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There have generally been six major influences that have shaped the conventions of Indian popular cinema. The first was the ancient Indian epics of Mahabharata and Ramayana which have exerted a profound influence on the thought and imagination of Indian popular cinema, particularly in its narratives. Examples of this influence include the techniques of a side story, back-story and story within a story. Indian popular films often have plots which branch off into sub-plots; such narrative dispersals can clearly be seen in the 1993 films Khalnayak and Gardish. The second influence was the impact of ancient Sanskrit drama, with its highly stylised nature and emphasis on spectacle, where 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), characterising them as spectacular dance-dramas which has continued in Indian cinema.[129] The Rasa method of performance, dating back to ancient Sanskrit drama, is one of the fundamental features that differentiate Indian cinema from that of the Western world. In the Rasa method, empathetic "emotions are conveyed by the performer and thus felt by the audience," in contrast to the Western Stanislavski method where the actor must become "a living, breathing embodiment of a character" rather than "simply conveying emotion." The rasa method of performance is clearly apparent in the performances of popular Hindi film actors like Amitabh Bachchan and Shahrukh Khan, nationally acclaimed Hindi films like Rang De Basanti (2006),[130] and internationally acclaimed Bengali films directed by Satyajit Ray.[131] The third influence was the traditional folk theatre of India, which became popular from around the 10th century with the decline of Sanskrit theatre. These regional traditions include the Yatra of West Bengal, the Ramlila of Uttar Pradesh, Yakshagana of Karnataka, 'Chindu Natakam' of Andhra Pradesh, and the Terukkuttu of Tamil Nadu. The fourth influence was Parsi theatre, which "blended realism and fantasy, music and dance, narrative and spectacle, earthy dialogue and ingenuity of stage presentation, integrating them into a dramatic discourse of melodrama. The Parsi plays contained crude humour, melodious songs and music, sensationalism and dazzling stagecraft."[129] All of these influences are clearly evident in the masala film genre that was popularised by Manmohan Desai's films in the 1970s and early 1980s, particularly in Coolie (1983), and to an extent in more recent critically acclaimed films such as Rang De Basanti.[130] The fifth influence was Hollywood, where musicals were popular from the 1920s to the 1950s, though Indian filmmakers departed from their Hollywood counterparts in several ways. "For example, the Hollywood musicals had as their plot the world of entertainment itself. Indian filmmakers, while enhancing the elements of fantasy so pervasive in Indian popular films, used song and music as a natural mode of articulation in a given situation in their films. There is a strong Indian tradition of narrating mythology, history, fairy stories and so on through song and dance." In addition, "whereas Hollywood filmmakers strove to conceal the constructed nature of their work so that the realistic narrative was wholly dominant, Indian filmmakers made no attempt to conceal the fact that what was shown on the screen was a creation, an illusion, a fiction. However, they demonstrated how this creation intersected with people's day to day lives in complex and interesting ways."[132] The final influence was Western musical television, particularly MTV, which has had an increasing influence since 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 in Mani Ratnam's Bombay (1995).[133] Like mainstream Indian popular cinema, Indian Parallel Cinema was also influenced also by a combination of Indian theatre (particularly Sanskrit drama) and Indian literature (particularly Bengali literature), but differs when it comes to foreign influences, where it is more influenced by European cinema (particularly Italian neorealism and French poetic realism) rather than Hollywood. Satyajit Ray cited Italian filmmaker Vittorio De Sica's Bicycle Thieves (1948) and French filmmaker Jean Renoir's The River (1951), which he assisted, as influences on his debut film Pather Panchali (1955). Besides the influence of European cinema and Bengali literature, Ray is also indebted to the Indian theatrical tradition, particularly the Rasa method of classical Sanskrit drama. The complicated doctrine of Rasa "centers predominantly on feeling experienced not only by the characters but also conveyed in a certain artistic way to the spectator. The duality of this kind of a rasa imbrication" shows in The Apu Trilogy.[131] Bimal Roy's Two Acres of Land (1953) was also influenced by De Sica's Bicycle Thieves and in turn paved the way for the Indian New Wave, which began around the same time as the French New Wave and the Japanese New Wave.[64] Ray known as one of the most important influences to Parallel Cinema, was depicted as an auteur (Wollen). The focus of the majority of his stories portrayed the lower middle class and the unemployed (Wollen). It wasn’t until the late 1960s that Parallel Cinema support grew (Wollen).[134] Multilinguals Some Indian films are known as "multilinguals," having been filmed in similar but non-identical versions in different languages. This was done in the 1930s. According to Rajadhyaksha and Willemen in the Encyclopaedia 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.[135]:15 Rajadhyaksha and Willemen note that in seeking to construct their Encclopedia, it they often found it "extremely difficult to distinguish multilinguals in this original sense from dubbed versions, remakes, reissues or, in some cases, the same film listed with different titles, presented as separate versions in different languages.... it will take years of scholarly work to establish definitive data in this respect."[135]:15 Regional industries Table: Break-up by languages Break-up of 2012 Indian feature films certified by the Central Board of Film Certification sorted by languages.[136] Language No. of films Tamil 262 Telugu 256 Hindi 221 Malayalam 185 Kannada 128 Bengali 123 Marathi 123 Bhojpuri 87 Gujarati 72 Oriya 30 Punjabi 26 Chattisgarhi 20 Assamese 11 English 10 Rajasthani 8 Haryanvi 6 Konkani 4 Tulu 4 Others 1 each Total 1602 Assamese cinema Main article: Cinema of Assam First Assamese motion picture – Joymati filmed in 1935 The Assamese language film industry traces its origins works 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[137] 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.[138] 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. A scene from Dena Paona, 1931 – first Bengali talkie Main article: 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.[139] Recent Bengali films that have captured national attention include Rituparno Ghosh's Choker Bali, starring Aishwarya Rai.[140] Bengali filmmaking also includes Bengali science fiction films and films that focus on social issues.[141] In 1993, the Bengali industry's net output was 57 films.[142] 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 the Royal 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.[143] 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.[144] 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 of like 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.[145] 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.[146] 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.[147] 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.[148] 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[149] and a trade magazine, Bhojpuri City.[150] Chhattisgarhi Cinema Main article: Chhollywood Chhollywood was born in 1965 with the first Chhattisgarhi film Kahi Debe Sandesh ("In Black and White") directed and produced by Manu Nayak was released.[151] It was a story of intercaste love and it is said that former Indian Prime minister Indira Gandhi watched the movie.[citation needed] Dr Naidu[who?] wrote the lyrics for the film,[152] and two songs of the movie were sung by Indian singer Mohammad Rafi. Then came the next, Niranjan Tiwari's directed Ghar Dwar in 1971, produced by Vijay Kumar Pandey. However, both movies did not do well at the box office, and disappointed the producers. No movie was produced[clarification needed] for nearly 30 years thereafter.[153] 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 including Sanjeev Kumar, Rajendra Kumar, Bindu, Asha Parekh, Kiran Kumar, Arvind Trivedi, Aruna Irani, Mallika Sarabhai, Naresh Kanodia, Mahesh Kanodia and Asrani. 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 Dharti directed by Vallabh Choksi brought immense success to the industry. The problems of modernisation are the underlying concern of several films. The movies like Gadano Bel had strong realism and reformism. 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.[154] Hindi cinema initially explored issues of caste and culture in films such as Achhut Kanya (1936) and Sujata (1959).[155] International visibility came to the industry with Raj Kapoor's Awara and later in Shakti Samantha's Aradhana starring Rajesh Khanna and Sharmila Tagore.[156] Hindi cinema grew during the 1990s with the release of as many as 215 films.[25] With Dilwale Dulhania Le Jayenge, Hindi cinema registered its commercial presence in the Western world.[25] 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.[25] The salary of lead stars increased greatly. Many actors signed contracts for simultaneous work in 3–4 films.[26] Institutions such as the Industrial Development Bank of India also came forward to finance Hindi films.[26] A number of magazines such as Filmfare, Stardust, Cineblitz, etc., became popular.[157] The audience's reaction towards Hindi cinema is distinctive with involvement in the films by audience's clapping, singing, reciting familiar dialogue with the actors.[158] Kannada cinema Main article: Kannada cinema Statue of Rajkumar at KG Road (near Santosh theatre) in Bengaluru Kannada film industry, also referred as Sandalwood, is based in Bengaluru and caters mostly to the state of Karnataka. Rajkumar was 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, Ananth Nag, Upendra, Darshan, Sudeep, Ganesh, Shivaraj Kumar, Puneet Rajkumar, Kalpana, Bharathi, Jayanthi, Pandari Bai, Tara, Umashri and Ramya. Film directors from the Kannada film industry like Girish Kasaravalli, P.Sheshadri have garnered national recognition. Other noted directors include Puttanna Kanagal, G. V. Iyer, Girish Karnad, T. S. Nagabharana, Upendra, Yograj Bhat, Soori. G.K. Venkatesh, Vijaya Bhaskar, Rajan-Nagendra, Hamsalekha, Gurukiran, Anoop Seelin and 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, Kraurya, Thaayi Saheba, Dweepa. Munnudi, Atithi, Beru', Thutturi, Vimukthi, Bettada Jeeva, Bharath Stores 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.[21] 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 24 April 1950, and was produced and directed by Jerry Braganza, a native of Mapusa, under the banner of Etica Pictures.[159][160] Hence, 24 April is celebrated as Konkani Film Day.[161] Karnataka is the hub of a good number of Konkani speaking people. There is an immense Konkani literature and art in Karnataka. Several films have been noted among the Karnataka Konkani folks. Kazar (English: Marriage) is a 2009 Konkani film directed by Richard Castelino and produced by Frank Fernandes. Konkani Movie 'Ujvaadu' – Shedding New Light on Old Age Issues. The director and producer of the Konkani film "Ujvaadu", Kasaragod Chinna, whose stage name is Sujeer Srinivas Rao. The pioneering Mangalorean Konkani Film is Mog Ani Maipas. It was well appreciated among the Karanataka film makers. Malayalam cinema Main article: Cinema of Kerala Shaji N. Karun, Malayalam film director The Malayalam film industry, (some film magazines call Mollywood), is based in Kerala. It is considered to be the fourth largest among the film industries in India. Malayalam film industry is known for films that bridge the gap between parallel cinema and mainstream cinema by portraying thought-provoking social issues with top notch technical perfection but with low budgets. Filmmakers include Adoor Gopalakrishnan, Shaji N. Karun, G. Aravindan, K. G. George, Padmarajan, Sathyan Anthikad, T. V. Chandran and Bharathan. Vigathakumaran, a silent movie released in 1928 produced and directed by J. C. Daniel, marked the beginning of Malayalam cinema.[162] Balan, released in 1938, was the first Malayalam "talkie".[163][164] Malayalam films were mainly produced by Tamil producers till 1947, when the first major film studio, Udaya Studio, was established in Kerala.[165] 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.[166] Newspaper Boy, made by a group of students in 1955, was the first neo-realistic film in Malayalam.[167] 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 Feature Film.[168] The period from late 1980s to early 1990s is popularly regarded as the 'Golden Age of Malayalam Cinema'[169] with the emergence of actors Mohanlal, Mammootty, Suresh Gopi, Jayaram, Murali, Thilakan and Nedumudi Venu and filmmakers such as I.V. Sasi, Bharathan, Padmarajan, K. G. George, Sathyan Anthikad, Priyadarshan, A. K. Lohithadas, Siddique-Lal, TK Rajeev Kumar and Sreenivasan. In 2012, the total number of Malayalam movies released where 128 out of which about 40 movies managed to break even. Marathi cinema Main article: Marathi cinema Marathi cinema is the 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. There are many marathi movies, the list of best films in Marathi will be very big very few can be named like 'Sangate Aika','Ek Gao Bara Bhangdi,'Pinjara' of V. Shantaram,'Sinhasan', 'Paathlaag' 'Jait Re Jait' 'Saamana', Santh Wahate Krishnamai','Sant Tukaram','Shyamchi Aai' by Acharya Atre, based on Sane Guruji's best novel Shamchi Aai, and so on. Maharashtra has immense contribution to Bollywood as several Maharashtrian actors have brought glamour to the Indian film industry. Marathi film industry has included the work of actors including, Nutan, Tanuja, V Shantaram, Dr. Shriram Lagoo, Ramesh Dev and Seema Dev, Nana Patekar, Smita Patil, Madhuri Dixit, Sonali Kulkarni, Sonali Bendre, Urmila Matondkar , Reema Lagoo, Lalita Pawar, Mamta Kulkarni, Nanda, Padmini Kolhapure, Sadashiv Amrapurkar, Sachin Khedekar, Durga Khote, and Others Oriya cinema Main article: Oriya cinema The Oriya Film Industry is 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.[170] The first Oriya talkie Sita Bibaha was made by Mohan Sunder Deb Goswami in 1936. Shreeram panda, Prashanta Nanda, Uttam Mohanty, Bijay Mohanty started the revolution in the Oriya film industry by not only securing a huge audience but also bringing in a newness in his presentation. His movies heralded in the golden era of the Oriya commercial industry by bringing in freshness to Oriya movies.[171] Then the first 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 (now Kolkata) 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 the 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.[172] Manny Parmar made the first 3D Punjabi film, Pehchaan 3D, which released in 2013. Sindhi Cinema Main article: Sindhi cinema Though Striving hard to survive, mainly because not having a state or region to represent, Sindhi film industry has been producing movies in intervals of time. The very first Sindhi movie produced in India was 1958 film Abana which was a success throughout the country. In the later time Sindhi cinema has seen the production of some Bollywood style films like Hal ta Bhaji Haloon, Parewari, Dil Dije Dil Waran Khe, Ho Jamalo, Pyar Kare Dis: Feel the Power of Love and The Awakening. There are a numerous personalities from Sindhi descent who have been and are contributing in Bollywood G P Sippy, Ramesh Sippy, Nikhil Advani, Tarun Mansukhani, Ritesh Sidhwani, Asrani and many more. Tamil cinema Main article: Tamil cinema Kalidas (1931), Tamil cinema's first talkie The Tamil film industry, also known as Kollywood is based in Chennai. The city once served as a base for all South Indian films and to date remains South India's largest film production centre.[173] Sivaji Ganesan became India's first ever actor to receive an international award when he won the "Best Actor" award at the Afro-Asian film festival in 1960.[174] In Tamil films Music plays an important role with acclaimed composers such as Ilaiyaraaja and A. R. Rahman having "international following". Tamil cinema is also influenced by Dravidian politics,[175] with prominent film personalities turning Chief Ministers of Tamil Nadu.[176] Tamil films are distributed to various parts of Asia, Southern Africa, Northern America, Europe and Oceania.[177] The industry has inspired Tamil film-making in Sri Lanka, Malaysia, Singapore and Canada. Telugu cinema Main article: Telugu cinema In the years 2005, 2006 and 2008 the Telugu Film industry produced the largest number of films in India exceeding the number of films produced in Bollywood, with 268, 245 and 286 films in each year respectively.[178][179] As of 2012, the Telugu film Industry produced the second highest number of films in the country.[136] Ramoji Film City, which holds the Guinness World Record for the world's largest film production facility, is located in Hyderabad, India.[180] The Prasad's IMAX located in Hyderabad is the world's largest 3D IMAX Screen[125][126] and it is the most attended screen in the world.[127] Hyderabad is the only city in India which has six functional Film studios. The state of Andhra Pradesh has the most number of Cinema Theaters in India[181] Play back singer S. P. Balasubramanyam holds the Guinness World Record of having sung the most number of songs for any male playback singer in the world.[182][183][184] In 2002, the Guinness Book of Records named Vijaya Nirmala as the female director with most number of films; she made 47 films. In a career spanning approximately two decades, she acted in over 200 films with 25 each in Malayalam and Tamil. She also produced 15 films.[185] Telugu actor Brahmanandam holds the Guinness World Record for acting in the most number of films in a single language.[31][180][186][187] Movie producer D.Rama Naidu holds the Guinness World Record as the most prolific producer with 130 films.[188] The highest number of theaters for any state in India is in Andhra Pradesh 2809 out of 10167 [189] Genres and styles Masala films Main article: Masala (film genre) Masala is a style of Indian cinema, especially in Bollywood, Cinema of West Bengal and South Indian films, in which there is a mix of various genres in one film. For example, a film can portray action, comedy, drama, romance and melodrama all together. Many of these films also tend to be musicals, including songs filmed in picturesque locations, which is now very common in Bollywood films. Plots for such movies may seem illogical and improbable to unfamiliar viewers. The genre is named after the masala, a mixture of spices in Indian cuisine. Parallel cinema Main article: Parallel Cinema Parallel Cinema, also known as Art Cinema or the Indian New Wave, is a specific movement in Indian cinema, known for its serious content of realism and naturalism, with a keen eye on the social-political climate of the times. This movement is distinct from mainstream Bollywood cinema and began around the same time as the French New Wave and Japanese New Wave. The movement was initially led by Bengali cinema (which has produced internationally acclaimed filmmakers such as Satyajit Ray, Mrinal Sen, Ritwik Ghatak, and others) and then gained prominence in the other film industries of India. Some of the films in this movement have garnered commercial success, successfully straddling art and commercial cinema. An early example of this was Bimal Roy's Two Acres of Land (1953), which was both a commercial success and a critical success, winning the International Prize at the 1954 Cannes Film Festival. The film's success paved the way for the Indian New Wave.[63][64][190] The neo-realist filmmakers were the Bengali filmmaker Satyajit Ray, closely followed by Ritwik Ghatak, Mrinal Sen, Shyam Benegal, Shaji N.Karun, Adoor Gopalakrishnan[59] and Girish Kasaravalli[191] Ray's films include The Apu Trilogy, consisting of Pather Panchali (1955), Aparajito (1956) and The World of Apu (1959). The three films won major prizes at the Cannes, Berlin and Venice Film Festivals, and are frequently listed among the greatest films of all time.[87][88][192][193] Film music See also: Filmi Music in Indian cinema is a substantial revenue generator, with the music rights alone accounting for 4–5% of the net revenues generated by a film in India.[26] The major film music companies of India are Saregama, Sony Music etc.[26] Commercially, film music accounts for 48% India's net music sales.[26] A typical Indian film may have around 5–6 choreographed songs spread throughout the film's length.[194] The demands of a multicultural, increasingly globalised Indian audience often led to a mixing of various local and international musical traditions.[194] Local dance and music nevertheless remain a time tested and recurring theme in India and have made their way outside of India's borders with its diaspora.[194] Playback singers such as Mohammad Rafi, Lata Mangeshkar drew large crowds with national and international film music stage shows.[194] The end of the 20th century and the beginning of the 21st saw extensive interaction between artists from India and the western world.[195] Artists from Indian diaspora blended the traditions of their heritage to those of their country to give rise to popular contemporary music.[195] Awards This section lists the most important film awards given for Indian cinema by national and state authorities. Award Year of Inception Awarded by Bengal Film Journalists' Association Awards 1937 Government of West Bengal National Film Awards 1954 Directorate of Film Festivals, Government of India Maharashtra State Film Awards 1963 Government of Maharashtra Nandi Awards 1964 Government of Andhra Pradesh 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 Below are the major non-governmental (private) awards. Award Year of Inception Awarded by Filmfare Awards Filmfare Awards South 1954 Bennett, Coleman and Co. Ltd. Screen Awards 1994 Screen Weekly Zee Cine Awards 1998 Zee Entertainment Enterprises IIFA Awards 2000 Wizcraft International Entertainment Pvt Ltd Stardust Awards 2003 Stardust Apsara Awards 2004 Apsara Producers Guild South Indian International Movie Awards 2012 South Indian Film Industry Punjabi International Film Academy Awards 2012 Parvasi Media Inc. and Canadian Government Film Institutes in India Several institutes, both government run and private, provide formal education in various aspects of filmmaking. Some of the prominent ones include: AJK Mass Communication Research Centre, Jamia Millia Islamia, New Delhi Annapurna International School of Film and Media, Hyderabad Arya Film and Television Academy, Jaipur Asian Academy of Film & Television Biju Pattanaik Film and Television Institute, Cuttack Centre for advanced media studies, Patiala City Pulse Institute of Film & Television, Gandhinagar, Gujarat Department of Culture & Media studies, Central University of Rajasthan Film and Television Institute of India (FTII), Pune Govt. Film and Television Institute, Bangalore L V Prasad Film & TV Academy, Chennai[196] Madras Film Institute, Chennai Matrikas Film School[197] National Institute of Design, Ahmedabad[198] Regional Government Film and Television Institute (RGFTI), Guwahati. Satyajit Ray Film and Television Institute, Kolkata Srishti School of Art, Design and Technology, Bengaluru, Karnataka Whistling Woods International |
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