Indian Cinema

HISTORY

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Indian Cinema
Indian cinema is a medium of the popular expression of India’s cultural identity. Modern Indian culture and
all its facets are connected with cinema. Although it is a primary source of entertainment for many, cinema
also plays an important role in carving out areas of unity between various groups and communities based on
caste, religion, and language. Studying aspects of Indian cinema, its overview of over a hundred years, and
its development as an industry is important.

Contents
 Introduction

 Evolution of Indian Cinema

 Phase 1895-1910

 The Era of Silent Films

 Pre-independence Talkies

 Ideas of Freedom

 Social Reform

 Studio System (the 1920s - 1930s)

 Post-independence Talkies

 Themes

 Parallel Cinema

 Importance of Indian Cinema

 Indian Cinema as an Industry

 Important Characteristics of Indian Cinema

 Famous Film Awards

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 The Dadasaheb Phalke

 Other Film Awards

 Institutions Associated with Indian Cinema

 The Film Division of India

 Central Board of Film Certification (CBFC)

 National Film Development Corporation Limited (NFDC)

 National Film Archive of India

 Directorate of Film Festivals

 Children’s Film Society

 Themes in Indian Cinema

 Political Perspective

 Fantasy v. Reality

 Image of Hero

 Image of Heroine

 Music in Cinema

 Dance in Cinema

 Indian Cinematograph Act, 1952

 Practice Prelims MCQs

 Practice Mains Questions

Introduction
 India has one of the largest film industries in Asia. Thousands of people get employment in this sector as
actors, directors, musicians, etc. It is a well-known industry for producing the largest number of films in the
world. According to a 2014 survey, India produces 3000 celluloid films, of which 1000 are short films and
1969 feature films. Let’s see the various aspects of Indian cinema.

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Lumière Cinematographe

 In the last decade of the nineteenth century, the Lumière brothers, Louis Nicolas Lumière (19 October
1862 – 10 April 1954) and Louis Jean Lumière (5 October 1864 – 6 June 1948), invented cinema.

 They were manufacturers of photographic equipment and invented the cinematograph that proved to be
an early mechanism for motion picture films.

 Society for the Development of the National Industry was the first public screening of a film. It
premiered in Paris, France on 29 December 1885. Seven months after its premiere, the film was shown in
Bombay.

 This was followed by Harishchandra Bhatwadekar making a film on a wrestling match in Bombay in 1901.
He also made the first newsreel.

 Dada Saheb Phalke (Dhundiraj Govind) made the first silent film Raja Harishchandra in 1913.

 Indian cinema has a history of over 100 years and feature films have spanned over 80 years.

 The history can be broadly divided into the following phases:

 Phase I (1895 - 1910 CE)

 The era of silent films (1913- 1931 CE)

 Pre-independence talkies (1931- 1947 CE)

 Studio System (the 1920s - 1930s)

 Post-independence talkies (1947-present)

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Evolution of Indian Cinema

 During colonial rule, many filmmakers were not able to express themselves explicitly as the
censorship policy of the British was strict.
 The language of cinema is not restricted to dialogues alone but expanded to action, gestures,
sentiments, and symbolism.
 Most often these symbols are used in social and historical contexts to generate emotions and excite
a large number of masses. Eg. creating an appropriate emotional response among the audience in
the climate of freedom struggle.
Phase I
(1895-1910  Indian cinema was not given any kind of encouragement by the British. Moreover, the censorship
CE) throttled any portrayals of democratic ideas and revolutionary spirit in the films. Many times,
Indian filmmakers resorted to the use of allegory and metaphor to convey the desired meanings in
the films.
 The first motion picture of the world was released on December 28, 1895, in Paris. India’s
connection with cinema began on 7 July 1896 at Watson Hotel in Bombay. Here, an agent of
Lumiere Brothers, the founders of movie cameras held the first screening of the motion pictures.
 That motion picture was a wrestling match by Harishchandra Sakharam Bhatwadekar. This kind of
film was known as ‘topical’ and Hiralal Sen of Calcutta was also a pioneer in this field.

 The first silent film was made in 1912. By 1934, around 1300 films had been made.
 India's first film was Ram Chandra Gopal called "Pundalik" which was released on May 18, 1912. It
was based on the legend of a famous Maharashtra saint and was a huge success.
 The trends were religious, mythological, and sometimes social.
 Parsi theatre lent a melodramatic and theatrical tradition to films.
 Different themes culminated into two different film-making traditions, art films, and commercial
films.
 Slowly, the trend for silent films started declining, with the number of films decreasing each year.
The Era of
Silent Films  Babu Rao Painter (Desciple of Dada Saheb) started a Maharashtrian film company.
(1913 - 1931  First Censor Boards were established in Bombay, Calcutta, and Madras in 1920.
CE)
 Some famous silent films are:
 Raja Harishchandra (1913) - Dada Saheb Phalke
 Keechak Vadham (1916) - R. Nataraj Mudliar
 Satyavadi Harishchandra (1917) - J.F. Madan
 How Films are Made (short film) - Dada Saheb Phalke
 Nal Damayanti (1920) - First Indian film with foreign collaboration (Italy)
 Sawkari Pash (1925) - Babu Rao Painter, first Indian art film showing realistic
characters in an era of religious overtones

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 From the 20th century, Indian cinema has emerged as an influential medium of information,
entertainment, news, education, and history.
 Cinema is a powerful means of communication and a mirror of society.
 It acts as a cultural agent of change and a source of history.
 Foreign talkies were screened in India.
 In 1931, the first Indian talkie Alam Ara was made by Ardeshir M. Irani. The songs and music in the
film started a tradition of including songs in Indian films.
 Kalidas was the first Tamil talkie, directed by H.M Reddy in 1931.
 In the subsequent years, films were made in Bengali, Gujarati, Hindi, Kannada, Marathi, Tamil,
Oriya, and Telugu.
 The films were known for their production companies, such as Bombay Talkies, Prabhat Films,
Filmistan, Gemini Pictures, etc.
 Central Board of Film Certification was established to regulate the content of films.
 Film stars became household names and achieved fame.
 Talkies continued to be made in black and white, with colour introduced in 1933.
Pre-  Prabhat Films got their film Sairandhri processed in Germany.
Independenc
 By 1970, the era of black and white films virtually came to an end.
e Talkies
(1931 - 1947  Important films of this period were:
CE)
 Do Bigha Zameen - First Indian film to win an award at Cannes film festival
 Mother India - Won the Academy Award (Oscar) for the best foreign film in 1957
Ideas of Freedom
 During the pre-independence period, the ideas of freedom were not portrayed directly as there was
fear of being censored.
 This theme was prominent in the post-war period of the 1940s.
 However, it was indirectly expressed through religious and historical cinema.
Social Reform
 Social reform was the second major contribution to cinema during this period.
 Films portrayed social contradictions in a realistic and artistic manner.
 Acchut Kanya (1936) and Sant Tukaram (1936) focussed on this issue.
 1936 witnessed the emergence of leftist movements in India, which was reflected in Indian
cinema. Duniya Na Mane, Pukar, Neehanagar, were important films in this direction.
 V. Shantaram, Nitin Bose, P.C.Barua, Dhiren Ganguli, Himanshu Roy, Sohrab Modi, Chetan Anand,
Mehboob Khan, K.Subramanyam, V.Damle, S.Fattelal, and Khwaja Ahmad Abbas were important
filmmakers during this period.

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 From 1920 onwards, there was an emergence of the studio system.

 The studio’s employed many individuals on a monthly salary, on a temporary basis. They used to
Studio cover all facets of filmmaking from acting, technical know-how to the exhibition. There were twenty
System (the -one such studios that existed in India by 1921.
1920s -
1930s)  Genres of films in the 1920s: Historical, Social, Comedy, and Stunt.
 An important aspect of this era is that the female lead roles were mostly played by males or Anglo-
Indian women as this profession was seen as degrading for women of respectable families.

 India’s popular theatre had a profound influence on Indian cinema. It is from these theater
performers’ Indian cinema inherited the heritage of song and dance which became an intrinsic
characteristic of Indian films.
 The talkies were loaded with songs, dances, and music. Initially, the number of songs in some films
was more than fifty.
 The themes of Films were based on mythological stories, historical, and biographical. Eg. The
Gandhian movement under Indian National Congress had made an impact on Indian cinema.
 A number of films on the literary works of Indian languages and foreign classical languages were
also made into cinema. Eg. The genre of stunt or action films.
 Censor boards from pre-independence remained, however, there was greater freedom in making
political and social films.
 The obstacles and constraints during the colonial rule were gone and hence provided an
opportunity for filmmakers to experiment and spread their ideas in diverse ways. During the early
era of filmmaking, short films or ‘topicals’ served as important sources of education and
documentation.
Post-  The flourishment of film studios, which acted as huge magnates, attracted a horde of talented and
Independenc promising filmmakers and technicians into the business of filmmaking.
e Talkies
(1947-  During the Second World War (the 1940s), the circulation of black money in the film industry gave
present) rise to the 'star system' and the collapse of the 'studio system.'
 The foundation of the formula films of today can be traced back to the Second World War. The new
class of capitalists and financiers hired big stars, directors, and music directors and started making
the formula film of song, dance, and star-appeal that continues even today.
 As the years went on, a large number of entertainers and musicals started to flood the film theaters
and continue to do so. This gave birth to the formula films which are primarily entertainers, even
though some path-breaking films were also being made along its side.
 Angry Young man phase: 1970-80
 Romantic Cinema: 1980-2000
 Parallel Cinema
 Changes taking place in world cinema were reflected in India as well.
 Satyajit Ray, Bimal Roy, Ritwik Ghat, Guru Dutt, Rishikesh Mukerjee, Raja Paranjpe, L.V.Prasad,
K.Balchander, Raj Kapur, Rajender Singh Bedi, Mrinal Sen, Dutta Dharmadhikari, Anant Mane, Dinkar
Patil, B.Naga Reddy and C.P.Sridhar, etc. were the main movie makers of the post-independence
period. In South India, M.G. Ramachandran, Prem Nazir, and Rajkumar achieved popularity.

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 Dadasaheb Phalke passed away in1969, and the Dadasaheb Phalke award for lifetime achievement
was instituted in his honour.
 Important films of this period are:
 Pather Panchali (Bengali, 1955)
 Charulata (Bengali, 1964)
 Chemmin (Malayalam, 1965)
 Jagte Raho (Hindi, 1956)
 Kismat (Hindi, 1943) - longest-running film in Calcutta
 Mughal-e-Azam (Urdu, 1960)
 Mother India (Hindi, 1958)
 Awara (Hindi, 1951) - extended Indian cinema’s popularity to USSR and West Asia
Themes
 The early films were based on neorealism or an expression of everyday reality.
 This period was characterised by social realism and aesthetic excellence.
 Hope, romanticism, and optimism for a better future were the major themes.
 Self-aggrandisement and consumerism were also introduced in films.
 The Indo-Pak War of 1962-65 turned the trends towards nationalistic films.
 The films of this period exhibit themes of undercurrents of patriotism, zeal for social reform,
advocacy of democracy, peasant and industrial concerns, and desire to attain independence
Parallel Cinema
 Also called New cinema, this cinema had a popular urge for social action and political action.
 National Film Financing Corporation and state government fundings made these films possible.
 The new cinema did not last for long and ended in the 1980s, giving way to themes such as violence
and action films.
 Important films include:
 Bhuwan Shome (Hindi, Mrinal Sen)
 Uski Roti (Hindi, Mani Kaul)
 Sanskar (Kannada, Girish Kasarvalli)
 Swayamwaram (Malayalam, Adoor Gopal Krishnan)
 Pasi (Tamil, Durai)
 Umbartha (Marathi, Jabbar Patel)
 Bhawani Bhawai (Gujarati, Ketan Mehta)
 Sadgati (Hindi, Satyajit Ray)
 Maya Miriga (Oriya, Nirad Mahapatra)

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Importance of Indian Cinema

 The majority of post-independence films have formed our identity as a nation and as individuals living in
India.

 Cinema has helped to understand the changing socio-economic and political existence of Indians.

 Films have a profound psychological effect on the average person, as they empathise with the heroes or
heroines.

 It has played a revolutionary role in welding together Indians from different languages, religions, and
cultures.

 A major contribution is the preservation of India’s composite culture.

 Condemnation of religious bigotry and communalism, and favouring inter-religious friendships are
constant themes in Indian films.

Indian Cinema as an Industry

 Unlike stories, novels, and poetry, filmmaking is not an individual effort, rather it is a collective effort
involving many people.

 The maximum number of films are made in India every year.

 About 25000 films have been made in about 50 languages, with approximately new 800 films released
each year.

 Over 13000 cinema halls are there in India, with Andhra Pradesh having the maximum number.

 Cinema also is an important source of government revenue in the form of taxes.

 It also helps to increase revenue through exports of Indian films.

 In 2002, 100% Foreign Direct Investment was approved on the automatic approval route for the cinema
industry ((i.e., film financing, production, distribution, exhibition, marketing, and associated activities
relating to the film industry).

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Important characteristics of Indian Cinema

 All genres of cinema are produced in the country.

 Music and dance are important in Indian cinema.

 Parallel cinema is as much an integral part of Indian commercial cinemas.

 In recent times, there is a focus on new roles, techniques, subjects, and treatment.

 Films of today are being produced to reflect the contemporary social and political scene. Eg. a Movie
named ‘Sherni’ reflects environmental issues.

 The growth in Indian cinemas is based on the development of regional cinemas too which have been
producing quality content cinemas. Eg. The Great Indian Kitchen of Malayalam.

 Music in Indian films derives its melodies from three sources: Indian classical music, folk music, and
Western classical and popular music.

 Dance too derives its inspiration from the above three diverse sources.

Famous Film Awards

 It is India’s prestigious award in the field of cinema.
 Annual ceremony of National Film Awards by the Directorate of Film Festivals under the Ministry of
Information and Broadcasting.

The
Dadasaheb
Phalke
Award

Other  IIFA awards

important
 Screen awards
film awards
in India  State film awards

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Institutions associated with Indian Cinema

 The Film Division was set up in January 1948.

 Its headquarters is located in Mumbai.

The Film
Division of  It produces documentaries, short films, animation films, and news magazines.
India
 The main aim of the Division focused on national perspectives i.e. to educate and motivate people
in the implementation of national programs. Also, focussed too protecting the image of the land
and the heritage of the country to Indian and foreign audiences.

 It was formed under the Cinematograph Act 1952.

 CBFC certifies films for public exhibition in India.
 Its headquarters is located in Mumbai.
 It has nine regional offices:
 Bangalore,
 Kolkata,
 Chennai,
 Cuttack,
 Guwahati,
 Hyderabad,
Central Board
of Film  Mumbai,
certification
 New Delhi,
 Thiruvananthapuram.
 Central Board of Film Certification (CBFC) directec censorship in India in 1950 by the name of
Central Board of Film Censors. Its name was changed under the Act of 1952.
 It comes under the Ministry of Information and Broadcasting.
 Movies cannot be screened in cinema theatres without receiving certification from any of these
boards.
 Foreign films that are imported to India also go through a screening process and get a CBFC
certification.
 Movies that are dubbed in another language, require a fresh certification.

National Film
Development  It was formed in 1975.
Corporation  The main objective is planning and promoting an organized, efficient, and integrated development
Limited of the Indian film industry.
(NFDC)

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 It is an independent media unit under the Ministry of Information and Broadcasting in

February 1964.
 The aims and objectives:
 Trace, acquire, and preserve the heritage of national cinema for prestige.
 Build up a representative collection of World Cinema.
 Classify and document data related to films
 Undertake the research and provide encouragement in making cinemas
 Publish and distribute researched materials
 It acts as a center for the dissemination of film culture in the country.
National Film
Archive of  Also, ensure the cultural presence of Indian Cinema abroad.
India

 It was constituted under the Ministry of Information and Broadcasting in 1973. The prime
objective was to promote good cinema.
 The activities of the Directorate of Film Festivals include:
 The International Film Festival of India.
 The Dada Saheb Phalke Award & National Film Awards
Directorate of  Organizing screening of Indian films through Cultural Exchange Programme and the
Film festivals selection of Indian Panorama in the abroad.
 Participation in international film festivals abroad.
 Special film exposition on behalf of the Government of India.
 Print collection and documentation.
 Provision of a unique platform for the exchange of ideas, culture, and experiences
between India and other countries in the field of Cinema.

 It is a nodal organization of the Government of India that produces children’s films and TV
shows in various Indian languages.
Children’s Film  It was formed in 1955.
Society
 CFSI functions work under the Ministry of Information and Broadcasting, Government of India.
 It is headquartered located in Mumbai.

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Themes in Indian Cinema

 Indian cinema primarily developed as a source of entertainment, staying away from political
tensions. This was done to reach a larger social base.
 However, it is not possible for any source of entertainment to grow popular without taking into
account the existing social reality.
 Pre-independence cinema maintained a safe distance from the freedom struggle and popular
Political aspirations.
Perspective
 Although on the one hand, Indian films expressed and upheld positive values of democracy,
nationalism, and communal harmony; on the other hand, they also lent legitimacy, directly or
indirectly, to the feudal structure of the family, deep religiosity, and male domination in the
society.
 In popular movies, a condemnation of westernisation frequently became an attempt to restore the
feudal structure.
 Indian cinema uses various contradictions inherent in our society.
 Central contradictions such as between the rich and the poor, the rural and the urban, different
generations, between religions, upper caste, and lower caste, men and women are often used.
Fantasy v.
Reality  Real social conditions are molded fictionally giving it the shape of fantasy. These fantasies are in
harmony with middle-class aspirations.
 Thus, popular cinema establishes a link with reality and on the other hand, also constructs a world
of fantasy providing the audience an escape from their real lives.

 The Hero-centric movies were reflective of the patriarchal society of India.

 In the films, the Hero had social responsibilities and commitment to change society. Whereas, the
post-independence Hero was a romantic with soft emotions.
Image of
 In south Indian films, the hero behaved in a heroic fashion and had strong regional roots.
Hero
 The nineteen seventies came up with the emergence of the angry young man image and the
Amitabh Bacchan era. In South India, this image was carried by Rajnikanth.
 This was followed by the emergence of the villain era.

 The image of women like that of the hero has been constantly changing
over time. The changing roles were reflected in the changing roles of
women in society.
 During the silent cinema, the feudal restrictions on a woman's life were
Image of
questioned by the works of Dhiren Ganguly, Baburao Painter, and
Heroine
V. Shantaram.
 Child marriage was opposed and widow remarriage, women's education,
working along with men outside the house were promoted through their
films.

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 This reformative attitude of women was accompanied by the glorification of motherhood. The
creation of an ideal woman character who was a devoted wife, a loving mother and self-sacrificing
were created.
 This orthodox image of the devoted woman was counterposed with that of a female villain who
was westernized, cruel and selfish.
 These two extremes did not correspond to a real woman's image.
 Women's liberation has also been shown in the works of V. Shantaram, Guru Dutt, Satyajit Ray,
Vimal Rao, and Shyam Benegal. The real plight of the women has been shown through their films.
 Some of the all-time great actresses in Indian films are:
 Devika Rani
 Durga Khote
 Nargis
 Meena Kumari
 Nutan
 Waheeda Rehman

 Music, songs, and dances had been an integral part of popular theatres and so they assumed
importance in cinema as well.
 Music was created in accordance with the requirements of the film and was connected to the
storyline.
 Film music derived its melodies from Indian classical music, folk music from different regions, and
western classical and popular music.
 In the silent film era, an orchestra was placed in front of the screen facing the audience. This
orchestra provided the view with background music. The actual singing was done by actors and
actresses themselves as background singing was not possible.
 The first talkie film Alam Ara (1931) had 12 songs in it, while Indrasabha (1932) had 70.
Music in
Cinema  As dubbing emerged a new tradition of playback singers started. R.C.Bora, Pankaj Malik, K.L.Sehga,
Kanan Devi, K.C.Dey, Pahari Sanyal, Saraswati Devi and Khem Chandra Prakash were some of the
greatest singers and music directors of this period.
 In the 1950s, music directors like S.D. Burman, Bhupen Hazarika, Hemant Kumar, Naushad, Sudhir
Phadke grew famous.
 Immensely talented lyricists by the names of Sahir Ludhianvi, Majroo Sultanpuri, Kaisi Azmi gave
beautiful words which were then sung by singers like Mohammad Rafi, Asha Bhonsle, Lata
Mangeshkar, Mukesh, Kishore Kumar, Manna Dey, creating everlasting melodies.
 In the 1970s, when violence began to dominate the theme, fast, loud and orchestral forms of music
emerged.
 RD Burman, Ilia Raja, Laxmikant Pyarelal, and Bappi Lahiri were popular music directors.

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 Like music, dance has also been an integral part of Indian films.
 Classical dance forms like Bharatanatyam, Kathak, Odissi, Kuchipudi, and Manipuri form a part of
this tradition.
 The tradition of folk dances also provided richness and diversity to dance forms in Indian films.
 The dance routines are intricately woven into the storyline of the films lending beauty and
entertainment.
Dance in
Cinema

Indian Cinematograph Act, 1952

 The Act was enacted under the Ministry of Information and Broadcasting.

 This Act was instituted by the Government of India to certify films.

 The major function of the Act was to lay the functioning and constitution of the Censor Board of India or
the Central Board of Film Certification (CBFC).

 The Act provides for a Chairman and a team of 12-25 people.

 The function of the Board is to examine a film and give certification to the film according to its content and
the appropriation of that content with respect to different geographical areas, age groups, religious
denominations, or political groups.

 The Film Certification Appellate Tribunal (FCAT) was set up under this Act. It was created for hearing
appeals for the re-examination of decisions of the Censor Board.

The certification is given on the following basis:

Category Certification
U Universal exhibition
A Adult audiences only
UA Unrestricted public exhibition subject to parental guidance for children under the age of 12
S Public exhibition restricted to specialised audiences like doctors, engineers, etc.

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Practice Prelims Questions

Q1. Consider the following statements.

1. Pre-independence talkie films refrained from directly portraying independence ideas due to fear of being
censored.

2. Freedom ideas were prominent in the 1940s after the post-war period.

Which of the above statements is/are correct?

A. 1 only

B. 2 only

C. Both 1 and 2

D. Neither 1 nor 2

Answer: Option C

Q2. Consider the following:

1. Ideas of social reform

2. Overt fantasising of reality

3. Knowledge about socio-economic conditions

4. Feelings of communalism

5. Integrating diverse people

Which of the above are the positive aspects of cinema?

A. 1, 4 and 5

B. 2, 3 and 4

C. 1, 2 and 4

D. 1, 3 and 5

Answer: Option D

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Q3. With respect to India’s cultural history and living tradition, what is parallel cinema?

A. This cinema runs parallel to real cinema and includes B- and C-grade cinema

B. This cinema has a popular urge for social and political action

C. It includes black marketing of film tickets

D. It includes the films of the black and white era

Answer: Option B

Q4. Consider the following statements.

1. India holds the record of producing the maximum number of films every year.

2. To boost the potential of this thriving sector, the Government of India increased the Foreign Direct
Investment limit to 74%.

Which of the above statements is/are correct?

A. 1 only

B. 2 only

C. Both 1 and 2

D. Neither 1 nor 2

Answer: Option A

Q5. Consider the following statements about pre-independence talkies.

1. They challenged the British authority by blatantly portraying freedom ideas.

2. Themes of socio-economic conditions and contradictions in society between men and women, upper caste
and lower castes, between religions, were portrayed.

Which of the above statements is/are correct?

A. 1 only

B. 2 only

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A. Both 1 and 2

B. Neither 1 nor 2

Answer: Option (b)

Practice Mains Questions

Q.1 Discuss the evolution of cinema in the Indian context. (250 words,15 marks)

Q.2 Write a short note on the National Film Archives. (150 words. 10 marks)

Q.3 Highlight the important characteristics of Indian Cinema with suitable examples. (150 words. 10 marks)

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