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Cinema of India

January 26, 2023

The cinema of India consists of motion pictures produced in India, which had a large effect on world cinema since the late 20th century.[7][8] Major centers of film production across the country include Mumbai, Chennai, Hyderabad, Visakhapatnam, Kochi, Kolkata, Bangalore, Bhubaneswar-Cuttack, Guwahati, Delhi,Pune [details 1] For a number of years the Indian film industry has ranked first in the world in terms of annual film output.[28] In terms of box office it ranked third in 2019, with total gross of around ₹220 billion (US$2.7 billion).[5][29][30]

Cinema of India
No. of screens11,962 (2022)[1]
 • Per capita9 per million (2015)[2]
Produced feature films (2021)[3]
Total1691
Number of admissions (2016)[4]
Total2,020,000,000
 • Per capita1.69
National films1,713,600,000
Gross box office (2019)[6]
Total₹190 billion ($2.56 billion)
National films$2.1 billion (2015)[5]

Indian cinema is composed of multilingual and multi-ethnic film art. In 2019, Hindi cinema represented 44% of box office revenue, followed by Telugu and Tamil film industries, each representing 13%, Malayalam and Kannada film industries, each representing 5%.[31] Other prominent languages in the Indian film industry include Bengali, Marathi, Odia, Punjabi, Gujarati and Bhojpuri. As of 2020, the combined revenue of all other language film industries has surpassed that of the Mumbai-based Bollywood Hindi film industry.[30] As of 2022, Telugu cinema leads Indian cinema's box-office revenue.[32][33][34][details 2]

Indian cinema is a global enterprise[35] and its films have wide viewership and fanbase throughout South Asia and have spread internationally.[36] Modern film releases are dubbed into many languages, forming a Pan-India films movement. Indians overseas account for 12% of revenue for the industry.[37] Major Indian enterprises in the film industry include Arka Media Works, Aascar Films, Aashirvad Cinemas, AGS Entertainment, AVM Productions, Eros International, Geetha Arts, Hombale Films, Lyca Productions, Modern Theatres, Mythri Movie Makers, Salman Khan Films, Sun Pictures, Suresh Productions, UTV Motion Pictures, Yash Raj Films and Zee Entertainment Enterprises.

History

The history of cinema in India extends to the beginning of the film era. Following the screening of the Lumière and Robert Paul moving pictures in London in 1896, commercial cinematography became a worldwide sensation and these films were shown in Bombay (now Mumbai) that same year.[38]

Silent films (1890s–1920s)

In 1897, a film presentation by filmmaker Professor Stevenson featured a stage show at Calcutta's Star Theatre. With Stevenson's camera and encouragement, Indian photographer Hiralal Sen filmed scenes from that show, exhibited as The Flower of Persia (1898).[39] The Wrestlers (1899), by H. S. Bhatavdekar, showing a wrestling match at the Hanging Gardens in Bombay, was the first film to be shot by an Indian and the first Indian documentary film.[citation needed]

History of Indian cinema

The first full-length Indian films released in India were the Marathi-language silent films Shree Pundalik (1912, Dadasaheb Torne) and Raja Harishchandra (1913, Dadasaheb Phalke). Both were premiered at the Coronation Cinematograph in Bombay.[44][45][46] Some film scholars have argued that Pundalik was not a true Indian film because it was simply a recording of a stage play, filmed by a British cameraman with the film processed in London.[47][48] The latter film had a story based on elements from Sanskrit epics, and its successes led many to consider Phalke a pioneer of Indian cinema.[46]

The first Tamil and Malayam films, also silent films, were Keechaka Vadham (1916, R. Nataraja Mudaliar)[49] and Vigathakumaran (1928, J. C. Daniel Nadar). The latter was the first Indian social drama film and featured the first Dalit-caste film actress.[citation needed]

The first chain of Indian cinemas, Madan Theatre, was owned by Parsi entrepreneur Jamshedji Framji Madan, who oversaw the production and distribution of films for the chain.[46] These included film adaptations from Bengal's popular literature and Satyawadi Raja Harishchandra (1917), a remake of Phalke's influential film.[citation needed]

In South India, film pioneer Raghupathi Venkayya, credited as the father of Telugu cinema, built the first cinemas in Madras (now Chennai), and a film studio was established in the city by Nataraja Mudaliar.[50][51][52]

Films steadily gained popularity across India as affordable entertainment for the masses (admission as low as an anna [one-sixteenth of a rupee] in Bombay).[38] Young producers began to incorporate elements of Indian social life and culture into cinema, others brought new ideas from across the world. Global audiences and markets soon became aware of India's film industry.[53]

In 1927, the British government, to promote the market in India for British films over American ones, formed the Indian Cinematograph Enquiry Committee. The ICC consisted of three British and three Indians, led by T. Rangachari, a Madras lawyer.[54] This committee failed to bolster the desired recommendations of supporting British Film, instead recommending support for the fledgling Indian film industry, and their suggestions were set aside.

Talkies (1930s–mid-1940s)

The first Indian sound film was Alam Ara (1931, Ardeshir Irani).[46] He also produced South India's first sound film, the Tamil–Telugu bilingual talking picture Kalidas (1931, H. M. Reddy).[55][56]

Jumai Shasthi was the first Bengali talkie.[citation needed] Chittoor Nagayya was one of the first multilingual filmmakers in India.[57][58][relevant?]

East India Film Company produced its first Telugu film, Savitri (1933, C. Pullaiah), adapted from a stage play by Mylavaram Bala Bharathi Samajam.[59] The film received an honorary diploma at the 2nd Venice International Film Festival.[60]

Jyoti Prasad Agarwala made his first film Joymoti (1935) in Assamese, and later made Indramalati.[citation needed] The first film studio in South India, Durga Cinetone, was built in 1936 by Nidamarthi Surayya in Rajahmundry, Andhra Pradesh.[61][contradictory] The advent of sound to Indian cinema launched musicals such as Indra Sabha and Devi Devyani, marking the beginning of song-and-dance in Indian films.[46] By 1935, studios emerged in major cities such as Madras, Calcutta and Bombay as filmmaking became an established industry, exemplified by the success of Devdas (1935).[62] The first colour film made in India was Kisan Kanya (1937, Moti B).[63] Vishwa Mohini (1940) was the first Indian film to depict the Indian movie-making world.[64]

Swamikannu Vincent, who had built the first cinema of South India in Coimbatore, introduced the concept of "tent cinema" in which a tent was erected on a stretch of open land to screen films. The first of its kind was in Madras and called Edison's Grand Cinema Megaphone. This was due to the fact that electric carbons were used for motion picture projectors.[65][further explanation needed] Bombay Talkies opened in 1934 and Prabhat Studios in Pune began production of Marathi films.[62] Sant Tukaram (1936) was the first Indian film to be screened at an international film festival,[contradictory] at the 1937 edition of the Venice Film Festival. The film was judged one of the three best films of the year.[66] However, while Indian filmmakers sought to tell important stories, the British Raj banned Wrath (1930) and Raithu Bidda (1938) for broaching the subject of the Indian independence movement.[46][67][68]

The Indian Masala film—a term used for mixed-genre films that combined song, dance, romance, etc.—arose following the Second World War.[62] During the 1940s, cinema in South India accounted for nearly half of India's cinema halls, and cinema came to be viewed as an instrument of cultural revival.[62] The Indian People's Theatre Association (IPTA), an art movement with a communist inclination, began to take shape through the 1940s and the 1950s.[69] IPTA plays, such as Nabanna (1944), prepared the ground for realism in Indian cinema, exemplified by Khwaja Ahmad Abbas's Dharti Ke Lal (Children of the Earth, 1946).[69] The IPTA movement continued to emphasize realism in films Mother India and Pyaasa, among India's most recognizable cinematic productions.[70]

Following independence, the 1947 partition of India divided the nation's assets and a number of studios moved to Pakistan.[62] Partition became an enduring film subject thereafter.[62] The Indian government had established a Films Division by 1948, which eventually became one of the world's largest documentary film producers with an annual production of over 200 short documentaries, each released in 18 languages with 9,000 prints for permanent film theatres across the country.[71]

Golden Age (late 1940s–1960s)

 
Satyajit Ray is recognised as one of the greatest filmmakers of the 20th century.[72][73][74][75][76][77][excessive citations]

The period from the late 1940s to the early 1960s is regarded by film historians as the Golden Age of Indian cinema.[78][79][80] This period saw the emergence of the Parallel Cinema movement, which emphasized social realism. Mainly led by Bengalis,[81] early examples include Dharti Ke Lal (1946, Khwaja Ahmad Abbas),[82] Neecha Nagar (1946, Chetan Anand),[83] Nagarik (1952, Ritwik Ghatak)[84][85] and Do Bigha Zamin (1953, Bimal Roy), laying the foundations for Indian neorealism[86] and the Indian New Wave.[87]

The Apu Trilogy (1955–1959, Satyajit Ray) won prizes at several major international film festivals and firmly established the Parallel Cinema movement.[88] It was influential on world cinema and led to a rush of coming-of-age films in art house theatres.[89] Cinematographer Subrata Mitra developed the technique of bounce lighting, to recreate the effect of daylight on sets, during the second film of the trilogy[90] and later pioneered other effects such as the photo-negative flashbacks and X-ray digressions.[91]

During the 1950s, Indian cinema reportedly became the world's second largest film industry, earning a gross annual income of ₹250 million (equivalent to ₹22 billion or US$280 million in 2020) in 1953.[92] The government created the Film Finance Corporation (FFC) in 1960 to provide financial support to filmmakers.[93] While serving as Information and Broadcasting Minister of India in the 1960s, Indira Gandhi supported the production of off-beat cinema through the FFC.[93]

Commercial Hindi cinema began thriving, including acclaimed films Pyaasa (1957) and Kaagaz Ke Phool (1959, Guru Dutt) Awaara (1951) and Shree 420 (1955, Raj Kapoor). These films expressed social themes mainly dealing with working-class urban life in India; Awaara presented Bombay as both a nightmare and a dream, while Pyaasa critiqued the unreality of city life.[81]

Epic film Mother India (1957, Mehboob Khan) was the first Indian film to be nominated for the US-based Academy of Motion Picture Arts and Sciences' Academy Award for Best Foreign Language Film[94] and defined the conventions of Hindi cinema for decades.[95][96][97] It spawned a new genre of dacoit films.[98] Gunga Jumna (1961, Dilip Kumar) was a dacoit crime drama about two brothers on opposite sides of the law, a theme that became common in Indian films in the 1970s.[99] Madhumati (1958, Bimal Roy) popularized the theme of reincarnation in Western popular culture.[100]

Actor Dilip Kumar rose to fame in the 1950s, and was the biggest Indian movie star of the time.[101][102] He was a pioneer of method acting, predating Hollywood method actors such as Marlon Brando. Much like Brando's influence on New Hollywood actors, Kumar inspired Indian actors, including Amitabh Bachchan, Naseeruddin Shah, Shah Rukh Khan and Nawazuddin Siddiqui.[103]

Neecha Nagar (1946) won the Palme d'Or at Cannes[83] and Indian films competed for the award most years in the 1950s and early 1960s.[citation needed] Ray is regarded as one of the greatest auteurs of 20th century cinema,[104] along with his contemporaries Dutt[105] and Ghatak.[106] In 1992, the Sight & Sound Critics' Poll ranked Ray at No. 7 in its list of Top 10 Directors of all time.[107] Multiple films from this era are included among the greatest films of all time in various critics' and directors' polls, including The Apu Trilogy,[108] Jalsaghar, Charulata[109] Aranyer Din Ratri,[110] Pyaasa, Kaagaz Ke Phool, Meghe Dhaka Tara, Komal Gandhar, Awaara, Baiju Bawra, Mother India, Mughal-e-Azam[111] and Subarnarekha (also tied at No. 11).[106]

Sivaji Ganesan became India's first actor to receive an international award when he won the Best Actor award at the Afro-Asian film festival in 1960 and was awarded the title of Chevalier in the Legion of Honour by the French Government in 1995.[112] Tamil cinema is influenced by Dravidian politics,[113] with prominent film personalities C N Annadurai, M G Ramachandran, M Karunanidhi and Jayalalithaa becoming Chief Ministers of Tamil Nadu.[114][timeframe?]

1970s–present

By 1986, India's annual film output had increased to 833 films annually, making India the world's largest film producer.[115] Hindi film production of Bombay, the largest segment of the industry, became known as "Bollywood".

By 1996, the Indian film industry had an estimated domestic cinema viewership of 600 million people, establishing India as one of the largest film markets, with the largest regional industries being Hindi, Tamil and Telugu films.[116] In 2001, in terms of ticket sales, Indian cinema sold an estimated 3.6 billion tickets annually across the globe, compared to Hollywood's 2.6 billion tickets sold.[117][118]

Hindi

Realistic Parallel Cinema continued throughout the 1970s,[119] practised in many Indian film cultures. The FFC's art film orientation came under criticism during a Committee on Public Undertakings investigation in 1976, which accused the body of not doing enough to encourage commercial cinema.[120]

Hindi commercial cinema continued with films such as Aradhana (1969), Sachaa Jhutha (1970), Haathi Mere Saathi (1971), Anand (1971), Kati Patang (1971) Amar Prem (1972), Dushman (1972) and Daag (1973).[importance?]

 
 
The screenwriting duo Salim–Javed, consisting of Salim Khan (l) and Javed Akhtar (r), revitalised Indian cinema in the 1970s[121] and are considered Bollywood's greatest screenwriters.[122]

By the early 1970s, Hindi cinema was experiencing thematic stagnation,[123] dominated by musical romance films.[124] Screenwriter duo Salim–Javed (Salim Khan and Javed Akhtar) revitalised the industry.[123] They established the genre of gritty, violent, Bombay underworld crime films with Zanjeer (1973) and Deewaar (1975).[125][126] They reinterpreted the rural themes of Mother India and Gunga Jumna in an urban context reflecting 1970s India,[123][127] channelling the growing discontent and disillusionment among the masses,[123] unprecedented growth of slums[128] and urban poverty, corruption and crime,[129] as well as anti-establishment themes.[130] This resulted in their creation of the "angry young man", personified by Amitabh Bachchan,[130] who reinterpreted Kumar's performance in Gunga Jumna[123][127] and gave a voice to the urban poor.[128]

By the mid-1970s, Bachchan's position as a lead actor was solidified by crime-action films Zanjeer and Sholay (1975).[120] The devotional classic Jai Santoshi Ma (1975) was made on a low budget and became a box office success and a cult classic.[120] Another important film was Deewaar (1975, Yash Chopra),[99] a crime film with brothers on opposite sides of the law which Danny Boyle described as "absolutely key to Indian cinema".[131]

The term "Bollywood" was coined in the 1970s,[132][133] when the conventions of commercial Bombay-produced Hindi films were established.[134] Key to this was Nasir Hussain and Salim–Javed's creation of the masala film genre, which combines elements of action, comedy, romance, drama, melodrama and musical.[134][135] Their film Yaadon Ki Baarat (1973) has been identified as the first masala film and the first quintessentially Bollywood film.[134][136] Masala films made Bachchan the biggest Bollywood movie star of the period. Another landmark was Amar Akbar Anthony (1977, Manmohan Desai).[136][137] Desai further expanded the genre in the 1970s and 1980s.

Commercial Hindi cinema grew in the 1980s, with films such as Ek Duuje Ke Liye (1981), Disco Dancer (1982), Himmatwala (1983), Tohfa (1984), Naam (1986), Mr India (1987), and Tezaab (1988).

In the late 1980s,[timeframe?] Hindi cinema experienced another period of stagnation, with a decline in box office turnout, due to increasing violence, decline in musical melodic quality, and rise in video piracy, leading to middle-class family audiences abandoning theatres. The turning point came with Indian blockbuster Disco Dancer (1982) which began the era of disco music in Indian cinema. Lead actor Mithun Chakraborty and music director Bappi Lahiri had the highest number of mainstream Indian hit movies that decade. At the end of the decade, Yash Chopra's Chandni (1989) created a new formula for Bollywood musical romance films, reviving the genre and defining Hindi cinema in the years that followed.[138][139] Commercial Hindi cinema grew in the late 1980s and 1990s, with the release of Mr. India (1987), Qayamat Se Qayamat Tak (1988), Chaalbaaz (1989), Maine Pyar Kiya (1989), Lamhe (1991), Saajan (1991), Khuda Gawah (1992), Khalnayak (1993), Darr (1993),[120] Hum Aapke Hain Koun..! (1994), Dilwale Dulhaniya Le Jayenge (1995), Dil To Pagal Hai (1997), Pyar Kiya Toh Darna Kya (1998) and Kuch Kuch Hota Hai (1998). Cult classic Bandit Queen (1994) directed by Shekhar Kapur received international recognition and controversy.[140][141]

 
Sridevi (2012) is regarded as one of India's most influential movie stars

In the late 1990s, there was a resurgence of Parallel Cinema in Bollywood, largely due to the critical and commercial success of crime films such as Satya (1998) and Vaastav (1999). These films launched a genre known as "Mumbai noir",[142] reflecting social problems in the city.[143] Ram Gopal Varma directed the Indian Political Trilogy, and the Indian Gangster Trilogy; film critic Rajeev Masand had labelled the latter series as one of the "most influential movies of Bollywood.[144][145][146] The first installment of the trilogy, Satya, was also listed in CNN-IBN's 100 greatest Indian films of all time.[147]

Since the 1990s, the three biggest Bollywood movie stars have been the "Three Khans": Aamir Khan, Shah Rukh Khan, and Salman Khan.[148][149] Combined, they starred in the top ten highest-grossing Bollywood films,[148] and have dominated the Indian box office since the 1990s.[150][151] Shah Rukh Khan was the most successful for most of the 1990s and 2000s, while Aamir Khan has been the most successful since the late 2000s;[152] according to Forbes, Shah Rukh Khan is "arguably the world's biggest movie star" as of 2017, due to his immense popularity in India and China.[153] Other notable Hindi film stars of recent decades include Akshay Kumar, Ajay Devgan, Hrithik Roshan, Anil Kapoor, Sanjay Dutt, Sridevi, Madhuri Dixit and Kajol.

Haider (2014, Vishal Bhardwaj), the third instalment of the Indian Shakespearean Trilogy after Maqbool (2003) and Omkara (2006),[154] won the People's Choice Award at the 9th Rome Film Festival in the Mondo Genere making it the first Indian film to achieve this honour.[155][relevant?]

The 2000s and 2010s also saw the rise of a new generation of popular actors like Shahid Kapoor, Ranbir Kapoor, Ranveer Singh, Ayushmann Khurrana, Varun Dhawan, Sidharth Malhotra, Sushant Singh Rajput, Kartik Aaryan, Arjun Kapoor, Aditya Roy Kapur and Tiger Shroff, as well as actresses like Vidya Balan, Priyanka Chopra, Katrina Kaif, Kangana Ranaut, Deepika Padukone, Sonam Kapoor, Anushka Sharma, Shraddha Kapoor, Alia Bhatt and Kriti Sanon with Balan and Ranaut gaining wide recognition for successful female-centric films such as The Dirty Picture (2011), Kahaani (2012), Queen (2014), Tanu Weds Manu Returns (2015) and Manikarnika: The Queen of Jhansi (2019). Kareena Kapoor and Rani Mukerji are among the few working actresses from the 2000s and late 1990s who successfully completed more than 20 years in the industry.[citation needed][relevant?]

Salim–Javed were highly influential in South Indian cinema. In addition to writing two Kannada films, many of their Bollywood films had remakes produced in other regions, including Tamil, Telugu and Malayalam cinema. While the Bollywood directors and producers held the rights to their films in Northern India, Salim–Javed retained the rights in South India, where they sold remake rights for films such as Zanjeer, Yaadon Ki Baarat and Don.[156] Several of these remakes became breakthroughs for actor Rajinikanth.[124][157]

Sridevi is widely regarded as the first female superstar of Indian cinema due to her pan-Indian appeal with equally successful careers in Hindi, Tamil, Malayalam, Kannada and Telugu cinema. She is the only Bollywood actor to have starred in a top 10 grossing film each year of her active career (1983–1997).[citation needed]

Telugu

 
 
 
From left to right: K. Viswanath, Ram Gopal Varma and S. S. Rajamouli

K. Viswanath's works such as Sankarabharanam (1980) about revitalization of Indian classical music won the "Prize of the Public" at the Besançon Film Festival of France in the year 1981.[158] Forbes included J. V. Somayajulu's performance in the film on its list of "25 Greatest Acting Performances of Indian Cinema".[159] Swathi Muthyam (1986) was India's official entry to the 59th Academy Awards.[158] Swarna Kamalam (1988) the dance film choreographed by Kelucharan Mohapatra, and Sharon Lowen was featured at the Ann Arbor Film Festival, fetching three Indian Express Awards.[160][161]

B. Narsing Rao, K. N. T. Sastry, and A. Kutumba Rao garnered international recognition for their works in new-wave cinema.[162][163] Narsing Rao's Maa Ooru (1992) won the "Media Wave Award" of Hungary; Daasi (1988) and Matti Manushulu (1990) won the Diploma of Merit awards at the 16th and 17th MIFF respectively.[164][165][166] Sastry's Thilaadanam (2000) received "New Currents Award" at the 7th Busan;[167][168] Rajnesh Domalpalli's Vanaja (2006) won "Best First Feature Award" at the 57th Berlinale.[169][170]

Ram Gopal Varma's Siva (1989), which attained cult following[171] introduced steadicams and new sound recording techniques to Indian films.[172] Siva attracted the young audience during its theatrical run, and its success encouraged filmmakers to explore a variety of themes and make experimental films.[173] Varma introduced road movie and film noir to Indian screen with Kshana Kshanam (1991).[174] Varma experimented with close-to-life performances by the lead actors, which bought a rather fictional storyline a sense of authenticity at a time when the industry was being filled with commercial fillers.[175]

Singeetam Srinivasa Rao introduced science fiction to the Indian screen with Aditya 369 (1991), the film dealt with exploratory dystopian and apocalyptic themes.[176] The edge of the seat thriller had characters which stayed human, inconsistent and insecure. The film's narrative takes the audience into the post apocalyptic experience through time travel, as well as folklore generation of 1500 A.D, which including a romantic backstory, and "The Time Machine".[177][178][179]

Chiranjeevi's works such as the social drama film Swayamkrushi (1987), comedy thriller Chantabbai (1986), the vigilante thriller Kondaveeti Donga (1990),[180] the Western thriller Kodama Simham (1990), and the action thriller, Gang Leader (1991), popularized genre films with the highest estimated cinema footfalls.[181] Sekhar Kammula's Dollar Dreams (2000), which explored the conflict between American dreams and human feelings, re-introduced social realism to Telugu film which had stagnated in formulaic commercialism.[182] War drama Kanche (2015, Krish Jagarlamudi) explored the 1944 Nazi attack on the Indian army in the Italian campaign of the Second World War.[183]

Pan-Indian works such as Sankalp Reddy's Ghazi (2017), explored submarine warfare based on the mysterious altercation between PNS Ghazi and INS Karanj during the Indo-Pakistani War of 1971.[184] S. S. Rajamouli's epic Baahubali 2: The Conclusion (2017) won the American "Saturn Award for Best International Film"[185][186] and the alternate history RRR (2022) gathered the American "Critics' Choice Movie Award for Best Foreign Language Film",[187] the only Indian films fetching the honors.[188][189]

Tamil

Tamil cinema established Madras (now Chennai) as a secondary film production centre in India, used by Hindi cinema, other South Indian film industries, and Sri Lankan cinema.[190] Over the last quarter of the 20th century, Tamil films from India established a global presence through distribution to an increasing number of overseas theatres.[191][192] The industry also inspired independent filmmaking in Sri Lanka and Tamil diaspora populations in Malaysia, Singapore, and the Western Hemisphere.[193]

 
 
 
From left to right: Mani Ratnam (film director), Kamal Hasan and Rajinikanth

Marupakkam (1991, K. S. Sethumadhavan) and Kanchivaram (2007) each won the National Film Award for Best Feature Film.[194] Tamil films receive significant patronage in neighbouring Indian states Kerala, Karnataka, Andhra Pradesh, Maharashtra, Gujarat and New Delhi. In Kerala and Karnataka the films are directly released in Tamil but in Telangana and Andhra Pradesh they are generally dubbed into Telugu.[195][196]

Tamil films have consistent popularity among audiences in South East Asia.[citation needed] Since Chandralekha, Muthu was the second Tamil film to be dubbed into Japanese (as Mutu: Odoru Maharaja[197]) and grossed a record $1.6 million in 1998.[198] In 2010, Enthiran grossed a record $4 million in North America.[199] Tamil-language films appeared at multiple film festivals. Kannathil Muthamittal (Ratnam), Veyyil (Vasanthabalan) and Paruthiveeran (Ameer Sultan), Kanchivaram (Priyadarshan) premiered at the Toronto International Film Festival. Tamil films were submitted by India for the Academy Award for Best Foreign Language Film on eight occasions.[200] Chennai-based music composer A. R. Rahaman achieved global recognition with two Academy Awards and is nicknamed as "Isai Puyal" (musical storm) and "Mozart of Madras". Nayakan (1987, Kamal Haasan) was included in Time's All-Time 100 Movies list.[201]

Malayalam

Malayalam cinema experienced its Golden Age during this time with works of filmmakers such as Adoor Gopalakrishnan, G. Aravindan, T. V. Chandran and Shaji N. Karun.[202] Gopalakrishnan is often considered to be Ray's spiritual heir.[203] He directed some of his most acclaimed films during this period, including Elippathayam (1981) which won the Sutherland Trophy at the London Film Festival.[204] Karun's debut film Piravi (1989) won the Caméra d'Or at Cannes, while his second film Swaham (1994) was in competition for the Palme d'Or. Vanaprastham was screened at the Un Certain Regard section of the Cannes Film Festival.[205] Murali Nair's Marana Simhasanam (1999), inspired by the first execution by electrocution in India, the film was screened in the Un Certain Regard section at the 1999 Cannes Film Festival where it won the Caméra d'Or.[206][207] The film received special reception at the British Film Institute.[208][209]

Fazil's Manichitrathazhu (1993) scripted by Madhu Muttam; is inspired by a tragedy that happened in an Ezhava tharavad of Alummoottil meda' an old (Traditional house) located at Muttom, Alappuzha district, a central Travancore Channar family, in the 19th century.[210] It was remade in four languages – in Kannada as Apthamitra, in Tamil as Chandramukhi , in Bengali as Rajmohol and in Hindi as Bhool Bhulaiyaa – all being commercially successful.[211] Jeethu Joseph's Drishyam (2013) was remade into four other Indian languages: Drishya (2014) in Kannada, Drushyam (2014) in Telugu, Papanasam (2015) in Tamil and Drishyam (2015) in Hindi. Internationally, it was remade in Sinhala language as Dharmayuddhaya (2017) and in Chinese as Sheep Without a Shepherd (2019), and also in Indonesian.[212][213][214]

Kannada

Ethnographic works took prominence such as B. V. Karanth's Chomana Dudi (1975), (based on Chomana Dudi by Shivaram Karanth), Girish Karnad's Kaadu (1973), (based on Kaadu by Srikrishna Alanahalli), Pattabhirama Reddy's Samskara (1970) (based on Samskara by U. R. Ananthamurthy), fetching the Bronze Leopard at Locarno International Film Festival,[215] and T. S. Nagabharana's Mysuru Mallige (based on the works of poet K. S. Narasimhaswamy).[216] Girish Kasaravalli's Ghatashraddha (1977), won the Ducats Award at the Manneham Film Festival Germany,[217] Dweepa (2002), made to Best Film at Moscow International Film Festival,[218][219]

Prashanth Neel's K.G.F (film series) (2018, 2022) is a period action series based on the Kolar Gold Fields.[220] Set in the late 1970s and early 1980s the series follows Raja Krishnappa Bairya aka Rocky (Yash), a Mumbai-based high ranking mercenary born in poverty, to his rise to power in the Kolar Gold Fields and the subsequent uprising as one of the biggest gangster and businessman at that time.[221][222] The film gathered cult following becoming the highest-grossing Kannada film.[223] Rishab Shetty's Kantara (2022), received acclaim for showcasing the Bhoota Kola, a native Ceremonial dance performance prevalent among the Hindus of coastal Karnataka.[224]

Cultural context

 
Victoria Public Hall, Chennai, served as a theatre in the late 19th century and the early 20th century.
 
Prasads IMAX Theatre, Hyderabad, was once the world's largest 3D-IMAX screen and the most attended screen in the world.[225][226][227]
 
Ramoji Film City, Hyderabad, is the world's largest film studio.[228]
 
PVR Cinemas is one of the largest cinema chains in India.

K. Moti Gokulsing and Wimal Dissanayake identified six major influences that have shaped Indian popular cinema:[229]

  • The ancient epics of Mahabharata and Ramayana influenced the narratives of Indian cinema. Examples of this influence include the techniques of a side story, back-story and story within a story. Indian popular films often have plots that branch into sub-plots; such narrative dispersals can be seen in the 1993 films Khalnayak and Gardish.
  • Ancient Sanskrit drama, with its emphasis on spectacle, music, dance and gesture combined "to create a vibrant artistic unit with dance and mime being central to the dramatic experience". Sanskrit dramas were known as natya, derived from the root word nrit (dance), featuring spectacular dance-dramas.[230] The Rasa method of performance, dating to ancient times, is one of the fundamental features that differentiate Indian from Western cinema. In the Rasa method, the performer conveys emotions to the audience through empathy, in contrast to the Western Stanislavski method where the actor must become "a living, breathing embodiment of a character". The rasa method is apparent in the performances of Hindi actors such as Bachchan and Shah Rukh Khan and in Hindi films such as Rang De Basanti (2006),[231] and Ray's works.[232]
  • Traditional folk theatre, which became popular around the 10th century with the decline of Sanskrit theatre. These regional traditions include the Yatra of West Bengal, the Ramlila of Uttar Pradesh, Yakshagana of Karnataka, 'Chindu Natakam' of Andhra Pradesh and the Terukkuttu of Tamil Nadu.
  • Parsi theatre, which blends realism and fantasy, containing crude humour, songs and music, sensationalism, and dazzling stagecraft.[230] These influences are clearly evident in masala films such as Coolie (1983), and to an extent in more recent critically acclaimed films such as Rang De Basanti.[231]
  • Hollywood-made popular musicals from the 1920s through the 1960s, though Indian films used musical sequences as another fantasy element in the song-and-dance tradition of narration, undisguised and "intersect[ing] with people's day-to-day lives in compelex and interesting ways."[233]
  • Western music videos, particularly MTV, had an increasing influence in the 1990s, as can be seen in the pace, camera angles, dance sequences, and music of recent Indian films. An early example of this approach was Bombay (1995, Mani Ratnam).[234]

Sharmistha Gooptu and Bhaumik identify Indo-Persian/Islamicate culture as another major influence. In the early 20th century, Urdu was the lingua franca of popular performances across northern India, established in performance art traditions such as nautch dancing, Urdu poetry and Parsi theatre. Urdu and related Hindi dialects were the most widely understood across northern India, thus Hindustani became the standardised language of early Indian talkies. One Thousand and One Nights (Arabian Nights) had a strong influence on Parsi theatre, which adapted "Persianate adventure-romances" into films, and on early Bombay cinema where "Arabian Nights cinema" became a popular genre.[235]

Like mainstream Indian popular cinema, Indian parallel cinema was influenced by a combination of Indian theatre and Indian literature (such as Bengali literature and Urdu poetry), but differs when it comes to foreign influences, where it is influenced more by European cinema (particularly Italian neorealism and French poetic realism) than by Hollywood. Ray cited Vittorio De Sica's Bicycle Thieves (1948) and Jean Renoir's The River (1951), on which he assisted, as influences on his debut film Pather Panchali (1955).

International influence

During colonial rule, Indians bought film equipment from Europe.[53] The British funded wartime propaganda films during the Second World War, some of which showed the Indian army pitted against the Axis powers, specifically the Empire of Japan, which had managed to infiltrate India.[236] One such story was Burma Rani, which depicted civilian resistance to Japanese occupation by British and Indian forces in Myanmar.[236] Pre-independence businessmen such as J. F. Madan and Abdulally Esoofally traded in global cinema.[46]

Early Indian films made early inroads into the Soviet Union, Middle East, Southeast Asia[237] and China. Mainstream Indian movie stars gained international fame across Asia[238][239][240] and Eastern Europe.[241][242] For example, Indian films were more popular in the Soviet Union than Hollywood films[243][244] and occasionally domestic Soviet films.[245] From 1954 to 1991, 206 Indian films were sent to the Soviet Union, drawing higher average audience figures than domestic Soviet productions,[244][246] Films such as Awaara and Disco Dancer drew more than 60 million viewers.[247][248] Films such as Awaara, 3 Idiots and Dangal,[249][250] were among the 20 highest-grossing films in China.[251]

Many Asian and South Asian countries increasingly found Indian cinema more suited to their sensibilities than Western cinema.[237] Jigna Desai holds that by the 21st century, Indian cinema had become 'deterritorialized', spreading to parts of the world where Indian expatriates were present in significant numbers and had become an alternative to other international cinema.[252]

Indian films frequently appeared in international fora and film festivals.[237] This allowed Parallel Bengali filmmakers to achieve worldwide fame.[253]

Indian cinema more recently began influencing Western musical films, and played a particularly instrumental role in the revival of the genre in the Western world. Ray's work had a worldwide impact, with filmmakers such as Martin Scorsese,[254] James Ivory,[255] Abbas Kiarostami, François Truffaut,[256] Carlos Saura,[257] Isao Takahata and Gregory Nava[258] citing his influence, and others such as Akira Kurosawa praising his work.[259] The "youthful coming-of-age dramas that flooded art houses since the mid-fifties owe a tremendous debt to the Apu trilogy".[89][who said this?] Since the 1980s, overlooked Indian filmmakers such as Ghatak[260] and Dutt[261] posthumously gained international acclaim. Baz Luhrmann stated that his successful musical film Moulin Rouge! (2001) was directly inspired by Bollywood musicals.[262] That film's success renewed interest in the then-moribund Western musical genre, subsequently fuelling a renaissance.[263] Danny Boyle's Slumdog Millionaire (2008) was directly inspired by Indian films,[131][264] and is considered to be an "homage to Hindi commercial cinema".[265]

Indian cinema has been recognised repeatedly at the US-based Academy Awards. Indian films Mother India (1957), Salaam Bombay! (1988) and Lagaan (2001), were nominated for the Academy Award for Best Foreign Language Film. Indian Oscar winners include Bhanu Athaiya (costume designer), Ray (filmmaker), A. R. Rahman (music composer), Resul Pookutty (sound editor) and Gulzar (lyricist), Cottalango Leon and Rahul Thakkar Sci-Tech Award.[266]

Genres and styles

Masala film

Main article: Masala film

Masala is a style of Indian cinema that mixes multiple genres in one work, especially in Bollywood, West Bengal and South India. For example, one film can portray action, comedy, drama, romance and melodrama. These films tend to be musicals with songs filmed in picturesque locations. Plots for such movies may seem illogical and improbable to unfamiliar viewers. The genre is named after masala, a mixture of spices in Indian cuisine.

Parallel cinema

Main article: Parallel cinema

Parallel Cinema, also known as Art Cinema or the Indian New Wave, is known for its realism and naturalism, addressing the sociopolitical climate. This movement is distinct from mainstream Bollywood cinema and began around the same time as the French and Japanese New Waves. The movement began in Bengal (led by Ray, Sen and Ghatak) and then gained prominence in other regions. The movement was launched by Bimal Roy's Do Bigha Zamin (1953), which was both a commercial and critical success, winning the International Prize at Cannes.[86][87][267] Ray's films include the three instalments of The Apu Trilogy which won major prizes at the Cannes, Berlin and Venice Film Festivals, and are frequently listed among the greatest films of all time.[268][269][270][271]

Other neo-realist filmmakers were Shyam Benegal, Karun, Gopalakrishnan[81] and Kasaravalli.[272]

Multilingual

Some Indian films are known as "multilinguals", filmed in similar but non-identical versions, in different languages. According to Ashish Rajadhyaksha and Paul Willemen in the Encyclopedia of Indian Cinema (1994), in its most precise form, a multilingual is

a bilingual or a trilingual [that] was the kind of film made in the 1930s in the studio era, when different but identical takes were made of every shot in different languages, often with different leading stars but identical technical crew and music.[273]: 15 

Rajadhyaksha and Willemen note that in seeking to construct their Encyclopedia, they often found it "extremely difficult to distinguish multilinguals in this original sense from dubbed versions, remakes, reissues or, in some cases, the same film listed with different titles, presented as separate versions in different languages ... it will take years of scholarly work to establish definitive data in this respect".[273]: 15 

Pan-India film

Main article: Pan-Indian film

Pan-India film is both a style of cinema and a distribution strategy, designed to universally appeal to audiences across the country and simultaneously released in multiple languages. It is a film movement that has gained popularity following the success of Baahubali: The Beginning (2015) which was a Tollywood film. The term "Pan-Indian film" is used for a film that is simultaneously released in Telugu, Tamil, Malayalam, Kannada and Hindi languages, with an aim to maximize the target audience and thus increase revenues.[274]

Music

See also: Filmi

Music is a substantial revenue generator for the Indian film industry, with music rights alone accounting for 4–5% of net revenues.[275] The major film music companies are T-Series at Delhi, Sony Music India at Chennai and Zee Music Company at Mumbai, Aditya Music at Hyderabad and Saregama at Kolkata.[275] Film music accounts for 48% of net music sales in the country.[275] A typical film may feature 5–6 choreographed songs.[276]

The demands of a multicultural, increasingly globalised Indian audience led to a mixing of local and international musical traditions.[276] Local dance and music remain a recurring theme in India and followed the Indian diaspora.[276] Playback singers such as Mohammad Rafi, Kishore Kumar, Lata Mangeshkar, K. J. Yesudas, P.Susheela, S. Janaki, Asha Bhosle, K. S. Chitra, Kumar Sanu, Udit Narayan and S. P. Balasubrahmanyam drew crowds to presentations of film music.[276] In the 21st century interaction increased between Indian artists and others.[specify][277]

Filming locations

A filming location is any place where acting and dialogue are recorded. Sites where filming without dialogue takes place are termed a second unit photography site. Filmmakers often choose to shoot on location because they believe that greater realism can be achieved in a "real" place. Location shooting is often motivated by budget considerations.[citation needed]

The most popular locations for filming in India are the main cities of their state for regional industry. Other locations include Manali and Shimla in Himachal Pradesh; Srinagar in Jammu and Kashmir; Ladakh; Darjeeling in West Bengal; Ooty and Kodaikanal in Tamil Nadu; Amritsar in Punjab; Udaipur, Jodhpur, Jaisalmer and Jaipur in Rajasthan; Delhi; Kerala; and Goa and Puducherry.[278][279]

Production companies

Main article: List of film production companies in India

More than 1000 production organisations operate in the Indian film industry, but few are successful. AVM Productions is the oldest surviving studio in India. Other major production houses include Yash Raj Films, T-Series, Lyca Productions, Madras Talkies, AGS Entertainment, Sun Pictures, Red Chillies Entertainment, Dharma Productions, Eros International, Ajay Devgn FFilms, Balaji Motion Pictures, UTV Motion Pictures, Raaj Kamal Films International, Aashirvad Cinemas, Wunderbar Films, Cape of Good Films and Geetha Arts.[280]

Cinema by language

Films are made in many cities and regions in India including Assam, Bengal, Bihar, Gujarat, Haryana, Jammu, Kashmir, Jharkhand, Karnataka, Konkan (Goa), Kerala, Maharashtra, Manipur, Odisha, Chhattisgarh, Punjab, Rajasthan, Tamil Nadu, Andhra Pradesh and Telangana, Tripura and Mizoram.

Breakdown by languages
2019 Indian feature films certified by the Central Board of Film Certification by languages.[281]
Note: This table indicates the number of films certified by the CBFC's regional offices in nine cities. The actual number of films produced may be less.
Language No. of films
Hindi 495
Kannada 336
Telugu 281
Tamil 254
Malayalam 219
Bengali 193
Marathi 164
Bhojpuri 101
Gujarati 80
Punjabi 63
Odia 42
Assamese 34
English 28
Tulu 16
Manipuri 15
Nagamese 11
Konkani 10
Mizo 10
Rajasthani 8
Khasi 7
Sindhi 6
Lambadi (including Banjari) 5
Urdu 5
Nagpuri 4
Maithili 2
Santali 2
Others 1 each
Total 1986

Assamese

Main article: Assamese cinema
 
Joymati, 1935

The Assamese-language film industry is based in Assam in northeastern India. It is sometimes called Jollywood, for the Jyoti Chitraban Film Studio. Some films have been well received by critics but they have not yet captured national audiences. The 21st century has produced Bollywood-style Assamese movies which have set new box office records for the small industry.[282]

Bengali

 
A scene from Dena Paona (1931), the first Bengali talkie
Main article: Cinema of West Bengal

The Bengali-language cinematic tradition of Tollygunge, West Bengal, is also known as Tollywood.[283] When the term was coined in the 1930s, it was the centre of the Indian film industry.[284] West Bengal cinema is historically known for the parallel cinema movement and art films.

Braj Bhasha

Braj-language films present Brij culture mainly to rural people, predominantly in the nebulous Braj region centred around Mathura, Agra, Aligarh and Hathras in Western Uttar Pradesh and Bharatpur and Dholpur in Rajasthan (northern India). It is the predominant language in the central stretch of the Ganges-Yamuna Doab in Uttar Pradesh. The first Brij Bhasha movie was Brij Bhoomi (1982, Shiv Kumar), which was a success throughout the country.[285][286] Later Brij Bhasha cinema saw the production of films like Jamuna Kinare and Brij Kau Birju.[287][288]

Bhojpuri

Main article: Bhojpuri cinema

Bhojpuri-language films predominantly cater to residents of western Bihar and eastern Uttar Pradesh and also have a large audience in Delhi and Mumbai due to the migration of Bhojpuri speakers to these cities. International markets for these films developed in other Bhojpuri-speaking countries of the West Indies, Oceania and South America.[289]

Bhojpuri film history begins with Ganga Maiyya Tohe Piyari Chadhaibo (Mother Ganges, I will offer you a yellow sari, 1962, Kundan Kumar).[290] Throughout the following decades, few films were produced. The industry experienced a revival beginning with the hit Saiyyan Hamar (My Sweetheart, 2001, Mohan Prasad).[291] Although smaller than other Indian film industries, these successes increased Bhojpuri cinema's visibility, leading to an awards show[292] and a trade magazine, Bhojpuri City.[293]

Chakma

The Chakma language is spoken in Tripura and Mizoram (Northeast India), as well as in the Chittagong Hill Tracts region of Bangladesh. Films in Chakma include Tanyabi Firti (Tanyabi's Lake, 2005, Satarupa Sanyal).[294]

Chhattisgarhi

Main article: Chhattisgarhi cinema

The Chhattisgarhi-language film industry of Chhattisgarhi state, central India, is known as Chhollywood. Its beginnings are with Kahi Debe Sandesh (In Black and White, 1965, Manu Nayak)[295][296][297] No Chhattisgarhi films were released from 1971[298] until Mor Chhainha Bhuinya (2000).[citation needed]

English

Main article: English-language Indian films

Indian filmmakers also produce English language films. Deepa Mehta, Anant Balani, Homi Adajania, Vijay Singh, Vierendrra Lalit and Sooni Taraporevala have garnered recognition in Indian English cinema.

Gujarati

Main article: Gujarati cinema
 
Amitabh Bachchan has been a popular Bollywood actor for over 45 years.[299]

The Gujarati-language film industry, also known as Gollywood or Dhollywood, is currently centered in the state of Gujarat. During the silent era, many filmmakers and actors were Gujarati and Parsi, and their films were closely related to Gujarati culture. Twenty film companies and studios, mostly located in Bombay, were owned by Gujaratis and at least 44 major Gujarati directors worked during this era.[300] The first film released in Gujarati was Narsinh Mehta (1932).[300][301][302] More than one thousand Gujarati films have been released.[303]

Gujarati cinema ranges from mythology to history and from social to political. Gujarati films originally targeted a rural audience, but after its revival (c. 2005) catered to an urban audience.[300]

Hindi

Main article: Hindi cinema

The Hindi language film industry of Mumbai (formerly Bombay), also known as Bollywood,[304] is the largest and most powerful branch of Hindi cinema.[305] Hindi cinema explores issues of caste and culture in films such as Achhut Kanya (1936) and Sujata (1959).[306] International visibility came to the industry with Raj Kapoor's Awara and later in Shakti Samantha's Aradhana.[307] Art film directors include Kaul, Kumar Shahani, Ketan Mehta, Govind Nihalani, Shyam Benegal,[81] Mira Nair, Nagesh Kukunoor, Sudhir Mishra and Nandita Das. Hindi cinema grew during the 1990s with the release of as many as 215 films annually. Magazines such as Filmfare, Stardust and Cine Blitz popularly cover the industry.[308]

 
Rajkumar on a 2009 postage stamp
 
Director Girish Kasaravalli (right)

Kannada

Main article: Kannada cinema

Kannada cinema, also known as Sandalwood or Chandanavana,[309] is the segment of Indian cinema[310] dedicated to the production of motion pictures in the Kannada language, which is widely spoken in Karnataka state.[311][312][313] Sati Sulochana (1934, Y. V. Rao) was the first talkie film in the Kannada language.[314][315][316] Kannada films include adaptations of major literary works[215][317] and experimental films.[217]

Konkani

Main article: Konkani cinema

Konkani-language films are mainly produced in Goa, one of India's smallest film regions which produced four films in 2009.[318] The first full-length Konkani film was Mogacho Anvddo (1950, Jerry Braganza).[319] The film's release date, 24 April, is celebrated as Konkani Film Day.[320] An immense body of Konkani literature and art is a resource for filmmakers. Kazar (Marriage, 2009, Richard Castelino) and Ujvaadu (Shedding New Light on Old Age Issues, Kasaragod Chinna) are major releases. The pioneering Mangalorean Konkani film is Mog Ani Maipas.

Maithili

See also: Category:Maithili-language films

Maithili cinema is made in the Maithili language. The first full-length film was Kanyadan (1965).[321] There are numerous films made in the Maithili over the years[322] The film Mithila Makhaan (2019) won a National Award in the regional films category.[323]

Malayalam

Main article: Malayalam cinema
 
Mammooty has won the most number of National Awards in the Best Actor category in the Malayalam industry.[324]

The Malayalam-language film industry, also known as Mollywood, is India's fourth-largest film industry. It is mainly based at Kochi, Kerala state. Neelakkuyil (1954) is often considered the first authentic Malayali film.[325] Newspaper Boy (1955), made by a group of students, was the first neo-realistic Malayalam film.[326] Chemmeen (1965, Ramu Kariat), based on a story by Thakazhi Sivasankara Pillai, became the first South Indian film to win the National Film Award for Best Feature Film.[327]

Malayalam cinema has been in the forefront of technological innovation in Indian filmmaking. The first neorealistic film (Newspaper Boy),[202] the first CinemaScope film (Thacholi Ambu),[328] the first 70 mm film (Padayottam),[329] the first 3D film (My Dear Kuttichathan),[330] the first Panavision film (Vanaprastham), the first digital film (Moonnamathoral),[331] the first Smartphone film (Jalachhayam),[332] and the first 8K film (Villain)[333] in India were made in Malayalam.

The period from 1986 to 1990 is regarded as the Golden Age of Malayalam cinema,[334] with four Malayalam films recognized by selection at the Cannes Film Festival—Shaji N. Karun-directed Piravi (1989), Swaham (1994) and Vanaprastham (1999), and Murali Nair-directed Marana Simhasanam (1999). Piravi (1989) won the Caméra d'Or — Mention Spéciale and Marana Simhasanam has won the Caméra d'Or.[citation needed]

The Kerala State Film Awards established by the Government of Kerala recognizes the best works in Malayalam cinema every year, along with J. C. Daniel Award for lifetime achievement in Malayalam cinema. K. R. Narayanan National Institute of Visual Science and Arts (KRNNIVSA) is a training and research centre for film and video technology.[335]

Manipuri

Main article: Cinema of Manipur

Manipuri cinema is a small film industry of Manipur, encompassing Meitei language and other languages of the state. It began in the 1970s and gained momentum following a 2002 state ban on Hindi films. 80–100 movies are made each year. Among the notable Manipuri films are Imagi Ningthem (1982, Aribam Syam Sharma), Yenning Amadi Likla, Phijigee Mani, Leipaklei, Loktak Lairembee and Eikhoishibu Kanano.

Marathi

Main article: Marathi cinema

Marathi films are produced in the Marathi language in Maharashtra state. It the oldest of India's film industries, which began in Kolhapur, moved to Pune and is now based in old Mumbai.[citation needed]

Some of the more notable films are Sangte Aika, Ek Gaon Bara Bhangadi, Pinjara, Sinhasan, Pathlaag, Jait Re Jait, Saamana, Santh Wahate Krishnamai, Sant Tukaram and Shyamchi Aai.[citation needed]

Nagpuri

Main article: Nagpuri cinema

Nagpuri films are produced in the Nagpuri language in Jharkhand state. The first Nagpuri feature film was Sona Kar Nagpur (1992).[336][337] With a mainly rural population and cinema halls closing, non-traditional distribution models may be used.[338]

Gorkha

Gorkha cinema consists of films produced by Nepali-speaking Indians.

Odia

Main article: Cinema of Odisha

The Odia-language film industry of Bhubaneswar and Cuttack, Odisha state, is also known as Ollywood.[339] The first Odia-language film was Sita Bibaha (1936).[340] The best year for Odia cinema was 1984 when Maya Miriga (Nirad Mohapatra) and Dhare Alua were showcased in Indian Panorama and Maya Miriga was invited to Critics Week at Cannes. The film received the Best Third World Film award at Mannheim Film Festival, Jury Award in Hawaii and was shown at the London Film Festival.

Punjabi

Main article: Punjabi cinema

The Punjabi-language film industry, based in Amritsar and Mohali, Punjab, is also known as Pollywood. K. D. Mehra made the first Punjabi film, Sheela (1935). As of 2009, Punjabi cinema had produced between 900 and 1,000 movies.[341]

Sindhi

Main article: Sindhi cinema

The Sindhi-language film industry is largely based in Sindh, Pakistan, and with Sindhi speakers in North Gujarat and Southwestern Rajasthan, India, and elsewhere among the Sindhi diaspora. The first Indian-made Sindhi film was Ekta (1940).[342] while the first Sindhi film produced in Pakistan was Umar Marvi (1956).[343] The industry has produced some Bollywood-style films.

The Sindhi film industry produces movies at intervals. The first was Abana (1958),[timeframe?] which was a success throughout the country. Sindhi cinema then produced some Bollywood-style films such as Hal Ta Bhaji Haloon, Parewari, Dil Dije Dil Waran Khe, Ho Jamalo, Pyar Kare Dis: Feel the Power of Love and The Awakening. Additionally, numerous Sindhi have contributed in Bollywood, including G P Sippy, Ramesh Sippy, Nikhil Advani, Tarun Mansukhani, Ritesh Sidhwani and Asrani.[relevant?]

Sherdukpen

Director Songe Dorjee Thongdok introduced the first Sherdukpen-language film Crossing Bridges (2014). Sherdukpen is native to the north-eastern state of Arunachal Pradesh.[344][relevant?]

 
Kamal Haasan starred films have the highest number of Academy Award submissions in India.[citation needed]

Tamil

Main article: Tamil cinema

The Tamil-language film industry based in Chennai, also known as Kollywood, once served as a hub for all South Indian film industries.[345] The first South Indian talkie film Kalidas (1931, H. M. Reddy) was shot in Tamil. Sivaji Ganesan became India's first actor to receive an international award when he won Best Actor at the Afro-Asian film festival in 1960 and the title of Chevalier in the Legion of Honour by the French Government in 1995.[112]

Tamil cinema is influenced by Dravidian politics[113] and has a tradition of addressing social issues. Many of Tamil Nadu's prominent Chief Ministers previously worked in cinema: Dravidian stalwarts C N Annadurai and M Karunanidhi were scriptwriters and M G Ramachandran and Jayalalithaa gained a political base through their fan followings.[114]

Tamil films are distributed to Tamil diaspora populations in various parts of Asia, Southern Africa, Northern America, Europe, and Oceania.[346] The industry-inspired Tamil film-making in Sri Lanka, Malaysia, Singapore and Canada.[citation needed]

Telugu

Main article: Telugu cinema
 
 
 
From left to right: Raghupati Venkayya (father of Telugu cinema), Y. V. Rao (pioneer of cinema during crown rule)[347] and stalwart Chittoor Nagayya known for his method acting.[348]

The Film and Television Institute of Telangana, Film and Television Institute of Andhra Pradesh, Ramanaidu Film School and Annapurna International School of Film and Media are among the largest film schools in India.[349][350] The Telugu states are home to approximately 2800 theaters, more than any single state in India.[351] Being commercially consistent, Telugu cinema had its influence over commercial cinema in India.[352]

The industry holds the Guinness World Record for the largest film production facility in the world, Ramoji Film City.[353] The Prasads IMAX located in Hyderabad is one of the largest 3D IMAX screens, and is the most attended cinema screen in the world.[225][354][355] As per the CBFC report of 2014, the industry is placed first in India, in terms of films produced yearly.[356] In the years 2005, 2006, 2008, and 2014 the industry has produced the largest number of films in India, exceeding the number of films produced in Bollywood.[357][358]

Tulu

Main article: Tulu cinema

The Tulu-language film industry based in the port city of Mangalore, Karnataka, is also known as Coastalwood. A small industry, its origins trace to the release of Enna Thangadi (1971) with about one release per year until growth was spurred by the commercial success of Oriyardori Asal (2011). Films are released across the Tulu Nadu cultural region, with some recent films having a simultaneous release in Mumbai, Bangalore, and Arabian Gulf countries.[citation needed]

Awards

The Dadasaheb Phalke Award, named for "father of Indian cinema" Dadasaheb Phalke,[40][41][42][43] is given in recognition of lifetime contribution to cinema. It was established by the government of India in 1969, and is the country's most prestigious film award.[359]

Prominent non-governmental awards
Award Year of
Inception		 Awarded by
Bhojpuri Film Awards 2001 AB5 Multimedia
Sabrang Film Awards 2014 Godrej Consumer Products
International Bhojpuri Film Awards 2015 Yashi Films International
Filmfare Awards
 1954 Bennett, Coleman and Co. Ltd.
Filmfare Awards South 1954 Bennett, Coleman and Co. Ltd.
South Indian International Movie Awards 2012 Vibri Media Group
IIFA Awards 2000 Wizcraft International Entertainment Pvt Ltd
IIFA Utsavam 2016 Wizcraft International Entertainment Pvt Ltd
Zee Cine Awards Telugu 2017 Zee Entertainment Enterprises
Zee Cine Awards 1998 Zee Entertainment Enterprises
Sansui Viewer's Choice Movie Awards 1998 Pritish Nandy Communications[citation needed]
Santosham Film Awards 2004 Santosham film magazine
CineMAA Awards 2004 Tollywood Movie Artistes Association
Asianet Film Awards 1998 Asianet
Screen Awards 1994 Screen Weekly
Stardust Awards 2003 Stardust
Zee Gaurav Puraskar 2003 Zee Entertainment Enterprises
TSR TV9 National Awards Telugu 2007–

2008

Associated Broadcasting Company Private Limited

T. Subbarami Reddy[citation needed]

Apsara Awards 2004 Apsara Producers Guild Awards
Vijay Awards 2007 STAR Vijay
Marathi International Film and Theatre Awards 2010 Marathi Film Industry
Punjabi International Film Academy Awards 2012 Parvasi Media Inc.
Prag Cine Awards 2013 Prag AM Television
Filmfare Awards East 2014 Bennett, Coleman and Co. Ltd.
Arab Indo Bollywood Awards 2016 ICF Studios[citation needed]

Film education

Government-run and private institutes provide formal education in various aspects of filmmaking. Some of the prominent ones include:

See also

Explanatory notes

  1. ^
  2. ^ Telugu cinema overtook Hindi cinema in box-office revenue during the COVID-19 pandemic and may not reflect a lasting change in the economic recovery.

References

  1. ^ "Guinness World Records:Most Cinema Screens by Country". Ficci.in. Retrieved 23 February 2022.
  2. ^ "Feature films: Cinema infrastructure – Capacity". UNESCO Institute for Statistics. UNESCO. Retrieved 7 May 2019.
  3. ^ "Indian Feature Films Certified in 2021—22" (PDF). Film Federation of India. Retrieved 8 September 2022.
  4. ^ . UNESCO Institute for Statistics. 2015. Archived from the original on 3 November 2013. Retrieved 7 May 2019.
  5. ^ a b "Indian film industry's gross box office earnings may reach $3.7 billion by 2020: Report – Latest News & Updates at Daily News & Analysis". 26 September 2016.
  6. ^ "India Box Office collections: Regional cinema led by Tamil movies overtakes Bollywood". The Financial Express. 2020. Retrieved 9 May 2021.
  7. ^ Hasan Suroor (26 October 2012). "Arts: Sharmila Tagore honoured by Edinburgh University". The Hindu. Retrieved 1 November 2012.
  8. ^
      • "How India's COVID crisis has changed Bollywood". Deutsche Welle. 16 July 2021. Retrieved 10 August 2022.
      • "Leading film markets worldwide by number of films produced 2018". Statista. Retrieved 7 June 2020.
      • "Tamil leads as India tops film production". The Times of India. 22 August 2013. Retrieved 10 August 2022.
      • (PDF). Archived from the original (PDF) on 7 February 2012. Retrieved 6 February 2012.
  9. ^ "Most of Jubilee Hills, Film Nagar is Wakf land". The Hindu. 7 May 2013. Retrieved 3 January 2021.
  10. ^ "ANR inspired Telugu film industry's shift from Chennai". The Hindu. 13 May 2016. Retrieved 3 January 2021.
  11. ^ "The birth of India's film industry: how the movies came to Mumbai". The Guardian. 25 July 2013. Retrieved 2 January 2021.
  12. ^ "Commercial and bollywood hub Mumbai vs Media and political 'capital' Delhi: Is the race over?". The Economic Times. 25 December 2011. Retrieved 2 January 2021.
  13. ^ "Tamil films: How north Chennai marks its presence while Kodambakkam thrives". Hindustan Times. 23 February 2017. Retrieved 3 January 2021.
  14. ^ Hiro, Dilip (2010). After Empire: The Birth of a Multipolar World. p. 248. ISBN 978-1-56858-427-0.
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January 26, 2023
cinema, india, cinema, india, consists, motion, pictures, produced, india, which, large, effect, world, cinema, since, late, 20th, century, major, centers, film, production, across, country, include, mumbai, chennai, hyderabad, visakhapatnam, kochi, kolkata, b. The cinema of India consists of motion pictures produced in India which had a large effect on world cinema since the late 20th century 7 8 Major centers of film production across the country include Mumbai Chennai Hyderabad Visakhapatnam Kochi Kolkata Bangalore Bhubaneswar Cuttack Guwahati Delhi Pune details 1 For a number of years the Indian film industry has ranked first in the world in terms of annual film output 28 In terms of box office it ranked third in 2019 with total gross of around 220 billion US 2 7 billion 5 29 30 Cinema of IndiaNo of screens11 962 2022 1 Per capita9 per million 2015 2 Produced feature films 2021 3 Total1691Number of admissions 2016 4 Total2 020 000 000 Per capita1 69National films1 713 600 000Gross box office 2019 6 Total 190 billion 2 56 billion National films 2 1 billion 2015 5 Indian cinema is composed of multilingual and multi ethnic film art In 2019 Hindi cinema represented 44 of box office revenue followed by Telugu and Tamil film industries each representing 13 Malayalam and Kannada film industries each representing 5 31 Other prominent languages in the Indian film industry include Bengali Marathi Odia Punjabi Gujarati and Bhojpuri As of 2020 the combined revenue of all other language film industries has surpassed that of the Mumbai based Bollywood Hindi film industry 30 As of 2022 Telugu cinema leads Indian cinema s box office revenue 32 33 34 details 2 Indian cinema is a global enterprise 35 and its films have wide viewership and fanbase throughout South Asia and have spread internationally 36 Modern film releases are dubbed into many languages forming a Pan India films movement Indians overseas account for 12 of revenue for the industry 37 Major Indian enterprises in the film industry include Arka Media Works Aascar Films Aashirvad Cinemas AGS Entertainment AVM Productions Eros International Geetha Arts Hombale Films Lyca Productions Modern Theatres Mythri Movie Makers Salman Khan Films Sun Pictures Suresh Productions UTV Motion Pictures Yash Raj Films and Zee Entertainment Enterprises Contents 1 History 1 1 Silent films 1890s 1920s 1 2 Talkies 1930s mid 1940s 1 3 Golden Age late 1940s 1960s 1 4 1970s present 1 4 1 Hindi 1 4 2 Telugu 1 4 3 Tamil 1 4 4 Malayalam 1 4 5 Kannada 2 Cultural context 3 International influence 4 Genres and styles 4 1 Masala film 4 2 Parallel cinema 4 3 Multilingual 4 4 Pan India film 5 Music 6 Filming locations 7 Production companies 8 Cinema by language 8 1 Assamese 8 2 Bengali 8 3 Braj Bhasha 8 4 Bhojpuri 8 5 Chakma 8 6 Chhattisgarhi 8 7 English 8 8 Gujarati 8 9 Hindi 8 10 Kannada 8 11 Konkani 8 12 Maithili 8 13 Malayalam 8 14 Manipuri 8 15 Marathi 8 16 Nagpuri 8 17 Gorkha 8 18 Odia 8 19 Punjabi 8 20 Sindhi 8 21 Sherdukpen 8 22 Tamil 8 23 Telugu 8 24 Tulu 9 Awards 10 Film education 11 See also 12 Explanatory notes 13 References 14 Further reading 15 External linksHistory EditThe history of cinema in India extends to the beginning of the film era Following the screening of the Lumiere and Robert Paul moving pictures in London in 1896 commercial cinematography became a worldwide sensation and these films were shown in Bombay now Mumbai that same year 38 Silent films 1890s 1920s Edit In 1897 a film presentation by filmmaker Professor Stevenson featured a stage show at Calcutta s Star Theatre With Stevenson s camera and encouragement Indian photographer Hiralal Sen filmed scenes from that show exhibited as The Flower of Persia 1898 39 The Wrestlers 1899 by H S Bhatavdekar showing a wrestling match at the Hanging Gardens in Bombay was the first film to be shot by an Indian and the first Indian documentary film citation needed History of Indian cinema Newspaper ad for Shree Pundalik A scene from Raja Harishchandra Dadasaheb Phalke c 1930s 40 41 42 43 AVM Studios globe The first full length Indian films released in India were the Marathi language silent films Shree Pundalik 1912 Dadasaheb Torne and Raja Harishchandra 1913 Dadasaheb Phalke Both were premiered at the Coronation Cinematograph in Bombay 44 45 46 Some film scholars have argued that Pundalik was not a true Indian film because it was simply a recording of a stage play filmed by a British cameraman with the film processed in London 47 48 The latter film had a story based on elements from Sanskrit epics and its successes led many to consider Phalke a pioneer of Indian cinema 46 The first Tamil and Malayam films also silent films were Keechaka Vadham 1916 R Nataraja Mudaliar 49 and Vigathakumaran 1928 J C Daniel Nadar The latter was the first Indian social drama film and featured the first Dalit caste film actress citation needed The first chain of Indian cinemas Madan Theatre was owned by Parsi entrepreneur Jamshedji Framji Madan who oversaw the production and distribution of films for the chain 46 These included film adaptations from Bengal s popular literature and Satyawadi Raja Harishchandra 1917 a remake of Phalke s influential film citation needed In South India film pioneer Raghupathi Venkayya credited as the father of Telugu cinema built the first cinemas in Madras now Chennai and a film studio was established in the city by Nataraja Mudaliar 50 51 52 Films steadily gained popularity across India as affordable entertainment for the masses admission as low as an anna one sixteenth of a rupee in Bombay 38 Young producers began to incorporate elements of Indian social life and culture into cinema others brought new ideas from across the world Global audiences and markets soon became aware of India s film industry 53 In 1927 the British government to promote the market in India for British films over American ones formed the Indian Cinematograph Enquiry Committee The ICC consisted of three British and three Indians led by T Rangachari a Madras lawyer 54 This committee failed to bolster the desired recommendations of supporting British Film instead recommending support for the fledgling Indian film industry and their suggestions were set aside Talkies 1930s mid 1940s Edit The first Indian sound film was Alam Ara 1931 Ardeshir Irani 46 He also produced South India s first sound film the Tamil Telugu bilingual talking picture Kalidas 1931 H M Reddy 55 56 Jumai Shasthi was the first Bengali talkie citation needed Chittoor Nagayya was one of the first multilingual filmmakers in India 57 58 relevant East India Film Company produced its first Telugu film Savitri 1933 C Pullaiah adapted from a stage play by Mylavaram Bala Bharathi Samajam 59 The film received an honorary diploma at the 2nd Venice International Film Festival 60 Jyoti Prasad Agarwala made his first film Joymoti 1935 in Assamese and later made Indramalati citation needed The first film studio in South India Durga Cinetone was built in 1936 by Nidamarthi Surayya in Rajahmundry Andhra Pradesh 61 contradictory The advent of sound to Indian cinema launched musicals such as Indra Sabha and Devi Devyani marking the beginning of song and dance in Indian films 46 By 1935 studios emerged in major cities such as Madras Calcutta and Bombay as filmmaking became an established industry exemplified by the success of Devdas 1935 62 The first colour film made in India was Kisan Kanya 1937 Moti B 63 Vishwa Mohini 1940 was the first Indian film to depict the Indian movie making world 64 Swamikannu Vincent who had built the first cinema of South India in Coimbatore introduced the concept of tent cinema in which a tent was erected on a stretch of open land to screen films The first of its kind was in Madras and called Edison s Grand Cinema Megaphone This was due to the fact that electric carbons were used for motion picture projectors 65 further explanation needed Bombay Talkies opened in 1934 and Prabhat Studios in Pune began production of Marathi films 62 Sant Tukaram 1936 was the first Indian film to be screened at an international film festival contradictory at the 1937 edition of the Venice Film Festival The film was judged one of the three best films of the year 66 However while Indian filmmakers sought to tell important stories the British Raj banned Wrath 1930 and Raithu Bidda 1938 for broaching the subject of the Indian independence movement 46 67 68 The Indian Masala film a term used for mixed genre films that combined song dance romance etc arose following the Second World War 62 During the 1940s cinema in South India accounted for nearly half of India s cinema halls and cinema came to be viewed as an instrument of cultural revival 62 The Indian People s Theatre Association IPTA an art movement with a communist inclination began to take shape through the 1940s and the 1950s 69 IPTA plays such as Nabanna 1944 prepared the ground for realism in Indian cinema exemplified by Khwaja Ahmad Abbas s Dharti Ke Lal Children of the Earth 1946 69 The IPTA movement continued to emphasize realism in films Mother India and Pyaasa among India s most recognizable cinematic productions 70 Following independence the 1947 partition of India divided the nation s assets and a number of studios moved to Pakistan 62 Partition became an enduring film subject thereafter 62 The Indian government had established a Films Division by 1948 which eventually became one of the world s largest documentary film producers with an annual production of over 200 short documentaries each released in 18 languages with 9 000 prints for permanent film theatres across the country 71 Golden Age late 1940s 1960s Edit Satyajit Ray is recognised as one of the greatest filmmakers of the 20th century 72 73 74 75 76 77 excessive citations The period from the late 1940s to the early 1960s is regarded by film historians as the Golden Age of Indian cinema 78 79 80 This period saw the emergence of the Parallel Cinema movement which emphasized social realism Mainly led by Bengalis 81 early examples include Dharti Ke Lal 1946 Khwaja Ahmad Abbas 82 Neecha Nagar 1946 Chetan Anand 83 Nagarik 1952 Ritwik Ghatak 84 85 and Do Bigha Zamin 1953 Bimal Roy laying the foundations for Indian neorealism 86 and the Indian New Wave 87 The Apu Trilogy 1955 1959 Satyajit Ray won prizes at several major international film festivals and firmly established the Parallel Cinema movement 88 It was influential on world cinema and led to a rush of coming of age films in art house theatres 89 Cinematographer Subrata Mitra developed the technique of bounce lighting to recreate the effect of daylight on sets during the second film of the trilogy 90 and later pioneered other effects such as the photo negative flashbacks and X ray digressions 91 During the 1950s Indian cinema reportedly became the world s second largest film industry earning a gross annual income of 250 million equivalent to 22 billion or US 280 million in 2020 in 1953 92 The government created the Film Finance Corporation FFC in 1960 to provide financial support to filmmakers 93 While serving as Information and Broadcasting Minister of India in the 1960s Indira Gandhi supported the production of off beat cinema through the FFC 93 Commercial Hindi cinema began thriving including acclaimed films Pyaasa 1957 and Kaagaz Ke Phool 1959 Guru Dutt Awaara 1951 and Shree 420 1955 Raj Kapoor These films expressed social themes mainly dealing with working class urban life in India Awaara presented Bombay as both a nightmare and a dream while Pyaasa critiqued the unreality of city life 81 Epic film Mother India 1957 Mehboob Khan was the first Indian film to be nominated for the US based Academy of Motion Picture Arts and Sciences Academy Award for Best Foreign Language Film 94 and defined the conventions of Hindi cinema for decades 95 96 97 It spawned a new genre of dacoit films 98 Gunga Jumna 1961 Dilip Kumar was a dacoit crime drama about two brothers on opposite sides of the law a theme that became common in Indian films in the 1970s 99 Madhumati 1958 Bimal Roy popularized the theme of reincarnation in Western popular culture 100 Actor Dilip Kumar rose to fame in the 1950s and was the biggest Indian movie star of the time 101 102 He was a pioneer of method acting predating Hollywood method actors such as Marlon Brando Much like Brando s influence on New Hollywood actors Kumar inspired Indian actors including Amitabh Bachchan Naseeruddin Shah Shah Rukh Khan and Nawazuddin Siddiqui 103 Neecha Nagar 1946 won the Palme d Or at Cannes 83 and Indian films competed for the award most years in the 1950s and early 1960s citation needed Ray is regarded as one of the greatest auteurs of 20th century cinema 104 along with his contemporaries Dutt 105 and Ghatak 106 In 1992 the Sight amp Sound Critics Poll ranked Ray at No 7 in its list of Top 10 Directors of all time 107 Multiple films from this era are included among the greatest films of all time in various critics and directors polls including The Apu Trilogy 108 Jalsaghar Charulata 109 Aranyer Din Ratri 110 Pyaasa Kaagaz Ke Phool Meghe Dhaka Tara Komal Gandhar Awaara Baiju Bawra Mother India Mughal e Azam 111 and Subarnarekha also tied at No 11 106 Sivaji Ganesan became India s first actor to receive an international award when he won the Best Actor award at the Afro Asian film festival in 1960 and was awarded the title of Chevalier in the Legion of Honour by the French Government in 1995 112 Tamil cinema is influenced by Dravidian politics 113 with prominent film personalities C N Annadurai M G Ramachandran M Karunanidhi and Jayalalithaa becoming Chief Ministers of Tamil Nadu 114 timeframe 1970s present Edit By 1986 India s annual film output had increased to 833 films annually making India the world s largest film producer 115 Hindi film production of Bombay the largest segment of the industry became known as Bollywood By 1996 the Indian film industry had an estimated domestic cinema viewership of 600 million people establishing India as one of the largest film markets with the largest regional industries being Hindi Tamil and Telugu films 116 In 2001 in terms of ticket sales Indian cinema sold an estimated 3 6 billion tickets annually across the globe compared to Hollywood s 2 6 billion tickets sold 117 118 Hindi Edit Realistic Parallel Cinema continued throughout the 1970s 119 practised in many Indian film cultures The FFC s art film orientation came under criticism during a Committee on Public Undertakings investigation in 1976 which accused the body of not doing enough to encourage commercial cinema 120 Hindi commercial cinema continued with films such as Aradhana 1969 Sachaa Jhutha 1970 Haathi Mere Saathi 1971 Anand 1971 Kati Patang 1971 Amar Prem 1972 Dushman 1972 and Daag 1973 importance The screenwriting duo Salim Javed consisting of Salim Khan l and Javed Akhtar r revitalised Indian cinema in the 1970s 121 and are considered Bollywood s greatest screenwriters 122 By the early 1970s Hindi cinema was experiencing thematic stagnation 123 dominated by musical romance films 124 Screenwriter duo Salim Javed Salim Khan and Javed Akhtar revitalised the industry 123 They established the genre of gritty violent Bombay underworld crime films with Zanjeer 1973 and Deewaar 1975 125 126 They reinterpreted the rural themes of Mother India and Gunga Jumna in an urban context reflecting 1970s India 123 127 channelling the growing discontent and disillusionment among the masses 123 unprecedented growth of slums 128 and urban poverty corruption and crime 129 as well as anti establishment themes 130 This resulted in their creation of the angry young man personified by Amitabh Bachchan 130 who reinterpreted Kumar s performance in Gunga Jumna 123 127 and gave a voice to the urban poor 128 By the mid 1970s Bachchan s position as a lead actor was solidified by crime action films Zanjeer and Sholay 1975 120 The devotional classic Jai Santoshi Ma 1975 was made on a low budget and became a box office success and a cult classic 120 Another important film was Deewaar 1975 Yash Chopra 99 a crime film with brothers on opposite sides of the law which Danny Boyle described as absolutely key to Indian cinema 131 The term Bollywood was coined in the 1970s 132 133 when the conventions of commercial Bombay produced Hindi films were established 134 Key to this was Nasir Hussain and Salim Javed s creation of the masala film genre which combines elements of action comedy romance drama melodrama and musical 134 135 Their film Yaadon Ki Baarat 1973 has been identified as the first masala film and the first quintessentially Bollywood film 134 136 Masala films made Bachchan the biggest Bollywood movie star of the period Another landmark was Amar Akbar Anthony 1977 Manmohan Desai 136 137 Desai further expanded the genre in the 1970s and 1980s Commercial Hindi cinema grew in the 1980s with films such as Ek Duuje Ke Liye 1981 Disco Dancer 1982 Himmatwala 1983 Tohfa 1984 Naam 1986 Mr India 1987 and Tezaab 1988 In the late 1980s timeframe Hindi cinema experienced another period of stagnation with a decline in box office turnout due to increasing violence decline in musical melodic quality and rise in video piracy leading to middle class family audiences abandoning theatres The turning point came with Indian blockbuster Disco Dancer 1982 which began the era of disco music in Indian cinema Lead actor Mithun Chakraborty and music director Bappi Lahiri had the highest number of mainstream Indian hit movies that decade At the end of the decade Yash Chopra s Chandni 1989 created a new formula for Bollywood musical romance films reviving the genre and defining Hindi cinema in the years that followed 138 139 Commercial Hindi cinema grew in the late 1980s and 1990s with the release of Mr India 1987 Qayamat Se Qayamat Tak 1988 Chaalbaaz 1989 Maine Pyar Kiya 1989 Lamhe 1991 Saajan 1991 Khuda Gawah 1992 Khalnayak 1993 Darr 1993 120 Hum Aapke Hain Koun 1994 Dilwale Dulhaniya Le Jayenge 1995 Dil To Pagal Hai 1997 Pyar Kiya Toh Darna Kya 1998 and Kuch Kuch Hota Hai 1998 Cult classic Bandit Queen 1994 directed by Shekhar Kapur received international recognition and controversy 140 141 Sridevi 2012 is regarded as one of India s most influential movie stars In the late 1990s there was a resurgence of Parallel Cinema in Bollywood largely due to the critical and commercial success of crime films such as Satya 1998 and Vaastav 1999 These films launched a genre known as Mumbai noir 142 reflecting social problems in the city 143 Ram Gopal Varma directed the Indian Political Trilogy and the Indian Gangster Trilogy film critic Rajeev Masand had labelled the latter series as one of the most influential movies of Bollywood 144 145 146 The first installment of the trilogy Satya was also listed in CNN IBN s 100 greatest Indian films of all time 147 Since the 1990s the three biggest Bollywood movie stars have been the Three Khans Aamir Khan Shah Rukh Khan and Salman Khan 148 149 Combined they starred in the top ten highest grossing Bollywood films 148 and have dominated the Indian box office since the 1990s 150 151 Shah Rukh Khan was the most successful for most of the 1990s and 2000s while Aamir Khan has been the most successful since the late 2000s 152 according to Forbes Shah Rukh Khan is arguably the world s biggest movie star as of 2017 due to his immense popularity in India and China 153 Other notable Hindi film stars of recent decades include Akshay Kumar Ajay Devgan Hrithik Roshan Anil Kapoor Sanjay Dutt Sridevi Madhuri Dixit and Kajol Haider 2014 Vishal Bhardwaj the third instalment of the Indian Shakespearean Trilogy after Maqbool 2003 and Omkara 2006 154 won the People s Choice Award at the 9th Rome Film Festival in the Mondo Genere making it the first Indian film to achieve this honour 155 relevant The 2000s and 2010s also saw the rise of a new generation of popular actors like Shahid Kapoor Ranbir Kapoor Ranveer Singh Ayushmann Khurrana Varun Dhawan Sidharth Malhotra Sushant Singh Rajput Kartik Aaryan Arjun Kapoor Aditya Roy Kapur and Tiger Shroff as well as actresses like Vidya Balan Priyanka Chopra Katrina Kaif Kangana Ranaut Deepika Padukone Sonam Kapoor Anushka Sharma Shraddha Kapoor Alia Bhatt and Kriti Sanon with Balan and Ranaut gaining wide recognition for successful female centric films such as The Dirty Picture 2011 Kahaani 2012 Queen 2014 Tanu Weds Manu Returns 2015 and Manikarnika The Queen of Jhansi 2019 Kareena Kapoor and Rani Mukerji are among the few working actresses from the 2000s and late 1990s who successfully completed more than 20 years in the industry citation needed relevant Salim Javed were highly influential in South Indian cinema In addition to writing two Kannada films many of their Bollywood films had remakes produced in other regions including Tamil Telugu and Malayalam cinema While the Bollywood directors and producers held the rights to their films in Northern India Salim Javed retained the rights in South India where they sold remake rights for films such as Zanjeer Yaadon Ki Baarat and Don 156 Several of these remakes became breakthroughs for actor Rajinikanth 124 157 Sridevi is widely regarded as the first female superstar of Indian cinema due to her pan Indian appeal with equally successful careers in Hindi Tamil Malayalam Kannada and Telugu cinema She is the only Bollywood actor to have starred in a top 10 grossing film each year of her active career 1983 1997 citation needed Telugu Edit From left to right K Viswanath Ram Gopal Varma and S S Rajamouli K Viswanath s works such as Sankarabharanam 1980 about revitalization of Indian classical music won the Prize of the Public at the Besancon Film Festival of France in the year 1981 158 Forbes included J V Somayajulu s performance in the film on its list of 25 Greatest Acting Performances of Indian Cinema 159 Swathi Muthyam 1986 was India s official entry to the 59th Academy Awards 158 Swarna Kamalam 1988 the dance film choreographed by Kelucharan Mohapatra and Sharon Lowen was featured at the Ann Arbor Film Festival fetching three Indian Express Awards 160 161 B Narsing Rao K N T Sastry and A Kutumba Rao garnered international recognition for their works in new wave cinema 162 163 Narsing Rao s Maa Ooru 1992 won the Media Wave Award of Hungary Daasi 1988 and Matti Manushulu 1990 won the Diploma of Merit awards at the 16th and 17th MIFF respectively 164 165 166 Sastry s Thilaadanam 2000 received New Currents Award at the 7th Busan 167 168 Rajnesh Domalpalli s Vanaja 2006 won Best First Feature Award at the 57th Berlinale 169 170 Ram Gopal Varma s Siva 1989 which attained cult following 171 introduced steadicams and new sound recording techniques to Indian films 172 Siva attracted the young audience during its theatrical run and its success encouraged filmmakers to explore a variety of themes and make experimental films 173 Varma introduced road movie and film noir to Indian screen with Kshana Kshanam 1991 174 Varma experimented with close to life performances by the lead actors which bought a rather fictional storyline a sense of authenticity at a time when the industry was being filled with commercial fillers 175 Singeetam Srinivasa Rao introduced science fiction to the Indian screen with Aditya 369 1991 the film dealt with exploratory dystopian and apocalyptic themes 176 The edge of the seat thriller had characters which stayed human inconsistent and insecure The film s narrative takes the audience into the post apocalyptic experience through time travel as well as folklore generation of 1500 A D which including a romantic backstory and The Time Machine 177 178 179 Chiranjeevi s works such as the social drama film Swayamkrushi 1987 comedy thriller Chantabbai 1986 the vigilante thriller Kondaveeti Donga 1990 180 the Western thriller Kodama Simham 1990 and the action thriller Gang Leader 1991 popularized genre films with the highest estimated cinema footfalls 181 Sekhar Kammula s Dollar Dreams 2000 which explored the conflict between American dreams and human feelings re introduced social realism to Telugu film which had stagnated in formulaic commercialism 182 War drama Kanche 2015 Krish Jagarlamudi explored the 1944 Nazi attack on the Indian army in the Italian campaign of the Second World War 183 Pan Indian works such as Sankalp Reddy s Ghazi 2017 explored submarine warfare based on the mysterious altercation between PNS Ghazi and INS Karanj during the Indo Pakistani War of 1971 184 S S Rajamouli s epic Baahubali 2 The Conclusion 2017 won the American Saturn Award for Best International Film 185 186 and the alternate history RRR 2022 gathered the American Critics Choice Movie Award for Best Foreign Language Film 187 the only Indian films fetching the honors 188 189 Tamil Edit Tamil cinema established Madras now Chennai as a secondary film production centre in India used by Hindi cinema other South Indian film industries and Sri Lankan cinema 190 Over the last quarter of the 20th century Tamil films from India established a global presence through distribution to an increasing number of overseas theatres 191 192 The industry also inspired independent filmmaking in Sri Lanka and Tamil diaspora populations in Malaysia Singapore and the Western Hemisphere 193 From left to right Mani Ratnam film director Kamal Hasan and Rajinikanth Marupakkam 1991 K S Sethumadhavan and Kanchivaram 2007 each won the National Film Award for Best Feature Film 194 Tamil films receive significant patronage in neighbouring Indian states Kerala Karnataka Andhra Pradesh Maharashtra Gujarat and New Delhi In Kerala and Karnataka the films are directly released in Tamil but in Telangana and Andhra Pradesh they are generally dubbed into Telugu 195 196 Tamil films have consistent popularity among audiences in South East Asia citation needed Since Chandralekha Muthu was the second Tamil film to be dubbed into Japanese as Mutu Odoru Maharaja 197 and grossed a record 1 6 million in 1998 198 In 2010 Enthiran grossed a record 4 million in North America 199 Tamil language films appeared at multiple film festivals Kannathil Muthamittal Ratnam Veyyil Vasanthabalan and Paruthiveeran Ameer Sultan Kanchivaram Priyadarshan premiered at the Toronto International Film Festival Tamil films were submitted by India for the Academy Award for Best Foreign Language Film on eight occasions 200 Chennai based music composer A R Rahaman achieved global recognition with two Academy Awards and is nicknamed as Isai Puyal musical storm and Mozart of Madras Nayakan 1987 Kamal Haasan was included in Time s All Time 100 Movies list 201 Malayalam Edit Adoor Gopalakrishnan Malayalam cinema experienced its Golden Age during this time with works of filmmakers such as Adoor Gopalakrishnan G Aravindan T V Chandran and Shaji N Karun 202 Gopalakrishnan is often considered to be Ray s spiritual heir 203 He directed some of his most acclaimed films during this period including Elippathayam 1981 which won the Sutherland Trophy at the London Film Festival 204 Karun s debut film Piravi 1989 won the Camera d Or at Cannes while his second film Swaham 1994 was in competition for the Palme d Or Vanaprastham was screened at the Un Certain Regard section of the Cannes Film Festival 205 Murali Nair s Marana Simhasanam 1999 inspired by the first execution by electrocution in India the film was screened in the Un Certain Regard section at the 1999 Cannes Film Festival where it won the Camera d Or 206 207 The film received special reception at the British Film Institute 208 209 Fazil s Manichitrathazhu 1993 scripted by Madhu Muttam is inspired by a tragedy that happened in an Ezhava tharavad of Alummoottil meda an old Traditional house located at Muttom Alappuzha district a central Travancore Channar family in the 19th century 210 It was remade in four languages in Kannada as Apthamitra in Tamil as Chandramukhi in Bengali as Rajmohol and in Hindi as Bhool Bhulaiyaa all being commercially successful 211 Jeethu Joseph s Drishyam 2013 was remade into four other Indian languages Drishya 2014 in Kannada Drushyam 2014 in Telugu Papanasam 2015 in Tamil and Drishyam 2015 in Hindi Internationally it was remade in Sinhala language as Dharmayuddhaya 2017 and in Chinese as Sheep Without a Shepherd 2019 and also in Indonesian 212 213 214 Kannada Edit Girish Karnad Ethnographic works took prominence such as B V Karanth s Chomana Dudi 1975 based on Chomana Dudi by Shivaram Karanth Girish Karnad s Kaadu 1973 based on Kaadu by Srikrishna Alanahalli Pattabhirama Reddy s Samskara 1970 based on Samskara by U R Ananthamurthy fetching the Bronze Leopard at Locarno International Film Festival 215 and T S Nagabharana s Mysuru Mallige based on the works of poet K S Narasimhaswamy 216 Girish Kasaravalli s Ghatashraddha 1977 won the Ducats Award at the Manneham Film Festival Germany 217 Dweepa 2002 made to Best Film at Moscow International Film Festival 218 219 Prashanth Neel s K G F film series 2018 2022 is a period action series based on the Kolar Gold Fields 220 Set in the late 1970s and early 1980s the series follows Raja Krishnappa Bairya aka Rocky Yash a Mumbai based high ranking mercenary born in poverty to his rise to power in the Kolar Gold Fields and the subsequent uprising as one of the biggest gangster and businessman at that time 221 222 The film gathered cult following becoming the highest grossing Kannada film 223 Rishab Shetty s Kantara 2022 received acclaim for showcasing the Bhoota Kola a native Ceremonial dance performance prevalent among the Hindus of coastal Karnataka 224 Cultural context Edit Victoria Public Hall Chennai served as a theatre in the late 19th century and the early 20th century Prasads IMAX Theatre Hyderabad was once the world s largest 3D IMAX screen and the most attended screen in the world 225 226 227 Ramoji Film City Hyderabad is the world s largest film studio 228 PVR Cinemas is one of the largest cinema chains in India K Moti Gokulsing and Wimal Dissanayake identified six major influences that have shaped Indian popular cinema 229 The ancient epics of Mahabharata and Ramayana influenced the narratives of Indian cinema Examples of this influence include the techniques of a side story back story and story within a story Indian popular films often have plots that branch into sub plots such narrative dispersals can be seen in the 1993 films Khalnayak and Gardish Ancient Sanskrit drama with its emphasis on spectacle music dance and gesture combined to create a vibrant artistic unit with dance and mime being central to the dramatic experience Sanskrit dramas were known as natya derived from the root word nrit dance featuring spectacular dance dramas 230 The Rasa method of performance dating to ancient times is one of the fundamental features that differentiate Indian from Western cinema In the Rasa method the performer conveys emotions to the audience through empathy in contrast to the Western Stanislavski method where the actor must become a living breathing embodiment of a character The rasa method is apparent in the performances of Hindi actors such as Bachchan and Shah Rukh Khan and in Hindi films such as Rang De Basanti 2006 231 and Ray s works 232 Traditional folk theatre which became popular around the 10th century with the decline of Sanskrit theatre These regional traditions include the Yatra of West Bengal the Ramlila of Uttar Pradesh Yakshagana of Karnataka Chindu Natakam of Andhra Pradesh and the Terukkuttu of Tamil Nadu Parsi theatre which blends realism and fantasy containing crude humour songs and music sensationalism and dazzling stagecraft 230 These influences are clearly evident in masala films such as Coolie 1983 and to an extent in more recent critically acclaimed films such as Rang De Basanti 231 Hollywood made popular musicals from the 1920s through the 1960s though Indian films used musical sequences as another fantasy element in the song and dance tradition of narration undisguised and intersect ing with people s day to day lives in compelex and interesting ways 233 Western music videos particularly MTV had an increasing influence in the 1990s as can be seen in the pace camera angles dance sequences and music of recent Indian films An early example of this approach was Bombay 1995 Mani Ratnam 234 Sharmistha Gooptu and Bhaumik identify Indo Persian Islamicate culture as another major influence In the early 20th century Urdu was the lingua franca of popular performances across northern India established in performance art traditions such as nautch dancing Urdu poetry and Parsi theatre Urdu and related Hindi dialects were the most widely understood across northern India thus Hindustani became the standardised language of early Indian talkies One Thousand and One Nights Arabian Nights had a strong influence on Parsi theatre which adapted Persianate adventure romances into films and on early Bombay cinema where Arabian Nights cinema became a popular genre 235 Like mainstream Indian popular cinema Indian parallel cinema was influenced by a combination of Indian theatre and Indian literature such as Bengali literature and Urdu poetry but differs when it comes to foreign influences where it is influenced more by European cinema particularly Italian neorealism and French poetic realism than by Hollywood Ray cited Vittorio De Sica s Bicycle Thieves 1948 and Jean Renoir s The River 1951 on which he assisted as influences on his debut film Pather Panchali 1955 International influence EditDuring colonial rule Indians bought film equipment from Europe 53 The British funded wartime propaganda films during the Second World War some of which showed the Indian army pitted against the Axis powers specifically the Empire of Japan which had managed to infiltrate India 236 One such story was Burma Rani which depicted civilian resistance to Japanese occupation by British and Indian forces in Myanmar 236 Pre independence businessmen such as J F Madan and Abdulally Esoofally traded in global cinema 46 Early Indian films made early inroads into the Soviet Union Middle East Southeast Asia 237 and China Mainstream Indian movie stars gained international fame across Asia 238 239 240 and Eastern Europe 241 242 For example Indian films were more popular in the Soviet Union than Hollywood films 243 244 and occasionally domestic Soviet films 245 From 1954 to 1991 206 Indian films were sent to the Soviet Union drawing higher average audience figures than domestic Soviet productions 244 246 Films such as Awaara and Disco Dancer drew more than 60 million viewers 247 248 Films such as Awaara 3 Idiots and Dangal 249 250 were among the 20 highest grossing films in China 251 Many Asian and South Asian countries increasingly found Indian cinema more suited to their sensibilities than Western cinema 237 Jigna Desai holds that by the 21st century Indian cinema had become deterritorialized spreading to parts of the world where Indian expatriates were present in significant numbers and had become an alternative to other international cinema 252 Indian films frequently appeared in international fora and film festivals 237 This allowed Parallel Bengali filmmakers to achieve worldwide fame 253 Indian cinema more recently began influencing Western musical films and played a particularly instrumental role in the revival of the genre in the Western world Ray s work had a worldwide impact with filmmakers such as Martin Scorsese 254 James Ivory 255 Abbas Kiarostami Francois Truffaut 256 Carlos Saura 257 Isao Takahata and Gregory Nava 258 citing his influence and others such as Akira Kurosawa praising his work 259 The youthful coming of age dramas that flooded art houses since the mid fifties owe a tremendous debt to the Apu trilogy 89 who said this Since the 1980s overlooked Indian filmmakers such as Ghatak 260 and Dutt 261 posthumously gained international acclaim Baz Luhrmann stated that his successful musical film Moulin Rouge 2001 was directly inspired by Bollywood musicals 262 That film s success renewed interest in the then moribund Western musical genre subsequently fuelling a renaissance 263 Danny Boyle s Slumdog Millionaire 2008 was directly inspired by Indian films 131 264 and is considered to be an homage to Hindi commercial cinema 265 Indian cinema has been recognised repeatedly at the US based Academy Awards Indian films Mother India 1957 Salaam Bombay 1988 and Lagaan 2001 were nominated for the Academy Award for Best Foreign Language Film Indian Oscar winners include Bhanu Athaiya costume designer Ray filmmaker A R Rahman music composer Resul Pookutty sound editor and Gulzar lyricist Cottalango Leon and Rahul Thakkar Sci Tech Award 266 Genres and styles EditMasala film Edit Main article Masala film Masala is a style of Indian cinema that mixes multiple genres in one work especially in Bollywood West Bengal and South India For example one film can portray action comedy drama romance and melodrama These films tend to be musicals with songs filmed in picturesque locations Plots for such movies may seem illogical and improbable to unfamiliar viewers The genre is named after masala a mixture of spices in Indian cuisine Parallel cinema Edit Main article Parallel cinema Parallel Cinema also known as Art Cinema or the Indian New Wave is known for its realism and naturalism addressing the sociopolitical climate This movement is distinct from mainstream Bollywood cinema and began around the same time as the French and Japanese New Waves The movement began in Bengal led by Ray Sen and Ghatak and then gained prominence in other regions The movement was launched by Bimal Roy s Do Bigha Zamin 1953 which was both a commercial and critical success winning the International Prize at Cannes 86 87 267 Ray s films include the three instalments of The Apu Trilogy which won major prizes at the Cannes Berlin and Venice Film Festivals and are frequently listed among the greatest films of all time 268 269 270 271 Other neo realist filmmakers were Shyam Benegal Karun Gopalakrishnan 81 and Kasaravalli 272 Multilingual Edit Some Indian films are known as multilinguals filmed in similar but non identical versions in different languages According to Ashish Rajadhyaksha and Paul Willemen in the Encyclopedia of Indian Cinema 1994 in its most precise form a multilingual is a bilingual or a trilingual that was the kind of film made in the 1930s in the studio era when different but identical takes were made of every shot in different languages often with different leading stars but identical technical crew and music 273 15 Rajadhyaksha and Willemen note that in seeking to construct their Encyclopedia they often found it extremely difficult to distinguish multilinguals in this original sense from dubbed versions remakes reissues or in some cases the same film listed with different titles presented as separate versions in different languages it will take years of scholarly work to establish definitive data in this respect 273 15 Pan India film Edit Main article Pan Indian film Pan India film is both a style of cinema and a distribution strategy designed to universally appeal to audiences across the country and simultaneously released in multiple languages It is a film movement that has gained popularity following the success of Baahubali The Beginning 2015 which was a Tollywood film The term Pan Indian film is used for a film that is simultaneously released in Telugu Tamil Malayalam Kannada and Hindi languages with an aim to maximize the target audience and thus increase revenues 274 Music EditSee also Filmi Music is a substantial revenue generator for the Indian film industry with music rights alone accounting for 4 5 of net revenues 275 The major film music companies are T Series at Delhi Sony Music India at Chennai and Zee Music Company at Mumbai Aditya Music at Hyderabad and Saregama at Kolkata 275 Film music accounts for 48 of net music sales in the country 275 A typical film may feature 5 6 choreographed songs 276 The demands of a multicultural increasingly globalised Indian audience led to a mixing of local and international musical traditions 276 Local dance and music remain a recurring theme in India and followed the Indian diaspora 276 Playback singers such as Mohammad Rafi Kishore Kumar Lata Mangeshkar K J Yesudas P Susheela S Janaki Asha Bhosle K S Chitra Kumar Sanu Udit Narayan and S P Balasubrahmanyam drew crowds to presentations of film music 276 In the 21st century interaction increased between Indian artists and others specify 277 Filming locations EditA filming location is any place where acting and dialogue are recorded Sites where filming without dialogue takes place are termed a second unit photography site Filmmakers often choose to shoot on location because they believe that greater realism can be achieved in a real place Location shooting is often motivated by budget considerations citation needed The most popular locations for filming in India are the main cities of their state for regional industry Other locations include Manali and Shimla in Himachal Pradesh Srinagar in Jammu and Kashmir Ladakh Darjeeling in West Bengal Ooty and Kodaikanal in Tamil Nadu Amritsar in Punjab Udaipur Jodhpur Jaisalmer and Jaipur in Rajasthan Delhi Kerala and Goa and Puducherry 278 279 Production companies EditMain article List of film production companies in India More than 1000 production organisations operate in the Indian film industry but few are successful AVM Productions is the oldest surviving studio in India Other major production houses include Yash Raj Films T Series Lyca Productions Madras Talkies AGS Entertainment Sun Pictures Red Chillies Entertainment Dharma Productions Eros International Ajay Devgn FFilms Balaji Motion Pictures UTV Motion Pictures Raaj Kamal Films International Aashirvad Cinemas Wunderbar Films Cape of Good Films and Geetha Arts 280 Cinema by language EditThis section needs to be updated The reason given is This info is of Indian cinema till 2019 but after COVID the situation is changed Telugu and cinema of Karnataka dominating Indian box office and World wide revenue needs u pdate and pie chart Please help update this article to reflect recent events or newly available information January 2023 Films are made in many cities and regions in India including Assam Bengal Bihar Gujarat Haryana Jammu Kashmir Jharkhand Karnataka Konkan Goa Kerala Maharashtra Manipur Odisha Chhattisgarh Punjab Rajasthan Tamil Nadu Andhra Pradesh and Telangana Tripura and Mizoram Breakdown by languages 2019 Indian feature films certified by the Central Board of Film Certification by languages 281 Note This table indicates the number of films certified by the CBFC s regional offices in nine cities The actual number of films produced may be less Language No of filmsHindi 495Kannada 336Telugu 281Tamil 254Malayalam 219Bengali 193Marathi 164Bhojpuri 101Gujarati 80Punjabi 63Odia 42Assamese 34English 28Tulu 16Manipuri 15Nagamese 11Konkani 10Mizo 10Rajasthani 8Khasi 7Sindhi 6Lambadi including Banjari 5Urdu 5Nagpuri 4Maithili 2Santali 2Others 1 eachTotal 1986Assamese Edit Main article Assamese cinema Joymati 1935 The Assamese language film industry is based in Assam in northeastern India It is sometimes called Jollywood for the Jyoti Chitraban Film Studio Some films have been well received by critics but they have not yet captured national audiences The 21st century has produced Bollywood style Assamese movies which have set new box office records for the small industry 282 Bengali Edit A scene from Dena Paona 1931 the first Bengali talkie Main article Cinema of West Bengal The Bengali language cinematic tradition of Tollygunge West Bengal is also known as Tollywood 283 When the term was coined in the 1930s it was the centre of the Indian film industry 284 West Bengal cinema is historically known for the parallel cinema movement and art films Braj Bhasha Edit Braj language films present Brij culture mainly to rural people predominantly in the nebulous Braj region centred around Mathura Agra Aligarh and Hathras in Western Uttar Pradesh and Bharatpur and Dholpur in Rajasthan northern India It is the predominant language in the central stretch of the Ganges Yamuna Doab in Uttar Pradesh The first Brij Bhasha movie was Brij Bhoomi 1982 Shiv Kumar which was a success throughout the country 285 286 Later Brij Bhasha cinema saw the production of films like Jamuna Kinare and Brij Kau Birju 287 288 Bhojpuri Edit Main article Bhojpuri cinema Bhojpuri language films predominantly cater to residents of western Bihar and eastern Uttar Pradesh and also have a large audience in Delhi and Mumbai due to the migration of Bhojpuri speakers to these cities International markets for these films developed in other Bhojpuri speaking countries of the West Indies Oceania and South America 289 Bhojpuri film history begins with Ganga Maiyya Tohe Piyari Chadhaibo Mother Ganges I will offer you a yellow sari 1962 Kundan Kumar 290 Throughout the following decades few films were produced The industry experienced a revival beginning with the hit Saiyyan Hamar My Sweetheart 2001 Mohan Prasad 291 Although smaller than other Indian film industries these successes increased Bhojpuri cinema s visibility leading to an awards show 292 and a trade magazine Bhojpuri City 293 Chakma Edit The Chakma language is spoken in Tripura and Mizoram Northeast India as well as in the Chittagong Hill Tracts region of Bangladesh Films in Chakma include Tanyabi Firti Tanyabi s Lake 2005 Satarupa Sanyal 294 Chhattisgarhi Edit Main article Chhattisgarhi cinema The Chhattisgarhi language film industry of Chhattisgarhi state central India is known as Chhollywood Its beginnings are with Kahi Debe Sandesh In Black and White 1965 Manu Nayak 295 296 297 No Chhattisgarhi films were released from 1971 298 until Mor Chhainha Bhuinya 2000 citation needed English Edit Main article English language Indian films Indian filmmakers also produce English language films Deepa Mehta Anant Balani Homi Adajania Vijay Singh Vierendrra Lalit and Sooni Taraporevala have garnered recognition in Indian English cinema Gujarati Edit Main article Gujarati cinema Amitabh Bachchan has been a popular Bollywood actor for over 45 years 299 The Gujarati language film industry also known as Gollywood or Dhollywood is currently centered in the state of Gujarat During the silent era many filmmakers and actors were Gujarati and Parsi and their films were closely related to Gujarati culture Twenty film companies and studios mostly located in Bombay were owned by Gujaratis and at least 44 major Gujarati directors worked during this era 300 The first film released in Gujarati was Narsinh Mehta 1932 300 301 302 More than one thousand Gujarati films have been released 303 Gujarati cinema ranges from mythology to history and from social to political Gujarati films originally targeted a rural audience but after its revival c 2005 catered to an urban audience 300 Hindi Edit Main article Hindi cinema The Hindi language film industry of Mumbai formerly Bombay also known as Bollywood 304 is the largest and most powerful branch of Hindi cinema 305 Hindi cinema explores issues of caste and culture in films such as Achhut Kanya 1936 and Sujata 1959 306 International visibility came to the industry with Raj Kapoor s Awara and later in Shakti Samantha s Aradhana 307 Art film directors include Kaul Kumar Shahani Ketan Mehta Govind Nihalani Shyam Benegal 81 Mira Nair Nagesh Kukunoor Sudhir Mishra and Nandita Das Hindi cinema grew during the 1990s with the release of as many as 215 films annually Magazines such as Filmfare Stardust and Cine Blitz popularly cover the industry 308 Rajkumar on a 2009 postage stamp Director Girish Kasaravalli right Kannada Edit Main article Kannada cinema Kannada cinema also known as Sandalwood or Chandanavana 309 is the segment of Indian cinema 310 dedicated to the production of motion pictures in the Kannada language which is widely spoken in Karnataka state 311 312 313 Sati Sulochana 1934 Y V Rao was the first talkie film in the Kannada language 314 315 316 Kannada films include adaptations of major literary works 215 317 and experimental films 217 Konkani Edit Main article Konkani cinema Konkani language films are mainly produced in Goa one of India s smallest film regions which produced four films in 2009 318 The first full length Konkani film was Mogacho Anvddo 1950 Jerry Braganza 319 The film s release date 24 April is celebrated as Konkani Film Day 320 An immense body of Konkani literature and art is a resource for filmmakers Kazar Marriage 2009 Richard Castelino and Ujvaadu Shedding New Light on Old Age Issues Kasaragod Chinna are major releases The pioneering Mangalorean Konkani film is Mog Ani Maipas Maithili Edit See also Category Maithili language films Maithili cinema is made in the Maithili language The first full length film was Kanyadan 1965 321 There are numerous films made in the Maithili over the years 322 The film Mithila Makhaan 2019 won a National Award in the regional films category 323 Malayalam Edit Main article Malayalam cinema Mammooty has won the most number of National Awards in the Best Actor category in the Malayalam industry 324 The Malayalam language film industry also known as Mollywood is India s fourth largest film industry It is mainly based at Kochi Kerala state Neelakkuyil 1954 is often considered the first authentic Malayali film 325 Newspaper Boy 1955 made by a group of students was the first neo realistic Malayalam film 326 Chemmeen 1965 Ramu Kariat based on a story by Thakazhi Sivasankara Pillai became the first South Indian film to win the National Film Award for Best Feature Film 327 Malayalam cinema has been in the forefront of technological innovation in Indian filmmaking The first neorealistic film Newspaper Boy 202 the first CinemaScope film Thacholi Ambu 328 the first 70 mm film Padayottam 329 the first 3D film My Dear Kuttichathan 330 the first Panavision film Vanaprastham the first digital film Moonnamathoral 331 the first Smartphone film Jalachhayam 332 and the first 8K film Villain 333 in India were made in Malayalam The period from 1986 to 1990 is regarded as the Golden Age of Malayalam cinema 334 with four Malayalam films recognized by selection at the Cannes Film Festival Shaji N Karun directed Piravi 1989 Swaham 1994 and Vanaprastham 1999 and Murali Nair directed Marana Simhasanam 1999 Piravi 1989 won the Camera d Or Mention Speciale and Marana Simhasanam has won the Camera d Or citation needed The Kerala State Film Awards established by the Government of Kerala recognizes the best works in Malayalam cinema every year along with J C Daniel Award for lifetime achievement in Malayalam cinema K R Narayanan National Institute of Visual Science and Arts KRNNIVSA is a training and research centre for film and video technology 335 Manipuri Edit Main article Cinema of Manipur Manipuri cinema is a small film industry of Manipur encompassing Meitei language and other languages of the state It began in the 1970s and gained momentum following a 2002 state ban on Hindi films 80 100 movies are made each year Among the notable Manipuri films are Imagi Ningthem 1982 Aribam Syam Sharma Yenning Amadi Likla Phijigee Mani Leipaklei Loktak Lairembee and Eikhoishibu Kanano Marathi Edit Main article Marathi cinema Marathi films are produced in the Marathi language in Maharashtra state It the oldest of India s film industries which began in Kolhapur moved to Pune and is now based in old Mumbai citation needed Some of the more notable films are Sangte Aika Ek Gaon Bara Bhangadi Pinjara Sinhasan Pathlaag Jait Re Jait Saamana Santh Wahate Krishnamai Sant Tukaram and Shyamchi Aai citation needed Nagpuri Edit Main article Nagpuri cinema Nagpuri films are produced in the Nagpuri language in Jharkhand state The first Nagpuri feature film was Sona Kar Nagpur 1992 336 337 With a mainly rural population and cinema halls closing non traditional distribution models may be used 338 Gorkha Edit Gorkha cinema consists of films produced by Nepali speaking Indians Odia Edit Main article Cinema of Odisha The Odia language film industry of Bhubaneswar and Cuttack Odisha state is also known as Ollywood 339 The first Odia language film was Sita Bibaha 1936 340 The best year for Odia cinema was 1984 when Maya Miriga Nirad Mohapatra and Dhare Alua were showcased in Indian Panorama and Maya Miriga was invited to Critics Week at Cannes The film received the Best Third World Film award at Mannheim Film Festival Jury Award in Hawaii and was shown at the London Film Festival Punjabi Edit Main article Punjabi cinema The Punjabi language film industry based in Amritsar and Mohali Punjab is also known as Pollywood K D Mehra made the first Punjabi film Sheela 1935 As of 2009 Punjabi cinema had produced between 900 and 1 000 movies 341 Sindhi Edit Main article Sindhi cinema The Sindhi language film industry is largely based in Sindh Pakistan and with Sindhi speakers in North Gujarat and Southwestern Rajasthan India and elsewhere among the Sindhi diaspora The first Indian made Sindhi film was Ekta 1940 342 while the first Sindhi film produced in Pakistan was Umar Marvi 1956 343 The industry has produced some Bollywood style films The Sindhi film industry produces movies at intervals The first was Abana 1958 timeframe which was a success throughout the country Sindhi cinema then produced some Bollywood style films such as Hal Ta Bhaji Haloon Parewari Dil Dije Dil Waran Khe Ho Jamalo Pyar Kare Dis Feel the Power of Love and The Awakening Additionally numerous Sindhi have contributed in Bollywood including G P Sippy Ramesh Sippy Nikhil Advani Tarun Mansukhani Ritesh Sidhwani and Asrani relevant Sherdukpen Edit Director Songe Dorjee Thongdok introduced the first Sherdukpen language film Crossing Bridges 2014 Sherdukpen is native to the north eastern state of Arunachal Pradesh 344 relevant Kamal Haasan starred films have the highest number of Academy Award submissions in India citation needed Tamil Edit Main article Tamil cinema The Tamil language film industry based in Chennai also known as Kollywood once served as a hub for all South Indian film industries 345 The first South Indian talkie film Kalidas 1931 H M Reddy was shot in Tamil Sivaji Ganesan became India s first actor to receive an international award when he won Best Actor at the Afro Asian film festival in 1960 and the title of Chevalier in the Legion of Honour by the French Government in 1995 112 Tamil cinema is influenced by Dravidian politics 113 and has a tradition of addressing social issues Many of Tamil Nadu s prominent Chief Ministers previously worked in cinema Dravidian stalwarts C N Annadurai and M Karunanidhi were scriptwriters and M G Ramachandran and Jayalalithaa gained a political base through their fan followings 114 Tamil films are distributed to Tamil diaspora populations in various parts of Asia Southern Africa Northern America Europe and Oceania 346 The industry inspired Tamil film making in Sri Lanka Malaysia Singapore and Canada citation needed Telugu Edit Main article Telugu cinema From left to right Raghupati Venkayya father of Telugu cinema Y V Rao pioneer of cinema during crown rule 347 and stalwart Chittoor Nagayya known for his method acting 348 The Film and Television Institute of Telangana Film and Television Institute of Andhra Pradesh Ramanaidu Film School and Annapurna International School of Film and Media are among the largest film schools in India 349 350 The Telugu states are home to approximately 2800 theaters more than any single state in India 351 Being commercially consistent Telugu cinema had its influence over commercial cinema in India 352 The industry holds the Guinness World Record for the largest film production facility in the world Ramoji Film City 353 The Prasads IMAX located in Hyderabad is one of the largest 3D IMAX screens and is the most attended cinema screen in the world 225 354 355 As per the CBFC report of 2014 the industry is placed first in India in terms of films produced yearly 356 In the years 2005 2006 2008 and 2014 the industry has produced the largest number of films in India exceeding the number of films produced in Bollywood 357 358 Tulu Edit Main article Tulu cinema The Tulu language film industry based in the port city of Mangalore Karnataka is also known as Coastalwood A small industry its origins trace to the release of Enna Thangadi 1971 with about one release per year until growth was spurred by the commercial success of Oriyardori Asal 2011 Films are released across the Tulu Nadu cultural region with some recent films having a simultaneous release in Mumbai Bangalore and Arabian Gulf countries citation needed Awards EditThe Dadasaheb Phalke Award named for father of Indian cinema Dadasaheb Phalke 40 41 42 43 is given in recognition of lifetime contribution to cinema It was established by the government of India in 1969 and is the country s most prestigious film award 359 Prominent government sponsored film awards Award Year of Inception Awarded byBengal Film Journalists Association Awards 1937 Government of West BengalNational Film Awards 1954 Directorate of Film Festivals Government of IndiaMaharashtra State Film Awards 1963 Government of MaharashtraNandi Awards 1964 Government of Andhra PradeshPunjab Rattan Awards 360 1940 Government of PunjabTamil Nadu State Film Awards 1967 Government of Tamil NaduKarnataka State Film Awards 1967 Government of KarnatakaOrissa State Film Awards 1968 Government of OdishaKerala State Film Awards 1969 Government of KeralaProminent non governmental awards Award Year of Inception Awarded byBhojpuri Film Awards 2001 AB5 MultimediaSabrang Film Awards 2014 Godrej Consumer ProductsInternational Bhojpuri Film Awards 2015 Yashi Films InternationalFilmfare Awards 1954 Bennett Coleman and Co Ltd Filmfare Awards South 1954 Bennett Coleman and Co Ltd South Indian International Movie Awards 2012 Vibri Media GroupIIFA Awards 2000 Wizcraft International Entertainment Pvt LtdIIFA Utsavam 2016 Wizcraft International Entertainment Pvt LtdZee Cine Awards Telugu 2017 Zee Entertainment EnterprisesZee Cine Awards 1998 Zee Entertainment EnterprisesSansui Viewer s Choice Movie Awards 1998 Pritish Nandy Communications citation needed Santosham Film Awards 2004 Santosham film magazineCineMAA Awards 2004 Tollywood Movie Artistes AssociationAsianet Film Awards 1998 AsianetScreen Awards 1994 Screen WeeklyStardust Awards 2003 StardustZee Gaurav Puraskar 2003 Zee Entertainment EnterprisesTSR TV9 National Awards Telugu 2007 2008 Associated Broadcasting Company Private Limited T Subbarami Reddy citation needed Apsara Awards 2004 Apsara Producers Guild AwardsVijay Awards 2007 STAR VijayMarathi International Film and Theatre Awards 2010 Marathi Film IndustryPunjabi International Film Academy Awards 2012 Parvasi Media Inc Prag Cine Awards 2013 Prag AM TelevisionFilmfare Awards East 2014 Bennett Coleman and Co Ltd Arab Indo Bollywood Awards 2016 ICF Studios citation needed Film education EditGovernment run and private institutes provide formal education in various aspects of filmmaking Some of the prominent ones include State Institute of Film and Television AJK Mass Communication Research Centre Jamia Millia Islamia New Delhi citation needed Annapurna International School of Film and Media Hyderabad Asian Academy of Film and Television Biju Pattnaik Film and Television Institute of Odisha BOFTA Blue Ocean Film and Television Academy Kodambakkam Chennai Tamil Nadu 361 Centre for advanced media studies Patiala citation needed Mass Communication and the New Media Central University of Jammu citation needed Department of Culture and Media studies Central University of Rajasthan citation needed Film and Television Institute of India FTII Pune Film Theater Studies SOH Tamil Nadu Open University Saidapet Chennai citation needed Government Film and Television Institute Bangalore 362 K R Narayanan National Institute of Visual Science and Arts KRNNIVSA Kottayam Kerala 363 L V Prasad Film and TV Academy Chennai 364 M G R Government Film and Television Training Institute Chennai Matrikas Film School 365 National Institute of Design Ahmedabad 366 Palme Deor Media College Tambaram west Chennai and Arulananda Nagar Thanjavur 367 Regional Government Film and Television Institute RGFTI Guwahati citation needed Satyajit Ray Film and Television Institute Calcutta School of Media and Cultural Studies Tata Institute of Social Sciences Mumbai 368 Srishti School of Art Design and Technology Bangalore Karnataka citation needed Whistling Woods International National School of Drama DelhiSee also EditList of Indian winners and nominees of the Academy Awards List of Indian winners and nominees of the Golden Globe Awards List of Indian winners and nominees at the Cannes Film Festival International Film Festival of India List of Indian animated movies Lists of Indian actors List of Indian film actressesExplanatory notes Edit Hyderabad is the hub of the Telugu cinema 9 10 Mumbai is known as the film capital of India and the hub of Bollywood 11 12 Chennai is the hub of Tamil film industry 13 14 Kolkata is the home of Bengali cinema 15 16 17 Kochi is known as the hub of Malayalam cinema 18 19 20 21 Bangalore is the hub of Kannada cinema 22 23 The twin cities of Bhubaneswar amp Cuttack play host to the Odia film industry 24 25 Guwahati is the hub of Assamese cinema 26 27 Telugu cinema overtook Hindi cinema in box office revenue during the COVID 19 pandemic and may not reflect a lasting change in the economic recovery References Edit Guinness World Records Most Cinema Screens by Country Ficci in Retrieved 23 February 2022 Feature films Cinema infrastructure Capacity UNESCO Institute for Statistics UNESCO Retrieved 7 May 2019 Indian Feature Films Certified in 2021 22 PDF Film Federation of India Retrieved 8 September 2022 Culture Feature Films UNESCO Institute for Statistics 2015 Archived from the original on 3 November 2013 Retrieved 7 May 2019 a b Indian 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