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Influence of the Hindi film industry
History of indian cinema essay
Influence of the Hindi film industry
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The purport of this exegesis is to study and identify the cultural distinction between the cinema of two different countries. The major area of study is the Indian and Western cinema. Bollywood is known as the biggest film industry in India as well as Internationally in terms of movies produced (Pillania, 2008). While Hollywood has a huge influence in the western world. There are many movies that are inspired by Hollywood and made in Bollywood. I will narrow my study and fixate on Bollywood (Indian cinema) and Hollywood (Western cinema).
These are few movies of Hollywood which are remade in Bollywood. The transmutations required to make the Hollywood film prosperous in Bollywood is the consequential aspect of my study. Will simply taking a
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Beginning as a novelty in a handful of big cities like New York, Paris, London and Berlin (Nowell-Smith, 1997). This new form of entertainment soon gained a lot of attention from the audience and more people became interested in watching films, which was merely moving images on a screen without any form of narration or dialogue. The more sizably voluminous number of the audience showed interest, which resulted in a trend. Over the years, cinema has transformed a lot from moving images to the 3D and 4D cinema, which are being made …show more content…
Phalke directed his first film called Raja Harishchandra (1913), which was additionally considered as the first Indian feature film. Pundalik (1912), a film directed by Dadasaheb Torne, N.G. Chitre, and P.R.Tipnis was released afore Phalke’s Raja Harishchandra (1913) albeit it was not accorded the status of the first feature film because it was a theatre play, rather than a film produced categorically for the screen (Ganti, 2013). Raja Harishchandra (1913) was a film predicated on a mythological character from Mahabharata. The role of the tragic queen “Taramati” in the film was played by a young boy called Salunke (Pande, 2006). Women acting in the film and participating in theatre plays were considered taboo in the Indian society back in the 1900s. Salunke who played the character of “Taramati” became the first female star of Indian Cinema (Pande, 2006). The movie was a huge success which led to the introduction of the mythological genre. The Hindustan cinema film company composed in 1918 by Dadasaheb Phalke was a first film production company in India. Introduction of sound in films led to the most astronomically immense complication in the Mumbai predicated film Industry. India is the country
fragmented by the interruptions of song and dance, lending a sense of unreality. I believe Mira Nair successfully achieved her aim to make a Bollywood film on her own terms. As a director, she effectively combined the techniques of sound, editing, costume, colour and location to produce a fairly unique Bollywood film. Her message of the continuing modernisation of India, and her criticisms of both the societies she illustrates in the film comes across clearly, as do the more controversial points she brings up that Bollywood, as a film industry, does not typically address. Its appeal and effectiveness can be measured by the huge range of global audiences it has attracted, both Western and Eastern, which indicates that she accomplished her goal of making a realistic movie, breaking the traditional Bollywood mould.
This paper will attempt to explore this debate and give reasoning’s as to what defines a Western, how the Matrix lives up to and modifies the stated definition, will go into the films background such as director, producer, film reviews, etc. Finally the paper will discuss the theme, tone, setting, characters and casting, acting style, lighting, imagery, musical score, and special effects.
In my essay I will discuss the differences between national cinema and Hollywood cinema by using Rio de Janeiro¡¯s famous film City of God. There will be three parts in my following main body, the first part is a simple review of the film City of God, I will try to use the review to show the film structure and some different new points from this, show the how did the ¡®Shocking, frightening, thrilling and funny¡¯ (Nev Pierce) work in the film. The second part is my discussion parts; I will refer some typical Hollywood big name films such as Gangs in New York, Shawshank¡¯s Redemption, and Good Fellas to discuss the main differences between City of God and other national films. The third part is my summary, I will use my knowledge to analyse why there have big different between both kind of films and their advantages.
Since the creation of films, their main goal was to appeal to mass audiences. However, once, the viewer looks past the appearance of films, the viewer realizes that the all-important purpose of films is to serve as a bridge connecting countries, cultures, and languages. This is because if you compare any two films that are from a foreign country or spoken in another language, there is the possibility of a connection between the two because of the fact that they have a universally understanding or interpretation. This is true for the French New Wave films; Contempt and Breathless directed by Jean-Luc Godard, and contemporary Indian films; Earth and Water directed by Deepa Mehta. All four films portray an individual’s role in society using sound and editing.
In the development of the narrative every event is motivated, i.e. follows a causal relationship. In the same way the use of cinematic style is generally motivated by the narrative. The connection between narrative and cinematic style is highly conventional. Due to the dominance of the style viewers come to expect certain stylistic choices for certain narrative situations. For example if you have a hostage situation there will invariably be a cross-cutting between the rescuers and the hostage. All of the above results in what Bordwell has called "an excessively obvious cinema,". in that it follows a set of norms, paradigms, and standards that match and gratify viewers expectations (Film Art, 2008). In other words by the end of a classical Hollywood film answers for all questions have been provided and one doesn’t leave the cinema perplexed and startled as one would after some New Hollywood films or European Art films. From an ideological perspective, these practices discourage viewers critical inquiry of any particular film as well as the underlying practices of mainstream cinema in general. Although the authors do not support the anti-humanist arguments of theorists who applied the concept of interpellationto cinematic spectatorship, their conclusions in fact provide strong evidence for at least a serious consideration of interpellation and the power of classical Hollywood
Globalization is often misrepresented as the growing influence of the western culture in the world and so we tend to state that Hollywood is influencing Bollywood to a great extent. An argument can be made to justify the validity of that statement. However, this paper aims at presenting the influence of Bollywood on Hollywood in terms of music, dance and visual representation. This paper deals with a specific part of globalization, providing evidence that it is not only related to the spreading influence of the western culture but also of eastern culture. Feature film produced in 2009 Courtesy: UNESCO Indian movies began production in the beginning of the 20th century and were, much like American films, in black and white.
During the course of this essay it is my intention to discuss the differences between Classical Hollywood and post-Classical Hollywood. Although these terms refer to theoretical movements of which they are not definitive it is my goal to show that they are applicable in a broad way to a cinema tradition that dominated Hollywood production between 1916 and 1960 and which also pervaded Western Mainstream Cinema (Classical Hollywood or Classic Narrative Cinema) and to the movement and changes that came about following this time period (Post-Classical or New Hollywood). I intend to do this by first analysing and defining aspects of Classical Hollywood and having done that, examining post classical at which time the relationship between them will become evident. It is my intention to reference films from both movements and also published texts relative to the subject matter. In order to illustrate the structures involved I will be writing about the subjects of genre and genre transformation, the representation of gender, postmodernism and the relationship between style, form and content.
Amidst all the hype and allure of Hollywood, many often forget the presence of yet another powerhouse in cinema-Bollywood. The exponential rise of Bollywood can be attributed to the vast number of films produced which far outnumber those of Hollywood. The viewership of Bollywood films has surpassed the 3 billion mark in contrast to Hollywood’s 1.3 billion viewers (Mcbain, 2012). In an ever-growing market, in order for Bollywood to surpass Hollywood’s hegemonic international appeal, Indian films must compete with their contemporary counterpart. Western influence and globalisation has paved the way for Indian cinema over the last decade and despite India emerging to be a political and economical power, there has been little or
Manoranjan sir’s guru, Mr Margadarisi [says]: when you have such a good actor by your side, there is no requirement to spent so many crores. A good story is what is necessary; masala films like these are unimportant to our culture … (self-translation)
Kapoor.” He is the man who will attract the audience to the film as he
Bollywood movies are entertaining the global now.it is the one of largest film industry in the world, the term Bollywood coined in a journalistic column in India and contested and commended in almost equal measure. The word is a derivative, imitative and low quality version of the world richest film factory –Hollywood but in terms of the production of feature films and viewership, India leads the world: every year on average 1,000 films are produced and a billion more buy tickets for Indian movies than for Hollywood films. Bollywood helped to make an attractive, exotic and colorful, tourist and investment destination. In addition
Bollywood is one of the largest film producers in India and one of the largest centers of film production in the world. The early 1920s saw the rise of several new production companies, and most films made during this era were either mythological or historical in nature. Raja Harishchandra (1913), by Dadasaheb Phalke, is known as the first silent feature film made in India. Imports from Hollywood, primarily action films, were well received by Indian audiences, and producers quickly began following suit. By the 1930s, the industry was producing over 200 films per annum. 1931 saw the release of first Indian sound film, Ardeshir Irani's Alam Ara, and the film that paved the way for the future of Indian cinema. The number of
The world of films is so glamorous that many people are being charmed by it and so many of these people are being urged to become actors or actresses. Yes, this field is rewarding but a lot of guidance from professionals and hard work is required for one to have a chance to shine. While there are people who are naturally born actors or actresses, there are those who want to learn the art. These people need to take acting lessons, follow certain guiding principles and be qualified in certain examinations.
The Bollywood industry is one of the largest industries in India and the films that are produced there, are widely viewed in all parts of the world (Sidhu). However, even though the Bollywood industry has become more popular and branched out to appeal to audiences outside of India, it has brought with it some problems as well. is also a problem. It is problematic because there is a vast divide in the lack of representation of queer women and female sexuality in Bollywood cinema. In comparison to the representation of gay men in Bollywood cinema, there is a vast divide.