Cinema of India

The cinema of India consists of films produced in India.[8] Cinema is immensely popular in
India: every year, more than 1800 films are produced collectively in the various languages of
India.[9][10][11] Mumbai, Chennai, Kolkata, Hyderabad, Kochi, Bangalore, Bhubaneshwar-
Cuttack and Guwahati are the major centres of film production in India.[details 1] As of 2018,
India ranked first in terms of annual film output.[31] In 2015, India had a total box office gross
of US$2.1 billion,[6][32] the third largest in the world. The overall revenue of Indian cinema
reached US$2.7 billion in 2019.[33]
 Cinema of India

No. of screens 6,327 single screens (2019)[1]

3,200 multiplex screens (2019)[2]

 • Per capita 9 per million (2015)[3]

Produced feature films (2019)[4]

Total 2446

Number of admissions (2016)[5]

Total 20,000,000

 • Per capita 1.69

National films 1,713,600,000

Gross box office (2019)[7]

Total ₹190 billion ($2.7 billion)

National films $2.1 billion (2015)[6]

The industry is segmented by language. In 2019, the Hindi film industry represented 44% of
box office revenue, followed by the Tamil film industry, the Telugu film industry, the
Malayalam film industry, and Kannada film industry.[34] Other prominent film industries
include Bengali, Marathi, Punjabi, Haryanvi and Bhojipuri cinemas. By 2020, the combined
revenue of regional film industries has surpassed that of the Hindi film industry.[33]

Indian cinema is a global enterprise.[35] Its films have a following throughout Southern Asia
and across Europe, North America, Asia, the Greater Middle East, Eastern Africa, China and
elsewhere, reaching over 90 countries.[36] Films like Bahubali: The Beginning were dubbed in
more than three languages, thus starting a Pan-India films movement. Millions of Indians
overseas watch Indian films, accounting for some 12% of revenues.[37]
Major Indian enterprises in the film industry include AVM Productions, Sun Pictures, AGS
Entertainment, Geetha Arts, Zee, UTV, Suresh Productions, Eros International, Aascar Films
and Yash Raj Films.

History

The history of cinema in India extends back to the beginning of the film era. Following the
screening of the Lumière and Robert Paul moving pictures in London (1896), commercial
cinematography became a worldwide sensation and by mid-1896 both Lumière and Robert
Paul films had been shown in Bombay.[38]

Silent films (1890s–1920s)

In 1897, a film presentation by Professor Stevenson featured a stage show at Calcutta's Star
Theatre. With Stevenson's encouragement and camera Hiralal Sen, an Indian photographer,
made a film of scenes from that show, namely 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.

The first Indian film released in India was Shree Pundalik, a silent film in Marathi by
Dadasaheb Torne on 18 May 1912 at Coronation Cinematograph, Bombay.[40][41] Some have
argued that Pundalik was not the first Indian film, because it was a photographic recording of
a play, and because the cameraman was a British man named Johnson and the film was
processed in London.[42][43]
 History of Indian cinema

Advertisement in The Times of India of 25 May 1912 announcing the screening of the first
feature film of India, Shree Pundalik by Dadasaheb Torne

A scene from Raja Harishchandra (1913), the first full-length Indian motion picture.
 Producer-director-screenwriter Dadasaheb Phalke, the "father of Indian cinema".[44][45][46][47]

AVM Studios in Chennai, India's oldest surviving film studio.

The second full-length motion picture in India was produced by Dadasaheb Phalke, Phalke is
seen as the pioneer of the Indian film industry and a scholar of India's languages and culture.
He employed elements from Sanskrit epics to produce his Raja Harishchandra (1913), a silent
film in Marathi. The female characters in the film were played by male actors.[48] Only one
print of the film was made, for showing at the Coronation Cinematograph on 3 May 1913. It
was a commercial success. The first silent film in Tamil, Keechaka Vadham was made by R.
Nataraja Mudaliar in 1916.[49]

The first chain of Indian cinemas, Madan Theatre was owned by Parsi entrepreneur
Jamshedji Framji Madan, who oversaw production of 10 films annually and distributed them
throughout India beginning in 1902.[48] He founded Elphinstone Bioscope Company in
Calcutta. Elphinstone merged into Madan Theatres Limited in 1919, which had brought many
of Bengal's most popular literary works to the stage. He also produced Satyawadi Raja
Harishchandra in 1917, a remake of Phalke's Raja Harishchandra (1913).

Raghupathi Venkaiah Naidu from Machilipatnam was an Indian artist and a film pioneer.[50]
From 1909, he was involved in many aspects of Indian cinema, travelling across Asia. He was
the first to build and own cinemas in Madras. He was credited as the father of Telugu
cinema. In South India, the first Telugu and Tamil bilingual talkie Kalidas was released on 31
October 1931.[51] Nataraja Mudaliar established South India's first film studio in Madras.[52]

Film steadily gained popularity across India. Tickets were affordable to the masses (as low
as an anna (one-sixteenth of a rupee) in Bombay) with additional comforts available at a
higher price.[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 Brits and three Indians, led by T. Rangachari, a Madras lawyer.[54] This committee failed
to support the desired recommendations of supporting British Film, instead recommending
support for the fledgling Indian film industry, their suggestions were shelved.

Talkies (1930s–mid-1940s)

Ardeshir Irani released Alam Ara, the first Indian talkie, on 14 March 1931.[48] Irani later
produced the first south Indian talkie film Kalidas directed by H. M. Reddy released on 31
October 1931.[55][56] Jumai Shasthi was the first Bengali talkie. Chittor V. Nagaiah, was one of
the first multilingual film actor/singer/composer/producer/directors in India. He was known
as India's Paul Muni.[57][58]

In 1933, East India Film Company produced its first Telugu film, Savitri. Based on a stage play
by Mylavaram Bala Bharathi Samajam, the film was directed by C. Pullaiah with stage actors
Vemuri Gaggaiah and Dasari Ramathilakam.[59] The film received an honorary diploma at the
2nd Venice International Film Festival.[60]

On 10 March 1935, another pioneer film maker Jyoti Prasad Agarwala made his first film
Joymoti in Assamese. Jyoti Prasad went to Berlin to learn more about films. Indramalati is
another film he himself produced and directed after Joymoti. The first film studio in South
India, Durga Cinetone was built in 1936 by Nidamarthi Surayya in Rajahmundry, Andhra
Pradesh.[61] 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 Indian films.[48] Studios
emerged by 1935 in major cities such as Madras, Calcutta and Bombay as filmmaking
became an established craft, exemplified by the success of Devdas.[62] directed by an
Assamese film maker Pramathesh Baruah. In 1937, Kisan Kanhiya directed by Moti B was
released, the first colour film made in India.[63] The 1940 film, Vishwa Mohini, is the first Indian
film to depict the Indian movie world. The film was directed by Y. V. Rao and scripted by
Balijepalli Lakshmikanta Kavi.[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, called Edison's Grand Cinemamegaphone. This was
due to the fact that electric carbons were used for motion picture projectors.[65] Bombay
Talkies opened in 1934 and Prabhat Studios in Pune began production of Marathi films
meant.[62] R. S. D. Choudhury produced Wrath (1930), which was banned by the British Raj for
its depiction of Indian actors as leaders during the Indian independence movement.[48] Sant
Tukaram, a 1936 film based on the life of Tukaram (1608–50), a Varkari Sant and spiritual
poet became the first Indian film to be screened at an international film festival, at the 1937
edition of the Venice Film Festival. The film was judged one of the three best films of the
year.[66] In 1938, Gudavalli Ramabrahmam, co-produced and directed the social problem film,
Raithu Bidda, which was also banned by the British administration, for depicting the peasant
uprising among the Zamindars during the British raj.[67][68]

The Indian Masala film—a term used for mixed-genre films that combined song, dance,
romance etc.—arose following World War II.[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 partition of India following independence divided the
nation's assets and a number of studios moved to Pakistan.[62] Partition became an enduring
film subject thereafter.[62]

After Indian independence the film industry was investigated by the S. K. Patil
Commission.[69] Patil recommended setting up a Film Finance Corporation (FFC) under the
Ministry of Finance.[70] This advice was adopted in 1960 and FFC provide financial support to
filmmakers.[70] 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]

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] Realist IPTA plays, such
as Nabanna (1944, Bijon Bhattacharya) prepared the ground for realism in Indian cinema,
exemplified by Khwaja Ahmad Abbas's Dharti Ke Lal (Children of the Earth) in 1946.[69] The
IPTA movement continued to emphasise realism and went on to produce Mother India and
Pyaasa, among India's most recognisable cinematic productions.[72]

Golden Age (late 1940s–1960s)

The period from the late 1940s to the early 1960s is regarded by film historians as the Golden
Age of Indian cinema.[73][74][75]

Satyajit Ray is recognised as one of the greatest filmmakers of the 20th century.[76][77][78][79][80][81]

This period saw the emergence of the Parallel Cinema movement, mainly led by Bengalis,[82]
which then accounted for a quarter of India's film output.[83] The movement emphasised
social realism. Early examples include Dharti Ke Lal (1946, Khwaja Ahmad Abbas),[84] Neecha
Nagar (1946, Chetan Anand),[85] Nagarik (1952, Ritwik Ghatak)[86][87] and Do Bigha Zamin
(1953, Bimal Roy), laying the foundations for Indian neorealism[88] and the Indian New
Wave.[89]

The Apu Trilogy (1955–1959, Satyajit Ray) won major prizes at all the major international film
festivals and firmly established the Parallel Cinema movement. Pather Panchali (1955), the
first part of the trilogy, marked Ray's entry in Indian cinema.[90] The trilogy's influence on
world cinema can be felt in the "youthful coming-of-age dramas that flooded art houses since
the mid-fifties", which "owe a tremendous debt to the Apu trilogy".[91]

Cinematographer Subrata Mitra, who debuted in the trilogy, had his own important influence
on cinematography globally. 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 trilogy.[92] Ray pioneered other effects such as the photo-
negative flashbacks and X-ray digressions in Pratidwandi (1972).[93]

During the 1960s, Indira Gandhi's intervention during her reign as the Information and
Broadcasting Minister of India supported production of off-beat cinematic by FFC.[70]

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 the city as both a nightmare and a dream, while Pyaasa critiqued the unreality of
city life.[82]

Epic film Mother India (1957, Mehboob Khan), a remake of his earlier Aurat (1940), was the
first Indian film to be nominated for the Academy Award for Best Foreign Language Film.[94]
Mother India 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) popularised the theme of reincarnation in
Western popular culture.[100]

Dilip Kumar (Muhammad Yusuf Khan) debuted in the 1940s and rose to fame in the 1950s
and was one of the biggest Indian movie stars. 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.[101]

Neecha Nagar won the Palme d'Or at Cannes,[85] putting Indian films in competition for the
Palme d'Or for nearly every year in the 1950s and early 1960s, with many winning major
prizes. Ray won the Golden Lion at the Venice Film Festival for Aparajito (1956) and the
Golden Bear and two Silver Bears for Best Director at the Berlin International Film
Festival.[102] The films of screenwriter Khwaja Ahmad Abbas were nominated for the Palme
d'Or three times. (Neecha Nagar won, with nominations for Awaara and Pardesi (1957)).

Ray's contemporaries Ghatak and Dutt were overlooked in their own lifetimes, but generated
international recognition in the 1980s and 1990s.[102][103] Ray is regarded as one of the
greatest auteurs of 20th century cinema,[104] with 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] while
Dutt ranked No. 73 in the 2002 Sight & Sound poll.[105]

Multiple films from this era are included among the greatest films of all time in various critics'
and directors' polls. Multiple Ray films appeared in the Sight & Sound Critics' Poll, including
The Apu Trilogy (ranked No. 4 in 1992 if votes are combined),[108] Jalsaghar (ranked No. 27 in
1992), Charulata (ranked No. 41 in 1992)[109] and Aranyer Din Ratri (ranked No. 81 in
1982).[110] The 2002 Sight & Sound critics' and directors' poll also included the Dutt films
Pyaasa and Kaagaz Ke Phool (both tied at #160), Ghatak's 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.[111] In 1998, the
critics' poll conducted by the Asian film magazine Cinemaya included The Apu Trilogy (ranked
No. 1 if votes are combined), Ray's Charulata and Jalsaghar (both tied at #11), and Ghatak's
Subarnarekha (also tied at #11).[106]

South Indian cinema saw the production works based on the epic Mahabharata, such as
Mayabazar (listed by IBN Live's 2013 Poll as the greatest Indian film of all time).[112]

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.[113] Tamil cinema is
influenced by Dravidian politics,[114] with prominent film personalities C N Annadurai, M G
Ramachandran, M Karunanidhi and Jayalalithaa becoming Chief Ministers of Tamil Nadu.[115]

1970s–present
Hindi cinema

Realistic Parallel Cinema continued throughout the 1970s,[116] 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.[117]

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).
 The screenwriting duo Salim–Javed, consisting of Salim Khan (l) and Javed Akhtar (r), revitalised Indian cinema in
the 1970s,[118] and are considered Bollywood's greatest screenwriters.[119]

By the early 1970s, Hindi cinema was experiencing thematic stagnation,[120] dominated by
musical romance films.[121] The arrival of screenwriter duo Salim–Javed, consisting of Salim
Khan and Javed Akhtar, revitalised the industry.[120] They established the genre of gritty,
violent, Bombay underworld crime films, with films such as Zanjeer (1973) and Deewaar
(1975).[122][123] They reinterpreted the rural themes of Mother India and Gunga Jumna in an
urban context reflecting 1970s India,[120][124] channelling the growing discontent and
disillusionment among the masses,[120] unprecedented growth of slums[125] and urban
poverty, corruption and crime,[126] as well as anti-establishment themes.[127] This resulted in
their creation of the "angry young man", personified by Amitabh Bachchan,[127] who
reinterpreted Kumar's performance in Gunga Jumna,[120][124] and gave a voice to the urban
poor.[125]

By the mid-1970s, crime-action films like Zanjeer and Sholay (1975) solidified Bachchan's
position as a lead actor.[117] The devotional classic Jai Santoshi Ma (1975) was made on a
shoe-string budget and became a box office success and a cult classic.[117] Another
important film was Deewaar (1975, Yash Chopra).[99] This crime film pitted "a policeman
against his brother, a gang leader based on the real-life smuggler Haji Mastan", portrayed by
Bachchan. Danny Boyle described it as "absolutely key to Indian cinema".[128]

"Bollywood" was coined in the 70s,[129][130] when the conventions of commercial Bollywood
films were established.[131] 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.[131][132] Another Hussain/Salim-Javed concoction, Yaadon Ki Baarat (1973), was
identified as the first masala film and the "first" quintessentially "Bollywood" film.[131][133]
Salim-Javed wrote more successful masala films in the 1970s and 1980s.[131] Masala films
made Bachchan the biggest Bollywood movie star of the period. Another landmark was Amar
Akbar Anthony (1977, Manmohan Desai).[133][134] 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). By 1986, India's annual film output had increased from 741 films produced
annually to 833 films annually, making India the world's largest film producer.[135]

In the late 1980s, 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 Disco Dancer (1982) which was not only a blockbuster in India but was the biggest
hit of the year in Russia upon its release in the country. Disco Dancer (1982) started the era of
Disco in Indian cinema and saw the rise of the due of Mithun Chakraborty as the lead actor
and Bappi Lahiri as the music director. This duo gave the highest number of hits together for
the 80's decade of Indian mainstream movies. Thereafter, Yash Chopra's musical romance
Chandni (1989), starring Sridevi was instrumental in rejuvenating the romantic musical
genre.[136] It also set a new template for Bollywood musical romance films that defined Hindi
cinema in the coming years.[137] Commercial Hindi cinema grew in the late 80s 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),[117] 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.[138][139]

In the late 1990s, Parallel Cinema began a resurgence in Hindi cinema, 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,[140] urban films reflecting social
problems there.[141]

Since the 1990s, the three biggest Bollywood movie stars have been the "Three Khans":
Aamir Khan, Shah Rukh Khan, and Salman Khan.[142][143] Combined, they starred in the top ten
highest-grossing Bollywood films. The three Khans have had successful careers since the
late 1980s,[142] and have dominated the Indian box office since the 1990s.[144][145] 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;[146] according to Forbes, Aamir Khan is "arguably
the world's biggest movie star" as of 2017, due to his immense popularity in India and
China.[147] Other Hindi stars 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),[148]
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.[149]
The 2010s also saw the rise of a new generation of popular actors like Ranbir Kapoor,
Ranveer Singh, Varun Dhawan, Sidharth Malhotra, Sushant Singh Rajput, 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, Sonakshi Sinha,
Jacqueline Fernandez, Shraddha Kapoor and Alia Bhatt, with Balan and Ranaut gaining wide
recognition for successful female-centric films such as The Dirty Picture (2011), Kahaani
(2012)., Queen and Tanu Weds Manu Returns (2015). Kareena Kapoor and Bipasha Basu are
among the few working actresses from the 2000s who successfully completed 15 years in
the industry.

Telugu cinema

Similar to Hindi cinema, Telugu cinema also produced films of parallel cinema throughout the
1970s. By the 1970s, Telugu cinema was experiencing thematic stagnation, dominated by
mythological and historical films.

Bapu's Pan-Indian film Oka Oori Katha (1977) won special awards at Karlovy Vary
International Film Festival and Carthage Film Festival.[150] Sankarabharanam won the Prize of
the Public at the Besançon Film Festival of France in the year 1981.[151] B. Narsing Rao
scripted and produced Maa Bhoomi which was showcased at Karlovy Vary Film Festival, and
Cork Film Festivals. He directed, Daasi "(Bonded Woman)" and Matti Manushulu "(Mud
People)" which won the Diploma of Merit awards at the 16th, and 17th Moscow International
Film Festivals in 1989 and 1991 respectively.[152] M. V. Raghu's Neo-realistic film Kallu (1988),
scripted by Gollapudi Maruti Rao has received thirty state awards and has garnered special
mention from the CBFC Jury.[153] In this way, new genres such as romance, drama, social
films have gained popularity. Over the time, there is a steady decline for fantasy, mythological
and historical films.

Ram Gopal Varma's Siva, which attained cult status in Telugu cinema, is one of the first
Telugu films produced after the migration of Telugu film industry from Madras to Hyderabad
to feature characters speaking the Telangana dialect.[154] Singeetam Srinivasa Rao
introduced science fiction to the Telugu screen with Aditya 369, the film dealt with exploratory
dystopian and apocalyptic themes.[155]

2000s saw the maximum growth of masala films in Tollywood. Growth of film studios and
film productions facilities in Hyderabad, made it easy to produce films. The trend of featuring
item numbers in the films became too common until 2020s. Devi Sri Prasad is one of those
composers, who has influnced the Telugu film music by composing many item numbers.[156]
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.[157] During the period,
remaking of Telugu films into other languages such as Hindi, Bengali, Tamil and Kannada
have been outnumbered than ever before.[158] During the period, the term "Tollywood"
(portmanteau of the words Telugu and Hollywood) had gained popularity and is commonly
used since then.

Speaking about the centenary of Indian cinema at the CII Media and Entertainment Summit
2012, filmmaker Shekhar Kapur said regional cinema is surpassing Hindi cinema in content
and story, and cited Eega (2012) as an example. Post the release of Baahubali: The Beginning
(2015), the Telugu cinema saw a highest growth ever. Since then, Telugu films received wide
reach and popularity, equivalent to Bollywood. A new trend have been started, i.e., releasing
the films in other languages (dubbing versions) along with the original version and have also
been a common practice.

Tamil cinema

It is estimated by the Manorama Yearbook 2000 (a popular almanac) that over 5,000 Tamil
films were produced in the 20th century. Tamil films have also been dubbed into other
languages, thus reaching a much wider audience. There has been a growing presence of
English in dialogue and songs in Chennai films. It is not uncommon to see movies that
feature dialogue studded with English words and phrases, or even whole sentences. Some
movies are also simultaneously made in two or three languages (either using subtitles or
several soundtracks). Chennai's film composers have popularised their highly unique,
syncretic style of film music across the world.

The main impacts of the early cinema were the cultural influences of the country. The Tamil-
language was the medium in which many plays and stories were written since the ages as
early as the Cholas. They were highly stylized and nature of the spectacle was one which
could attract the people. Along with this, music and dance were one of the main
entertainment sources.[159]

In 1916, a studio, the first in south India, was set up in Madras at 10 Millers Road, Kilpauk. He
called it the India Film Company. Rangavadivelu, an actor from Suguna Vilasa Sabha, a
theatre company then, was hired to train the actors. Thirty-five days later, the first feature film
made in south India, The Extermination of Keechakan/Keechakavatham, based on an episode
from the Mahabharata, was released produced and directed by R. Nataraja, who established
the India Film Company Limited (The Destruction of Keechaka).[160]

There is a strong Indian tradition of narrating mythology, history, fairy tales and so on through
song and dance. 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 ways.[161] By the end of the 1930s, the State of Madras legislature passed
the Entertainment Tax Act 1939.

Tamil cinema later had a profound effect on other filmmaking industries of India, establishing
Madras (now Chennai) as a secondary hub for Hindi cinema, other South Indian film
industries, as well as Sri Lankan cinema.[162] 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 in Singapore, Sri Lanka, Malaysia, Japan, the Middle East, parts of
Africa, Oceania, Europe, North America and other countries.[163][164] The industry also inspired
independent filmmaking in Sri Lanka and Tamil diaspora populations in Malaysia, Singapore,
and the Western Hemisphere.[165]

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

In 1991, Marupakkam directed by K.S. Sethu Madhavan, became the first Tamil film to win the
National Film Award for Best Feature Film, the feat was repeated by Kanchivaram in 2007.[166]
Tamil films enjoy significant patronage in neighbouring Indian states like 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 where they have a decent market.[167][168]

Tamil films have enjoyed consistent popularity among populations in South East Asia. Since
Chandralekha, Muthu was the second Tamil film to be dubbed into Japanese (as Mutu: Odoru
Maharaja[169]) and grossed a record $1.6 million in 1998.[170] In 2010, Enthiran grossed a
record $4 million in North America.[171] 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 on
eight occasions.[172] Chennai based Music Composer A.R. Rahaman have global recognition
and have won two Academy Awards and is even nicknamed as "Isai Puyal" (musical storm)
and "Mozart of Madras". Nayakan (1987, Kamal Haasan) was included in Time magazine's
"All-TIME" 100 best movies list.[173] In 1991, Marupakkam directed by K. S. Sethumadhavan,
became the first Tamil film to win the National Film Award for Best Feature Film, the feat was
repeated by Kanchivaram in 2007.[166]

Other Industries

Kannada film Samskara (1970), Pattabhirama Reddy and Singeetam Srinivasa Rao),
pioneered the parallel cinema movement in south Indian cinema. The film won Bronze
Leopard at the Locarno International Film Festival.[174]

Malayalam cinema experienced its own Golden Age in the 1980s and early 1990s. Acclaimed
Malayalam filmmakers industry, included Adoor Gopalakrishnan, G. Aravindan, T. V. Chandran
and Shaji N. Karun.[175] Gopalakrishnan, is often considered to be Ray's spiritual heir.[176] He
directed some of his most acclaimed films during this period, including Elippathayam (1981)
which won the Sutherland Trophy at the London Film Festival.[177] Karun's debut film Piravi
(1989) won the Caméra 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 event. Vanaprastham was screened
at the Un Certain Regard section of the Cannes Film Festival.[178] Commercial Malayalam
cinema began gaining popularity with the action films of Jayan, a popular stunt actor the first
ever action adventure superstar of South Indian Cinema who died while filming a helicopter
stunt.

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, usually for around ₹1 lakh (equivalent to ₹31 lakh or
US$43,000 in 2019) each, for films such as Zanjeer, Yaadon Ki Baarat and Don.[179] Several of
these remakes became breakthroughs for Rajinikanth, who portrayed Bachchan's role for
several Tamil remakes.[121][180]
Sridevi in 2012. The most successful Indian actress during the 1980s–1990s, she is regarded as one of India's
greatest and most influential movie stars and is cited as the "First Female Superstar of Indian cinema".

Sridevi is widely regarded as the first female superstar of Bollywood cinema due to her pan-
Indian appeal and a rare actor who had an equally successful career in the major Indian film
industries: Hindi, Tamil and Telugu. She is also the only movie star in history of Bollywood to
star in the top 10 highest grossers of the year throughout her active period (1983-1997).

By 1996, the Indian film industry had an estimated domestic cinema viewership of
600 million viewers, establishing India as one of the largest film markets, with the largest
regional industries being Hindi, Tamil and Telugu films.[181] 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.[182][183]

Influence for cinema of India

Victoria Public Hall, is a historical building in Chennai, named after Victoria, Empress of India. It served as a theatre in
the late 19th century and the early 20th century.

Prasads IMAX Theatre located at Hyderabad, was the world's largest 3D-IMAX screen, and also the most attended
screen in the world.[184][185][186]

Ramoji Film City located in Hyderabad, holds Guinness World Record as the World's largest film studio.[187]
PVR Cinemas is one of the largest cinema chains in India

K.Moti Gokulsing and Wimal Dissanayake identify six major influences that have shaped
Indian popular cinema:[188]

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 clearly be seen in the 1993 films Khalnayak and Gardish.

Ancient Sanskrit drama, with its emphasis on spectacle, combined 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.[189] 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, 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 character"
rather than "simply conveying emotion". 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),[190] and Ray's works.[191]

Traditional folk theatre 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 "blended realism and fantasy, music and dance, narrative and spectacle,
earthy dialogue and ingenuity of stage presentation, integrating them into a dramatic
melodrama. The Parsi plays contained crude humour, melodious songs and music,
sensationalism and dazzling stagecraft."[189] 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.[190]

Hollywood made popular musicals from the 1920s through the 1960s. Indian musical
makers 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."[192]

Western musical television, 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 Tamil language film Bombay (1995, Mani
Ratnam).[193]

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 standardized 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.[194]

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).

Influence of cinema on India

During colonial rule Indians bought film equipment from Europe.[53] The British funded
wartime propaganda films during World War II, some of which showed the Indian army pitted
against the Axis powers, specifically the Empire of Japan, which had managed to infiltrate
India.[195] One such story was Burma Rani, which depicted civilian resistance to Japanese
occupation by British and Indian forces in Myanmar.[195] Pre-independence businessmen
such as J. F. Madan and Abdulally Esoofally traded in global cinema.[48]
Early Indian films made early inroads into the Soviet Union, Middle East, Southeast Asia[196]
and China. Mainstream Indian movie stars gained international fame across Asia[197][198][199]
and Eastern Europe.[200][201] For example, Indian films were more popular in the Soviet Union
than Hollywood films[202][203] and occasionally domestic Soviet films.[204] From 1954 to 1991,
206 Indian films were sent to the Soviet Union, drawing higher average audience figures than
domestic Soviet productions,[203][205] Films such as Awaara and Disco Dancer drew more than
60 million viewers.[206][207] Films such as Awaara, 3 Idiots and Dangal,[208][209] were one of the
20 highest-grossing films in China.[210]

Indian films frequently appeared in international fora and film festivals.[196] This allowed
Parallel Bengali filmmakers to achieve worldwide fame.[211]

Many Asian and South Asian countries increasingly found Indian cinema as more suited to
their sensibilities than Western cinema.[196] Jigna Desai holds that by the 21st century, Indian
cinema had become 'deterritorialised', spreading to parts of the world where Indian
expatriates were present in significant numbers, and had become an alternative to other
international cinema.[212]

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,[213] James Ivory,[214] Abbas
Kiarostami, François Truffaut,[215] Carlos Saura,[216] Isao Takahata and Gregory Nava[217]
citing his influence, and others such as Akira Kurosawa praising his work.[218] The "youthful
coming-of-age dramas that have flooded art houses since the mid-fifties owe a tremendous
debt to the Apu trilogy".[91] Since the 1980s, overlooked Indian filmmakers such as Ghatak[219]
and Dutt[220] posthumously gained international acclaim. Baz Luhrmann stated that his
successful musical film Moulin Rouge! (2001) was directly inspired by Bollywood
musicals.[221] That film's success renewed interest in the then-moribund Western musical
genre, subsequently fuelling a renaissance.[222] Danny Boyle's Oscar-winning film Slumdog
Millionaire (2008) was directly inspired by Indian films,[128][223] and is considered to be an
"homage to Hindi commercial cinema".[224]

Indian cinema has been recognised repeatedly at the 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.[225]

Genres and styles

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

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 Roy's Do Bigha Zamin (1953),
which was both a commercial and critical success, winning the International Prize at the
1954 Cannes Film Festival.[88][89][226] Ray's films include The Apu Trilogy. Its three films won
major prizes at the Cannes, Berlin and Venice Film Festivals, and are frequently listed among
the greatest films of all time.[227][228][229][230]

Other neo-realist filmmakers were Shyam Benegal, Karun, Gopalakrishnan[82] and

Kasaravalli.[231]

Multilingual

Some Indian films are known as "multilinguals", filmed in similar but non-identical versions in
different languages. This was done in the 1930s. 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.[232]: 15 

Rajadhyaksha and Willemen note that in seeking to construct their Encyclopedia, they often
found it "extremely difficult to distinguish multi linguals 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".[232]: 15 
Pan-India film

Pan-India film is a style of Indian cinema and a film movement that have gained popularity
post the success of Baahubali: The Beginning (2015). 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 maximise the target audience and increase the revenues.[233]

Music

Music is a substantial revenue generator, with music rights alone accounting for 4–5% of net
revenues.[234] 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.[234] Film music accounts for 48% of net music sales.[234] A typical film may feature
5–6 choreographed songs.[235] Indian Music Director A.R. Rahaman have global recognition
and have won two Academy Awards.

The demands of a multicultural, increasingly globalised Indian audience led to a mixing of

local and international musical traditions.[235] Local dance and music remain a recurring
theme in India and followed the Indian diaspora.[235] Playback singers such as Mohammad
Rafi, Kishore Kumar, Lata Mangeshkar, K. J. Yesudas, Asha Bhosle, K. S. Chitra, Kumar Sanu,
Udit Narayan and S. P. Balasubrahmanyam drew crowds to film music stage shows.[235] In the
21st century interaction increased between Indian artists and others.[236]

Film location

In filmmaking, a location is any place where acting and dialogue are recorded. Sites where
filming without dialogue takes place is 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.

The most popular locations are the main cities for each 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.[237][238]

Production companies

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, SUN Pictures, Red Chillies Entertainment, Dharma
Productions, Eros International, Ajay Devgn FFilms, Balaji Motion Pictures, UTV Motion
Pictures, Raaj Kamal Films International, Hombale Films, Aashirvad Cinemas, Wunderbar
Films, and Geetha Arts.[239]

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.[240]
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 16

Konkani 13

English 11

Rajasthani 10

Chhattisgarhi 9

Tulu 9

Khasi 7

Garhwali 4

Maithili 4

Awadhi 3

Lambadi 2

Haryanvi 2

Mishing 2

Nepali 2

Pnar 2

Others 1 each
 Total 1986

Assamese

First Assamese motion picture, Joymati, filmed in 1935

The Assamese language film industry traces its origin to the works of revolutionary visionary
Rupkonwar Jyotiprasad Agarwala, who was a distinguished poet, playwright, composer and
freedom fighter. He was instrumental in the production of the first Assamese film Joymati[241]
in 1935, under the banner of Critrakala Movietone. Due to the lack of trained technicians,
Jyotiprasad, while making his maiden film, had to shoulder the added responsibilities as the
screenwriter, producer, director, choreographer, editor, set and costume designer, lyricist and
music director. The film, completed with a budget of 60,000 rupees, was released on 10
March 1935. The picture failed miserably. Like many early films, the negatives and prints of
Joymati are missing. Some effort has been made privately by Altaf Mazid to restore and
subtitle what is left of the prints. Despite the significant financial loss from Joymati, a second
picture, Indramalati, was released in 1939. The 21st century has produced Bollywood-style
Assamese movies.[242]

Bengali

A scene from Dena Paona, 1931, the first Bengali talkie

The Bengali language cinematic tradition of Tollygunge located in West Bengal, also known
as Tollywood (named after Tollygunge), hosted filmmaking masters such as Satyajit Ray,
Ritwik Ghatak and Mrinal Sen.[243] Recent Bengali films that have captured national attention
include Choker Bali.(Rituparno Ghosh)[244] Bengal has produced science fiction and issue
films.[245]

Bengali cinema dates to the 1890s, when the first "bioscopes" were shown in theatres in
Calcutta. Within five years, Hiralal Sen set up the Royal Bioscope Company, producing scenes
from the stage productions of a number of popular shows at the Star Theatre, Calcutta,
Minerva Theatre and Classic Theatre. Following a long gap after Sen, Dhirendra Nath Ganguly
(Known as D.G.) established Indo British Film Co, the first Bengali owned production
company, in 1918. The first Bengali Feature film Billwamangal was produced in 1919 under
the banner of Madan Theatre. Bilat Ferat (1921) was the IBFC's first production. Madan
Theatres production of Jamai Shashthi was the first Bengali talkie.[246]

In 1932, the name "Tollywood" was coined for the Bengali film industry because Tollygunge
rhymes with "Hollywood" and because it was then the centre of the Indian film industry.[247]
The 'Parallel Cinema' movement began in Bengal. Bengali stalwarts such as Ray, Mrinal Sen,
Ghatak and others earned international acclaim. Actors including Uttam Kumar and Soumitra
Chatterjee led the Bengali film industry.

Other Bengali art film directors include Buddhadeb Dasgupta, Gautam Ghose, Sandip Ray and
Aparna Sen.

Braj Bhasha

Braj Bhasha language films present Brij culture mainly to rural people, predominant in the
nebulous Braj region centred around Mathura, Agra, Aligarh and Hathras in Western Uttar
Pradesh and Bharatpur and Dholpur in Rajasthan. It is the predominant language in the
central stretch of the Ganges-Yamuna Doab in Uttar Pradesh. The first Brij Bhasha movie
India was Brij Bhoomi (1982, Shiv Kumar), which was a success throughout the
country.[248][249] Later Brij Bhasha cinema saw the production of films like Jamuna Kinare, Brij
Kau Birju, Bhakta Surdas and Jesus.[250][251] The culture of Brij is presented in Krishna Tere
Desh Main (Hindi), Kanha Ki Braj Bhumi,[252] Brij ki radha dwarika ke shyam[253] and Bawre
Nain.[254]

Bhojpuri

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 migration of Bhojpuri
speakers to these cities. Besides India, markets for these films developed in other Bhojpuri
speaking countries of the West Indies, Oceania and South America.[255]

Bhojpuri film history begins with Ganga Maiyya Tohe Piyari Chadhaibo (Mother Ganges, I will
offer you a yellow sari, 1962, Kundan Kumar).[256] Throughout the following decades, few
films were produced. Films such as Bidesiya (Foreigner, 1963, S. N. Tripathi) and Ganga
(Ganges, 1965, Kumar) were profitable and popular, but in general Bhojpuri films were not
common in the 1960s and 1970s.

The industry experienced a revival in 2001 with the hit Saiyyan Hamar (My Sweetheart, Mohan
Prasad), which shot Ravi Kissan to superstardom.[257] This was followed by several other
successes, including Panditji Batai Na Biyah Kab Hoi (Priest, tell me when I will marry, 2005,
Prasad), and Sasura Bada Paisa Wala (My father-in-law, the rich guy, 2005.) Both did much
better business in Uttar Pradesh and Bihar than mainstream Bollywood hits, and both earned
more than ten times their production costs.[258] Although smaller than other Indian film
industries, these successes increased Bhojpuri cinema's visibility, leading to an awards
show[259] and a trade magazine, Bhojpuri City.[260]

Chakma

It is often known by the sobriquet Chakwood. Chakma cinema is a small industry in the
country of Bangladesh and in India state of Tripura and Mizoram.

Chhattisgarhi

Known by the sobriquet Chhollywood. It had its beginning in 1965 with the release of the first
Chhattisgarhi film[261] Kahi Debe Sandesh (In Black and White, Manu Nayak).[262] Naidu wrote
the lyrics for the film,[263] and two songs were sung by Mohammad Rafi. That film and Ghar
Dwar (1971, Niranjan Tiwari) bombed. No Chhollywood movie was produced for nearly 30
years thereafter.[264]

English

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

Gujarati
Before the arrival of talkies, several silent films were closely related to Gujarati culture. Many
film directors, producers and actors associated with silent films were Gujarati and Parsi.
Twenty leading film company and studios were owned by Gujaratis between 1913 and 1931.
They were mostly located in Mumbai. At least forty-four major Gujarati directors worked
during this period.[265]

Gujarati cinema dates to 9 April 1932, when the first Gujarati film, Narsinh Mehta, was
released.[265][266][267] Liludi Dharti (1968) was the first colour Gujarati film.[268] After
flourishing through the 1960s to 1980s, the industry declined although it later revived. More
than one thousand films were released.[269]

Gujarati cinema ranges from mythology to history and from social to political. Gujarati films
originally targeted a rural audience, but after its revival catered to an urban audience.[265]

Hindi

Amitabh Bacchan has been a popular Bollywood actor for over 45 years.[270]

The Hindi language film industry of Bombay—also known as[271] Bollywood—is the largest
and most powerful branch.[272] Hindi cinema explored issues of caste and culture in films
such as Achhut Kanya (1936) and Sujata (1959).[273] International visibility came to the
industry with Raj Kapoor's Awara and later in Shakti Samantha's Aradhana.[274] Hindi cinema
grew during the 1990s with the release of as many as 215 films annually.

Many actors signed contracts for simultaneous work in 3–4 films.[234] Institutions such as
the Industrial Development Bank of India financed Hindi films.[234] Magazines such as
Filmfare, Stardust and Cine Blitz became popular.[275]
In Hindi cinema audiences participate by clapping, singing and reciting familiar dialogue.[276]

Art film directors include Kaul, Kumar Shahani, Ketan Mehta, Govind Nihalani, Shyam
Benegal,[82] Mira Nair, Nagesh Kukunoor, Sudhir Mishra and Nandita Das.

Kannada

The Kannada film industry, also referred to as Sandalwood, is based in Bangalore and caters
mostly to Karnataka. Gubbi Veeranna (1891 – 1972) was an Indian theatre director and artist
and an awardee of the Padma Shri award conferred by the President of India. He was one of
the pioneers and most prolific contributors to Kannada theatre. Kannada actor Dr Rajkumar
began working with Veeranna and later became an important actor.

Veeranna founded Karnataka Gubbi Productions. He produced Sadarame (1935, Raja

Chandrasekar), in which he acted in the lead role. He then produced Subhadra and Jeevana
Nataka (1942). He took the lead role in Hemareddy Mallamma (1945). Karnataka Gubbi
Productions was later called Karnataka Films Ltd., and is credited with starting the career of
Rajkumar when it offered him the lead role in his debut film Bedara Kannappa. He produced
silent movies including His Love Affair, (Raphel Algoet). Veeranna was the lead, accompanied
by his wife, Jayamma.

Veeranna produced Bedara Kannappa (1954, H. L. N. Simha) which received the first
Certificate of Merit. However, the first "President's Silver Medal for Best Feature Film in
Kannada" was awarded at the 5th National Film Awards ceremony to Premada Puthri (1957,
R. Nagendra Rao). Rajkumar was the legendary actor along with Vishnuvardhan, Ambarish,
Anant Nag, Shankar Nag, Prabhakar, Udaya Kumar, Kalyan Kumar, Gangadhar, Leelavathi,
Kalpana, Bharathi, Jayanthi, Pandari Bai, Aarathi, Jaimala, Tara, Umashri, Ravichandran,
Shivarajkumar, Shashikumar, Ramesh Arvind, Devaraj, Jaggesh, Saikumar, Vinodraj,
Charanraj, Ramkumar, Sudeep, Darshan, Puneeth Rajkumar, Yash, and Ramya.

Kannada Directors include H. L. N. Simha, R. Nagendra Rao, B. R. Panthulu, M. S. Sathyu,

Puttanna Kanagal, G. V. Iyer, Karnad, T. S. Nagabharana, S. Siddalingaiah, B. V. Karanth, A K
Pattabhi, T. V. Singh Thakur, Y. R. Swamy, M. R. Vittal, Sundar Rao Nadkarni, P. S. Moorthy, S.
K. A. Chari, Hunsur Krishnamurthy, Prema Karanth, Rajendra Singh Babu, N. Lakshminarayan,
Shankar Nag, Girish Kasaravalli, Umesh Kulkarni and Suresh Heblikar. Other noted film
personalities in Kannada are, Bhargava, G.K. Venkatesh, Vijaya Bhaskar, Rajan–Nagendra,
Geethapriya, Hamsalekha, R. N. Jayagopal, M. Ranga Rao and Yogaraj Bhat.

Kannada cinema contributed to Indian parallel cinema. Influential Kannada films in this genre
include Samskara, Chomana Dudi (B. V. Karanth), "Bangarada Manushya", "Mayura", "Jeevana
Chaitra", "Gauri Ganesha", "Udbhava", Tabarana Kathe, Vamshavruksha, Kaadu Kudure,
Hamsageethe, Bhootayyana Maga Ayyu, Accident, Maanasa Sarovara, Bara, Chitegoo Chinte,
Galige, Ijjodu, Kanneshwara Rama, Ghatashraddha, Tabarana Kathe, Mane, Kraurya, Thaayi
Saheba, Bandhana, Muthina Haara, Banker Margayya, Dweepa, Munnudi, Bettada Jeeva,
Mysore Mallige and Chinnari Muththa.

The Government Film and Television Institute, Bangalore (formerly a part of S.J. Polytechnic)
is believed to be the first government institute in India to start technical film courses.[277]

The song Baare Baare from the 1972 movie Naagarahaavu was the first slow-motion song of
Indian cinema.[278] The 1986 movie Anuraga Aralithu was the first Indian movie to be remade
in six other languages.[279] The 1986 movie Africadalli Sheela was the first Indian movie to be
shot in African forests.[280] The 1987 movie Ondu Muttina Kathe was the first Indian film to
have an underwater action sequence shot in an ocean outside India without the help of
oxygen mask.[281] The 1989 movie Idu Saadhya created a record by becoming the first Indian
movie to be shot within a span of 36 hours.[282] The 1995 movie Om is the only Indian movie
to have been re-released 550 times.[283] The 2005 movie Shanti was the second Indian film to
enter the Guinness Book of World Records in the Fewest actors in a narrative film category. It
had only one actor with the other characters represented through voice and no physical
appearance.[284] The 2006 Kannada movie Mungaru Male was the first Indian movie to run for
a year in a multiplex.[285]Rajkumar is the only lead actor in India to have received National
Award for singing.

The 1964 movie Naandi set a landmark by being the first ever Kannada film to be screened at
an international film festival.[286][287][288][289] This film was screened at IFFI 1992 Kannada
cinema Retrospect.[290]

The 1970 movie Samskara won the Bronze Leopard at Locarno International Film Festival[291]
The 1977 movie Ghatashraddha became the only Indian film to be chosen by the National
Archive of Paris among 100 others, during the centenary celebrations of cinema.[292][293] At
the 2009 International Film Festival of India, it was announced one of the 20 best films in
Indian cinema, having received 1.6 million votes.[294][295] The 1978 movie Ondanondu Kaladalli
was released at The Guild Theatre, 50 Rockefeller Plaza on 17 May 1982. Vincent Canby, the
chief film critic of The New York Times, called the movie "that is both exotic as well as
surprising in view of all the bodies on the ground at the end, sweet natured!".[296] The film was
subtitled into English for its American premiere on 18 October 1995 in Shriver Hall at the
Johns Hopkins University as part of the 1995 Milton S. Eisenhower Symposium "Framing
Society : A Century of Cinema".[297]

The 1987 film Pushpaka Vimana premiered at the International Film Festival of India, 1988
Cannes Film Festival in the International Critics' Week [298][299] and retrospective at the
Shanghai International Film Festival, and Whistling Woods International.[300]
The 2000 movie Munnudi was screened at Palm Springs International Film Festival
(2002).[301] The 2002 movie Atithi was screened at Cairo International Film Festival.[302] The
2006 movie Thutturi won the Best Audience Award at the 9th Dhaka International Film
Festival.[303] and won the Earth Vision Award of 2005-06 at the 15th Tokyo Global
Environmental Film Festival.[304]

The 2010 movie Kanasemba Kudureyaneri won the NETPAC Award at the Asiatica Film
Mediale (Italy) (2010).[305] The 2011 film Koormavatara was screened in 17 film festivals and
won acclaims at the film festivals of Bangkok, New York and Vancouver.[306] The 2013 movie
Lucia premiered at the London Indian Film Festival on 20 July 2013.[307][308] It won the Best
Film Audience Choice award at the festival.[309] The 2015 movie Thithi won accolades at
multiple international film festivals including the 68th Locarno International Film Festival.[310]
The 2016 movie Railway Children won the Ecumenical Jury Award (special mention) at Zlín
Film Festival.[311][312] The 2019 movie Arishadvarga also premiered at the London Indian Film
Festival[313][314] followed by the Asian Premiere at the Singapore South Asian International
Film Festival[315] and the North American Premiere at the Vancouver International South
Asian Film Festival.[316]

In the post - pandemic era, Kannada cinema started making waves across the world in
several international film festivals. Pinki Elli? which was a part of Indian Panorama, also
opened the Busan International Film Festival. It also won award at the New York Indian Film
Festival . Amruthamathi was screened at 9 international film festivals including Boston Film
Festival , Atlanta Film Festival , Austria Film Festival and won multiple awards. Koli Taal and
Neeli Hakki were selected for multiple international Film festivals including New York Indian
Film Festival. Daari Yaavudayya Vaikunthakke ? won multiple awards at Rajasthan Film
Festival and other international film festivals like Barcelona, Nawada and Golden Sparrow
International Film Festivals.[317]

Konkani

Konkani language films are mainly produced in Goa. It is one of India's smallest film regions,
producing four films in 2009.[318] Konkani language is spoken mainly in the states of Goa,
Maharashtra and Karnataka and to a smaller extent in Kerala. The first full-length Konkani
film was Mogacho Anvddo (1950, Jerry Braganza), under the banner of Etica Pictures.[319][320]
The film's release date, 24 April, is celebrated as Konkani Film Day.[321] Karnataka is the hub
of many Konkani speaking people. 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

Maithili Films , first full-length was Kanyadan released in 1965.[322] There are numerous films
made in the Maithili over the years[323] but Mithila Makhaan is such a special film that got
success to grab everyone's attention after winning the National Award in regional films
category.[324]

Malayalam

A still frame from Vigathakumaran

A promotional notice of Balan

The Malayalam film industry, India's fourth largest, is based in Kochi. Noted early filmmakers
involved in making serious artistic films include Adoor Gopalakrishnan, Shaji N. Karun, G.
Aravindan, K. G. George, Padmarajan, T. V. Chandran and Bharathan.
The first full-length Malayalam feature was Vigathakumaran (1928, J. C. Daniel).[325] This
movie is credited as the first Indian social drama feature film, and is one of the few films to
have a Dalit lead actress, P.K. Rosy.[326] Daniel is considered the father of the Malayalam film
industry. Balan (1938, S. Nottani) was the first Malayalam "talkie".[327][328]

Malayalam films were mainly produced by Tamil producers until 1947, when the first major
film studio, Udaya Studio, opened in Kerala.[329] Neelakkuyil (1954) captured national interest
by winning the President's silver medal. Scripted by the well-known Malayalam novelist,
Uroob (P. Bhaskaran and Ramu Kariat) is often considered the first authentic Malayali
film.[330] Newspaper Boy (1955), made by a group of students, was the first neo-realistic film
offering.[331] 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.[332]
Mammootty holds a record for the number of National Film Awards for Best Actor that he
received for Oru Vadakkan Veeragatha and Mathilukal (1989); Vidheyan and Ponthan Mada
(1993); and Dr. Babasaheb Ambedkar (1998).[333]

Mammooty - Maximum number of National Awards in Best Actor category in Malayalam industry.

Malayalam has been in the forefront of technological innovation in Indian cinema. The first
neorealistic film (Newspaper Boy),[175] the first CinemaScope film (Thacholi Ambu),[334] the
first 70 mm film (Padayottam),[335] the first 3D film (My Dear Kuttichathan),[336] the first
Panavision film (Vanaprastham), the first digital film (Moonnamathoral),[337] The first
Smartphone film (Jalachhayam),[338] the first 8K film (Villain)[339] in India were made in
Malayalam.

The period from 1986 to 1990 is regarded as the "Golden Age" of Malayalam cinema, with the
making of some of the best films in the industry.[340] Four Malayalam films has received
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) has won the Caméra d'Or — Mention Spéciale (special mention) and Marana
Simhasanam has won the Caméra d'Or.

The Kerala State Film Awards constituted by the Government of Kerala recognises best
works in Malayalam cinema every year, along with J. C. Daniel Award which is the highest
award for any person in Malayalam cinema for lifetime achievement. K. R. Narayanan
National Institute of Visual Science and Arts (KRNNIVSA) is an autonomous institute
established by the Government of Kerala at Thekkumthala in Kottayam District in Kerala state
as a training-cum-research centre in film/audio-visual technology.[341]

Manipuri

Manipuri cinema is a small industry in the state of Manipur. This region's debut was a full-
length black and white film Matamgi Manipur (1972). Manipuri cinema started in the 1970s.
Langlen Thadoi (1984) was Manipuri cinema's first full-length colour film.

Manipuri cinema gained momentum following a ban on the screening of Hindi films in
entertainment houses in Manipur. Screening of Hindi movies came to a halt despite reiterated
appeals made by successive Chief Ministers. 80-100 movies are made each year. Cinemas
opened in Imphal after World War II. The first full-length Manipuri movie was made in 1972,
followed by a boom in 2002.

Imagi Ningthem (directed by Aribam Syam Sharma) won the Grand Prix in the 1982 Nantes
International Film Festival. A nationwide French telecast of Imagi Ningthem expanded the
audience. After watching Ishanou (Aribam Syam Sharma), westerners began research on Lai
Haraoba and Manipur's rich folklore. Maipak, Son of Manipur (1971) was the first Manipuri
documentary film.

Among the notable Manipuri films are Yenning Amadi Likla, Phijigee Mani, Leipaklei, Loktak
Lairembee and Eikhoishibu Kanano.

Marathi

Marathi films are produced in the Marathi language in Maharashtra. It is one of the oldest
efforts in Indian cinema. Dadasaheb Phalke made the first indigenous silent film Raja
Harishchandra (1913) with a Marathi crew, which is considered by IFFI and NIFD to be part of
Marathi cinema.
 Actor Duo Ashok Saraf and Laxmikant Berde are considered as the Comedy Kings of Marathi Cinema.

The first Marathi talkie, Ayodhyecha Raja (1932, Prabhat Films). Shwaas (2004) and
Harishchandrachi Factory (2009), became India's official Oscar entries. Today the industry is
based in Mumbai, but it began in Kolhapur and then Pune.

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.

Marathi films feature the work of actors including Durga Khote, V. Shantaram, Lalita Pawar,
Nanda, Shriram Lagoo, Ramesh Deo, Seema Deo, Nana Patekar, Smita Patil, Sadashiv
Amrapurkar, Sonali Kulkarni, Sonali Bendre, Urmila Matondkar, Reema Lagoo, Padmini
Kolhapure, Ashok Saraf, Laxmikant Berde and Sachin Khedekar.

Nagpuri

Nagpuri films produced in the Nagpuri language in Jharkhand. The first Nagpuri feature film
was Sona Kar Nagpur (1992) which was produced and directed by Dhananjay Nath
Tiwari.[342][343]

Gorkha

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

Odia

Known by the sobriquet Ollywood, the Odia language film industry operates in Bhubaneswar
and Cuttack.[344] The first Odia talkie Sita Bibaha (1936) came from Mohan Sunder Deb
Goswami. Shreeram Panda, Prashanta Nanda, Uttam Mohanty and Bijay Mohanty started the
Oriya film industry by finding an audience and a fresh presentation.[345] The first colour film,
Gapa Hele Be Sata (Although a Story, It Is True), was made by Nagen Ray and photographed
by Pune Film Institute-trained cinematographer Surendra Sahu. 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 at Hawaii and was shown at
the London Film Festival.

Punjabi

It is known by the sobriquet Pollywood. K. D. Mehra made the first Punjabi film, Sheela (also
known as Pind di Kudi (Rustic Girl)). Baby Noor Jehan was introduced as an actress and
singer in this film. Sheela was made in Calcutta and released in Lahore; it was a hit across the
province. Its success led many more producers to make Punjabi films. As of 2009, Punjabi
cinema had 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 the 2000s Punjabi
cinema revived with more releases every year featuring bigger budgets.[346] Manny Parmar
made the first 3D Punjabi film, Pehchaan 3D (2013).

Sindhi

The Sindhi film industry produces movies at intervals. The first was Abana (1958 ), 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. Numerous Sindhi have contributed in Bollywood,
including G P Sippy, Ramesh Sippy, Nikhil Advani, Tarun Mansukhani, Ritesh Sidhwani and
Asrani.

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.[347]

Tamil
Kalidas (1931), Tamil cinema's first talkie

Known by the sobriquet Kollywood, Chennai (Madras) once served as a base for all South
Indian film industries, and dubbing artistes knew Tamil as well.[348]

Kamal Hassan has the highest number of Academy Award Submissions in India and is one of the greatest versatile
actors of all time.

The first south Indian talkie film Kalidas (H. M. Reddy) was shot in Tamil and Telugu. 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.[113]

AVM studios is the oldest surviving studio in India.

Tamil cinema is influenced by Dravidian politics,[114] and has a rich tradition of films
addressing social issues. Tamil Nadu's most prominent Chief Ministers all got their start in
cinema: Dravidian stalwarts C N Annadurai and M Karunanidhi were scriptwriters and M G
Ramachandran and Jayalalithaa gained a political base through their huge fan following.[115]
K. B. Sundarambal was the first film personality to enter a state legislature in India, and the
first to command a salary of one lakh rupees.[349]

Tamil films are distributed to various parts of Asia, Southern Africa, Northern America,
Europe and Oceania.[350] The industry inspired Tamil film-making in Sri Lanka, Malaysia,
Singapore and Canada.

Rajnikanth is referred to as "Superstar" and holds matinee idol status in South India.[351]
Kamal Haasan debuted in 1960 Kalathur Kannamma, for which he won the President's gold
medal for Best Child Actor. With seven submissions, Kamal Haasan has starred in the highest
number of Academy Award submissions. Today actors like Suriya, Vijay and Ajith Kumar are
some of the most popular names across south India. Critically acclaimed composers such as
Ilaiyaraaja and A. R. Rahman work in Tamil cinema. Art film directors include Santosh Sivan.
The actresses Sridevi, Vyjayanthimala and Hema Malini were debuted in Tamil films and later
became female superstars in Bollywood.

Telugu

Raghupati Venkayya, "father of Telugu cinema"

Known by the sobriquet Tollywood, India's largest number of theatres are located in Andhra
Pradesh and Telangana, places known for producing feature films in Telugu.[352][353][354]
Ramoji Film City, which holds the Guinness World Record for the world's largest film
production facility, is located in Hyderabad.[355] The Prasad IMAX in Hyderabad is the world's
largest 3D IMAX screen[184][185] and is the world's most viewed screen.[186] Raghupathi
Venkaiah Naidu is considered the "father of Telugu cinema". The annual Raghupati Venkaiah
Award was incorporated into the Nandi Awards to recognise contributions to the industry.[356]

Chittor V. Nagaiah was the first multilingual Indian film actor, thespian, composer, director,
producer, writer and playback singer. Nagaiah made significant contributions to Telugu
cinema, and starred in some two hundred productions.[357] Regarded as one of the finest
Indian method actors, he was Telugu's first matinee idol. His forte was intense characters,
often immersing himself in the character's traits and mannerisms.[357] He was the first from
South India to be honoured with the Padma Shri.[358] He became known as India's Paul
Muni.[57][359] S. V. Ranga Rao was one of the first Indian actors to receive the international
award at the Indonesian Film Festival, held in Jakarta, for Narthanasala in 1963.[360] N. T.
Rama Rao was an Indian actor, producer, director, editor and politician who earned three
National Film Awards. He served as Chief Minister of Andhra Pradesh for seven years over
three terms. He was one of the most successful Telugu actors of his time.[361]

B. Narsing Rao, K. N. T. Sastry and Pattabhirama Reddy garnered international recognition for
their pioneering work in Parallel Cinema.[362][363] Adurthi Subba Rao won ten National Film
Awards, Telugu cinema's highest individual awards, for his directorial work.[364]

Bhanumathi Ramakrishna was a multilingual Indian film actress, director, music director,
singer, producer, author and songwriter.[365][366] Widely known as the first female super star of
Telugu cinema, she is also known for her work in Tamil cinema. Ghantasala was an Indian
film composer, playback singer known for his works predominantly in South Indian cinema. S.
P. Balasubramanyam holds the Guinness World Record of having sung the most songs for
any male playback singer; the majority were in Telugu.[367][368][369]

S. V. Ranga Rao, N. T. Rama Rao, Kanta Rao, Bhanumathi Ramakrishna, Savitri, Gummadi,
Sobhan Babu and Krishnam Raju were the stalwarts of the industry.[370][371] Sharada,
Archana, Vijayashanti, Rohini, and P. L. Narayana received the National Film Award for the
best performance in acting. Chiranjeevi was listed among "the men who changed the face of
the Indian Cinema" by IBN-live India.,[372][373] The Telugu cinema history created the two part
of Baahubali: The Beginning (2015) and Baahubali 2: The Conclusion (2017).[374][375] The
Baahubali franchise has achieved the highest grossing Indian multilingual film franchise of all
time globally, with a box office of approximately ₹1,900 crore
(US$270 million).[376][377][378][379] The first edition, Baahubali: The Beginning was nominated
for Saturn Award for Best Fantasy Film, while the second edition, Baahubali 2: The
Conclusion received the Saturn Award for Best International Film by the American Academy
of Science Fiction, Fantasy and Horror Films.[380][381] The sequel garnered the Australian
Telstra People's Choice Award at the 2017 Indian Film Festival of Melbourne.[382]

Tulu

Known by the sobriquet Coastalwood. Tulu cinema (or Coastalwood) is a part of Indian
cinema. The Tulu film industry produces 5 to 7 films annually. Usually, earlier, these films
were released in theatres across the Tulu Nadu region.[383] But currently the Tulu film industry
has grown to such an extent that films are being released simultaneously in Mangalore,
Mumbai, Bangalore and Gulf countries.

Enna Thangadi, was the first, released in 1971. The critically acclaimed Suddha won the
award for Best Indian Film at the Osian film festival held at New Delhi in 2006.[384][385][386]
Oriyardori Asal, released in 2011, is the most successful.[387] Koti Chennaya (1973, Vishu
Kumar) was the first history-based. The first colour film was Kariyani Kattandi Kandani (1978,
Aroor Bhimarao).

Awards

Dadasaheb Phalke is known as the "Father of Indian cinema".[44][45][46][47] The Dadasaheb

Phalke Award, for lifetime contribution to cinema, was instituted in his honour by the
Government of India in 1969, and is the country's most prestigious and coveted film
award.[388]
Prominent government-sponsored film awards
Year of
Award Awarded by
Inception

Bengal Film Journalists' Association Awards 1937 Government of West Bengal

Directorate of Film Festivals,

National Film Awards 1954
Government of India

Maharashtra State Film Awards 1963 Government of Maharashtra

Nandi Awards 1964 Government of Andhra Pradesh

Punjab Rattan Awards[389] 1940 Government of Punjab

Tamil Nadu State Film Awards 1967 Government of Tamil Nadu

Karnataka State Film Awards 1967 Government of Karnataka

Orissa State Film Awards 1968 Government of Odisha

Kerala State Film Awards 1969 Government of Kerala

Arab Indo Bollywood Awards 2016 ICF Studios

Prominent non-governmental awards
Year of
Award Awarded by
Inception

Filmfare Awards 1954 Bennett, Coleman and Co. Ltd.

Filmfare Awards South 1954 Bennett, Coleman and Co. Ltd.

South Indian International Movie

2012 Vibri Media Group
Awards

Wizcraft International Entertainment Pvt

IIFA Awards 2000
Ltd

Wizcraft International Entertainment Pvt

IIFA Utsavam 2016
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

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

Associated Broadcasting Company

2007-
Private Limited
TSR TV9 National Awards Telugu
2008
T. Subbarami Reddy

Apsara Awards 2004 Apsara Producers Guild Awards

Vijay Awards 2007 STAR Vijay

Marathi International Film and Theatre

2010 Marathi Film Industry
Awards

Punjabi International Film Academy

2012 Parvasi Media Inc.
Awards

Prag Cine Awards 2013 Prag AM Television

Filmfare Awards East 2014 Bennett, Coleman and Co. Ltd.

 Film education

Government-run and private institutes provide formal education in various aspects of

filmmaking. Some of the prominent ones include:

State Institute of Film and Television

AJK Mass Communication Research Centre, Jamia Millia Islamia, New Delhi

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[390]

Centre for advanced media studies, Patiala

Mass Communication and New Media Central University of Jammu.

Department of Culture and Media studies, Central University of Rajasthan

Film and Television Institute of India (FTII), Pune

Film-Theater Studies, SOH, Tamil Nadu Open University, Saidapet, Chennai

Government Film and Television Institute, Bangalore[391]

K. R. Narayanan National Institute of Visual Science and Arts (KRNNIVSA), Kottayam,

Kerala[392]

L. V. Prasad Film and TV Academy, Chennai[393]

M.G.R. Government Film and Television Training Institute, Chennai

Matrikas Film School[394]

National Institute of Design, Ahmedabad[395]

Palme Deor Media College, Tambaram west, Chennai and Arulananda Nagar, Thanjavur[396]

Regional Government Film and Television Institute (RGFTI), Guwahati

Satyajit Ray Film and Television Institute, Calcutta

School of Media and Cultural Studies, Tata Institute of Social Sciences, Mumbai[397]

Srishti School of Art, Design and Technology, Bangalore, Karnataka

Whistling Woods International

National School of Drama, Delhi

Faculty Of Performing Arts, Drama Department

See also

Cinema of Bangladesh

Cinema of Nepal

Cinema of Pakistan

Earliest colour films in South India

List of Indian animated movies

International Film Festival of India

International Film Festival of Kerala

Kolkata International Film Festival

List of cinema of the world

List of Indian winners and nominees of the Academy Awards

Lists of Indian actors

List of Indian film actresses

Notes

1. Mumbai is known as the film capital of India and the hub of Bollywood.[12][13]

Chennai is the hub of Tamil film industry.[14][15]

Kolkata is the home of Bengali cinema.[16][17][18]

Hyderabad is the hub of Telugu Film Industry.[19][20]

Kochi is known as the hub of Malayalam cinema.[21][22][23][24]

Bangalore is the hub of Kannada cinema.[25][26]

The twin cities of Bhubaneswar & Cuttack play host to the Odiya film industry.[27][28]

Guwahati is the hub of Assamese cinema[29][30]

References

1. https://ficci.in/spdocument/23200/FICCI-EY-Report-media-and-entertainment-2020.pdf

2. https://ficci.in/spdocument/23200/FICCI-EY-Report-media-and-entertainment-2020.pdf
 3. "Feature films: Cinema infrastructure - Capacity" (http://data.uis.unesco.org/?ReportId=5538) .
UNESCO Institute for Statistics. UNESCO. Retrieved 7 May 2019.

4. " "INDIAN FEATURE FILMS CERTIFIED IN 2019" (http://filmfed.org/downloads/Language-wise-Regio

n-2018-19-26062019.pdf) (PDF), Filmfed, retrieved 12 August 2020

5. "Culture: Feature Films" (https://web.archive.org/web/20131103112139/http://stats.uis.unesco.org/

unesco/TableViewer/tableView.aspx?ReportId=5538) . UNESCO Institute for Statistics. 2015.
Archived from the original (http://stats.uis.unesco.org/unesco/TableViewer/tableView.aspx?ReportI
d=5538) on 3 November 2013. Retrieved 7 May 2019.

6. "Indian film industry's gross box office earnings may reach $3.7 billion by 2020: Report - Latest News
& Updates at Daily News & Analysis" (http://www.dnaindia.com/entertainment/report-indian-film-ind
ustry-s-gross-box-office-earnings-may-reach-37-billion-by-2020-report-2258789) . 26 September
2016.

7. "India Box Office collections: Regional cinema led by Telugu, Tamil movies overtakes Bollywood" (htt
ps://www.financialexpress.com/entertainment/bollywoods-big-but-regional-cinema-is-also-raking-in-
the-moolah/2020134/) . The Financial Express. 2020. Retrieved 9 May 2021.

8. Hasan Suroor (26 October 2012). "Arts : Sharmila Tagore honoured by Edinburgh University" (http://
www.thehindu.com/arts/sharmila-tagore-honoured-by-edinburgh-university/article4031942.ece) .
The Hindu. Retrieved 1 November 2012.

9. "Leading film markets worldwide by number of films produced 2018" (https://www.statista.com/stat

istics/252727/leading-film-markets-worldwide-by-number-of-films-produced/) . Statista. Retrieved
7 June 2020.

10. "Tamil leads as India tops film production" (http://timesofindia.indiatimes.com/city/hyderabad/Tami

l-leads-as-India-tops-film-production/articleshow/21967065.cms) . Times of India. Retrieved
25 March 2015.

11. "Electrolux-2nd" (https://web.archive.org/web/20120207042220/http://www.sebi.gov.in/dp/gvfilm

s.pdf) (PDF). Archived from the original (http://www.sebi.gov.in/dp/gvfilms.pdf) (PDF) on 7
February 2012. Retrieved 6 February 2012.

12. "The birth of India's film industry: how the movies came to Mumbai" (https://www.theguardian.com/
film/2013/jul/25/birth-indias-film-industry-movies-mumbai) . The Guardian. 25 July 2013. Retrieved
2 January 2021.

13. "Commercial and bollywood hub Mumbai vs Media and political 'capital' Delhi: Is the race over?" (htt
ps://economictimes.indiatimes.com/commercial-and-bollywood-hub-mumbai-vs-media-and-political
-capital-delhi-is-the-race-over/articleshow/11235198.cms) . The Economic Times. 25 December
2011. Retrieved 2 January 2021.

14. "Tamil films: How north Chennai marks its presence while Kodambakkam thrives" (https://www.hind
ustantimes.com/regional-movies/tamil-films-how-north-chennai-marks-its-present-while-kodambakk
am-thrives/story-TrsZN4P2BCWrIz61aOOBsK.html) . Hindustan Times. 23 February 2017.
Retrieved 3 January 2021.
15. Hiro, Dilip (2010). After Empire: The Birth of a Multipolar World (https://books.google.com/books?id
=Zlivv_pQWnAC&pg=PA248) . p. 248. ISBN 978-1-56858-427-0.

16. "Lights, camera, action..." (https://www.business-standard.com/article/specials/lights-camera-actio

n-112040200044_1.html) Business Standard India. Business Standard. 21 January 2013. Retrieved
3 January 2021.

17. "Will viewers return to theatres after lockdown? asks Bengal's film industry" (https://www.hindustant
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Further reading

Celli, Carlo. (2013) “The Promises of India” National Identity in Global Cinema: How Movies
Explain the World. Palgrave MacMillan, 61–70. ISBN 978-1137379023.

Suresh Chabria; Paolo Cherchi Usai (1994). Light of Asia: Indian Silent Cinema, 1912–1934
(https://books.google.com/books?id=CORkAAAAMAAJ) . Wiley Eastern. ISBN 978-81-
224-0680-1.

Stanley A. Wolpert (2006). Encyclopedia of India. ISBN 978-0-684-31350-4.

Desai, Jigna (2004). Beyond Bollywood: The Cultural Politics of South Asian Diasporic Film.
Psychology Press. ISBN 978-0-415-96684-9.

K. Moti Gokulsing; Wimal Dissanyake (2004). Indian Popular Cinema: A Narrative of Cultural
Change. Trentham Books Limited. ISBN 978-1-85856-329-9.

Gulzar, Govin Nihalanni, & Saibel Chatterjee. Encyclopaedia of Hindi Cinema New Delhi:
Encyclopædia Britannica, 2003. ISBN 81-7991-066-0.

Khanna, Amit (2003), "The Business of Hindi Films", Encyclopaedia of Hindi Cinema:
historical record, the business and its future, narrative forms, analysis of the medium,
milestones, biographies, Encyclopædia Britannica (India) Private Limited, ISBN 978-81-
7991-066-5.

Gopal, Sangita; Moorti, Sujata (2008). Global Bollywood: Travels of Hindi Song and Dance.
University of Minnesota Press. ISBN 978-0-8166-4578-7.

Narweker, Sanjit, ed. Directory of Indian Film-Makers and Films. Flicks Books, 1994. ISBN 0-
948911-40-9

Stanley A. Wolpert (2006). Encyclopedia of India. ISBN 978-0-684-31351-1.

 Nowell-Smith, Geoffrey (1996). The Oxford History of World Cinema (https://archive.org/det
ails/oxfordhistoryofw00geof) . Oxford University Press, US. ISBN 978-0-19-811257-0.

Passek, Jean-Loup, ed. (1983). Le cinéma indien. Paris: Centre national d'art et de culture
Georges Pompidou. ISBN 9782864250371. OCLC 10696565 (https://www.worldcat.org/ocl
c/10696565) .

Rajadhyaksha, Ashish; Willemen, Paul (1999). Encyclopedia of Indian Cinema. Routledge.

ISBN 978-1-57958-146-6.

Stanley A. Wolpert (2006). Encyclopedia of India. ISBN 978-0-684-31351-1.

Velayutham, Selvaraj (2008). Tamil Cinema: The Cultural Politics of India's Other Film
Industry. Psychology Press. ISBN 978-0-415-39680-6.

Watson, James L. (2009), Globalization, Encyclopædia Britannica.

Report of the Indian Cinematograph Committee 1927–1928 (https://archive.org/stream/rep

ortoftheindia030105mbp#page/n5/mode/2up) . Superintendent, The Government Press,
Madras. 1928.

Dwyer, Rachel; Patel, Divia (2002). Cinema India: The Visual Culture of Hindi Film. ISBN 978-
0-8135-3175-5.

Culture and Representation: The Emerging Field of Media Semiotics/J A H Khatri/Ruby

Press & Co. (https://web.archive.org/web/20131019131146/http://www.rubypressco.co
m/) /ISBN 978-93-82395-12-6/ 2013.

External links

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