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Cinema of India
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The cinema of India consists of films produced across India, including the cinematic culture of Mumbai along
with the cinematic traditions of states such as Andhra Pradesh, Assam, Karnataka, Kerala, Punjab, Tamil Nadu
and West Bengal. Indian films came to be followed throughout South Asia and the Middle East. As cinema as a
medium gained popularity in the country as many as 1,000 films in various languages of India were produced
annually. Expatriates in countries such as the United Kingdom and the United States continued to give rise to
international audiences for Hindi-language films.

Devi in the 1929 film, Prapancha Pasha (A Throw of Dice), directed by Franz Osten.jpg|thumb|Charu Roy and
Seeta Devi in the 1929 film, Prapancha Pash.

In the 20th century, Indian cinema, along with the American and Chinese film industries, became a global
enterprise.[1] Enhanced technology paved the way for upgradation from established cinematic norms of
delivering product, radically altering the manner in which content reached the target audience.[1] Indian cinema
found markets in over 90 countries where films from India are screened.[2] The country also participated in
international film festivals especially satyajith ray(bengali),Adoor Gopal krishnan,Shaji n karun(malayalam) .[2]
Indian filmmakers such as Shekhar Kapur, Mira Nair, Deepa Mehta etc. found success overseas.[3] The Indian
government extended film delegations to foreign countries such as the United States of America and Japan while
the country's Film Producers Guild sent similar missions through Europe.[4]

India is the world's largest producer of films, producing close to a thousand films annually.[5][6] About 600 of
the total films produced are in Telugu and Hindi, approximately 300 each, while the remaining are in other
languages.[6] However, Hindi films account for about half of the total revenue generated by cinema in India.[6]
The provision of 100% foreign direct investment has made the Indian film market attractive for foreign
enterprises such as 20th Century Fox, Sony Pictures, and Warner Bros.[7] Prominent Indian enterprises such as
Zee, UTV and Adlabs also participated in producing and distributing films.[7] Tax incentives to multiplexes have
aided the multiplex boom in India.[7] By 2003 as many as 30 film production companies had been listed in the
National Stock Exchange of India, making the commercial presence of the medium felt.[7]

The Indian diaspora constitutes of millions of Indians overseas for which films are made available both through
mediums such as DVDs and by screening of films in their country of residence wherever commercially
feasible.[8] These earnings, accounting for some 12% of the revenue generated by a mainstream film, contribute
substantially to the overall revenue of Indian cinema, the net worth of which was found to be 1.3 billion US
Dollars in 2000.[9] Facilities for film production in the country include Ramoji Film City in Hyderabad, the
home of Telugu film industry, the largest film studio complex in the world as certified by Guinness World
Records.[10] Music in Indian cinema is another substantial revenue generator, with the music rights alone
accounting for 4–5% of the net revenues generated by a film in India.[9]

Contents

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1 History
1.1 Golden Age of Indian cinema
1.2 Modern Indian cinema
2 Influences
3 Regional industries
3.1 Marathi cinema
3.2 Assamese cinema
3.3 Bengali cinema
3.4 Bhojpuri cinema
3.5 Hindi Cinema
3.6 Gujarati cinema
3.7 Kannada cinema
3.8 Malayalam cinema
3.9 Oriya cinema
3.10 Punjabi cinema
3.11 Tamil cinema
3.12 Telugu cinema
4 Genres and styles
4.1 Masala films
4.2 Parallel cinema
5 Film music
6 Global discourse
7 Awards
8 Film Institutes in India
9 Notes
10 References
11 Info Site

History

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Following the screening of the Lumière moving pictures in London

(1895) cinema became a sensation across Europe and by July 1896 the
Lumière films had been in show in Bombay (now Mumbai).[11] The first
short films in India were directed by Hiralal Sen, starting with The
Flower of Persia (1898).[12] The first full-length motion picture in India
was produced by Dadasaheb Phalke, a scholar on India's languages and
culture, who brought together elements from Sanskrit epics to produce
his Raja Harishchandra (1913), a silent film in Marathi. (Interestingly,
the female roles in the film were played by male actors.)[13] The first
Indian chain of cinema theaters was owned by the Calcutta entrepreneur
Jamshedji Framji Madan, who oversaw production of 10 films annually
and distributed them throughout the Indian subcontinent.[13] A scene from Raja Harishchandra
(1913) – The first full-length
During the early twentieth century cinema as a medium gained motion picture.
popularity across India's population and its many economic sections.[11]
Tickets were made affordable to the common man at a low price and for
the financially capable additional comforts meant additional admission
ticket price.[11] Audiences thronged to cinema halls as this affordable
medium of entertainment was available for as low as an anna (4 paisa)
in Bombay.[11] The content of Indian commercial cinema was
increasingly tailored to appeal to these masses.[11] Young Indian
producers began to incorporate elements of India's social life and culture
into cinema.[14] Others brought with them ideas from across the
world.[14] This was also the time when global audiences and markets A scene from the first motion
became aware of India's film industry.[14] picture of the Assamese film
industry, Joymati (1935).
Ardeshir Irani released Alam Ara, the first Indian talking film, on 14
March 1931.[13] Following the inception of 'talkies' in India some film
stars were highly sought after and earned comfortable incomes through
acting.[13] As sound technology advanced the 1930s saw the rise of
music in Indian cinema with musicals such as Indra Sabha and Devi
Devyani marking the beginning of song-and-dance in India's films.[13]
Studios emerged across major cities such as Chennai, Kolkata, and
Mumbai as film making became an established craft by 1935,
exemplified by the success of Devdas, which had managed to enthrall
audiences nationwide.[15] Bombay Talkies came up in 1934 and Prabhat Devika Rani and Ashok Kumar in
Studios in Pune had begun production of films meant for the Marathi Achhut Kanya (1936).
[15]
language audience. Filmmaker R. S. D. Choudhury produced Wrath
(1930), banned by the British Raj in India as it depicted actors as Indian leaders, an expression censored during
the days of the Indian independence movement.[13]

The Indian Masala film—a slang used for commercial films with song, dance, romance etc.—came up following
the second world war.[15] South Indian cinema gained prominence throughout India with the release of S.S.
Vasan's Chandralekha.[15] 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.[15] The partition of India following its
independence divided the nation's assets and a number of studios went to the newly formed Pakistan.[15] The

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strife of partition would become an enduring subject for film making during the decades that followed.[15]

Following independence the cinema of India was inquired by the S.K. Patil Commission.[16] S.K. Patil, head of
the commission, viewed cinema in India as a 'combination of art, industry, and showmanship' while noting its
commercial value.[16] Patil further recommended setting up of a Film Finance Corporation under the Ministry of
Finance.[17] This advice was later taken up in 1960 and the institution came into being to provide financial
support to talented filmmakers throughout India.[17] The Indian government had established a Films Division by
1949 which eventually became one of the largest documentary film producers in the world with an annual
production of over 200 short documentaries, each released in 18 languages with 9000 prints for permanent film
theaters across the country.[18]

The Indian People's Theatre Association (IPTA), an art movement with a communist inclination, began to take
shape through the 1940s and the 1950s.[16] A number of realistic IPTA plays, such as Bijon Bhattacharya's
Nabanna in 1944 (based on the tragedy of the Bengal famine of 1943), prepared the ground for the solidification
of realism in Indian cinema, exemplified by Khwaja Ahmad Abbas's Dharti Ke Lal (Children of the Earth) in
1946.[16] The IPTA movement continued to emphasize on reality and went on to produce Mother India and
Pyaasa, among of India's most recognizable cinematic productions.[19]

Golden Age of Indian cinema

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Following India's independence, the period from the late 1940s to the
1960s are regarded by film historians as the 'Golden Age' of Indian
cinema.[20][21][22] Some of the most critically acclaimed Indian films of
all time were produced during this period. In commercial Hindi cinema,
examples of famous films at the time include the Guru Dutt films Pyaasa
(1957) and Kaagaz Ke Phool (1959) and the Raj Kapoor films Awaara
(1951) and Shree 420 (1955). These films expressed social themes
mainly dealing with working-class urban life in India; Awaara presented
the city as both a nightmare and a dream, while Pyaasa critiqued the
unreality of city life.[23] Some of the most famous epic films of Hindi A scene from Ritwik Ghatak's
cinema were also produced at the time, including Mehboob Khan's Nagarik (1952), considered Bengali
Mother India (1957), which was nominated for the Academy Award for cinema's earliest art film.
Best Foreign Language Film,[24] and K. Asif's Mughal-e-Azam
(1960).[25] V. Shantaram's Do Aankhen Barah Haath (1957) is believed
to have inspired the Hollywood film The Dirty Dozen (1967).[26]
Madhumati (1958), directed by Bimal Roy and written by Ritwik
Ghatak, popularized the theme of reincarnation in Western popular
culture.[27] Other mainstream Hindi filmmakers at the time included
Kamal Amrohi and Vijay Bhatt.

While commercial Indian cinema was thriving, the period also saw the
emergence of a new Parallel Cinema movement, mainly led by Bengali
cinema.[23] Early examples of films in this movement include Chetan Wide open eyes, a continual motif
in Satyajit Ray's The Apu Trilogy
Anand's Neecha Nagar (1946),[28] Ritwik Ghatak's Nagarik (1952), (1955–1959).
[29][30]
and Bimal Roy's Two Acres of Land (1953), laying the
foundations for Indian neorealism[31] and the "Indian New Wave".[32]
Pather Panchali (1955), the first part of the The Apu Trilogy
(1955–1959) by Satyajit Ray, marked his entry in Indian cinema.[33] The
Apu Trilogy won major prizes at all the major international film festivals
and led to the 'Parallel Cinema' movement being firmly established in
Indian cinema. Its influence on world cinema can also be felt in the
"youthful coming-of-age dramas that have flooded art houses since the
mid-fifties" which "owe a tremendous debt to the Apu trilogy".[34]
Satyajit Ray and Ritwik Ghatak went on to direct many more critically-
acclaimed 'art films', and they were followed by other acclaimed Indian
Guru Dutt in Pyaasa (1957), for
independent filmmakers such as Mrinal Sen, Adoor Gopalakrishnan,
which he was the director,
Mani Kaul and Buddhadeb Dasgupta.[23] During the 1960s, Indira producer and leading actor.
Gandhi's intervention during her reign as the Information and
Broadcasting Minister of India further led to production of off-beat
cinematic expression being supported by the official Film Finance Corporation.[17]

The cinematographer Subrata Mitra, who made his debut with Satyajit Ray's The Apu Trilogy, also had an
importance influence on cinematography across the world. One of his most important techniques was bounce
lighting, to recreate the effect of daylight on sets. He pioneered the technique while filming Aparajito (1956),
the second part of The Apu Trilogy.[35] Some of the experimental techniques which Satyajit Ray pioneered
include photo-negative flashbacks and X-ray digressions while filming Pratidwandi (1972).[36] Ray's 1967 script
for a film to be called The Alien, which was eventually cancelled, is also widely believed to have been the

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inspiration for Steven Spielberg's E.T. (1982).[37][38][39] Some of Ritwik Ghatak's films also have strong
similarities to later famous international films, such as Bari Theke Paliye (1958) resembling François Truffaut's
The 400 Blows (1959) and Ajantrik (1958) having elements that resemble Taxi Driver (1976) and the Herbie
films (1967–2005).

Other regional industries also had their 'Golden Age' during this period. Commercial Tamil cinema experienced a
growth in the number of commercially successful films produced. Some of the most famous Tamil film
personalities at the time included M. G. Ramachandran, Sivaji Ganesan, M. N. Nambiyar, Asokan and
Nagesh.[40] Marathi cinema also ushered in a 'Golden Age' at this time, with some of its directors such as V.
Shantaram later playing in instrumental role in mainstream Hindi cinema's 'Golden Age'.[41]

Ever since Chetan Anand's social realist film Neecha Nagar won the Grand Prize at the first Cannes Film
Festival,[28] Indian films were frequently in competition for the Palme d'Or at the Cannes Film Festival for
nearly every year in the 1950s and early 1960s, with a number of them winning major prizes at the festival.
Satyajit Ray also won the Golden Lion at the Venice Film Festival for Aparajito (1956), the second part of The
Apu Trilogy, and the Golden Bear and two Silver Bears for Best Director at the Berlin International Film
Festival.[42] Ray's contemporaries, Ritwik Ghatak and Guru Dutt, were overlooked in their own lifetimes but
had belatedly generated international recognition much later in the 1980s and 1990s.[42][43] Ray is regarded as
one of the greatest auteurs of 20th century cinema,[44] while Dutt[45] and Ghatak[46] are also among the
greatest filmmakers of all time. In 1992, the Sight & Sound Critics' Poll ranked Ray at #7 in its list of "Top 10
Directors" of all time,[47] while Dutt was ranked #73 in the 2002 Sight & Sound greatest directors poll.[45]

A number of Indian films from this era are often included among the greatest films of all time in various critics'
and directors' polls. A number of Satyajit Ray films appeared in the Sight & Sound Critics' Poll, including The
Apu Trilogy (ranked #4 in 1992 if votes are combined),[48] The Music Room (ranked #27 in 1992), Charulata
(ranked #41 in 1992)[49] and Days and Nights in the Forest (ranked #81 in 1982).[50] The 2002 Sight & Sound
critics' and directors' poll also included the Guru Dutt films Pyaasa and Kaagaz Ke Phool (both tied at #160),
the Ritwik Ghatak films Meghe Dhaka Tara (ranked #231) and Komal Gandhar (ranked #346), and Raj
Kapoor's Awaara, Vijay Bhatt's Baiju Bawra, Mehboob Khan's Mother India and K. Asif's Mughal-e-Azam all
tied at #346.[51] In 1998, the critics' poll conducted by the Asian film magazine Cinemaya included The Apu
Trilogy (ranked #1 if votes are combined), Ray's Charulata and The Music Room (both tied at #11), and
Ghatak's Subarnarekha (also tied at #11).[46] In 1999, The Village Voice top 250 "Best Film of the Century"
critics' poll also included The Apu Trilogy (ranked #5 if votes are combined).[52] In 2005, The Apu Trilogy and
Pyaasa were also featured in Time magazine's "All-TIME" 100 best movies list.[53]

Modern Indian cinema

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Some filmmakers such as Shyam Benegal continued to produce realistic

Parallel Cinema throughout the 1970s,[54] alongside Satyajit Ray, Ritwik
Ghatak, Mrinal Sen, Buddhadeb Dasgupta and Gautam Ghose in Bengali
cinema; Adoor Gopalakrishnan, John Abraham and G. Aravindan in
Malayalam cinema; and Mani Kaul, Kumar Shahani, Ketan Mehta,
Govind Nihalani and Vijaya Mehta in Hindi cinema.[23] However, the
'art film' bent of the Film Finance Corporation came under criticism
during a Committee on Public Undertakings investigation in 1976, which
accused the body of not doing enough to encourage commercial A scene from Adoor
[55] Gopalakrishnan's Mathilukal
cinema. The 1970s did, nevertheless, see the rise of commercial
(1989).
cinema in form of enduring films such as Sholay (1975), which solidified
Amitabh Bachchan's position as a lead actor.[55] The devotional classic
Jai Santoshi Ma was also released in 1975.[55] Another important film from 1975 was Deewar, directed by
Yash Chopra and written by Salim-Javed. A crime film pitting "a policeman against his brother, a gang leader
based on real-life smuggler Haji Mastan", portrayed by Amitabh Bachchan, it was described as being
“absolutely key to Indian cinema” by Danny Boyle.[56]

Commercial cinema further grew throughout the 1980s and the 1990s with the release of films such as Mr India
(1987), Qayamat Se Qayamat Tak (1988), Tezaab (1988), Chandni (1989), Maine Pyar Kiya (1989), Baazigar
(1993), Darr (1993),[55] Dilwale Dulhaniya Le Jayenge (1995) and Kuch Kuch Hota Hai (1998), many of
which starred Aamir Khan, Salman Khan and Shahrukh Khan.

The 1990s also saw a surge in the national popularity of Tamil cinema as
films directed by Mani Ratnam captured India's imagination.[55] Such
films included Roja (1992) and Bombay (1995). Ratnam's earlier film
Nayagan (1987), starring Kamal Haasan, was included in Time
magazine's "All-TIME" 100 best movies, alongside four earlier Indian
films: Satyajit Ray's The Apu Trilogy (1955–1959) and Guru Dutt's
Pyaasa (1957).[53] Another Tamil director S. Shankar also made waves
Roja, the village girl played by through his film Kadhalan, famous for its music and actor Prabhu Deva's
Madhoo, in Mani Ratnam's Tamil dancing. The South Indian film industry not only released cinema with
feature film Roja (1992). national appeal but also featured multicultural music which found
appreciation among the national Indian audience.[57] Some Tamil filmi
composers such as A. R. Rahman and Ilaiyaraaja have since acquired a large national, and later international,
following. Rahman's debut soundtrack for Roja was included in Time Magazine's "10 Best Soundtracks" of all
time,[58] and he would later go on to win two Academy Awards for his international Slumdog Millionaire
(2008) soundtrack. Tabarana Kathe, a Kannada film, was screened at various film festivals including Tashkent,
Nantes, Tokyo, and the Film Festival of Russia.[59]

Long after the Golden Age of Indian cinema, South India's Malayalam cinema of Kerala experienced its own
'Golden Age' in the 1980s and early 1990s. Some of the most acclaimed Indian filmmakers at the time were from
the Malayalam industry, including Adoor Gopalakrishnan, G. Aravindan, T. V. Chandran and Shaji N.
Karun.[60] Adoor Gopalakrishnan, who is often considered to be Satyajit Ray's spiritual heir,[61] directed some
of his most acclaimed films during this period, including Elippathayam (1981) which won the Sutherland Trophy
at the London Film Festival, as well as Mathilukal (1989) which won major prizes at the Venice Film
Festival.[62] Shaji N. Karun's debut film Piravi (1989) won the Camera d'Or at the 1989 Cannes Film Festival,
while his second film Swaham (1994) was in competition for the Palme d'Or at the 1994 Cannes Film

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Festival.[63]

In the late 1990s, 'Parallel

Cinema' began experiencing a
resurgence in Hindi cinema,
largely due to the critical and
commercial success of Satya
(1998), a low-budget film based
on the Mumbai underworld, Bhuvan (Aamir Khan) with his
directed by Ram Gopal Varma cricket team consisting of
and written by Anurag Kashyap. village-folk, in Ashutosh
The film's success led to the Gowarikar's Lagaan (2001).
Kamal Hassan as Velu Nayakar in
Nayagan,was included in Time
emergence of a distinct genre
magazine's "All-TIME" 100 best known as Mumbai noir,[64] urban films reflecting social problems in the
movies city of Mumbai.[65] Later films belonging to the Mumbai noir genre
include Madhur Bhandarkar's Chandni Bar (2001) and Traffic Signal
(2007), Ram Gopal Varma's Company (2002) and its prequel D (2005), Anurag Kashyap's Black Friday (2004),
and Irfan Kamal's Thanks Maa (2009). Other art film directors active today include Mrinal Sen, Buddhadeb
Dasgupta, Gautam Ghose, Sandip Ray, Aparna Sen and Rituparno Ghosh in Bengali cinema; Adoor
Gopalakrishnan, Shaji N. Karun and T. V. Chandran in Malayalam cinema; Mani Kaul, Kumar Shahani, Ketan
Mehta, Govind Nihalani, Shyam Benegal,[23] Mira Nair, Nagesh Kukunoor, Sudhir Mishra and Nandita Das in
Hindi cinema; Mani Ratnam and Santosh Sivan in Tamil cinema; and Deepa Mehta, Anant Balani, Homi
Adajania, Vijay Singh and Sooni Taraporevala in Indian English cinema.

Influences

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There have generally been six major influences that have shaped the
conventions of Indian popular cinema. The first was the ancient Indian
epics of Mahabharata and Ramayana which have exerted a profound
influence on the thought and imagination of Indian popular cinema,
particularly in its narratives. Examples of this influence include the
techniques of a side story, back-story and story within a story. Indian
popular films often have plots which branch off into sub-plots; such
narrative dispersals can clearly be seen in the 1993 films Khalnayak and
Gardish. The second influence was the impact of ancient Sanskrit Prasads IMAX Theatre houses at
drama, with its highly stylized nature and emphasis on spectacle, where Hyderabad, the 2nd largest
IMAX-3D in the world (2nd to the
music, dance and gesture combined "to create a vibrant artistic unit with
world's largest in Sydney,
dance and mime being central to the dramatic experience." Sanskrit
Australia).[66]
dramas were known as natya, derived from the root word nrit (dance),
characterizing them as spectacular dance-dramas which has continued in
Indian cinema.[67] The Rasa method of performance, dating back to
ancient Sanskrit drama, is one of the fundamental features that
differentiate Indian cinema from that of the Western world. In the Rasa
method, empathetic "emotions are conveyed by the performer and thus
felt by the audience," in contrast to the Western Stanislavski method
where the actor must become "a living, breathing embodiment of a
PVR Cinemas in Bangalore is one
character" rather than "simply conveying emotion." The rasa method of
of the largest cinema chains in
performance is clearly apparent in the performances of popular Hindi India
film actors like Amitabh Bachchan and Shahrukh Khan, nationally-
acclaimed Hindi films like Rang De Basanti (2006),[68] and
internationally-acclaimed Bengali films directed by Satyajit Ray.[69]

The third influence was the traditional folk theatre of India, which became
popular from around the 10th century with the decline of Sanskrit theatre.
These regional traditions include the Yatra of Bengal, the Ramlila of Uttar
Pradesh, and the Terukkuttu of Tamil Nadu. The fourth influence was Parsi
theatre, which "blended realism and fantasy, music and dance, narrative and
spectacle, earthy dialogue and ingenuity of stage presentation, integrating
them into a dramatic discourse of melodrama. The Parsi plays contained MG Road Gurgaon, one of the
crude humour, melodious songs and music, sensationalism and dazzling longest commercial streets in
Asia
stagecraft."[67] All of these influences are clearly evident in the masala film
genre that was popularized by Manmohan Desai's films in the 1970s and
early 1980s, particularly in Coolie (1983), and to an extent in more recent critically-acclaimed films such as
Rang De Basanti.[68]

The fifth influence was Hollywood, where musicals were popular from the 1920s to the 1950s, though Indian
filmmakers departed from their Hollywood counterparts in several ways. "For example, the Hollywood musicals
had as their plot the world of entertainment itself. Indian filmmakers, while enhancing the elements of fantasy so
pervasive in Indian popular films, used song and music as a natural mode of articulation in a given situation in
their films. There is a strong Indian tradition of narrating mythology, history, fairy stories and so on through song
and dance." In addition, "whereas Hollywood filmmakers strove to conceal the constructed nature of their work
so that the realistic narrative was wholly dominant, Indian filmmakers made no attempt to conceal the fact that
what was shown on the screen was a creation, an illusion, a fiction. However, they demonstrated how this
creation intersected with people's day to day lives in complex and interesting ways."[70] The final influence was
Western musical television, particularly MTV, which has had an increasing influence since the 1990s, as can be

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seen in the pace, camera angles, dance sequences and music of recent Indian films. An early example of this
approach was in Mani Ratnam's Bombay (1995).[71]

Like mainstream Indian popular cinema, Indian Parallel Cinema was also influenced also by a combination of
Indian theatre (particularly Sanskrit drama) and Indian literature (particularly Bengali literature), but differs
when it comes to foreign influences, where it is more influenced by European cinema (particularly Italian
neorealism and French poetic realism) rather than Hollywood. Satyajit Ray cited Italian filmmaker Vittorio De
Sica's Bicycle Thieves (1948) and French filmmaker Jean Renoir's The River (1951), which he assisted, as
influences on his debut film Pather Panchali (1955). Besides the influence of European cinema and Bengali
literature, Ray is also indebted to the Indian theatrical tradition, particularly the Rasa method of classical
Sanskrit drama. The complicated doctrine of Rasa "centers predominantly on feeling experienced not only by
the characters but also conveyed in a certain artistic way to the spectator. The duality of this kind of a rasa
imbrication" shows in The Apu Trilogy.[69] Bimal Roy's Two Acres of Land (1953) was also influenced by De
Sica's Bicycle Thieves and in turn paved the way for the Indian New Wave, which began around the same time
as the French New Wave and the Japanese New Wave.[32]

Regional industries
Marathi cinema

Main article: Marathi cinema

Marathi cinema (मराठ िचऽपट) refers to films produced in the Marathi language in the state of Maharashtra,
India. It is the oldest film industry in India. The first film in India was a silent film called Raja Harishchandra
(1913), which was made in Marathi by a Maharashtrian, Dadasaheb Phalke and a Marathi crew who were
performing Marathi & Sanskrit Sangeet natikas (musicals) and plays in marathi at that period. The first Marathi
talkie film, Ayodhyecha Raja[1] (produced by Prabhat Films) was released in 1932, just one year after "Alam
Ara" the first Hindi talkie film. Marathi cinema has grown in recent years. The industry is based in Mumbai,
Maharashtra.

Marathi Cinema is as old as Indian Cinema. In fact the pioneer of cinema in Union of India was Dadasaheb
Phalke, who brought the revolution of moving images to India with his first indigenously made silent film Raja
Harishchandra in 1913, which is considered by IFFI & NIFD part of Marathi cinema as it was made by a
Marathi crew.

Assamese cinema

Main article: Cinema of Assam

The Assamese language film industry traces its origins works s of revolutionary visionary Rupkonwar
Jyotiprasad Agarwala, who was also a distinguished poet, playwright, composer and freedom fighter. He was
instrumental in the production of the first Assamese film Joymati[72] in 1935, under the banner of Critrakala
Movietone. Although the beginning of the 21st century has seen Bollywood-style Assamese movies hitting the
screen, the industry has not been able to compete in the market, significantly overshadowed by the larger
industries such as Bollywood [73].

Bengali cinema

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Main articles: Bengali cinema and Cinema of West Bengal

The Bengali language cinematic tradition of Tollygunge in West Bengal has had
reputable filmmakers such as Satyajit Ray, Ritwik Ghatak and Mrinal Sen among its
most acclaimed.[74] Recent Bengali films that have captured national attention
include Rituparno Ghosh's Choker Bali, starring Aishwarya Rai.[75] Bengali
filmmaking also includes Bangla science fiction films and films that focus on social
issues.[76] In 1993, the Bengali industry's net output was 57 films.[77]

The history of cinema in Bengal dates back to the 1890s, when the first "bioscopes"
were shown in theatres in Calcutta. Within a decade, the first seeds of the industry
was sown by Hiralal Sen, considered a stalwart of Victorian era cinema when he set Satyajit Ray, Bengali
up the Royal Bioscope Company, producing scenes from the stage productions of a filmmaker.
number of popular shows at the Star Theatre, Calcutta, Minerva Theatre, Classic
Theatre. Following a long gap after Sen's works, Dhirendra Nath Ganguly (Known as D.G) established Indo
British Film Co, the first Bengali owned production company, in 1918. However, the first Bengali Feature film,
Billwamangal, was produced in 1919, under the banner of Madan Theatre. Bilat Ferat was the IBFC's first
production in 1921. The Madan Theatres production of Jamai Shashthi was the first Bengali talkie.[78]

In 1932, the name "Tollywood" was coined for the Bengali film industry due to Tollygunge rhyming with
"Hollywood" and because it was the center of the Indian film industry at the time. It later inspired the name
"Bollywood", as the Mumbai-based industry later overtook Tollygunge as the center of the Indian film industry,
and many other Hollywood-inspired names.[79] The 'Parallel Cinema' movement began in the Bengali film
industry in the 1950s. A long history has been traversed since then, with stalwarts such as Satyajit Ray, Mrinal
Sen, Ritwik Ghatak and others having earned international acclaim and securing their place in the history of
film.

Bhojpuri cinema

Main article: Bhojpuri cinema

Bhojpuri language films predominantly cater to people who live in the regions of Bihar and eastern Uttar
Pradesh. These films also have a large audience in the cities of Delhi and Mumbai due to migration to these
metros from the Bhojpuri speaking region. Besides India, there is a large market for these films in other bhojpuri
speaking countries of the West Indies, Oceania, and South America[80]. Bhojpuri language film's history begins
in 1962 with the well-received film Ganga Maiyya Tohe Piyari Chadhaibo ("Mother Ganges, I will offer you a
yellow sari"), which was directed by Kundan Kumar.[81] Throughout the following decades, films were
produced only in fits and starts. Films such as Bidesiya ("Foreigner," 1963, directed by S. N. Tripathi) and
Ganga ("Ganges," 1965, directed by Kundan Kumar) were profitable and popular, but in general Bhojpuri films
were not commonly produced in the 1960s and 1970s.

The industry experienced a revival in 2001 with the super hit Saiyyan Hamar ("My Sweetheart," directed by
Mohan Prasad), which shot the hero of that film, Ravi Kissan, to superstardom.[82] This success was quickly
followed by several other remarkably successful films, including Panditji Batai Na Biyah Kab Hoi ("Priest, tell
me when I will marry," 2005, directed by Mohan Prasad) and Sasura Bada Paisa Wala ("My father-in-law, the
rich guy," 2005). In a measure of the Bhojpuri film industry's rise, both of these did much better business in the
states of Uttar Pradesh and Bihar than mainstream Bollywood hits at the time, and both films, made on
extremely tight budgets, earned back more than ten times their production costs[83]. Although a smaller industry
compared to other Indian film industries, the extremely rapid success of their films has led to dramatic increases

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in Bhojpuri cinema's visibility, and the industry now supports an awards show[84] and a trade magazine,
Bhojpuri City[85].

Bhojpuri film have got a distuingsed name in whole world. The chief minister of Bihar Mr. Nitish Kumar is going
to start a film Industry in Rajgir ( distance from Patna is 80 km). That film industry will provide job for a lot of
people belongs to Bihar and East UP. There are many films in which the bollywood actors such as Amitabh
Bachchan, Ajay Deogan, Nagama, Mithun Chakravarti etc. worked it and supported to Bhojpuri film
industry.........

Hindi Cinema
Main article: Bollywood

The Hindi language film industry of Mumbai—also known as Bombay Film

Industry—is the largest and most popular branch of Indian cinema.[86]
Hindi Cinema initially explored issues of caste and culture in films such as
Achhut Kanya (1936) and Sujata (1959).[87] International visibility came to
the industry with Raj Kapoor's Awara.[88] Hindi Cinema grew during the
1990s with the release of as many as 215 films in 1991.[8] With Dilwale
Dulhania Le Jayenge, Hindi Cinema registered its commercial presence in Nargis and Raj Kapoor in
the Western world.[8] Awaara (1951), also directed
and produced by Kapoor.
In 1995 the Indian economy began showing sustainable annual growth, and
Hindi Cinema, as a commercial enterprise, grew at a growth rate of 15%
annually.[8] With growth in commercial appeal the earnings of known Indian stars such as Shahrukh Khan,
Aamir Khan and Hrithik Roshan reached 150 million rupees per film by the year 2010.[9] Female stars such as
Madhuri Dixit, too, earned as much as 12.5 million rupees for a film.[8] Many actors signed contracts for
simultaneous work in 3–4 films.[9] Institutions such as the Industrial Development Bank of India also came
forward to finance Hindi films.[9] A number of magazines such as Filmfare,Stardust, Cineblitz etc. became
popular.[89]

Gujarati cinema

This regional film industry of Gujarat started its journey in 1932. Since then the Gujarati films immensely
contributed to the Indian cinema. Gujarati cinema has gained popularity among the regional film industry in
India. Gujarati cinema is always based on scripts from mythology to history and social to political. Since its
origin Gujarati cinema has experimented with various stories and issues from the Indian society. Furthermore,
Gujarat has immense contribution to the Bollywood as several Gujarati actors have brought glamour to the
Indian film industry.

The scripts and stories dealt in the Gujarati films are intrinsically humane. They include relationship and family
oriented subjects with human aspirations and deal with the Indian family culture. Thus, there can be no turning
away from the essential humanity of these Gujarati cinema. The first Gujarati movie was released in the year
1932 `Narasinh Mehta` which was directed by Nanubhai Vakil. The film starred Mohanlala, Marutirao, Master
Manhar, and Miss Mehtab. It was of the `Saint film` genre and was on the life of the saint Narasinh Mehta who
observed a creed that was followed centuries later by Mahatma Gandhi. The film was matchless as it avoided
any depiction of miracles. In 1935, another social movie `Ghar Jamai` was released, directed by Homi Master.
The film starred Heera, Jamna, Baby Nurjehan, Amoo, Alimiya, Jamshedji, and Gulam Rasool. The film

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featured a `resident son-in-law` (ghar jamai) and his escapades as well as his problematic attitude towards the
freedom of women. It was a comedy oriented movie and was a major success in the industry.

Gujarati films thus proceeded with several other important social, political as well as religious issues. The years
1948, 1950, 1968, 1971 moved with a wide variety of dimension. The Gujarati movies such as Kariyavar,
directed by Chaturbhuj Doshi, Vadilona Vanke directed by Ramchandra Thakur, Gadano Bel directed by
Ratibhai Punatar and Leeludi Dharti, directed by Vallabh Choksi brought immense success to the industry. The
problems of modernisation are the underlying concern of several films. The movies like Gadano Bel had a strong
realism and reformism.

The film industry in Gujarat experimented with various issues. Gujarati films such as Leeludi Dharti reflect the
rural world with its fertility rituals. In 1975 Tanariri, directed by Chandrakant Sangani presents highlights the
little known side of Akbar who is usually presented as a consistently benign ruler. The first cinemascope film of
Gujarati cinema was Sonbaini Chundadi, directed by Girish Manukant released in the year 1976. Besides these,
Bhavni Bhavai released in the year 1980 was directed by Ketan Mehta. It boasted of superlative performances,
fine camerawork and won two awards - National Award for Best Feature Film on National Integration, and
another award at the Nantes festival in France. In 1992, Hun Hunshi Hunshilal, directed by Sanjiv Shah was
sought to be post-modern.

Gujarati films were further enriched by the brilliant performances of the film personalities. Anupama, Upendra
Trivedi, Arvind Trivedi, Ramesh Mehta and Veljibhai Gajjar, Dilip Patel, Ranjitraj, Sohil Virani, Narayan
Rajgor, Premshankar Bhatt, Jay Patel, Ashvin Patel, Girija Mitra, Anjana, Manmohan Desai, Sanjay Gadhvi,
Kalyanji Anandji, Deepika Chikhalia, Bindu Desai, Renuka Sahane and Priti Parekh are the celebrities who
have contributed a lot to the Gujarati film industry.

Kannada cinema

Main article: Kannada cinema

Kannada film industry, also known as Sandalwood, is based in Bangalore

and caters mostly to the population of state of Karnataka.

Dr.Rajkumar is an icon for Kannada film industry. In his career, he

performed versatile characters and sung nearly 3000 songs for movies
and albums[citation needed]. Some of the noted Kannada directors include
Girish Kasaravalli, Puttanna Kanagal, G.V.Iyer, Girish Karnad, T.S.
Nagabharana,Yograj Bhat,Suri. The popular actors include
Vishnuvardhan, Ambarish, Ravichandran, Ramesh, Ananth Nag,
Shankar Nag, Prabhakar, Upendra, Sudeep, Darshan, Shivaraj Kumar,
Puneet Rajkumar, Kalpana, Bharathi, Jayanthi, Pandari bai, B
Sarojadevi, Sudharani, Malashri, Tara, Umashri and Ramya.

G.K. Venkatesh, Vijaya Bhaskar, TG lingappa, Rajan-Nagendra,

Hamsalekha and Gurukiran are noted music directors.
A painting of Rajkumar in a
streetboard in Bangalore
Kannada cinema, along with the Bengali Movies and Malayalam Movies,
has contributed to Indian parallel cinema. Some of the influential movies
in this genre are Samskara (based on a novel by U R Ananthmurthy), Chomana Dudi by B. V. Karanth,
Tabarana Kathe. Samskara, Vamshavruksha, Paniyamma, Kadu Kudure, Hamsageethe, Chomana Dudi,
Accident, Ghata Shradhdha, Akramana, Mooru Dhaarigalu, Tabarana Kathe, Bannadha Vesha, Mane, Kraurya,

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Taayi Saaheba, Dweepa are other acclaimed arthouse movies.

Malayalam cinema

Main article: Malayalam cinema

The Malayalam film industry, based in the southern state of Kerala, is

known for films that bridge the gap between parallel cinema and
mainstream cinema by portraying thought-provoking social issues. Noted
filmmakers include Adoor Gopalakrishnan, Shaji N. Karun, G.
Aravindan, Padmarajan, Sathyan Anthikad, Priyadarsan and
Sreenivasan.

Vigathakumaran, a silent movie released in 1928 produced and directed

by J. C. Daniel, marked the beginning of Malayalam cinema. Balan,
released in 1938, was the first Malayalam "talkie". Malayalam films
were mainly produced by Tamil producers till 1947, when the first major
film studio, Udaya, was established in Kerala. In 1954, the film
Neelakkuyil captured national interest by winning the President's silver
medal. Scripted by the well-known Malayalam novelist, Uroob, and
directed by P. Bhaskaran and Ramu Kariat, it is often considered as the
Adoor Gopalakrishnan, Malayalam
filmmaker. first authentic Malayali film[90]. Chemmeen (1965), directed by Ramu
Kariat and based on a story by Thakazhi Sivasankara Pillai, went on to
become immensely popular, and became the first Malayalam film to win
[91][92]
the National Film Award for Best Film . This early period of Malayalam cinema was dominated by actors
Prem Nazir, Sathyan, Sheela and Sharada.

The 70s saw the emergence of 'New Wave Malayalam Cinema'. Adoor Gopalakrishnan captured international
acclaim through his debut film Swayamvaram (1972). Other noted movies of the period include Nirmalyam by
M. T. Vasudevan Nair, Uttarayanam by G. Aravindan, Cheriachante Krurakrithyangal (1979) and Amma
Ariyan (1986) by John Abraham etc.

The period from late 1980s to early 1990s is popularly regarded as the 'Golden Age of Malayalam Cinema' with
the emergence of actors Mammootty and Mohanlal and filmmakers like I.V. Sasi, Bharathan, Padmarajan,
Sathyan Anthikad, Priyadarsan, A. K. Lohithadas, Siddique-Lal and Sreenivasan. This period of popular cinema
is characterized by the adaptation of everyday life themes and exploration of social and individual
relationships.[93] These movies interlaced themes of individual struggle with creative humour as in Nadodikkattu
(1988). Piravi (1989) by Shaji N. Karun was the first Malayalam film to win the Caméra d'Or-Mention at the
Cannes Film Festival. This period also marked the beginning of movies rich in well-crafted humour like Ramji
Rao Speaking (1989). Malayalam is the original version of first 3D movie in India (My Dear Kuttichattan 3D)
by Navodaya Appachan, a notable film producer of Kerala.

During late 1990s and 2000s, Malayalam cinema witnessed a shift towards formulaic movies and slapstick
comedies. The Malayalam film industry in recent times has also been affected by the rise of satellite television
and widespread film piracy.

Oriya cinema

Main article: Oriya cinema

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The Oriya Film Industry refers to the Bhubaneswar and Cuttack based Oriya language film industry. Sometimes
called Ollywood a portmanteau of the words Oriya and Hollywood, although the origins of the name are
disputed.[94] The first Oriya talkie Sita Bibaha was made by Mohan Sunder Deb Goswami in 1936. Mohammed
Mohsin started the revolution in the oriya film industry by not only securing the essence of the oriya culture but
also bringing in the newness in the was the film industry was watching oriya movies. His movies heralded in the
golden era of the oriya film industry by bringing in freshness to Oriya movies.[95] then 1st color film was made
by a legend cinematographer Mr. Surendra Sahu.named " A Banara Chhai" Shadow of this forest.

Punjabi cinema
Main article: Punjabi cinema

K.D. Mehra made the first Punjabi film Sheila (also known as Pind di Kudi). Baby Noor Jehan was introduced
as an actress and singer in this film. Sheila was made in Calcutta and released in Lahore, the capital of Punjab; it
ran very successfully and was a hit across the province. Due to the success of this first film many more
producers started making Punjabi films. As of 2009, Punjabi cinema has produced between 900 and 1,000
movies. The average number of releases per year in the 1970s was nine; in the 1980s, eight; and in the 1990s,
six. In 1995, the number of films released was 11; it plummeted to seven in 1996 and touched a low of five in
1997. Since 2000s the Punjabi cinema has seen a revival with more releases every year featuring bigger budgets,
home grown stars as well as bollywood actors of Punjabi descent taking part.

Tamil cinema
Main article: Tamil cinema

Kamalhassan and Amala in the
poster of Pushpak,a black comedy
film directed by Singeetham
Srinivasa Rao
popular and the highest paid actor in India .[98] Great music directors like Ilaiyaraja, A.R.Rahman are from
Tamil film Industries.
The Tamil language film industry, known as Tamil cinema, is one of the
largest film industries in India in terms of quality and technology, and is
based in the Kodambakkam district of Chennai, Tamil Nadu. Tamil films
are screened by the Tamil diaspora all over the world and people of all
states of South India. Tamil films have good portrayal of Tamil culture
which has subdued sexual expressions and moderate glamour, unlike its
northern counterpart.[96] Tamil cinema has been a force in the local
politics of the Tamil Nadu state with some of the industry's personalities,
such as [['M. G. Ramachandran']], M. Karunanidhi, and J. Jayalalitha,
having held political offices.[97] With the establishment of the Madras
film Institute the quality of Tamil cinema improved during the 1980s and
it further gained international exposure with the works of filmmakers like
Mani Ratnam.Today, Tamil films are distributed to various theatres
around the world such as in Sri Lanka, Singapore, South Korea,
Malayasia, Mauritius, South Africa, Western Europe, North America,
and other significant Tamil diaspora regions.[98] In 1993 the Tamil
industry's net output was 168 films.[77] Tamil stars such as Kamal
Hassan earning the most National Film Awards and Filmfare Awards,
and also has the distinction of being the actor with the most number of
films submitted by India in contest for the Academy Award for Best
Foreign Language Film and Rajinikanth has hugest fans and the most

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Telugu cinema

Main article: Cinema of Andhra Pradesh

The Telugu language film industry of Andhra Pradesh is currently the largest in India in terms of number of
movies produced in a year.[99] The state of Andhra Pradesh has the highest number of cinema halls in India. In
2006, the Telugu film industry produced the largest number of films in India, with about 245 films produced that
year.[100] The largest film studio complex in the world – Ramoji Film City is in the outskirts of Hyderabad, the
capital city of Andhra Pradesh.

The film industry of India comprises several smaller regional industries, each catering largely to a specific
language audience.[77] However, a significant degree of regional interaction is seen between the various regions
as filmmakers and actors from one region often contribute to films meant for another region.[77] K Vishwanath,
Bapu, Jandhyala, Singitham Srinivasarao, Ramgopal Varma, Kranthi Kumar, Dasari Narayana Rao,
Raghavendhra Rao, Krishna Vamshi, Puri Jagganath, Raja Mouli, VV Vinayak, Surendra Reddy, Bommarillu
Bhaskar,Sekhar Kammula are some of the best directors of Telugu cinema history. Legendary actors NTR and
ANR are from Telugu Industry. Chiranjeevi a politician in Andhra Pradesh started his career as an actor in the
Telugu film industry.

Genres and styles

Masala films
Main article: Masala (film genre)

Masala is a style of Indian cinema, especially in Bollywood and South Indian films, in which there is a mix of
various genres in one film. For example, a film can portray action, comedy, drama, romance and melodrama all
together. Many of these films also tend to be musicals, including songs filmed in picturesque locations, which is
now very common in Bollywood films. Plots for such movies may seem illogical and improbable to unfamiliar
viewers. The genre is named after the masala, a term used to describe 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 a specific movement in Indian cinema,
known for its serious content, realism and naturalism, with a keen eye on the social-political climate of the
times. This movement is distinct from mainstream Bollywood cinema and began around the same time as the
French New Wave and Japanese New Wave. The movement was initially led by Bengali cinema (which has
produced internationally acclaimed filmmakers such as Satyajit Ray, Mrinal Sen, Ritwik Ghatak, and others) and
then gained prominence in the other film industries of India. Some of the films in this movement have garnered
commercial success, successfully stradling art and commercial cinema. An early example of this was Bimal
Roy's Two Acres of Land (1953), which was both a commercial success and a critical success, winning the
International Prize at the 1954 Cannes Film Festival. The film's success paved the way for the Indian New
Wave.[31][32][101]

The most famous Indian "neo-realist" was the Bengali filmmaker Satyajit Ray, closely followed by Ritwik
Ghatak, Mrinal Sen, Shyam Benegal, Adoor Gopalakrishnan[23] and Girish Kasaravalli.[96] Ray's most famous
films were The Apu Trilogy, consisting of Pather Panchali (1955), Aparajito (1956) and The World of Apu

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(1959). The three films won major prizes at the Cannes, Berlin and Venice Film Festivals, and are frequently
listed among the greatest films of all time.[52][53][102][103]

Film music
See also: Filmi

Music in Indian cinema is a substantial revenue generator, with the

music rights alone accounting for 4–5% of the net revenues generated by
a film in India.[9] The major film music companies of India are
Saregama, Sony Music etc.[9] Commercially, film music accounts for
48% India's net music sales.[9] A film in India may have many
choreographed songs spread throughout its length.[104]

The demands of a multicultural, increasingly globalized Indian audience Indian film dances usually follow
often led to a mixing of various local and international musical filmi songs.
[104]
traditions. Local dance and music nevertheless remain a time tested
and recurring theme in India and have made their way outside of India's borders with its diaspora.[104] Playback
singers such as Lata Mangeshkar drew large crowds with national and international film music stage shows.[104]
The end of the 19th century and the beginning of the 21st saw extensive interaction between artists from India
and the western world.[105] Artists from Indian diaspora blended the traditions of their heritage to those of their
country to give rise rise to popular contemporary music.[105]

Global discourse
Indians during the colonial rule bought film equipment from Europe.[14] 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 into India.[106] One such story was Burma
Rani, which depicted civilian resistance offered to Japanese occupation by the British and Indians present in
Myanmar.[106] Pre-independence businessmen such as J. F. Madan and Abdulally Esoofally traded in global
cinema.[13]

Indian cinema's early contacts with other regions became visible with its films making early inroads into the
Soviet Union, Middle East, Southeast Asia,[107] and China. Mainstream Hindi film stars like Raj Kapoor gained
international fame across Asia[108][109] and Eastern Europe.[110][111] Indian films also appeared in international
fora and film festivals.[107] This allowed 'Parallel' Bengali filmmakers such as Satyajit Ray to achieve worldwide
fame, with his films gaining success among European, American and Asian audiences.[112] Ray's work
subsequently had a worldwide impact, with filmmakers such as Martin Scorsese,[113] James Ivory,[114] Abbas
Kiarostami, Elia Kazan, François Truffaut,[115] Steven Spielberg,[37][38][39] Carlos Saura,[116] Jean-Luc
Godard,[117] Isao Takahata,[118] Gregory Nava, Ira Sachs and Wes Anderson[119] being influenced by his
cinematic style, and many others such as Akira Kurosawa praising his work.[120] The "youthful coming-of-age
dramas that have flooded art houses since the mid-fifties owe a tremendous debt to the Apu trilogy".[34] Subrata
Mitra's cinematographic technique of bounce lighting also originates from The Apu Trilogy.[35] Since the 1980s,
some previously overlooked Indian filmmakers such as Ritwik Ghatak [121] and Guru Dutt [122] have
posthumously gained international acclaim.

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Many Asian and 'South Asian' countries increasingly came to find Indian cinema as more suited to their
sensibilities than Western cinema.[107] Jigna Desai holds that by the 21st century Indian cinema had managed to
become 'deterritorialized', spreading over to the many parts of the world where Indian diaspora was present in
significant numbers, and becoming an alternative to other international cinema.[123]

Indian cinema has more recently begun influencing Western musical films, and played a particularly
instrumental role in the revival of the genre in the Western world. Baz Luhrmann stated that his successful
musical film Moulin Rouge! (2001) was directly inspired by Bollywood musicals.[124] The critical and financial
success of Moulin Rouge! renewed interest in the then-moribund Western musical genre, subsequently fueling a
renaissance of the genre.[125] Danny Boyle's Oscar-winning film Slumdog Millionaire (2008) was also directly
inspired by Indian films,[56][126] and is considered to be a "homage to Hindi commercial cinema".[28] Other
Indian filmmakers are also making attempts at reaching a more global audience, with upcoming films by
directors such as Vidhu Vinod Chopra, Jahnu Barua, Sudhir Mishra and Pan Nalin.[127]

Awards
Award Since Awarded by
National Film Awards 1954 Directorate of Film Festivals, Government of India
Bengal Film Journalists' Association Bengal Film Journalists' Association Awards, Government of
1937
Awards West Bengal
Filmfare Awards 1954 Filmfare
Star Screen Awards 1995 STAR TV (Asia)
Zee Cine Awards 1998 Zee Entertainment Enterprises
IIFA 2000

Other awards include the International Indian Film Academy Awards, International Tamil Film Awards,
Bollywood Movie Awards, the Nandi Awards and the Global Indian Film Awards.

Film Institutes in India

Several institutes, both government run and private, provide formal education in various aspects of filmmaking.
A few of them include:

The Script Hub

M.G.R Govt. Film & Television Institute,Taramani,Chennai
Film and Television Institute of India, Pune
L.V. Prasad Film and Television Academy, Hyderabad
Satyajit Ray Film and Television Institute, Kolkata
Whistling Woods International
Mindscreen Film Institute
Asian Academy of Film & Television

Note: This is not an exhaustive list.

Notes

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Cinema of India - Wikipedia, the free encyclopedia
1. ^ a b Khanna, 155
2. ^ a b Khanna, 158
3. ^ Khanna, 158–159
4. ^ Khanna, 159
5. ^ Watson (2009)
6. ^ a b c Khanna, "The Business
of Hindi Films", 140
7. ^ a b c d Khanna, 156
8. ^ a b c d e Potts, 74
9. ^ a b c d e f g h Potts, 75
10. ^ A city within a city, Ramoji
Film City (RFC) claims to be
the largest, most comprehensive,
and most professionally planned
film production center in the
world....With more than seven
thousand five hundred
employees working in
twenty-nine departments, RFC
has the capacity to
accommodate the production of
twenty international films at any
one time and cater to at least
forty Indian films
simultaneously – Kumar, 132.
11. ^ a b c d e Burra & Rao, 252
12. ^ McKernan, Luke
(1996-12-31). "Hiralal Sen
(copyright British Film
Institute)" (http://www.victorian-
cinema.net/sen.htm) .
http://www.victorian-cinema.net
/sen.htm. Retrieved 2006-11-01.
13. ^ a b c d e f g Burra & Rao, 253
14. ^ a b c d Burra & Rao, 252–253
15. ^ a b c d e f g Burra & Rao, 254
16. ^ a b c d Rajadhyaksa, 679
17. ^ a b c Rajadhyaksa, 684
18. ^ Rajadhyaksa, 681–683
19. ^ Rajadhyaksa, 681
20. ^ K. Moti Gokulsing, K.
Gokulsing, Wimal Dissanayake
(2004), Indian Popular
Cinema: A Narrative of
Cultural Change, Trentham
Books, p. 17,
ISBN 1858563291
21. ^ Sharpe, Jenny (2005),
"Gender, Nation, and
Globalization in Monsoon
Wedding and Dilwale Dulhania
Le Jayenge", Meridians:
feminism, race,
19 of 24
transnationalism 6 (1): 58–81
[60 & 75]
22. ^ Gooptu, Sharmistha (July
2002), "Reviewed work(s): The
Cinemas of India (1896–2000)
by Yves Thoraval", Economic
and Political Weekly 37 (29):
3023–4
23. ^ a b c d e f K. Moti Gokulsing,
K. Gokulsing, Wimal
Dissanayake (2004), Indian
Popular Cinema: A Narrative
of Cultural Change, Trentham
Books, p. 18,
ISBN 1858563291
24. ^ Mother India
(http://www.imdb.com/title
/tt0050188/) at the Internet
Movie Database
25. ^ "Film Festival – Bombay
Melody"
(http://www.international.ucla.e
du/calendar
/showevent.asp?eventid=1618) .
University of California, Los
Angeles. 17 March 2004.
http://www.international.ucla.ed
u/calendar
/showevent.asp?eventid=1618.
Retrieved 2009-05-20.
26. ^ Bobby Sing (10 February
2008). "Do Ankhen Barah
Haath (1957)"
(http://bobbytalkscinema.com
/recentpost.php?postid=postid0
41609102834) . Bobby Talks
Cinema.
http://bobbytalkscinema.com
/recentpost.php?postid=postid0
41609102834. Retrieved
2009-05-30.
27. ^ Doniger, Wendy (2005),
"Chapter 6: Reincarnation", The
woman who pretended to be
who she was: myths of
self-imitation, Oxford
University Press, pp. 112–136
[135], ISBN 0195160169
28. ^ a b c Maker of innovative,
meaningful movies
(http://www.thehindu.com
/fr/2007/06/15/stories
/2007061551020100.htm) . The
Hindu, 15 June 2007
29. ^ Ghatak, Ritwik (2000), Rows
http://en.wikipedia.org/wiki/Indian_film
and Rows of Fences: Ritwik
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