CONTENT

S.NO TOPIC PAGE

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1. INTRODUCTION 1

2. EVOLUTION OF CINEMA 2

3. THE PARALLEL CINEMA 5

4. SOUTH INDIAN CINEMA 7

5. INDIAN CINEMATOGRAPHY ACT 8

6. NATIONAL FILM POLICY 10

7. ADVANTAGE AND DISADVANTAGE 11

8. CONCLUSION 13

9. BIBLIOGRAPHY 14
 INTRODUCTION

Auguste and Louis Lumiere, popularly known as the Lumiere

Brothers invented the cinematographe, which was a camera and a
projector device. The device was a combination was a game-changer
as it allowed multiple people to view a film at the same time, unlike
the peeping device called the Kinetoscope of Edison and Dickson,
which only allowed one person to view at a time. The brothers visited
India in 1896 and showcased six silent short films in Mumbai, which
were a series of visuals and seeds for the start of motion pictures in
India.

The cinema was first shown at the Watson Hotel in Mumbai on July
17, 1896. However, for the next fifteen years, no film was made in
India. But it started a Silent Era.N.G Chitre and R.G Torney, two
filmmakers attempted to make a film called PUNDALIK, based on
the story of a holy man in Maharashtra.India’s first Feature film was
RAJA HARISHCHANDRA, directed, written and acted by Dandiraj
Govindraj Phalke himself on 3rd May 1913.

Dadasaheb Phalke became the “Father of Indian Cinema”, and even

after a decade, his films are considered legendary and ahead of their
time.The Silent Era came to an end in the year 1930 with the advent
of technology and sound. Thus, the Age of Sound came with
transforming experiences for the Indian audience.

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 EVOLUTION OF CINEMA

Birth of Bollywood:

The true catalyst for history of Indian Cinema's growth came with
Dadasaheb Phalke, often hailed as the Father of Indian Cinema. In
1913, he released 'Raja Harishchandra,' India's first full-length feature
film. This silent film not only marked a commercial success but also
introduced the world to the talent of Indian filmmakers. Remarkably,
Dadasaheb Phalke played multiple roles in the production, including
director, writer, cameraman, editor, make-up artist, and art director.
'Raja Harishchandra' even crossed borders, becoming the first Indian
film to be screened in London in 1914. Despite this early success, the
Indian film industry's growth was slower compared to Hollywood.

Emergence of New Production Companies in the 1920s

The 1920s witnessed the emergence of numerous production

companies. While films based on mythological and historical themes
dominated the era, Indian audiences also embraced Hollywood
movies, especially action films. This period laid the foundation for
Bollywood's future expansion and was a major impact on the history
of Indian Cinema.
Talkies Take Center Stage: 'Alam Ara'

The turning point in the history of Indian Cinema arrived in 1931 with
the release of 'Alam Ara,' directed by Ardeshir Irani. This film marked
India's transition to sound cinema, making it the first sound film in the
country. The movie's music, including the iconic 'De de khuda ke
naam par' sung by W.M. Khan, added a new dimension to the
cinematic experience. This transition led to a surge in film production,

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with 328 films made in 1931, compared to just 108 in 1927. Movie
halls multiplied, and the audience grew significantly.
Birth of a New Era: Post-Independence Transformation
In the history of Indian Cinema, the post-independence period, around
1947, witnessed a significant transformation in Indian cinema.
Filmmakers like Satyajit Ray and Bimal Roy focused on societal
issues, highlighting the struggles of the lower class. Themes such as
prostitution, dowry, and polygamy came to the forefront. In the 1960s,
directors like Ritwik Ghatak and Mrinal Sen continued to address
real-world problems, gaining international recognition.
The Golden Age: 1950s and 1960s

The 1950s and 1960s are often regarded as the golden age of Indian
cinema. This era saw the rise of legendary actors such as Guru Dutt,
Raj Kapoor, Dilip Kumar, Meena Kumari, and more. Their
performances left an indelible mark on Indian film history, creating
timeless classics as per the history of Indian Cinema.
Music's Integral Role
Indian cinema's soul lies in its music. Songs have given Indian films a
unique identity, setting them apart from international counterparts.
The industry has produced talented lyricists, music directors, and
artists who have left an indelible mark on the world of music.
Bollywood and the Era of Masala Movies

In the history of Indian Cinema, the 1970s introduced the era of

Masala movies in Bollywood. Actors like Rajesh Khanna,
Dharmendra, Hema Malini, and others mesmerized audiences with
their charisma. Director Manmohan Desai, a pioneer of Masala
cinema, aimed to transport viewers into a world free from misery and
poverty. Blockbusters like 'Sholay' achieved both domestic and
international acclaim, propelling Amitabh Bachchan to superstardom.

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Women Directors and Rekha's Splendid Performance

The 1980s witnessed the emergence of women directors like Meera

Nair and Aparna Sen. Additionally, Rekha delivered a remarkable
performance in 'Umrao Jaan' in 1981, solidifying her status as a
cinematic icon as per the history of Indian Cinema.
The 1990s and Beyond

The 1990s brought a fresh wave of actors, including Shah Rukh Khan,
Salman Khan, Madhuri Dixit, and Aamir Khan. These actors
embraced new techniques, elevating Indian cinema to greater heights.
In 2008, A.R. Rahman's Academy Awards for the 'Slumdog
Millionaire' soundtrack marked a significant milestone.
The 1990s marked the beginning of a new wave in Indian cinema,
with filmmakers exploring a wider range of genres and themes. This
era saw the rise of romantic films, with Shah Rukh Khan becoming
the "King of Romance" with films like Dilwale Dulhania Le Jayenge
(1995) and Kuch Kuch Hota Hai (1998).
At the same time, filmmakers like Mani Ratnam, Ram Gopal Varma,
and Anurag Kashyap began experimenting with unconventional
narratives and realistic storytelling. Films like Roja (1992), Satya
(1998), and Black Friday (2004) broke away from the traditional
Bollywood formula and introduced audiences to a new kind of
cinema.
In recent years, Indian cinema has continued to evolve, with
filmmakers increasingly focusing on content-driven films. The
success of movies like Gully Boy (2019), Article 15 (2019), and The
Lunchbox (2013) highlights a growing trend towards more
meaningful and socially relevant storytelling.

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 THE PARALLEL CINEMA
Since the late 1940s, there has always been a parallel industry
producing hard-hitting films whose main objective was to make good
cinema and experiment with the art, even if they were not
commercially viable.This movement began in regional film in 1969
with the release of Mrinal Sen's Bhuvan Shome. This ushered in a
new phase of 'new cinema,' which emphasized aesthetic excellence
and a humanitarian perspective in contrast to popular mainstream
cinema's fantasy-based world.
The following factors contributed to the emergence of parallel cinema
in India:
 To begin with, after World War II, the global trend changed
toward neo-realism and the representation of human flaws.
 This was represented in Indian cinema with notable films like
Mother India, Shree 420, and others that focused on social
issues.
 There was now a multitude of organizations dedicated to the
study of films, such as the National Film Archive of India,
which opened in 1964, and the Film and Television Institute of
India (FTII).
 Finally, as India became a hotspot for international film
festivals, an increasing number of Indian directors had access to
worldwide cinematic trends, which they replicated in their own
work.
 SatyajitRay, who directed the Appu Trilogy (PatherPanchali,
Apur Sansar, and Aparajito), was the most well-known figure
in the parallel cinema movement.
 The notable figures include Ritwik Ghatak, whose films
Nagarik, Aajantrik, and Meghe Dhaka Tara focused on the
difficulties of the lower middle class.

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 In the 1980s, parallel films began to emphasize the importance
of women's roles.
 During this time, a number of female filmmakers rose to
prominence. Sai Paranjpye (Chashme Baddoor, Sparsh),
Kalpana Lajmi (Ek Pal), and Aparna Sen (36 Chowringhee
Lane) are among the most renowned.
 Some received international fame, such as O Meera Nair,
whose film Salaam Bombay won the Golden Cannes Award in
1989.
 The majority of these films focused on the changing role of
women in society.
 Only in alternative cinema have filmmakers with a strong desire
to promote women's liberation shown us an Indian woman's
life. Satyajit Ray, Ritwik Ghatak, Guru Dutt, Shyam Bengal,
and others are notable directors in this genre.
 The image of a modern woman who works for a living has a
child and a profession to manage, and is still striving to establish
her own footing is also being explored in today's cinema.

SOUTH INDIAN CINEMA

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 The term "South Indian cinema" refers to the five film
industries of South India: Tamil, Telugu, Kannada,
Malayalam, and Tulu (Coastal Karnataka) as a single entity.
 The Telugu and Tamil cinema industries are the two largest
among them.
 While Kannada and Telugu films mostly target home audiences,
Tamil and Malayalam films have a sizable international
following.
 Themes from many classics of literature, mythology, and
folklore have been incorporated into South Indian cinema.
 Telugu cinema produced a slew of mythological-themed films.
 In Andhra Pradesh, epic stories such as the Ramayana and the
Mahabharata are immensely popular.
 N.T. Rama Rao was most known for his depictions of Krishna,
Rama, Shiva, Arjuna, and Bhima in films. In his career, NTR
played Krishna in 17 films. He went on to be a successful
politician.
 In Kannada and Tamil cinema, mythological myths are also
represented.
 The iconic actor Rajkumar played the protagonist in the
Kannada mythologic flicks 'Babruvahana' and 'Ramanjaneya
Yuddha.'
 The Tamil film 'Tiruvilaiyadal,' directed by the acclaimed A.P.
Nagarajan, was a huge success. The legendary actor Shivaji
Ganeshan played Shiva in that masterpiece with tremendous
finesse.
 South Indian cinema, on the other hand, is dominated by films
about socioeconomic themes.

INDIAN CINEMATOGRAPHY ACT

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 The Indian Cinematograph Act, of 1952 was enacted by the
Indian government to regulate film certification.
 The Act's main purpose was to formalize the establishment and
operation of the Central Board of Film Certification (CBFC),
also known as the "Censor Board of India."
 The Act calls for the Central Government to elect a Chairman
of the Censor Board as well as a team of people (no less than
twelve and no more than twenty-five) to assist the Chairman in
his duties.
 The Board must review a film and determine whether or not it
should be screened because it offends a specific geographic
area, age range, religious affiliation, or political group.
 It can also instruct the film's applicant to make changes and
deletions to the film before issuing a certificate.
 If these alterations are not made, the Censor Board may refuse
to allow the film to be shown in public.
 Although the Central Government is responsible for film
certification, state governments are responsible for enforcing
censorship in their individual jurisdictions.
 In India, films are classified into four categories. They are as
follows:
 U – It stands for "universal exhibition"
 A – Restricted to the adult audience only
 UA – Unrestricted public exhibition, but with a parental
discretion warning for children under the age of twelve.
 S – Public exhibition for a specific group of people like
doctors, engineers, etc.
 The CBFC is a well-organized organization with a Chairman
and governing members nominated by the government's
Ministry of Information and Broadcasting.
 According to the government regulation, they can be appointed
for a period of three years or longer. Members are usually well-
known and brilliant film business figures or other academics.

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 In their regional office, they also have an advisory group led by
regional officers.
 There are two-tier committees that can be consulted in the
event of a disagreement between the filmmakers and the Censor
Board.
 The Examining Committee and the Revising Committee are
the two committees.
 A Censor Board certificate is required for all films. Even
international films that are imported into India must be certified
by the CBFC.
 All films that are dubbed from one language to another must
obtain a new certificate to guarantee that the change in language
is not inappropriate in any way.
 The only exception to the CBFC certificate is films made
specifically for Doordarshan, which is the government of
India's official broadcaster and has its own set of rules for
examining such films.
 Television shows and serials are also exempt from CBFC
certification.
 The Government of India established the Shyam Benegal
Committee in 2016 to establish film certification standards that
take into account best practices from around the world and
provide sufficient and acceptable scope for artistic and creative
expression.

NATIONAL FILM POLICY

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 Considering India has the world's largest film production
industry, it appears that a national film policy is required.
 Every year, over a thousand films are produced, with a major
contribution to India's GDP.
 The film industry is caught in a paradox: its expansion is
unchecked, but the content of the films produced is strictly
regulated by the government through the Censor Board.
 As a result, for long-term growth, the government's
participation should be limited.
 Regional film is increasingly being pushed to the margins, and a
policy is needed to bring it up to the level with mainstream
Hindi movies.
 The art of filmmaking and photography should be taught, and
other film schools along the lines of the Film and Television
Institute of India (FTII) should be established.
 There is a need for Indian cinema to be promoted globally, and a
national policy can help guide it in the right direction.
 A national film policy can ensure that incentives are provided
for content digitization.
 New guidelines for censorship issues are required to keep up
with the changing socio-cultural scenario.
 Because Internet piracy is the industry's most serious concern,
amendments to prohibit piracy are required.
 Strict punitive and monetary sanctions would be effective
against the offenders.

ADVANTAGE AND DISADVANTAGE

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Advantages:
 Source of Entertainment: Movies are the best mode of enjoyable
and immersive entertainment. When one gets bored with the
same routine work and needs relaxation, the cinematic
experience, with its special effects, music, and storytelling
techniques, helps provide a unique way of escaping reality.
 Form of Storytelling: Stories take us to a world where we can
explore different stories, characters, and themes. Film directors,
with the help of visuals and narrative methods, help convey a
message and evoke emotions in the audience while developing a
connection with the story being told.
 Means of Social Bonding: Sitting in front of the television and
watching a movie with family is fun on another level. It doesn’t
matter whether it’s a night out at the cinema or a movie night at
home; the experience of bonding among friends and family
cannot be explained in words.
Disadvantages:
 Negative Influence: Movies with harmful content such as
misogyny, celebration of communal violence, racism, and
glorification of patriarchy create an adverse impact on the
impressionable audience. Therefore, as viewers, it is important
to understand the message conveyed very carefully and its
potential consequences.
 Time-Consuming: Also, watching movies for long hours can
interfere with work, studies, and other activities. It is, therefore,
required to create a balance between leisure and responsibilities.
However, this does not apply to present-day and future
generations of filmmakers, actors, scriptwriters,
cinematographers, camera operators, etc.
 Expensive: Watching movies is a costly undertaking. Whether
tickets, streaming subscriptions, or home entertainment comes
with a heavy expense. If one is a regular moviegoer, watching
movies can lead to a potential drawback.

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Thus, it is essential to carefully analyze the messaging of movies. It is
our responsibility to watch movies as a source of entertainment and
not indulge in wrongdoings. Also, cinema is a beautiful art form and a
great source of learning for technicians, writers, and filmmakers.

CONCLUSION

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The business is divided into sections based on language,
with the Hindi film industry (Bollywood), Tamil film
industry (Kollywood), and Telugu film industry (Tollywood)
being the most popular. Malayalam, Kannada, Bengali,
Marathi, and Punjabi are some of the most well-known film
industries. By 2020, all other regional film industries'
revenue will have surpassed that of the Hindi film industry.
The Indian film industry is a multibillion-dollar industry. Its
films have been seen in over 90 countries across Southern
Asia, Europe, North America, Asia, the Greater Middle
East, Eastern Africa, China, and elsewhere.

The journey of Indian cinema is a testament to its resilience and

adaptability. From silent films to the digital age, Indian cinema has
continuously reinvented itself, reflecting the changing tastes and
aspirations of its audiences. As it continues to evolve, Indian cinema
remains a powerful medium for storytelling, capable of entertaining,
educating, and inspiring millions of people across the globe.

The influence of Indian cinema can also be seen in the increasing

number of international co-productions and collaborations. The Indian
film industry has become a global player, contributing to the country's
soft power and cultural diplomacy.

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 BIBLIOGRAPHY

 https://testbook.com/history-of/indian-cinema
 https://gosharpener.com/blogs/498427/The-Evolution-of-Indian-
Cinema-A-Journey-Through-Time
 https://leverageedu.com/discover/school-education/essay-on-
movies/
 https://www.purposestudios.in/post/evolution-of-indian-cinema

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