LANGUAGE OF CINEMA,ITS NEW TRENDS,IMPACT OF CINEMA ON SOCIETY,FILM AS A CONTEMPORARY ART FORM.. The cinema of India consists of films produced across India, which includes the cinematic culture of Andhra Pradesh, Assam, Gujarat,Haryana, Jammu and Kashmir, Karnataka, Kerala, Maharashtra, Orissa,Punjab, Tamil Nadu, and West Bengal. Indian films came to be followed throughout South Asia and the Middle East. The cinema as a medium gained popularity in the country as many as 1,000 films in variouslanguages of India were produced annually. 1] Expatriates in countries such as the United Kingdom and the United States continue to give rise to international audiences for Indian films of various languages. In the 20th century, Indian cinema, along with the Hollywood andChinese film industries, became a global enterprise.  At the end of 2010 it was reported that in terms of annual film output, India ranks first, followed by Hollywood and China.  Enhanced technology paved the way for upgrading from established cinematic norms of delivering product, altering the manner in which content reached the target audience, as per regional tastes. 2] Indian cinema found markets in over 90 countries where films from India are screened.  The country also participated in international film festivals, especiallySatyajit Ray, Mrinal Sen, Ritwik Ghatak, G. Aravindan  Adoor Gopalakrishnan and Mani Ratnam Indian filmmakers such as Shekhar Kapur, Mira Nair, Deepa Mehta, Nagesh Kukunoor found success overseas.  The Indian government extended film delegations to foreign countries such as the United States of America and Japan while the country’s Film Producers Guild sent similar missions through Europe. Sivaji Ganesan, and S. V.
Ranga Rao won their respective first international award for Best Actor held at Afro-Asian Film Festival in Cairo and Indonesian Film Festival in Jakarta for the films Veerapandiya Kattabomman and Narthanasala in 1959 and 1963.  India is the world’s largest producer of films.  In 2009, India produced a total of 2961 films on celluloid, that include a staggering figure of 1288 feature films.  The provision of 100% foreign direct investment has made the Indian film market attractive for foreign enterprises such as 20th Century Fox, Sony Pictures, Walt Disney Pictures andWarner Bros. 15] Indian enterprises such as Zee, UTV, Suresh Productions, Adlabs and Sun Network’s Sun Picturesalso participated in producing and distributing films.  Tax incentives to multiplexes have aided the multiplex boom in India.  By 2003 as many as 30 film production companies had been listed in the National Stock Exchange of India, making the commercial presence of the medium felt.  The Indian diaspora consists of millions of Indians overseas for which films are made available both through mediums such as DVDs and by screening of films in their country of residence wherever commercially feasible. 16] These earnings, accounting for some 12% of the revenue generated by a mainstream film, contribute substantially to the overall revenue of Indian cinema, the net worth of which was found to be US$1. 3 billion in 2000.  Music in Indian cinema is another substantial revenue generator, with the music rights alone accounting for 4–5% of the net revenues generated by a film in India ————————————————- Regional industries Break-up of 2010 Indian feature films certified by Central Board of Film Certification in 24 Languages. 105]| Position| Language| No. of films| 1| Hindi| 215| 2| Tamil| 202| 3| Telugu| 181| 4| Kannada| 177| 5| Marathi| 99| 6| Malayalam| 94| 7| Bengali| 84| 8| Bhojpuri| 64| 9| Gujarati| 62| 10| Oriya| 17| 11| Punjabi| 15| 12| English| 9| 13| Assamese| 5| 13| Rajasthani| 5| 15| Konkani| 4| 16| Santali| 2| 17| Haryanvi| 1| 17| Kodava| 1| 17| Maithili| 1| 17| Nagpuri| 1| 17| Nepali| 1| 17| Rajbanshi| 1| 17| Sambalpuri| 1| 17| Mishing| 1| | Total| 1288| Assamese cinema Jyoti Prasad became the first director of Assamese cinema
Main article: Cinema of Assam First Assamese motion picture – Joymati filmed in 1935 Agarwala putting the finishing touches to the editing of Joymati The Assamese language film industry traces its origins works s of revolutionary visionary Rupkonwar Jyotiprasad Agarwala, who was also a distinguished poet, playwright, composer and freedom fighter. He was instrumental in the production of the first Assamese film Joymati 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 script writer, 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 so many early Indian films, the negatives and complete prints of Joymati are missing. Some effort has been made privately by Altaf Mazid to restore and subtitle whatever is left of the prints. 3] Despite the significant financial loss from Joymati, the second picture Indramalati was filmed between 1937 and 1938 finally released in 1939. Although the beginning of the 21st century has seen Bollywood-style Assamese movies hitting the screen, the industry has not been able to compete in the market, significantly overshadowed by the larger industries such as Bollywood.  Assamese cinema has never really managed to make the breakthrough on the national scene despite its film industry making a mark in the National Awards over the years Bengali cinema
Satyajit Ray, Bengali filmmaker. Main articles: Bengali cinema and Cinema of West Bengal The Bengali language cinematic tradition of Tollygunge located in West Bengal has had reputable filmmakers such as Satyajit Ray, Ritwik Ghatak and Mrinal Sen among its most acclaimed.  Recent Bengali films that have captured national attention includeRituparno Ghosh’s Choker Bali, starring Aishwarya Rai.  Bengali filmmaking also includes Bangla science fiction films and films that focus on social issues.  In 1993, the Bengali industry’s net output was 57 films. 111] The history of cinema in Bengal dates back to the 1890s, when the first “bioscopes” were shown in theatres in Kolkata. Within a decade, the first seeds of the industry was sown by Hiralal Sen, considered a stalwart of Victorian era cinema when he set up theRoyal Bioscope Company, producing scenes from the stage productions of a number of popular shows at the Star Theatre, Calcutta, Minerva Theatre, Classic Theatre. Following a long gap after Sen’s works, Dhirendra Nath Ganguly (Known as D. G) established Indo British Film Co, the first Bengali owned production company, in 1918.
However, the first Bengali Feature film, Billwamangal, was produced in 1919, under the banner of Madan Theatre. Bilat Ferat was the IBFC’s first production in 1921. The Madan Theatres production of Jamai Shashthi was the first Bengali talkie.  In 1932, the name “Tollywood” was coined for the Bengali film industry due to Tollygunge rhyming with “Hollywood” and because it was the center of the Indian film industry at the time. It later inspired the name “Bollywood”, as Mumbai (then called Bombay) later overtook Tollygunge as the center of the Indian film industry, and many other Hollywood-inspired names. 113] The ‘Parallel Cinema’ movement began in the Bengali film industry in the 1950s. A long history has been traversed since then, with stalwarts such as Satyajit Ray, Mrinal Sen, Ritwik Ghatak and others having earned international acclaim and securing their place in the history of film. Bhojpuri cinema Main article: Bhojpuri cinema Bhojpuri language films predominantly cater to people who live in the regions of western Bihar and eastern Uttar Pradesh. These films also have a large audience in the cities of Delhi and Mumbai due to migration to these metros from the Bhojpuri speaking region.
Besides India, there is a large market for these films in other bhojpuri speaking countries of the West Indies, Oceania, and South America.  Bhojpuri language film’s history begins in 1962 with the well-received film Ganga Maiyya Tohe Piyari Chadhaibo (“Mother Ganges, I will offer you a yellow sari”), which was directed by Kundan Kumar.  Throughout the following decades, films were produced only in fits and starts. Films such as Bidesiya(“Foreigner,” 1963, directed by S. N.
Tripathi) and Ganga (“Ganges,” 1965, directed by Kundan Kumar) were profitable and popular, but in general Bhojpuri films were not commonly produced in the 1960s and 1970s. The industry experienced a revival in 2001 with the super hit Saiyyan Hamar (“My Sweetheart,” directed by Mohan Prasad), which shot the hero of that film, Ravi Kissan, to superstardom.  This success was quickly followed by several other remarkably successful films, including Panditji Batai Na Biyah Kab Hoi (“Priest, tell me when I will marry,” 2005, directed by Mohan Prasad) and Sasura Bada Paisa Wala (“My father-in-law, the rich guy,” 2005).
In a measure of the Bhojpuri film industry’s rise, both of these did much better business in the states of Uttar Pradesh and Bihar than mainstream Bollywood hits at the time, and both films, made on extremely tight budgets, earned back more than ten times their production costs.  Although a smaller industry compared to other Indian film industries, the extremely rapid success of their films has led to dramatic increases in Bhojpuri cinema’s visibility, and the industry now supports an awards show and a trade magazine, Bhojpuri City.  Gujarati cinema
Main article: Gujarati cinema The film industry of Gujarat started its journey in 1932. Since then Gujarati films immensely contributed to Indian cinema. Gujarati cinema has gained popularity among the regional film industry in India. Gujarati cinema is always based on scripts from mythology to history and social to political. Since its origin Gujarati cinema has experimented with stories and issues from the Indian society. Furthermore, Gujarat has immense contribution to Bollywood as several Gujarati actors have brought glamour to the Indian film industry.
Gujarati film industry has included the work of actors includingSanjeev Kumar, Rajendra Kumar, Bindu, Asha Parekh, Kiran Kumar, Arvind Trivedi, Aruna Irani, Mallika Sarabhai, andAsrani. The scripts and stories dealt in the Gujarati films are intrinsically humane. They include relationship- and family-oriented subjects with human aspirations and deal with Indian family culture. Thus, there can be no turning away from the essential humanity of these Gujarati cinema. The first Gujarati movie, Narasinh Mehta, was released in the year 1932 and was directed by Nanubhai Vakil.
The film starred Mohanlala, Marutirao, Master Manhar, and Miss Mehtab. It was of the `Saint film` genre and was based on the life of the saint Narasinh Mehta who observed a creed that was followed centuries later by Mahatma Gandhi. The film was matchless as it avoided any depiction of miracles. In 1935, another social movie, Ghar Jamai was released, directed by Homi Master. The film starred Heera, Jamna, Baby Nurjehan, Amoo, Alimiya, Jamshedji, and Gulam Rasool. The film featured a `resident son-in-law` (ghar jamai) and his escapades as well as his problematic attitude toward the freedom of women.
It was a comedy-oriented movie that was a major success in the industry. Gujarati films thus proceeded with several other important social, political as well as religious issues. The years 1948, 1950, 1968, 1971 moved in a wide variety of dimensions. The Gujarati movies such as Kariyavar, directed by Chaturbhuj Doshi, Vadilona Vank directed by Ramchandra Thakur, Gadano Bel directed by Ratibhai Punatar and Leeludi Dhartidirected by Vallabh Choksi brought immense success to the industry. The problems of modernisation are the underlying concern of several films. The movies like Gadano Bel had strong realism and reformism.
Gujarati films such as Leeludi Dharti reflect the rural world with its fertility rituals. In 1975 Tanariri, directed by Chandrakant Sangani presents highlights the little-known side of Akbar who is usually presented as a consistently benign ruler. The first cinemascope film of Gujarati cinema was Sonbaini Chundadi, directed by Girish Manukant released in 1976. Besides these, Bhavni Bhavai released in 1980 was directed by Ketan Mehta. It boasted superlative performances, fine camerawork and won two awards: National Award for Best Feature Film on National Integration and an award at the Nantes Three Continents Festival in France.
In 1992, Hun Hunshi Hunshilal, directed by Sanjiv Shah was sought to be post-modern. Gujarati films were further enriched by the brilliant performances of the film personalities. Anupama, Upendra Trivedi, Arvind Trivedi, Naresh Kanodia (Gujarati superstar), Sneh Lata (great Gujarati actress), Ramesh Mehta and Veljibhai Gajjar, Dilip Patel, Ranjitraj, Sohil Virani, Narayan Rajgor, Premshankar Bhatt, Jay Patel, Ashvin Patel, Girija Mitra, Anjana, Manmohan Desai, Sanjay Gadhvi, Kalyanji Anandji, Deepika Chikhalia, Bindu Desai, Renuka Sahane and Priti Parekh are celebrities who have contributed a lot to the Gujarati film industry.
Hindi cinema Main article: Bollywood The Hindi language film industry of Mumbai—also known as Bollywood—is the largest and most popular branch of Indian cinema.  Hindi cinema initially explored issues of caste and culture in films such as Achhut Kanya (1936) and Sujata(1959).  International visibility came to the industry with Raj Kapoor’s Awara.  Hindi cinema grew during the 1990s with the release of as many as 215 films.  With Dilwale Dulhania Le Jayenge, Hindi cinema registered its commercial presence in the Western world. 16] In 1995 the Indian economy began showing sustainable annual growth, and Hindi cinema, as a commercial enterprise, grew at a growth rate of 15% annually.  The salary of lead stars increased greatly. Many actors signed contracts for simultaneous work in 3–4 films.  Institutions such as the Industrial Development Bank of India also came forward to finance Hindi films.  A number of magazines such as Filmfare, Stardust, Cineblitz, etc. , became popular.  Kannada cinema Main article: Kannada cinema A painting of Rajkumar on a street sign in Bangalore Kannada film industry (????? ?????????? , also referred as Sandalwood, is based in Bangalore and caters mostly to the state of Karnataka. Rajkumarwas eminent in Kannada film industry. In his career, he performed versatile characters and sung hundreds of songs for film and albums. Other notable Kannada and Tulu actors include Vishnuvardhan, Ambarish,Ravichandran, Girish Karnad, Prakash Raj, Shankar Nag, Upendra,Darshan, Shivaraj Kumar, Puneet Rajkumar, Kalpana, Bharathi, Jayanthi, Pandari Bai, Tara, Umashri and Ramya. Film directors from the Kannada film industry like Girish Kasaravalli have garnered national recognition. Other noted directors include Puttanna Kanagal, G.
V. Iyer, Girish Karnad, T. S. Nagabharana, Yograj Bhat, Soori. G. K. Venkatesh, Vijaya Bhaskar, Rajan-Nagendra, Hamsalekha, Gurukiranand V. Harikrishna are other noted music directors. Kannada cinema, along with Bengali and Malayalam films, contributed simultaneously to the age of Indian parallel cinema. Some of the influential kannada films in this genre are Samskara (based on a novel by U. R. Ananthamurthy), Chomana Dudi by B. V. Karanth, Tabarana Kathe,Vamshavruksha, Kadu Kudure, Hamsageethe, Bhootayyana Maga Ayyu, Accident, Maanasa Sarovara,Ghatashraddha, Tabarana Kathe, Mane[disambiguation needed], Kraurya, Thaayi Saheba, Dweepa.
Other commercially successful films include Om, A, Super (all directed by Upendra), Mungaru Male (directed by Yograj Bhat), Jogi (by Prem), Nenapirali (by Ratnaja), Duniya and Jackie (both directed by Soori). Konkani cinema Main article: Konkani cinema Konkani language films are mainly produced in Goa. It is one of the smallest film industries in India with just 4 films produced in 2009.  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, released on April 24, 1950, and was produced and directed by Jerry Braganza, a native of Mapusa, under the banner of Etica Pictures.  Hence, 24 April is celebrated as Konkani Film Day.  Malayalam cinema Main article: Malayalam cinema Adoor Gopalakrishnan, Malayalam film director The Malayalam film industry, based in the southern state of Kerala, is known for films that bridge the gap between parallel cinema and mainstream cinema by portraying thought-provoking social issues. Filmmakers include Adoor Gopalakrishnan, Shaji N. Karun, G.
Aravindan,K. G. George, Padmarajan, Sathyan Anthikad, T. V. Chandran andBharathan. Vigathakumaran, a silent movie released in 1928 produced and directed by J. C. Daniel, marked the beginning of Malayalam cinema.  Balan, released in 1938, was the first Malayalam “talkie”.  Malayalam films were mainly produced by Tamil producers till 1947, when the first major film studio, Udaya Studio, was established in Kerala.  In 1954, the film Neelakkuyil captured national interest by winning the President’s silver medal. Scripted by the well-known Malayalam novelist, Uroob, and directed by P.
Bhaskaran and Ramu Kariat, it is often considered as the first authentic Malayali film.  Newspaper Boy, made by a group of students in 1955, was the first neo-realistic film in India.  Chemmeen(1965), directed by Ramu Kariat and based on a story by Thakazhi Sivasankara Pillai, went on to become immensely popular, and became the first South Indian film to win the National Film Award for Best Film.  This early period of Malayalam cinema was dominated by actors Prem Nazir, Sathyan, Madhu, Sheela, Sharada and Jayabharathi. Prem Nazir is regarded as one of the most successful film actors in India. 134] He holds four major acting records; including for playing the lead role in over 700 films and for acting opposite eighty heroines.  The 1970s saw the emergence of New Wave Cinema. Swayamvaram (1972), the directorial debut of Adoor Gopalakrishnan pioneered the new wave cinema movement in Kerala.  Other movies of the period includeNirmalyam by M. T. Vasudevan Nair (1973), Uttarayanam by G. Aravindan (1974), Swapnadanam (1976) by K. G. George (1976), Cheriyachante Kroorakrithyangal (1979) and Amma Ariyan (1986) by John Abrahametc. 140] In the late 1970s, commercial cinema began gaining popularity due to the action films of Jayan, a stunt actor who became one of the first commercial stars of Malayalam cinema. Known for performing stunts, his success was short-lived, ending with his untimely death while performing a dangerous helicopter stunt in Kolilakkam (1980).  The period from late 1980s to early 1990s is popularly regarded as the ‘Golden Age of Malayalam Cinema' with the emergence of actors such as Mohanlal, Mammootty, and filmmakers such as I. V. Sasi, Bharathan, Padmarajan, K.
G. George, Sathyan Anthikad, Priyadarshan, A. K. Lohithadas, Siddique-Lal and Sreenivasan. This period of popular cinema is characterized by the adaptation of everyday life themes and exploration of social and individual relationships. These movies interlaced themes of individual struggle with creative humour as in Nadodikkattu (1988). Piravi (1989) byShaji N. Karun was the first Malayalam film to win the Camera d’Or-Mention at the Cannes Film Festival.  This period also marked the beginning of movies rich in well-crafted humour like Ramji Rao Speaking (1989).
It was in Malayalam that the first 3D movie in India, My Dear Kuttichathan, was made by Navodaya Appachan, a notable film producer of Kerala.  Guru, directed by Rajiv Anchal, is the first Malayalam movie submitted by India in contest for the Academy Award for Best Foreign Language Film  followed by first-time filmmaker Salim Ahamed’s family drama filmAdaminte Makan Abu(2011).  During late 1990s and 2000s, Malayalam cinema witnessed a shift towards formulaic movies and slapstick comedies. The Malayalam film industry in recent times has also been affected by the rise of satellite television and widespread filmpiracy. 149] Marathi cinema Main article: Marathi cinema Marathi cinema (????? ??????? ) refers to films produced in the Marathi language in the state of Maharashtra, India. Marathi Cinema is one of the oldest industry in Indian Cinema. In fact the pioneer of cinema in Union of India was Dadasaheb Phalke, who brought the revolution of moving images to India with his first indigenously made silent film Raja Harishchandra in 1913, which is considered by IFFI and NIFD part of Marathi cinema as it was made by a Marathi crew.
The first Marathi talkie film, Ayodhyecha Raja (produced by Prabhat Films) was released in 1932, just one year after “Alam Ara” the first Hindi talkie film. Marathi cinema has grown in recent years, with two of its films, namely “Shwaas” (2004) and “Harishchandrachi Factory” (2009), being sent as India’s official entries for the Oscars. Today the industry is based in Mumbai, Maharashtra, but it sprouted and grew first from Kolhapur and then Pune. Oriya cinema Main article: Oriya cinema The Oriya Film Industry refers to the Bhubaneswar and Cuttack based Oriya language film industry.
Sometimes called Ollywood a portmanteau of the words Oriya and Hollywood, although the origins of the name are disputed.  The first Oriya talkie Sita Bibaha was made by Mohan Sunder Deb Goswami in 1936. Prashanta Nanda started the revolution in the Oriya film industry by not only securing a huge audience but also bringing in a newness in the his presentation. His movies heralded in the golden era of the Oriya commercial industry by bringing in freshness to Oriya movies.  Then the 1st color film was made by Nagen Ray and photographed by a Pune Film Institute trained cinematographer Mr.
Surendra Sahu titled ” Gapa Hele Be Sata”- meaning although its a story, its true. But the golden phase of Oriya Cinema was 1984 when two Oriya films ‘Maya Miriga’ and ‘Dhare Alua’ was showcased in ‘Indian Panorama’ and Nirad Mohapatra’s ‘Maya Miriga’ was invited for the ‘Critics Week’ in Cannes. The film received ‘Best Third World Film’award at Mannheim Film Festival, Jury Award at Hawaii and was shown at London Film Festival. Punjabi cinema Main article: Punjabi cinema K. D. Mehra made the first Punjabi film Sheila (also known as Pind di Kudi).
Baby Noor Jehan was introduced as an actress and singer in this film. Sheila was made in Calcutta and released in Lahore, the capital of Punjab; it ran very successfully and was a hit across the province. Due to the success of this first film many more producers started making Punjabi films. As of 2009, Punjabi cinema has produced between 900 and 1,000 movies. The average number of releases per year in the 1970s was nine; in the 1980s, eight; and in the 1990s, six. In 1995, the number of films released was 11; it plummeted to seven in 1996 and touched a low of five in 1997.
Since 2000s the Punjabi cinema has seen a revival with more releases every year featuring bigger budgets, home grown stars as well as Bollywood actors of Punjabi descent taking part. The cinema saw its first production of a 3D feature film in 2011 titled Pehchaan 3D Tamil cinema Main article: Tamil cinema The Tamil language film industry, known as Tamil cinema, is one of the three largest film industries in India. It is India’s second-largest film industry in terms of revenue, production and worldwide distribution including worldwide box office,.  It is based in the Kodambakkam district of Chennai, Tamil Nadu.
Tamil films are distributed to various parts of Asia, Southern Africa, Northern America, Europe and Oceania.  The industry has inspired Tamil filmmaking in Sri Lanka, Malaysia, Singapore and Canada. Tamil cinema and Dravidian politics have heavily influenced each other.  With Chennai serving as a secondary hub for filmmaking for other industries and the establishment of the Madras Film Institute, Tamil cinema established itself as an influential and leading industry in South Indian cinema and further attained international exposure with the works of various filmmakers.
In 1985, the Tamil film industry made its peak, with a net output was 236 films.  Tamil films stand next to Hindi films in terms of the number of films submitted by India in contest for the Academy Award for Best Foreign Language Film.  Rajinikanth, a film star in India with large following, receives an average salary of 350 million (US$7. 81 million) per film, which makes him the second highest paid actor in Asia after Jackie Chan and also has nearly 65,000 fan clubs worldwide. 157] Kamal Haasan, one of the versatile actors in India known for being awarded the most number ofSouthern Filmfare Awards and the only actor with the most number of National Film Awards (three for Best Actor, one for Best Child Artist and one for Best Film). Music directors from Tamil Nadu, such as Ilaiyaraaja and two-time Academy Award-winner A. R. Rahman made a foray into other regional industries and have a reputation and following, while also being predominantly active in Tamil cinema. Film directors who have made significant contributions to the industry include A. Bhimsingh, A. P. Nagarajan, A. C.
Tirulokchandar, C. V. Sridhar, K. Balachander, S. P. Muthuraman, P. Bharathiraja, Balu Mahendra, J. Mahendran, K. Bhagyaraj, Manivannan, Mani Ratnam, R. Sundarrajan, K. S. Ravikumar,R. Parthiban, S. Shankar and Vikraman. Of late, films directed by Bala, Ameer Sultan and Vasanthabalan have participated in many film festivals across the globe, winning international acclaim. Some female Bollywood actress have their origin from Tamil, even though some of them not had their initial debut in Tamil cinema. It includes Vyjayanthimala, Waheeda Rehman, Hema Malini, Rekha Ganesan, Sridevi, Meenakshi Sheshadri, and Vidya Balan.
Telugu cinema Main article: Cinema of Andhra Pradesh The Telugu language film industry of Andhra Pradesh is one of the three largest film industries in India. As of 2010, it is India’s third largest film industry in terms of films produced yearly.  The state of Andhra Pradesh has the highest number of cinema halls in India. In 2006, the Telugu film industry produced the largest number of films in India, with about 245 films produced that year.  The largest film production facility in the world, Ramoji Film City, is in Hyderabad, the capital city of Andhra Pradesh.  B. N. Reddy, H. M.
Reddy, K. V. Reddy, L. V. Prasad, D. V. S. Raju, Yaragudipati Varada Rao, Edida Nageshwara Rao,P. S. Ramakrishna Rao (Bharani Pictures), C. Pullaiah, P. Pullaiah, B. Vittalacharya, Adurthi Subba Rao, V. Madhusudan Rao, Kamalakara Kameshwara Rao, K. Viswanath, Bapu, Jandhyala, Singeetam Srinivasa Rao, Dasari Narayana Rao, K. Raghavendra Rao, Ramoji Rao, Pasupuleti Krishna Vamsi, S. V. Krishna Reddy, Puri Jagannadh, K. Vijaya Bhaskar, Ramgopal Varma, SS Rajamouli, Sekhar Kammula, Mohan Krishna Indraganti, Nagesh Kukunoor andTrivikram Srinivas are filmmakers who have made important contributions to cinema.
Bhakta Prahlada, Mayabazar, Narthanasala, Patala Bhairavi, Lava Kusha, Missamma, Bhookailas, Tenali Ramakrishna, Gulebakavali Katha, Daana Veera Soora Karna, Muthyala Muggu, Sankarabharanam, Ananda Bhairavi,Swathi Muthyam, Mayuri, Swarnakamalam, Meghasandesam, Sapthapadhi, Rudraveena, Alluri Seetharama Raju,Sagara Sangamam, Shiva, Kshana Kshanam, Annamayya, Pokiri, Magadheera etc. are some of the films from the Telugu industry which have received national recognition.  Actors like NTR, ANR, S. V.
Ranga Rao, Kanta Rao, Kongara Jaggayya, Kaikala Satyanarayana, Krishna, Chiranjeevi,Sobhan Babu, Krishnam Raju, Murali Mohan, Bhanumati, Sharada, Savitri, Jamuna, Anjali Devi, Krishna Kumari, Sowcar Janaki, Roja Ramani, Suryakantham, Vanisri, Lakshmi, Manjula Vijayakumar, Mohan Babu, Kota Srinivasa Rao, Akkineni Nagarjuna, Nandamuri Balakrishna, Daggubati Venkatesh, Pawan Kalyan, Mahesh Babu, Vijayashanti, Gouthami Tadimalla, Bhanupriya, Jaya Prada and Jayasudha have made important contributions to Telugu cinema. Bomireddi Narasimha Reddy, Paidi Jairaj, L. V. Prasad, B. Nagi Reddy, Akkineni Nageswara Rao, and D.
Ramanaiduhave won Dadasaheb Phalke Award from this industry. NEW TRENDS Latest trends and Awards in Indian Cinema Latest Trends in Indian Cinema Today, Indian cinema is becoming increasingly westernized. This trend is most strongly apparent in Hindi movies. New Bollywood movies sometimesinclude western actors such as Rachel Shelley in Lagaan and Allice Patten in Rang De Basanti. In order to meet Western production standards, the directors and producers have started shooting films in foreign countries and have tried to adopt some western plots and elements into their films.
Hindi films like Dilwale Dulhaniya Le Jayenge and Kal Ho Naa Ho deal with the experiences of Indians living abroad. Awards in Indian Cinema The National Film Awards, commonly known as the National Awards, are the most prestigious and prominent film awards in India. The Awards are presented annually by the President of India. The National Awards are declared for films produced in the previous year across the country. They hold the distinction of awarding merit to the best of Indian cinema overall, as well as presenting awards for the best films in each region and language of the country.
The Dadasaheb Phalke Award is an annual award given by the Indian government for lifetime contribution to Indian cinema. The award is in memory of Dadasaheb Phalke, considered the father of Indian cinema There are also other sponsored awards like Filmfare Awards, Star Screen Awards and the Zee cine awards IMPACT OF SOCIETY | Indian cinema and its impact on Society| | permalink| There have been several definitions of cinema till date. While to some schools of thought it happens to be the greatest medium of entertainment, others do opine that it is a medium that disseminates moving pictures.
It would have been better (perhaps) if all had ended here. There is another definition of cinema – it is a medium that does reflect the true mood of the society and also the changing reality. In accordance with several pundits, the Indian cinema does fit in the last definition and in the best manner. Do you agree with the same assertion? Without a doubt Indian cinema has played a major role hitherto and through decades it has also been the most appreciated medium of entertainment. Now the question remains whether it has been the medium of entrainment only or of something else.
Surely you’re interested to know the definition of this word – else. If truth be told, the Indian cinema has changed through times and has always tried to cope with the changing reality. If we take the mainstream cinema or simply Bollywood into consideration, it will be found that lots of changes have occurred. Gone are the days of 50s (termed as the Golden Age of Hindi Cinema) when a good number of classics like Madhumati, Sujata, Do Aankhen Bara Haat and lots of others did dominate. It was followed by the swinging 60s and radical 70s that were found to exert considerable impacts on the Indian society.
Popular perception did change and the unrestrained Indian youth started to find its own replica in the celluloid through the angry heroes. The subsequent decades did not bring any change even if violence and vulgarity became a part and parcel of the Indian cinema and the same is in full vigor at the moment. Perhaps the Indian cinema has been gratifying the changing reality! Even if the regional cinema industry has struck back exceptionally well, they have remained out of the main scenario. And who doesn’t know that exceptions are always exceptions. What can be deduced here then?
The influence has never been unidirectional – Indian society and cinema have been influencing each other altogether. Indian cinema and society influencing each other FILM AS ART Film is art. Most people go to the movies to be entertained. This is necessary and appropriate. After all, films allow us to put away our own lives for a couple of hours and embrace the life and story of the people who we are watching, which is entertainment in its purest form. I find it sad, however, that the average filmgoer does not think beyond the idea of films as a way to kill a few hours.
Rather, cinema is an art form just as significant and just as profound as any painting or song. Art exists to stimulate its audience, to provoke thought and stir them to consider what a person believes and why he believes it. Art exists to create a reaction in a person, and to make its audience into less of a watcher and more of a participant. Certainly, it must be stimulating to the audience, and that is where entertainment comes in as a key player. It is also so much more: Films are pieces of art, and they should be looked at as art. They should provoke and bush boundaries; they should make statements and ask questions.
Sadly, there has been, I believe, a push away in recent cinema (particularly from Hollwood) from creating films that challenge the viewer. The entertainment elements have been increased, and artistic expression played down. Film have become products that are marketed. As a result, the expectations of the viewers have been dumbed down as well. This site, and my articles, will serve as a charge to bring the artistic aspects of film back into the limelight—to look at films as no less entertaining, but to also expect them to provoke thought and challenge the viewer with new ideas and images.
I concure with director Werner Herzog when he said, “Centuries from now our great-great-great-grandchildren will look back at us with amazement at how we could allow such a precious achievement of human culture as the telling of a story to be shattered into smithereens by commercials, the same amazement we feel today when we look at our ancestors for whom slavery, capital punishment, burning of witches, and the inquisition were acceptable everyday events. Film as Art is an appeal to moviegoers in the spirit of this conviction. 2. Film is literature. Great literature has a way of being fickle on its road to immortality. My favorite example: In the late eighteenth century, Gothic novels were considered the trailer-trash talk shows and the gossip magazines of their time. Books like Matthew Lewis’ The Monk and Mary Shelley’s Frankenstein were dismissed as foolishness for the weak-minded. Even the Victorina master Charles Dickens was only a best-selling author of penny dreadfuls.
Today, they are considered some of the greatest contributions to literature every created. Truly, what Lewis, Shelley, Dickens, and others left behind for those who come after them are a reflection of their times to later generations. Movies are the same; they are the literature created by the twentieth century and its technological advances. As revealed by the precedence set literature, films will leave messages to the generations after us. They are the artform that represents us to the future.
Who we were will be reflected in the art left behind, which will be interpreted and re-interpreted by scholars for the rest of humanity’s history. Thus, films are no less literature meant to be analyzed and appreciated than the “trashy” Gothic novels before them. What entertains us today will be considered invaluable later. Thus, it is our responsibility to make sure the messages that we leave reflect who we are, our hopes, our dreams, our flaws, and our history. Film as Art is dedicated to deciphering those themes, so that we can understand today the legacy that we leave.