Evolution of Indian Cinema

3329 Words Jun 11th, 2012 14 Pages
Evolution Indian Cinema

A scene from Raja Harishchandra (1913) – The first full-length motion picture.
And Devika Rani and Ashok Kumar inAchhut Kanya (1936).

By GAURAV YADAV
CESP (MA), 4th Semester
Introduction
India has one of the oldest and largest film industries in the world. Indian Cinema is one of most vibrant cultural products and a major industry which is as old as Hollywood . It produces around a quarter of the world's films; its 13,000 cinema halls have a daily audience of around 15 million and many of these films are hugely popular overseas. has not one, but several filmic styles which can be distinguished in terms of film-making (methods of production and distribution), the film text (technical and stylistic
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It also saw the swansong of the Muslim social and the historical film, in one of the most exquisite and popular films: Pakeezah/The Pure One, 1971, which has become a cult classic. It was during this decade that state sponsorship allowed Indian "art" or "parallel" cinema to flower briefly, with films ranging from the avant-garde cinema of Mani Kaul to a realistic style best made by Shyam Benegal, featuring some of India's most admired actors, Shabana Azmi, Smita Patil, Om Puri and Naseerudin Shah.
Although colour television was introduced in the 1980s, it was pirated videocassettes which were seen to pose the greatest threat to the cinema. Cinema halls played mostly to male, working-class audiences, so it is not surprising that this decade is largely remembered as an age of the action movie, experiments with disco dancing and rape-revenge movies. The increasing availability of the audiocassette during this decade led to a revival in film music and the return to popularity of the teen romance, with roles taken by a new generation of younger stars, who dominated the 1990s: Madhuri Dixit, Juhi Chawla, Aamir Khan, Salman Khan and Shahrukh Khan. Despite the arrival of satellite and cable television, the family audience was coaxed back into the cinemas by a policy of video-holdback and the refurbishment of the cinema halls. This was led by Sooraj Barjatya, who's Hum aapke hain