Assignment :- 15 History and Evolution of Indian film Industry
Name :- Rathod Nikita p.
Roll No :- 21
Enrolment no :- 2060108420190038
Semester :- M. A. Semester - 4
Paper no :- 15 (Mass Communication and Media Studies)
Assignment Topic :- History and Evolution of Indian film Industry
Year :- 2018-2020
Email-id :- nikitarathod0101@gmail.com
Words :- 1786
Submitted to :- Smt. S.B.Gardi Department of English. Maharaja krishnakumarsinhji Bhavnagar University.
(1) History and Evaluation of Indian Film IIIIndustry.
=> Indian film Industry consists of motion pictures made all over India, including the regional industries in Andhra Pradesh, Assam, Karnataka, Kerala, Maharashtra, Orrissa, Panjab, TamilNadu and West Bengal. These movies are widely viewed across the world especially in South Asia and Middle East due to cultural and linguistic proximities. Indian Cinema was emerged as the global enterprise in the 20th century.
One of the most flourishing cinema industries found today is in India. But the pioneers of the industry were actually foreigners. In 1896, the Lumiere brothers demonstrated the art of cinema when they screened Cinematography consisting of six short films an enthusiastic audience in Bombay. The success of these films led to the screening of films by James B. Stewart and Ted Hughes. In 1897, Save Dada made two short films. But the fathers of Indian cinema were Dada Saheb Phalke who in 1913 made the first feature length silent film and Ardeshir Irani who in 1931 made India's first talking film. With the demise of the silent era and the advent of the talkies, the main source for inspiration for films came from mythological texts. Films were produced in Hindi, Tamil, Telugu and Bengali. Mythology flourished more in South India where its social Conservative moral equated film acting to prostitution. But by the 1930's,word had spread around the world about the vibrant film industry in India and foreigners with stars in their eyes landed upon Bombay Shores. One of these was Marry Evans, a young Australian girl who could do stunts. She could, with no effort, lift a man and throw him across the room. She wore zorro like masks and used a whip when necessary. She changed her name to Nadia and was affectionately known by the audience as fearless nadia and that name stuck with her through the ages. Even though she did not speak any of the native tongues, her career spanned from the 1930's to 1959. She had a huge cult following. The press and critics did not appreciate her, however, the audiences could not get enough of her stunt theatrics. Following on Nadia 's heels in 1940, Florence Esekiel, a teenager from Baghdad, arrived in Bombay and was soon given the screen name of Nadira. She played the love interest in a Dilip kumar film who at the time was a leading heartthrob. She moved on to playing bitchy parts and was forever type cast as a 'Vamp'. The temptress, the bad girl. She gradually slipped into mother roles. One of her last appearances in Ismail Merchant film cotton Mary. There were also one of them was Bob Christo, who was another Australian. He came to India because he had seen a picture of the actress parveen Babi and ended up actually being in a film with her. He specialised in villian and henchman roles. Another Notable actor is Tom Alter who does not speak the language, although he is fluent in Hindi and Urdu, even reciting poems in Urdu on the stag. He was raised in Mussourie, India. And then we must not forget Helen. A Franco-Burmese refuge who broke all norms, she embodied sexuality and filled the roles that other actresses with Conservative views shunned. She was widely sought after for her dance or item numbers as they are called today. However she stayed within the code of decency wearing body stockings all the times. She did venture out of this zone by doing a few serious roles. In the 1920's Franz Austen, a German from Munich who could not utter one word of Hindi, came to Bombay and directed 57 blockbuster films. His films were on the scale of those made by Cecil B. Demile. He drew his inspiration from episodes of the Mahabharata and Ramayana, his early silent films were richer than most that were made at the time. In 1947, when India gained its independence, Mythological and historical stories were being replaced by social reformist films focusing on the lives of the lower classes, the dowry system and prostitution. This brought a new wave of filmmakers to the forefront such as Bimal Roy and Satyajit Ray among others. In the 1960's inspired by social and cinematic changes in the Us and Europe, India 's new wave was founded, offering a greater sense of realism to the public and getting recognition abroad, but the industry at large churned out' Masala' films with a mesh of genres including action, comedy, Melodrama punctuated with songs and dances and relying on the songs and the stars to sell their films.
In past time there is no more facilities or techniques are there. At that drama, play performed by people. It becomes too of enjoyment. And slowly slowly technology develops and then Silent films came. In this sound system is not there. Because at that time sound system does not developes. But later on sound system came, Movie came in Black and White frame. And later on more techniques developes and then movie came in Colourful frame. In now a days Movie came in 3D frame. So technology develops and new invention came, and things becomes easy in comparison of past time.
Today there is a growing movement to make Indian cinema more real - a group of young filmmakers like Anurag Kashyap, Anand Gandhi and Gyan Correa, whose film The Good Road is this year’s contender for the Oscars. There are new more large investments from corporate houses and a more structured industry funding independent cinema and making it a viable and profitable business there has never been a more favorable time for Indian cinema than today. With a vibrant creative community, new technology and investment interest, we are on the verge of seeing Indian cinema transcend its national borders to project India’s socio-political and economical influence around the world.
India cinema was emerged as the global enterprise in the 20th century. Indian films exhibited in more than 90 countries through dynamic and fast modern media. An increasing participation in the international film festivals and cultural delegations to foreign countries strategically contributed to effective branding and promotion of Indian films in the international market. Besides the possibility of 100 percent foreign venture has turned the Indian film Industry lucrative for overseas investors and production houses such as the 20th century, Fox, Sony pictures and Warner Bros. Simultaneously, prominent native investors such as Zee, UTV, Suresh productions, Ad labs and Sun Networks, Sun Pictures engaged enthusiastically in filmmaking and distribution business. Tax benefits to picture houses have also led to the mushroomed growth of multiscreen cinemas known as Multiplexers all across India. Around 30 movie making enterprises had been officially registered in India by the year 2003, highlighting the commercial existence and standing of the film Industry in the region.
India cinema witnessed revolutionary changes both in technology and style of film production in thirties. A major milestone in this era was India's first talkie, 'Alam Ara' that was directed and released by Ardeshir Irani in 1931. The film released in Hindi and Urdu, was an instant hit on box office and set a fresh trend in the history of Indian Cinema several Talking, singing and dancing films were produced following Alam Ara that marked the lunch of the Talkies era in South Indian film industries well. The first talkie flims in Bengali (Jumai Shasthi), Telugu (Bhakra Prahlad) and Tamil (Kalidas) were released in the same year. Thirties was also known as the decade of social protest. In the historical decade three leading film hubs were developed in Bombay (Mumbai), Calcutta(Kolkata), and Madras(Chennai). Bombay used to be the centre of mainstream productions distributed nationally whereas Madras and Calcutta were famous for their local productions.
The decades of thirties and forties were turbulent period for India. The sub- contient was badly hit by Great Depression, World War second, Freedom movement and Indo-Pak partition calamities. During that era, majority of Indian movies were highly escapists with a few filmmakers who focused pertinent socio-political topics in their productions. The period from late forties to fifties was viewed as the Golden Age of Indian cinema by most film historians. Fifties was especially the most valued period in Hindi film industry glittered with brilliant directors and artists with their individual signature craft and style.
In the two decades, production of mega-budget movies alongside art films increased. The evergreen movies of 60S and 70S include Kamal Amrohi's pakeeza, Raj Kapoor's Bobby, Ramesh Sippy's Sholay, Kabhi Kabhi, Amar Akbar Anthony, Hum Kisise Kum Nahin, and Muqaddar Ka Sikandar. This action plus Romantic era had its own galaxy including stars such as Rajesh Khanna and Dharmendra, Sharmila Tagore, Mumtaz and Helen.
By the mid of seventies love stories gave way to the violent action themes about gangsters. Amitabh Bachchan is the ironic star known for his angry young man roles. He dominated the silver screen with other male leads like Mithun Chajraborty and Anil Kapoor and female actresses including Hema Malini, Jaya Bachchan and Rekha for several years.
In the late eighties and early nineties, once again trend changed in Indian cinema and there was a marked shift from gangster movies to romantic musicals. Family - oriented films such as Mr. India, Tezaab, Qayamat se Qayamat Tak, Maine Pyar kiya, Hum Apke Hain Kaun, Dilwale Dulhania Le Jayenge etc. And In The decade of 2000S witnessed persistent rise of Indian cinema in the world. And Director also experiments and made film on real story, real incident. In fact modern technology took Bollywood to novel peaks in reference to Cinematography and storylines alongside mechanical advantages in terms of special effects and animation. Indian cinema is now competing globally with advanced digital projectors, converting digital format and latest production techniques.
=> Conclusion :-
Due to timely changes in cinema, cinema has become more popular among the people. Over the last years of the twentieth century and beyond, Bollywood progressed in its popularity as it entered the consciousness of Western audiences and producers. Bollywood movies have reached almost all the continents including Europe, North America, Oceania & Pacific Islands, and South America and Africa.
* Work Cited :-
* Souza, Noel De. A Brief History of Indian Cinema. 2 January 2014. 09 March 2020 <https://www.goldenglobes.com/articles/brief-history-indian-cinema>.
* Erum, Hafeez. History and Evolution of Indian Film Industry. 31 December 2016. 09 March 2020 <https://www.researchgate.net/publication/332751636_History_and_Evolution_of_Indian_Film_Industry>.
Name :- Rathod Nikita p.
Roll No :- 21
Enrolment no :- 2060108420190038
Semester :- M. A. Semester - 4
Paper no :- 15 (Mass Communication and Media Studies)
Assignment Topic :- History and Evolution of Indian film Industry
Year :- 2018-2020
Email-id :- nikitarathod0101@gmail.com
Words :- 1786
Submitted to :- Smt. S.B.Gardi Department of English. Maharaja krishnakumarsinhji Bhavnagar University.
(1) History and Evaluation of Indian Film IIIIndustry.
=> Indian film Industry consists of motion pictures made all over India, including the regional industries in Andhra Pradesh, Assam, Karnataka, Kerala, Maharashtra, Orrissa, Panjab, TamilNadu and West Bengal. These movies are widely viewed across the world especially in South Asia and Middle East due to cultural and linguistic proximities. Indian Cinema was emerged as the global enterprise in the 20th century.
One of the most flourishing cinema industries found today is in India. But the pioneers of the industry were actually foreigners. In 1896, the Lumiere brothers demonstrated the art of cinema when they screened Cinematography consisting of six short films an enthusiastic audience in Bombay. The success of these films led to the screening of films by James B. Stewart and Ted Hughes. In 1897, Save Dada made two short films. But the fathers of Indian cinema were Dada Saheb Phalke who in 1913 made the first feature length silent film and Ardeshir Irani who in 1931 made India's first talking film. With the demise of the silent era and the advent of the talkies, the main source for inspiration for films came from mythological texts. Films were produced in Hindi, Tamil, Telugu and Bengali. Mythology flourished more in South India where its social Conservative moral equated film acting to prostitution. But by the 1930's,word had spread around the world about the vibrant film industry in India and foreigners with stars in their eyes landed upon Bombay Shores. One of these was Marry Evans, a young Australian girl who could do stunts. She could, with no effort, lift a man and throw him across the room. She wore zorro like masks and used a whip when necessary. She changed her name to Nadia and was affectionately known by the audience as fearless nadia and that name stuck with her through the ages. Even though she did not speak any of the native tongues, her career spanned from the 1930's to 1959. She had a huge cult following. The press and critics did not appreciate her, however, the audiences could not get enough of her stunt theatrics. Following on Nadia 's heels in 1940, Florence Esekiel, a teenager from Baghdad, arrived in Bombay and was soon given the screen name of Nadira. She played the love interest in a Dilip kumar film who at the time was a leading heartthrob. She moved on to playing bitchy parts and was forever type cast as a 'Vamp'. The temptress, the bad girl. She gradually slipped into mother roles. One of her last appearances in Ismail Merchant film cotton Mary. There were also one of them was Bob Christo, who was another Australian. He came to India because he had seen a picture of the actress parveen Babi and ended up actually being in a film with her. He specialised in villian and henchman roles. Another Notable actor is Tom Alter who does not speak the language, although he is fluent in Hindi and Urdu, even reciting poems in Urdu on the stag. He was raised in Mussourie, India. And then we must not forget Helen. A Franco-Burmese refuge who broke all norms, she embodied sexuality and filled the roles that other actresses with Conservative views shunned. She was widely sought after for her dance or item numbers as they are called today. However she stayed within the code of decency wearing body stockings all the times. She did venture out of this zone by doing a few serious roles. In the 1920's Franz Austen, a German from Munich who could not utter one word of Hindi, came to Bombay and directed 57 blockbuster films. His films were on the scale of those made by Cecil B. Demile. He drew his inspiration from episodes of the Mahabharata and Ramayana, his early silent films were richer than most that were made at the time. In 1947, when India gained its independence, Mythological and historical stories were being replaced by social reformist films focusing on the lives of the lower classes, the dowry system and prostitution. This brought a new wave of filmmakers to the forefront such as Bimal Roy and Satyajit Ray among others. In the 1960's inspired by social and cinematic changes in the Us and Europe, India 's new wave was founded, offering a greater sense of realism to the public and getting recognition abroad, but the industry at large churned out' Masala' films with a mesh of genres including action, comedy, Melodrama punctuated with songs and dances and relying on the songs and the stars to sell their films.
In past time there is no more facilities or techniques are there. At that drama, play performed by people. It becomes too of enjoyment. And slowly slowly technology develops and then Silent films came. In this sound system is not there. Because at that time sound system does not developes. But later on sound system came, Movie came in Black and White frame. And later on more techniques developes and then movie came in Colourful frame. In now a days Movie came in 3D frame. So technology develops and new invention came, and things becomes easy in comparison of past time.
Today there is a growing movement to make Indian cinema more real - a group of young filmmakers like Anurag Kashyap, Anand Gandhi and Gyan Correa, whose film The Good Road is this year’s contender for the Oscars. There are new more large investments from corporate houses and a more structured industry funding independent cinema and making it a viable and profitable business there has never been a more favorable time for Indian cinema than today. With a vibrant creative community, new technology and investment interest, we are on the verge of seeing Indian cinema transcend its national borders to project India’s socio-political and economical influence around the world.
India cinema was emerged as the global enterprise in the 20th century. Indian films exhibited in more than 90 countries through dynamic and fast modern media. An increasing participation in the international film festivals and cultural delegations to foreign countries strategically contributed to effective branding and promotion of Indian films in the international market. Besides the possibility of 100 percent foreign venture has turned the Indian film Industry lucrative for overseas investors and production houses such as the 20th century, Fox, Sony pictures and Warner Bros. Simultaneously, prominent native investors such as Zee, UTV, Suresh productions, Ad labs and Sun Networks, Sun Pictures engaged enthusiastically in filmmaking and distribution business. Tax benefits to picture houses have also led to the mushroomed growth of multiscreen cinemas known as Multiplexers all across India. Around 30 movie making enterprises had been officially registered in India by the year 2003, highlighting the commercial existence and standing of the film Industry in the region.
India cinema witnessed revolutionary changes both in technology and style of film production in thirties. A major milestone in this era was India's first talkie, 'Alam Ara' that was directed and released by Ardeshir Irani in 1931. The film released in Hindi and Urdu, was an instant hit on box office and set a fresh trend in the history of Indian Cinema several Talking, singing and dancing films were produced following Alam Ara that marked the lunch of the Talkies era in South Indian film industries well. The first talkie flims in Bengali (Jumai Shasthi), Telugu (Bhakra Prahlad) and Tamil (Kalidas) were released in the same year. Thirties was also known as the decade of social protest. In the historical decade three leading film hubs were developed in Bombay (Mumbai), Calcutta(Kolkata), and Madras(Chennai). Bombay used to be the centre of mainstream productions distributed nationally whereas Madras and Calcutta were famous for their local productions.
The decades of thirties and forties were turbulent period for India. The sub- contient was badly hit by Great Depression, World War second, Freedom movement and Indo-Pak partition calamities. During that era, majority of Indian movies were highly escapists with a few filmmakers who focused pertinent socio-political topics in their productions. The period from late forties to fifties was viewed as the Golden Age of Indian cinema by most film historians. Fifties was especially the most valued period in Hindi film industry glittered with brilliant directors and artists with their individual signature craft and style.
In the two decades, production of mega-budget movies alongside art films increased. The evergreen movies of 60S and 70S include Kamal Amrohi's pakeeza, Raj Kapoor's Bobby, Ramesh Sippy's Sholay, Kabhi Kabhi, Amar Akbar Anthony, Hum Kisise Kum Nahin, and Muqaddar Ka Sikandar. This action plus Romantic era had its own galaxy including stars such as Rajesh Khanna and Dharmendra, Sharmila Tagore, Mumtaz and Helen.
By the mid of seventies love stories gave way to the violent action themes about gangsters. Amitabh Bachchan is the ironic star known for his angry young man roles. He dominated the silver screen with other male leads like Mithun Chajraborty and Anil Kapoor and female actresses including Hema Malini, Jaya Bachchan and Rekha for several years.
In the late eighties and early nineties, once again trend changed in Indian cinema and there was a marked shift from gangster movies to romantic musicals. Family - oriented films such as Mr. India, Tezaab, Qayamat se Qayamat Tak, Maine Pyar kiya, Hum Apke Hain Kaun, Dilwale Dulhania Le Jayenge etc. And In The decade of 2000S witnessed persistent rise of Indian cinema in the world. And Director also experiments and made film on real story, real incident. In fact modern technology took Bollywood to novel peaks in reference to Cinematography and storylines alongside mechanical advantages in terms of special effects and animation. Indian cinema is now competing globally with advanced digital projectors, converting digital format and latest production techniques.
=> Conclusion :-
Due to timely changes in cinema, cinema has become more popular among the people. Over the last years of the twentieth century and beyond, Bollywood progressed in its popularity as it entered the consciousness of Western audiences and producers. Bollywood movies have reached almost all the continents including Europe, North America, Oceania & Pacific Islands, and South America and Africa.
* Work Cited :-
* Souza, Noel De. A Brief History of Indian Cinema. 2 January 2014. 09 March 2020 <https://www.goldenglobes.com/articles/brief-history-indian-cinema>.
* Erum, Hafeez. History and Evolution of Indian Film Industry. 31 December 2016. 09 March 2020 <https://www.researchgate.net/publication/332751636_History_and_Evolution_of_Indian_Film_Industry>.
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