji Anandji sung by Asha Bhosle and featured the dancer Helen 135 The Kronos Quartet re recorded several R D Burman compositions sung by Asha Bhosle for their 2005 album You ve Stolen My Heart Songs from R D Burman s Bollywood which was nominated for Best Contemporary World Music Album at the 2006 Grammy Awards Filmi music composed by A R Rahman who received two Academy Awards for the Slumdog Millionaire soundtrack has frequently been sampled by other musicians including the Singaporean artist Kelly Poon the French rap group La Caution and the American artist Ciara Many Asian Underground artists particularly those among the overseas Indian diaspora have also been inspired by Bollywood music 136 GenresSee also Muslim social and Masala film Melodrama and romance are common ingredients in Bollywood films such as Achhut Kanya 1936 Hindi films are primarily musicals and are expected to have catchy song and dance numbers woven into the script A film s success often depends on the quality of such musical numbers 137 A film s music and song and dance portions are usually produced first and these are often released before the film itself increasing its audience 138 Indian audiences expect value for money and a good film is generally referred to as paisa vasool literally money s worth 139 Songs dances love triangles comedy and dare devil thrills are combined in a three hour show with an intermission These are called masala films after the Hindi word for a spice mixture Like masalas they are a mixture of action comedy and romance most have heroes who can fight off villains single handedly Bollywood plots have tended to be melodramatic frequently using formulaic ingredients such as star crossed lovers angry parents love triangles family ties sacrifice political corruption kidnapping villains kind hearted courtesans long lost relatives and siblings reversals of fortune and serendipity Parallel cinema films tended to be less popular at the box office A large Indian diaspora in English speaking countries and increased Western influence in India have nudged Bollywood films closer to Hollywood 140 According to film critic Lata Khubchandani Our earliest films had liberal doses of sex and kissing scenes in them Strangely it was after Independence the censor board came into being and so did all the strictures 141 Although Bollywood plots feature Westernised urbanites dating and dancing in clubs rather than pre arranged marriages traditional Indian culture continues to exist outside the industry and is an element of resistance by some to Western influences 140 Bollywood plays a major role however in Indian fashion 140 Studies have indicated that some people unaware that changing fashion in Bollywood films is often influenced by globalisation consider the clothes worn by Bollywood actors as authentically Indian 140 Casts and crewsSee also List of Indian film actors List of Indian film actresses List of Indian film directors List of Indian film music directors List of Hindi film actors List of Indian playback singers and List of Hindi film families Bollywood employs people from throughout India It attracts thousands of aspiring actors hoping for a break in the industry Models and beauty contestants television actors stage actors and ordinary people come to Mumbai with the hope of becoming a star As in Hollywood very few succeed Since many Bollywood films are shot abroad many foreign extras are employed 142 Very few non Indian actors are able to make a mark in Hindi cinema although many have tried Hindi cinema can be insular and relatives of film industry figures have an edge in obtaining coveted roles in films or being part of a film crew However industry connections are no guarantee of a long career competition is fierce and film industry scions will falter if they do not succeed at the box office Stars such as Dilip Kumar Dharmendra Amitabh Bachchan Rajesh Khanna Anil Kapoor Sridevi Madhuri Dixit Aishwarya Rai and Shah Rukh Khan lacked show business connections Dialogues and lyricsSee also Bombay Hindi and Tapori word In Hindi films scripts dialogues and song lyrics might be written by different people Earlier scripts were usually written in an unadorned Hindustani which would be understood by the largest possible audience 143 Post Independence Hindi films tended to use a colloquial register of Hindustani mutually intelligible by Hindi and Urdu speakers but the use of the latter has declined over years 14 144 Some films have used regional dialects to evoke a village setting or archaic Urdu in medieval historical films A number of the dominant early scriptwriters of Hindi cinema primarily wrote in Urdu Salim Javed wrote in Urdu script which was then transcribed by an assistant into Devanagari script so Hindi readers could read them 105 During the 1970s Urdu writers Krishan Chander and Ismat Chughtai said that more than seventy five per cent of films are made in Urdu but were categorised as Hindi films by the government 145 Encyclopedia of Hindi Cinema noted a number of top Urdu writers for preserving the language through film 146 Urdu poetry has strongly influenced Hindi film songs whose lyrics also draw from the ghazal tradition filmi ghazal 107 According to Javed Akhtar in 1996 despite the loss of Urdu in Indian society Urdu diction dominated Hindi film dialogue and lyrics 147 In her book The Cinematic ImagiNation Jyotika Virdi wrote about the presence and decline of Urdu in Hindi films Virdi notes that although Urdu was widely used in classic Hindi cinema decades after partition because it was widely taught in pre partition India its use has declined in modern Hindi cinema The extent of Urdu used in commercial Hindi cinema has not been stable the ultimate victory of Hindi in the official sphere has been more or less complete This decline of Urdu is mirrored in Hindi films It is true that many Urdu words have survived and have become part of Hindi cinema s popular vocabulary But that is as far as it goes The fact is for the most part popular Hindi cinema has forsaken the florid Urdu that was part of its extravagance and retained a residual Urdu affected by an aggressive state policy that promoted a Sanskritized version of Hindi as the national language 148 Contemporary mainstream films also use English according to the article Bollywood Audiences Editorial English has begun to challenge the ideological work done by Urdu 14 149 Some film scripts are first written in Latin script 150 Characters may shift from one language to the other to evoke a particular atmosphere for example English in a business setting and Hindi in an informal one The blend of Hindi and English sometimes heard in modern Hindi films known as Hinglish has become increasingly common 144 For years before the turn of the millennium and even after cinematic language in dialogues or lyrics would often be melodramatic invoking God family mother duty and self sacrifice Song lyrics are often about love and especially in older films frequently used the poetic vocabulary of court Urdu with a number of Persian loanwords 15 Another source for love lyrics in films such as Jhanak Jhanak Payal Baje and Lagaan is the long Hindu tradition of poetry about the loves of Krishna Radha and the gopis Music directors often prefer working with certain lyricists and the lyricist and composer may be seen as a team This phenomenon has been compared to the pairs of American composers and songwriters who created classic Broadway musicals SoundThis section needs additional citations for verification Please help improve this article by adding citations to reliable sources Unsourced material may be challenged and removed April 2019 Learn how and when to remove this template message Sound in early Bollywood films was usually not recorded on location sync sound It was usually created or re created in the studio 151 with the actors speaking their lines in the studio and sound effects added later this created synchronisation problems 151 Commercial Indian films are known for their lack of ambient sound and the Arriflex 3 camera necessitated dubbing Lagaan 2001 was filmed with sync sound 151 and several Bollywood films have recorded on location sound since then Bollywood films are also notorious for lack or less of Foley sound due to which most of the times audience don t experience all the sounds from objects on screen Sometimes lound background music makes dialogues inaudible Usually Hindi film s makers do not write Foley artist s name in end credits Female makeup artistsIn 1955 the Bollywood Cine Costume Make Up Artist amp Hair Dressers Association CCMAA ruled that female makeup artists were barred from membership 152 The Supreme Court of India ruled in 2014 that the ban violated Indian constitutional guarantees under Article 14 right to equality 19 1 g freedom to work and Article 21 right to liberty 152 According to the court the ban had no rationale nexus to the cause sought to be achieved and was unacceptable impermissible and inconsistent with the constitutional rights guaranteed to India s citizens 152 The court also found illegal the rule which mandated that for any artist to work in the industry they must have lived for five years in the state where they intend to work 152 In 2015 it was announced that Charu Khurana was the first woman registered by the Cine Costume Make Up Artist amp Hair Dressers Association 153 Song and dance Group of Bollywood singers at the 2015 Indian Singers Rights Association ISRA meeting Bollywood dance performance by students in college See also Hindi film music Filmi ghazal Filmi qawwali Hindi dance music and List of singing actors in Indian cinema Bollywood film music is called filmi from the Hindi of films Bollywood songs were introduced with Ardeshir Irani s Alam Ara 1931 song De De Khuda Ke Naam pay pyaare 154 Bollywood songs are generally pre recorded by professional playback singers with the actors then lip syncing the words to the song on screen often while dancing Although most actors are good dancers few are also singers a notable exception was Kishore Kumar who starred in several major films during the 1950s while having a rewarding career as a playback singer K L Saigal Suraiyya and Noor Jehan were known as singers and actors and some actors in the last thirty years have sung one or more songs themselves Songs can make and break a film determining whether it will be a flop or a hit Few films without successful musical tracks and even fewer without any songs and dances succeed 155 Globalization has changed Bollywood music with lyrics an increasing mix of Hindi and English Global trends such as salsa pop and hip hop have influenced the music heard in Bollywood films 155 Playback singers are featured in the opening credits and have fans who will see an otherwise lackluster film to hear their favourites Notable singers are Lata Mangeshkar Asha Bhosle Geeta Dutt Shamshad Begum Kavita Krishnamurthy Sadhana Sargam Alka Yagnik and Shreya Goshal female and K L Saigal Kishore Kumar Talat Mahmood Mukesh Mohammed Rafi Manna Dey Hemant Kumar Kumar Sanu Udit Narayan and Sonu Nigam male Composers of film music known as music directors are also well known Remixing of film songs with modern rhythms is common and producers may release remixed versions of some of their films songs with the films soundtrack albums Dancing in Bollywood films especially older films is modeled on Indian dance classical dance dances of north Indian courtesans tawaif or folk dances In modern films Indian dance blends with Western dance styles as seen on MTV or in Broadway musicals Western pop and classical dance numbers are commonly seen side by side in the same film The hero or heroine often performs with a troupe of supporting dancers Many song and dance routines in Indian films contain unrealistically quick shifts of location or changes of costume between verses of a song If the hero and heroine dance and sing a duet it is often staged in natural surroundings or architecturally grand settings Songs typically comment on the action taking place in the film A song may be worked into the plot so a character has a reason to sing It may externalise a character s thoughts or presage an event in the film such as two characters falling in love The songs are often referred to as a dream sequence with things happening which would not normally happen in the real world Song and dance scenes were often filmed in Kashmir but due to political unrest in Kashmir since the end of the 1980s 156 they have been shot in western Europe particularly Switzerland and Austria 157 158 Contemporary movie stars attracted popularity as dancers including Madhuri Dixit Hrithik Roshan Aishwarya Rai Bachchan Sridevi Meenakshi Seshadri Malaika Arora Khan Shahid Kapoor Katrina Kaif and Tiger Shroff Older dancers include Helen 159 known for her cabaret numbers Madhubala Vyjanthimala Padmini Hema Malini Mumtaz Cuckoo Moray 160 Parveen Babi 161 Waheeda Rahman 162 Meena Kumari 163 and Shammi Kapoor 164 Film producers have been releasing soundtracks as tapes or CDs before a film s release hoping that the music will attract audiences a soundtrack is often more popular than its film Some producers also release music videos usually but not always with a song from the film FinancesBollywood films are multi million dollar productions with the most expensive productions costing up to 1 billion about US 20 million The science fiction film Ra One was made on a budget of 1 35 billion about 27 million making it the most expensive Bollywood film of all time 165 Sets costumes special effects and cinematography were less than world class with some notable exceptions until the mid to late 1990s As Western films and television are more widely distributed in India there is increased pressure for Bollywood films to reach the same production levels particularly in action and special effects Recent Bollywood films like Krrish 2006 have employed international technicians such as Hong Kong based action choreographer Tony Ching The increasing accessibility of professional action and special effects coupled with rising film budgets have seen an increase in action and science fiction films Since overseas scenes are attractive at the box office Mumbai film crews are filming in Australia Canada New Zealand the United Kingdom the United States Europe and elsewhere Indian producers have also obtained funding for big budget films shot in India such as Lagaan and Devdas Funding for Bollywood films often comes from private distributors and a few large studios Although Indian banks and financial institutions had been forbidden from lending to film studios the ban has been lifted 166 Finances are not regulated some funding comes from illegitimate sources such as the Mumbai underworld which is known to influence several prominent film personalities Mumbai organised crime hitmen shot Rakesh Roshan a film director and father of star Hrithik Roshan in January 2000 In 2001 the Central Bureau of Investigation seized all prints of Chori Chori Chupke Chupke after the film was found to be funded by members of the Mumbai underworld 167 Another problem facing Bollywood is widespread copyright infringement of its films Often bootleg DVD copies of movies are available before they are released in cinemas Manufacturing of bootleg DVD VCD and VHS copies of the latest movie titles is an established small scale industry in parts of south and southeast Asia The Federation of Indian Chambers of Commerce and Industry FICCI estimates that the Bollywood industry loses 100 million annually from unlicensed home videos and DVDs In addition to the homegrown market demand for these copies is large amongst portions of the Indian diaspora Bootleg copies are the only way people in Pakistan can watch Bollywood movies since the Pakistani government has banned their sale distribution and telecast Films are frequently broadcast without compensation by small cable TV companies in India and other parts of South Asia Small convenience stores run by members of the Indian diaspora in the US and the UK regularly stock tapes and DVDs of dubious provenance consumer copying adds to the problem The availability of illegal copies of movies on the Internet also contributes to industry losses Satellite TV television and imported foreign films are making inroads into the domestic Indian entertainment market In the past most Bollywood films could make money now fewer do Most Bollywood producers make money however recouping their investments from many sources of revenue including the sale of ancillary rights There are increasing returns from theatres in Western countries like the United Kingdom Canada and the United States where Bollywood is slowly being noticed As more Indians migrate to these countries they form a growing market for upscale Indian films In 2002 Bollywood sold 3 6 billion tickets and had a total revenue including theatre tickets DVDs and television of 1 3 billion Hollywood films sold 2 6 billion tickets and had a total revenue of 51 billion AdvertisingA number of Indian artists hand painted movie billboards and posters M F Husain painted film posters early in his career human labour was found to be cheaper than printing and distributing publicity material 168 Most of the large ubiquitous billboards in India s major cities are now created with computer printed vinyl Old hand painted posters once considered ephemera are collectible folk art 168 169 170 171 Releasing film music or music videos before a film s release may be considered a form of advertising A popular tune is believed to help attract audiences 172 Bollywood publicists use the Internet as a venue for advertising Most bigger budget films have a websites on which audiences can view trailers stills and information on the story cast and crew 173 Bollywood is also used to advertise other products Product placement used in Hollywood is also common in Bollywood 174 International filmingSee also Indian cinema and Switzerland Bollywood s increasing use of international settings such as Switzerland London Paris New York Mexico Brazil and Singapore does not necessarily represent the people and cultures of those locales Contrary to these spaces and geographies being filmed as they are they are actually Indianised by adding Bollywood actors and Hindi speaking extras to them While immersing in Bollywood films viewers get to see their local experiences duplicated in different locations around the world According to Shakuntala Rao Media representation can depict India s shifting relation with the world economy but must retain its Indianness in moments of dynamic hybridity 155 Indianness cultural identity poses a problem with Bollywood s popularity among varied diaspora audiences but gives its domestic audience a sense of uniqueness from other immigrant groups 175 AwardsThe Filmfare Awards are some of the most prominent awards given to Hindi films in India 176 The Indian screen magazine Filmfare began the awards in 1954 recognising the best films of 1953 and they were originally known as the Clare Awards after the magazine s editor Modeled on the Academy of Motion Picture Arts and Sciences poll based merit format individuals may vote in separate categories A dual voting system was developed in 1956 177 Often these award shows organised by private companies are criticized by many prominent actors public and directors for lack authencity and for not awarding obvious deserving candidates 178 179 180 The National Film Awards were also introduced in 1954 The Indian government has sponsored the awards given by its Directorate of Film Festivals DFF since 1973 The DFF screens Bollywood films films from the other regional movie industries and independent art films The awards are made at an annual ceremony presided over by the president of India Unlike the Filmfare Awards which are chosen by the public and a committee of experts the National Film Awards are decided by a government panel 181 Other awards ceremonies for Hindi films in India are the Screen Awards begun in 1995 and the Stardust Awards which began in 2003 The International Indian Film Academy Awards begun in 2000 and the Zee Cine Awards begun in 1998 are held abroad in a different country each year Global marketsSee also List of highest grossing Indian films in overseas markets and List of highest grossing Indian films In addition to their popularity among the Indian diaspora from Nigeria and Senegal to Egypt and Russia generations of non Indians have grown up with Bollywood 182 Indian cinema s early contacts with other regions made inroads into the Soviet Union the Middle East Southeast Asia 183 and China 184 Bollywood entered the consciousness of Western audiences and producers during the late 20th century 99 185 and Western actors now seek roles in Bollywood films 186 Asia Pacific South Asia Bollywood films are also popular in Pakistan Bangladesh and Nepal where Hindustani is widely understood Many Pakistanis understand Hindi due to its linguistic similarity to Urdu 187 Although Pakistan banned the import of Bollywood films in 1965 trade in unlicensed DVDs 188 and illegal cable broadcasts ensured their continued popularity Exceptions to the ban were made for a few films such as the colourised re release of Mughal e Azam and Taj Mahal in 2006 Early in 2008 the Pakistani government permitted the import of 16 films 189 More easing followed in 2009 and 2010 Although it is opposed by nationalists and representatives of Pakistan s small film industry it is embraced by cinema owners who are making a profit after years of low receipts 190 The most popular actors in Pakistan are the three Khans of Bollywood Salman Shah Rukh and Aamir The most popular actress is Madhuri Dixit 191 at India Pakistan cricket matches during the 1990s Pakistani fans chanted Madhuri dedo Kashmir lelo Give Madhuri take Kashmir 192 Bollywood films in Nepal earn more than Nepali films and Salman Khan Akshay Kumar and Shah Rukh Khan are popular in the country The films are also popular in Afghanistan due to its proximity to the Indian subcontinent and their cultural similarities particularly in music Popular actors include Shah Rukh Khan Ajay Devgan Sunny Deol Aishwarya Rai Preity Zinta and Madhuri Dixit 193 A number of Bollywood films were filmed in Afghanistan and some dealt with the country including Dharmatma Kabul Express Khuda Gawah and Escape From Taliban 194 195 Southeast Asia Bollywood films are popular in Southeast Asia particularly in maritime Southeast Asia The three Khans are very popular in the Malay world including Indonesia Malaysia and Singapore The films are also fairly popular in Thailand 196 India has cultural ties with Indonesia and Bollywood films were introduced to the country at the end of World War II in 1945 The angry young man films of Amitabh Bachchan and Salim Javed were popular during the 1970s and 1980s before Bollywood s popularity began gradually declining in the 1980s and 1990s It experienced an Indonesian revival with the release of Shah Rukh Khan s Kuch Kuch Hota Hai 1998 in 2001 which was a bigger box office success in the country than Titanic 1997 Bollywood has had a strong presence in Indonesia since then particularly Shah Rukh Khan films such as Mohabbatein 2000 Kabhi Khushi Kabhie Gham 2001 Kal Ho Naa Ho Chalte Chalte and Koi Mil Gaya all 2003 and Veer Zaara 2004 197 East Asia Some Bollywood films have been widely appreciated in China Japan and South Korea Several Hindi films have been commercially successful in Japan including Mehboob Khan s Aan 1952 starring Dilip Kumar and Aziz Mirza s Raju Ban Gaya Gentleman 1992 starring Shah Rukh Khan The latter sparked a two year boom in Indian films after its 1997 release 198 with Dil Se 1998 a beneficiary of the boom 199 The highest grossing Hindi film in Japan is 3 Idiots 2009 starring Aamir Khan 200 which received a Japanese Academy Award nomination 201 The film was also a critical and commercial success in South Korea 202 Dr Kotnis Ki Amar Kahani Awaara and Do Bigha Zamin were successful in China during the 1940s and 1950s and remain popular with their original audience Few Indian films were commercially successful in the country during the 1970s and 1980s among them Tahir Hussain s Caravan Noorie and Disco Dancer 203 Indian film stars popular in China included Raj Kapoor Nargis 204 and Mithun Chakraborty 203 Hindi films declined significantly in popularity in China during the 1980s 205 Films by Aamir Khan have recently been successful 203 206 and Lagaan was the first Indian film with a nationwide Chinese release in 2011 205 207 Chinese filmmaker He Ping was impressed by Lagaan particularly its soundtrack and hired its composer A R Rahman to score his Warriors of Heaven and Earth 2003 208 When 3 Idiots was released in China China was the world s 15th largest film market partly due to its widespread pirate DVD distribution at the time The pirate market introduced the film to Chinese audiences however and it became a cult hit According to the Douban film review site 3 Idiots is China s 12th most popular film of all time only one domestic Chinese film Farewell My Concubine ranks higher and Aamir Khan acquired a large Chinese fan base as a result 206 After 3 Idiots several of Khan s other films including 2007 s Taare Zameen Par and 2008 s Ghajini also developed cult followings 209 China became the world s second largest film market after the United States by 2013 paving the way for Khan s box office success with Dhoom 3 2013 PK 2014 and Dangal 2016 206 The latter is the 16th highest grossing film in China 210 the fifth highest grossing non English language film worldwide 211 and the highest grossing non English foreign film in any market 212 213 214 Several Khan films including Taare Zameen Par 3 Idiots and Dangal are highly rated on Douban 215 216 His next film Secret Superstar 2017 starring Zaira Wasim broke Dangal s record for the highest grossing opening weekend by an Indian film and cemented Khan s status 217 as a king of the Chinese box office 218 Secret Superstar was China s highest grossing foreign film of 2018 to date 219 Khan has become a household name in China 220 with his success described as a form of Indian soft power 221 improving China India relations despite political tensions 204 217 With Bollywood competing with Hollywood in the Chinese market 222 the success of Khan s films has driven up the price for Chinese distributors of Indian film imports 223 Salman Khan s Bajrangi Bhaijaan and Irrfan Khan s Hindi Medium were also Chinese hits in early 2018 224 Oceania Although Bollywood is less successful on some Pacific islands such as New Guinea it ranks second to Hollywood in Fiji with its large Indian minority Australia and New Zealand 225 Australia also has a large South Asian diaspora and Bollywood is popular amongst non Asians in the country as well 225 Since 1997 the country has been a backdrop for an increasing number of Bollywood films 225 Indian filmmakers attracted to Australia s diverse locations and landscapes initially used the country as a setting for song and dance scenes 225 however Australian locations now figure in Bollywood film plots 225 Hindi films shot in Australia usually incorporate Australian culture Yash Raj Films Salaam Namaste 2005 the first Indian film shot entirely in Australia was the most successful Bollywood film of 2005 in that country 226 It was followed by the box office successes Heyy Babyy 2007 Chak De India 2007 and Singh Is Kinng 2008 225 Prime Minister John Howard said during a visit to India after the release of Salaam Namaste that he wanted to encourage Indian filmmaking in Australia to increase tourism and he appointed Steve Waugh as tourism ambassador to India 227 failed verification Australian actress Tania Zaetta who appeared in Salaam Namaste and several other Bollywood films was eager to expand her career in Bollywood 228 Eastern Europe and Central Asia Bollywood films are popular in the former Soviet Union Russia Eastern Europe and Central Asia 229 and have been dubbed into Russian Indian films were more popular in the Soviet Union than Hollywood films 230 231 and sometimes domestic Soviet films 232 The first Indian film released in the Soviet Union was Dharti Ke Lal 1946 directed by Khwaja Ahmad Abbas and based on the Bengal famine of 1943 in 1949 58 Three hundred Indian films were released in the Soviet Union after that 233 most were Bollywood films with higher average audience figures than domestic Soviet productions 231 234 Fifty Indian films had over 20 million viewers compared to 41 Hollywood films 235 236 Some such as Awaara 1951 and Disco Dancer 1982 had more than 60 million viewers 237 238 and established actors Raj Kapoor Nargis 238 Rishi Kapoor 239 and Mithun Chakraborty in the country 240 According to diplomat Ashok Sharma who served in the Commonwealth of Independent States The popularity of Bollywood in the CIS dates back to the Soviet days when the films from Hollywood and other Western cinema centers were banned in the Soviet Union As there was no means of other cheap entertainment the films from Bollywood provided the Soviets a cheap source of entertainment as they were supposed to be non controversial and non political In addition the Soviet Union was recovering from the onslaught of the Second World War The films from India which were also recovering from the disaster of partition and the struggle for freedom from colonial rule were found to be a good source of providing hope with entertainment to the struggling masses The aspirations and needs of the people of both countries matched to a great extent These films were dubbed in Russian and shown in theatres throughout the Soviet Union The films from Bollywood also strengthened family values which was a big factor for their popularity with the government authorities in the Soviet Union 241 After the collapse of the Soviet film distribution system Hollywood filled the void in the Russian film market and Bollywood s market share shrank 229 A 2007 Russia Today report noted a renewed interest in Bollywood by young Russians 242 In Poland Shah Rukh Khan has a large following He was introduced to Polish audiences with the 2005 release of Kabhi Khushi Kabhie Gham 2001 and his other films including Dil Se 1998 Main Hoon Na 2004 and Kabhi Alvida Naa Kehna 2006 became hits in the country Bollywood films are often covered in Gazeta Wyborcza formerly Poland s largest newspaper 243 244 The upcoming movie Squad is the first Indian film to be shot in Belarus A majority of the film was shot at Belarusfilm studios in Minsk 245 Middle East and North Africa Hindi films have become popular in Arab countries 246 and imported Indian films are usually subtitled in Arabic when they are released Bollywood has progressed in Israel since the early 2000s with channels dedicated to Indian films on cable television 247 MBC Bollywood and Zee Aflam show Hindi movies and serials 248 In Egypt Bollywood films were popular during the 1970s and 1980s In 1987 however they were restricted to a handful of films by the Egyptian government 249 250 Amitabh Bachchan has remained popular in the country 251 and Indian tourists visiting Egypt are asked Do you know Amitabh Bachchan 191 Bollywood movies are regularly screened in Dubai cinemas and Bollywood is becoming popular in Turkey Barfi was the first Hindi film to have a wide theatrical release in that country 252 Bollywood also has viewers in Central Asia particularly Uzbekistan 253 and Tajikistan 254 South America Bollywood films are not influential in most of South America although its culture and dance is recognised Due to significant South Asian diaspora communities in Suriname and Guyana however Hindi language movies are popular 255 In 2006 Dhoom 2 became the first Bollywood film to be shot in Rio de Janeiro 256 In January 2012 it was announced that UTV Motion Pictures would begin releasing films in Peru with Guzaarish 257 Africa Hindi films were originally distributed to some parts of Africa by Lebanese businessmen 182 In the 1950s Hindi and Egyptian films were generally more popular than Hollywood films in East Africa By the 1960s East Africa was one of the largest overseas export markets for Indian films accounting for about 20 50 of global earnings for many Indian films 258 Mother India 1957 continued to be screened in Nigeria decades after its release Indian movies have influenced Hausa clothing songs have been covered by Hausa singers and stories have influenced Nigerian novelists Stickers of Indian films and stars decorate taxis and buses in Nigeria s Northern Region and posters of Indian films hang on the walls of tailoring shops and mechanics garages Unlike Europe and North America where Indian films cater to the expatriate marke Bollywood films became popular in West Africa despite the lack of a significant Indian audience One possible explanation is cultural similarity the wearing of turbans animals in markets porters carrying large bundles and traditional wedding celebrations Within Muslim culture Indian movies were said to show respect toward women Hollywood movies were seen as having no shame In Indian movies women are modestly dressed men and women rarely kiss and there is no nudity so the films are said to have culture which Hollywood lacks The latter don t base themselves on the problems of the people Indian films are based on socialist values and the reality of developing countries emerging from years of colonialism Indian movies permitted a new youth culture without becoming Western 182 The first Indian film shot in Mauritius was Souten starring Rajesh Khanna in 1983 259 In South Africa film imports from India were watched by black and Indian audiences 260 Several Bollywood figures have travelled to Africa for films and off camera projects Padmashree Laloo Prasad Yadav 2005 was filmed in South Africa 261 Dil Jo Bhi Kahey 2005 was also filmed almost entirely in Mauritius which has a large ethnic Indian population Bollywood however seems to be diminishing in popularity in Africa New Bollywood films are more sexually explicit and violent Nigerian viewers observed that older films from the 1950s and 1960s had more culture and were less Westernised 182 The old days of India avidly advocating decolonization and India s policy was wholly influenced by his missionary zeal to end racial domination and discrimination in the African territories were replaced 262 The emergence of Nollywood West Africa s film industry has also contributed to the declining popularity of Bollywood films as sexualised Indian films became more like American films Kishore Kumar and Amitabh Bachchan have been popular in Egypt and Somalia 263 In Ethiopia Bollywood movies are shown with Hollywood productions in town square theatres such as the Cinema Ethiopia in Addis Ababa 264 Less commercial Bollywood films are also screened elsewhere in North Africa 265 Western Europe and North America Bollywood dancing show in London The first Indian film to be released in the Western world and receive mainstream attention was Aan 1952 directed by Mehboob Khan and starring Dilip Kumar and Nimmi It was subtitled in 17 languages and released in 28 countries 260 including the United Kingdom 266 the United States and France 267 Aan received significant praise from British critics and The Times compared it favourably to Hollywood productions 268 Mehboob Khan s later Academy Award nominated Mother India 1957 was a success in overseas markets including Europe 268 Russia the Eastern Bloc French territories and Latin America 269 Many Bollywood films have been commercially successful in the United Kingdom The most successful Indian actor at the British box office has been Shah Rukh Khan whose popularity in British Asian communities played a key role in introducing Bollywood to the UK 270 with films such as Darr 1993 271 Dilwale Dulhaniya Le Jayenge 1995 272 and Kuch Kuch Hota Hai 1998 270 Dil Se 1998 was the first Indian film to enter the UK top ten 270 A number of Indian films such as Dilwale Dulhaniya Le Jayenge and Kabhi Khushi Kabhie Gham 2001 have been set in London Bollywood is also appreciated in France Germany the Netherlands 273 and Scandinavia Bollywood films are dubbed in German and shown regularly on the German television channel RTL II 274 Germany is the second largest European market for Indian films after the United Kingdom The most recognised Indian actor in Germany is Shah Rukh Khan who has had box office success in the country with films such as Don 2 2011 244 and Om Shanti Om 2007 119 He has a large German fan base 191 particularly in Berlin where the tabloid Die Tageszeitung compared his popularity to that of the pope 119 Michelle Obama joining students for a Bollywood dance clinic with Nakul Dev Mahajan in the White House State Dining Room 2013 Bollywood has experienced revenue growth in Canada and the United States particularly in the South Asian communities of large cities such as Toronto Chicago and New York City 99 Yash Raj Films one of India s largest production houses and distributors reported in September 2005 that Bollywood films in the United States earned about 100 million per year in theatre screenings video sales and the sale of movie soundtracks 99 Indian films earn more money in the United States than films from any other non English speaking country 99 Since the mid 1990s a number of Indian films have been largely or entirely shot in New York Los Angeles Vancouver or Toronto Films such as The Guru 2002 and Marigold An Adventure in India 2007 attempted to popularise Bollywood for Hollywood citation needed PlagiarismPressured by rushed production schedules and small budgets some writers and musicians in Hindi cinema have been known to plagiarise 275 Ideas plot lines tunes or riffs have been copied from other Indian film industries including Telugu cinema Tamil cinema Malayalam cinema and others or foreign films including Hollywood and other Asian films without acknowledging the source 276 Before the 1990s plagiarism occurred with impunity Copyright enforcement was lax in India and few actors or directors saw an official contract 277 The Hindi film industry was not widely known in the Global North except in the Soviet states who would be unaware that their material had been copied Audiences may not have been aware of plagiarism since many in India were unfamiliar with foreign films and music 276 Although copyright enforcement in India is still somewhat lenient Bollywood and other film industries are more aware of each other and Indian audiences are more familiar with foreign films and music citation needed Organisations such as the India EU Film Initiative seek to foster a community between filmmakers and industry professionals in India and the European Union 276 A commonly reported justification for plagiarism in Bollywood is that cautious producers want to remake popular Hollywood films in an Indian context Although screenwriters generally produce original scripts many are rejected due to uncertainty about whether a film will be successful 276 Poorly paid screenwriters have also been criticised for a lack of creativity 278 Some filmmakers see plagiarism in Bollywood as an integral part of globalisation with which Western particularly American culture is embedding itself into Indian culture 278 Vikram Bhatt director of Raaz a remake of What Lies Beneath and Kasoor a remake of Jagged Edge has spoken about the influence of American culture and Bollywood s desire to produce box office hits based along the same lines Financially I would be more secure knowing that a particular piece of work has already done well at the box office Copying is endemic everywhere in India Our TV shows are adaptations of American programmes We want their films their cars their planes their Diet Cokes and also their attitude The American way of life is creeping into our culture 278 According to Mahesh Bhatt If you hide the source you re a genius There s no such thing as originality in the creative sphere 278 Although very few cases of film copyright violations have been taken to court because of a slow legal process 276 the makers of Partner 2007 and Zinda 2005 were targeted by the owners and distributors of the original films Hitch and Oldboy 279 280 The American studio 20th Century Fox brought Mumbai based B R Films to court over the latter s forthcoming Banda Yeh Bindaas Hai which Fox alleged was an illegal remake of My Cousin Vinny B R Films eventually settled out of court for about 200 000 paving the way for its film s release 281 Some studios comply with copyright law in 2008 Orion Pictures secured the rights to remake Hollywood s Wedding Crashers 282 Music The Pakistani Qawwali musician Nusrat Fateh Ali Khan had a big impact on Hindi film music inspiring numerous Indian musicians working in Bollywood especially during the 1990s However there were many instances of Indian music directors plagiarising Khan s music to produce hit filmi songs 283 284 Several popular examples include Viju Shah s hit song Tu Cheez Badi Hai Mast Mast in Mohra 1994 being plagiarised from Khan s popular Qawwali song Dam Mast Qalandar 283 Mera Piya Ghar Aya used in Yaarana 1995 and Sanoo Ek Pal Chain Na Aaye in Judaai 1997 283 Despite the significant number of hit Bollywood songs plagiarised from his music Nusrat Fateh Ali Khan was reportedly tolerant towards the plagiarism 67 285 One of the Bollywood music directors who frequently plagiarised him Anu Malik claimed that he loved Khan s music and was actually showing admiration by using his tunes 285 However Khan was reportedly aggrieved when Malik turned his spiritual Allah Hoo Allah Hoo into I Love You I Love You in Auzaar 1997 67 Khan said he has taken my devotional song Allahu and converted it into I love you He should at least respect my religious songs 285 Bollywood soundtracks also plagiarised Guinean singer Mory Kante particularly his 1987 album Akwaba Beach His song Tama inspired two Bollywood songs Bappi Lahiri s Tamma Tamma in Thanedaar 1990 and Jumma Chumma in Laxmikant Pyarelal s soundtrack for Hum 1991 The latter also featured Ek Doosre Se which copied Kante s Inch Allah 286 His song Ye ke ye ke was used as background music in the 1990 Bollywood film Agneepath inspired the Bollywood song Tamma Tamma in Thanedaar 286 See also Hindi cinema portal India portal Film portalNoida Film City Bombay Hindi Bibliography of Hindi cinema Central Board of Film Certification Film and Television Institute of India Film City Hindi film distribution circuits List of Indian animated films Lists of Hindi films List of cinema of the world List of highest grossing Indian films List of highest grossing Hindi films List of highest grossing South Indian films List of highest grossing films in India List of highest domestic net collection of Hindi films National Science and Media Museum Satyajit Ray Film and Television InstituteReferences Bollywood Distributors Variety 10 September 2009 Retrieved 13 August 2018 Leading Distributors 1995 2018 The Numbers Retrieved 13 August 2018 a b c Indian Feature Films Certified During The Year 2017 Film Federation of India 31 March 2017 Archived from the original on 24 November 2018 Retrieved 25 November 2017 Gulzar Nihalani amp Chatterjee 2003 The word B wood is derogatory The Indian Express Archived from the original on 11 November 2016 Retrieved 11 November 2016 Richard Corliss 16 September 1996 Hooray for Bollywood Time Archived from the original on 19 January 2007 The Digital March Media amp Entertainment in South India PDF Deloitte Archived PDF from the original on 14 January 2016 Retrieved 21 April 2014 Pippa de Bruyn Niloufer Venkatraman Keith Bain 2006 Frommer s India Frommer s p 579 ISBN 978 0 471 79434 9 Wasko Janet 2003 How Hollywood works Sage p 185 ISBN 978 0 7619 6814 6 K Jha Subhash 2005 The Essential Guide to Bollywood Roli Books p 1970 ISBN 978 81 7436 378 7 Bollywood Can new money create a world class film industry in India Business Week 2 December 2002 Archived from the original on 27 July 2020 Retrieved 18 December 2017 Lorenzen Mark April 2009 Go West The Growth of Bollywood PDF Creativity at Work Copenhagen Business School Archived from the original PDF on 30 January 2018 Retrieved 18 December 2017 Matusitz Jonathan Payano Pam 2011 The Bollywood in Indian and American Perceptions A Comparative Analysis India Quarterly A Journal of International Affairs 67 1 65 77 doi 10 1177 097492841006700105 S2CID 153982857 a b c Saxena Akshya March 2022 Vernacular English Reading the Anglophone in Postcolonial India Princeton University Press pp 170 171 ISBN 978 0 691 22313 1 Scholars of Hindi Urdu film noted a gradual replacement of Urdu with English in these films the ideological work of Urdu its evocation of a pre Partition composite culture and business practices has now been challenged by English which provides the ideological coordinates of the new world of the Hindi film Varia Kush 31 January 2013 Bollywood Gods Glamour and Gossip Columbia University Press p 33 ISBN 978 0 231 50260 3 The specific use of Hindi Urdu has shifted through time with the films produced in the pre independence era having a leaning towards Urdu and those of the post independence era leaning towards Hindi The use of Urdu has gradually declined since independence M Madhava Prasad 1 August 2008 Surviving Bollywood In Kavoori Anandam P Punathambekar Aswin eds Global Bollywood NYU Press p 45 ISBN 978 0 8147 2944 1 Ganti Tejaswini 2004 Bollywood A Guidebook to Popular Hindi Cinema Psychology Press p 69 ISBN 978 0 415 28854 5 Virdi Jyotika 2003 The Cinematic ImagiNation sic Indian Popular Films as Social History Rutgers University Press pp 20 21 ISBN 978 0 8135 3191 5 the extent of Urdu used in commercial Hindi cinema has not been stable Although the shift was gradual and two generations communicated with each other through a blend of Urdu and Hindi known as Hindustani the ultimate victory of Hindi in the official sphere has been more or less complete The decline of Urdu is mirrored in Hindi films It is true that many Urdu words have survived and have become part of Hindi cinema s popular vocabulary But that is as far as it goes a b Tejaswini Ganti 2004 Bollywood a guidebook to popular Hindi cinema Psychology Press pp 22 23 ISBN 978 0 415 28854 5 Retrieved 25 April 2011 Nelmes Jill An introduction to film studies p 367 a b Rajghatta Chidanand 6 July 2008 Bollywood in Hollywood The Times of India Retrieved 20 February 2009 a b Sarkar Bhaskar 2008 The Melodramas of Globalization Cultural Dynamics 20 31 51 34 doi 10 1177 0921374007088054 S2CID 143977618 Madhava Prasad traces the origin of the term to a 1932 article in the American Cinematographer by Wilford E Deming an American engineer who apparently helped produce the first Indian sound picture At this point the Calcutta suburb of Tollygunge 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Template Cite web cite web a CS1 maint unfit URL link Chaudhuri Diptakirti 2018 Bioscope A Frivolous History of Bollywood in Ten Chapters Hachette p 93 ISBN 9789351952299 a b c A rare encounter with Ustad Nusrat Ali Khan Rediff 1997 Retrieved 23 December 2018 a b Srinivasan Karthik 16 October 2018 How Guinean Singer Mory Kante s Music Was Lifted To Create Tamma Tamma Loge and Jumma Chumma De De Film Companion Archived from the original on 16 October 2018 Retrieved 16 October 2018 BibliographyGulzar Nihalani Govind Chatterjee Saibal 2003 Encyclopaedia of Hindi Cinema Encyclopaedia Britannica India ISBN 978 81 7991 066 5 Mazumdar Ranjani 2007 Bombay Cinema An Archive of the City University of Minnesota Press ISBN 978 1 4529 1302 5 Further readingAlter Stephen Fantasies of a Bollywood Love Thief Inside the World of Indian Moviemaking ISBN 0 15 603084 5 Begum Hossain Momtaz Bollywood Crafts 20 Projects Inspired by Popular Indian Cinema 2006 The Guild of Mastercraftsman Publications ISBN 1 86108 418 8 Bose Mihir Bollywood A History New Delhi Roli Books 2008 ISBN 978 81 7436 653 5 Dwyer Rachel Bollywood s India Hindi Cinema as a Guide to Contemporary India Reaktion Books distributed by University of Chicago Press 2014 295 pages Ganti Tejaswini Bollywood Routledge New York and London 2004 Ganti Tejaswini Producing Bollywood Inside the Contemporary Hindi Film Industry Duke University Press 2012 424 pages looks at how major changes in film production since the 1990s have been influenced by the liberal restructuring of India s state and economy Gibson Bernard Bollywood Passing the Envelope 1994 Jolly Gurbir Zenia Wadhwani and Deborah Barretto eds Once Upon a Time in Bollywood The Global Swing in Hindi Cinema TSAR Publications 2007 ISBN 978 1 894770 40 8 Joshi Lalit Mohan Bollywood Popular Indian Cinema ISBN 0 9537032 2 3 Kabir Nasreen Munni Bollywood Channel 4 Books 2001 Mehta Suketu Maximum City Knopf 2004 Mishra Vijay Bollywood Cinema Temples of Desire ISBN 0 415 93015 4 Pendakur Manjunath Indian Popular Cinema Industry Ideology and Consciousness ISBN 1 57273 500 7 Prasad Madhava Ideology of the Hindi Film A Historical Construction Oxford University Press 2000 ISBN 0 19 565295 9 Raheja Dinesh and Kothari Jitendra Indian Cinema The Bollywood Saga ISBN 81 7436 285 1 Raj Aditya 2007 Bollywood Cinema and Indian Diaspora in Media Literacy A Reader edited by Donaldo Macedo and Shirley Steinberg New York Peter Lang Rajadhyaksa Ashish 1996 India Filming the Nation The Oxford History of World Cinema Oxford University Press ISBN 0 19 811257 2 Rajadhyaksha Ashish and Willemen Paul Encyclopedia of Indian Cinema Oxford University Press revised and expanded 1999 Jha Subhash and Bachchan Amitabh foreword The Essential Guide to Bollywood ISBN 978 81 7436 378 7 External linksNational Geographic Magazine Welcome to Bollywood National Institute Of Film and Fine Arts Portals Bollywood FilmsHindi cinema at Wikipedia s sister projects Media from Commons Quotations from Wikiquote Travel guides from Wikivoyage Data from Wikidata Retrieved from https en wikipedia org w index php title Hindi cinema amp oldid 1132097529, wikipedia, wiki, book, books, library,

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