Ashok kadaba

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The indian art movies

India is well known for its commercial cinema, better known as Bollywood. In addition to commercial cinema, there is also Indian art cinema, known to film critics as "New Indian Cinema" or sometimes "the Indian New Wave" (see the Encyclopedia of Indian Cinema). Many people in India plainly call such films as "art films" as opposed to mainstream commercial cinema. From the 1960s through the 1980s, the art film or the parallel cinema was usually government-aided cinema. Such directors could get federal or state government grants to produce non-commercial films on Indian themes. Their films were showcased at state film festivals and on the government-run TV. These films also had limited runs in art house theatres in India and overseas.

The directors of the art cinema owed much more to foreign influences, such as Italian Neo-Realism or French New Wave, than they did to the genre conventions of commercial Indian cinema. The best known New Cinema directors were Bimal Roy, Ritwik Ghatak, and Satyajit Ray. The best known films of this genre are the Apu Trilogy (Bengali) by Satyajit Ray and Do Bigha Zameen (Hindi) by Bimal Roy. Satyajit Ray was the most flourishing of the "art cinema" directors. His films played primarily to art-house audiences in the larger Indian cities, or to film buffs on the international circuit.

In South India, art cinema or the parallel cinema was well-supported in the state of Kerala. Malayalam movie makers like Adoor Gopalakrishnan, G. Aravindan, and M. T. Vasudevan Nair were quite successful. Starting the 1970s, Kannada film-makers from Karnataka state produced a string of serious, low-budget films. But virtually only one director from that period continues to make off-beat films -- Girish Kasaravalli. In other markets of south India, like Kannada, Tamil, Malayalam, and Telugu, stars and popular cinema rule the box office. Still, a few directors, such as Balachander, Bharathiraja, Balu Mahendra, Bapu, Puttanna, Siddalingaiah, Dr.K.Vishwanath, and Mani Ratnam have achieved fair amount of success at the box-office while balancing elements of art and popular cinema together.

The cinema of india

The cinema of India consists of films produced across India.[6] Cinema as a medium has gained immense popularity in the country and as many as 1,600 films in various languages of India are produced annually.[3][7] Indian films have also come to be followed throughout South Asia, the Greater Middle East, Southeast Asia and other countries. Dadasaheb Phalke is known as the "father of Indian cinema".[8][9][10][11] The Dadasaheb Phalke Award, for lifetime contribution to cinema, was instituted in his honour, by the Government of India in 1969, and is the most prestigious and coveted award in Indian cinema.[12]

In the 20th century, Indian cinema, along with the Hollywood and Chinese film industries, became a global enterprise.[13] As of 2013, in terms of annual film output, India ranks first, followed by Nollywood,[3][14] Hollywood and China.[15] In 2012, India produced 1,602 feature films.[3] The Indian film industry reached overall revenues of $1.86 billion (₹93 billion) in 2011. This is projected to rise to $3 billion (₹200 billion) in 2016.[16] In 2015, India had a total box office of US$1.6 billion, the fourth largest in the world outside North America.[5] Enhanced technology paved the way for upgrading from established cinematic norms of delivering product, altering the manner in which content reached the target audience. Visual effects based, super hero science fiction, and epic films like Enthiran, Baahubali, Krrish[17] emerged as blockbusters.[13] Indian cinema found markets in over 90 countries where films from India are screened.[18] 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.[19] The 2015 epic film Rudhramadevi starring Anushka Shetty is the first Indian 3D historical film.[20]

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[21][22] and Warner Bros.[23] Indian enterprises such as AVM Productions, Prasad's Group, Sun Pictures, PVP Cinemas, Zee, UTV, Suresh Productions, Eros Films, Ayngaran International, Pyramid Saimira, Aascar Films and Adlabs also participated in producing and distributing films.[23] Tax incentives to multiplexes have aided the multiplex boom in India.[23] 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.[23]

The South Indian film industry defines the four film cultures of South India as a single entity. They are the Tamil, the Telugu, the Malayalam and the Kannada industries. Although developed independently over a long period, gross exchange of film performers and technicians as well as globalisation helped to shape this new identity.[24][25]

The Indian diaspora consists of millions of Indians overseas for which films are made available both through media such as DVDs and by screening of films in their country of residence wherever commercially feasible.[26] 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.[27] 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.

The parallel cinema

The Parallel Cinema movement began to take shape from the late 1940s to the 1965, by pioneers such as Satyajit Ray, Ritwik Ghatak, Bimal Roy, Mrinal Sen, Tapan Sinha, Khwaja Ahmad Abbas, Buddhadeb Dasgupta, Chetan Anand, Guru Dutt and V. Shantaram. This period is considered part of the 'Golden Age' of Indian cinema.[3][4][5] This cinema borrowed heavily from the Indian literature of the times, hence became an important study of the contemporary Indian society, and is now used by scholars and historians alike to map the changing demographics and socio-economic as well as political temperament of the Indian populace. Right from its inception, Indian cinema has had people who wanted to and did use the medium for more than entertainment. They used it to highlight prevalent issues and sometimes to throw open new issues for the public. An early example was Chetan Anand's Neecha Nagar (1946), a social realist film that won the Grand Prize at the first Cannes Film Festival.[6] Since then, Indian independent films were frequently in competition for the Palme d'Or at the Cannes Film Festival throughout the 1950s and early 1960s, with some of them winning major prizes at the festival.

During the 1950s and the 1960s, intellectual filmmakers and story writers became frustrated with musical films. To counter this, they created a genre of films which depicted reality from an artful perspective. Most films made during this period were funded by state governments to promote an authentic art genre from the Indian film fraternity. The most famous Indian "neo-realist" was the Bengali film director Satyajit Ray, followed by Shyam Benegal, Mrinal Sen, Adoor Gopalakrishnan, G. Aravindan and Girish Kasaravalli. Ray's most famous films were Pather Panchali (1955), Aparajito (1956) and The World of Apu (1959), which formed The Apu Trilogy. Produced on a shoestring budget of Rs. 150,000 ($3000),[7][8] the three films won major prizes at the Cannes, Berlin and Venice Film Festivals, and are today frequently listed among the greatest films of all time.[9][10][11][12]

Certain art films have also garnered commercial success, in an industry known for its surrealism or 'fantastical' movies, and successfully combined features of both art and commercial cinema. An early example of this was Bimal Roy's Do Bigha Zamin (1953), which was both a commercial and critical success. The film won the International Prize at the 1954 Cannes Film Festival and paved the way for the Indian New Wave.[13][14][15] Hrishikesh Mukherjee, one of Hindi cinema's most successful filmmakers, was named the pioneer of 'middle cinema', and was renowned for making films that reflected the changing middle-class ethos. According to Encyclopædia Britannica, Mukherjee "carved a middle path between the extravagance of mainstream cinema and the stark realism of art cinema".[16] Renowned Filmmaker Basu Chatterjee also built his plots on middle-class lives and directed films like Piya Ka Ghar, Rajnigandha and Ek Ruka Hua Faisla.[17] Another filmmaker to integrate art and commercial cinema was Guru Dutt, whose film Pyaasa (1957) featured in Time magazine's "All-TIME" 100 best movies list.[18] The most recent example of an impeccable art film becoming commercially successful is Harpreet Sandhu's Canadian Punjabi Film Work Weather Wife; it marks the beginning of Cinema in Punjabi Film Industry.[19]

In the 1960s, the Indian government began financing independent art films based on Indian themes. Many of the directors were graduates of the Film and Television Institute of India (FTII), in Pune. The Bengali film director Ritwik Ghatak was a professor at the institute and a well-known director. Unlike Ray, however, Ghatak did not gain international fame during his lifetime. For example, Ghatak's Nagarik (1952) was perhaps the earliest example of a Bengali art film, preceding Ray's Pather Panchali by three years, but was not released until after his death in 1977.[20][21] His first commercial release Aj

ashok kadaba

film director