View source for Cinema of India

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{{Use Indian English|date=August 2024}}
{{Use dmy dates|date=August 2024}}
{{Infobox cinema market
| name                  = Cinema of India
| image                 = India film clapperboard (variant).svg
| image_size            = 150px
| caption               = 
| screens               = 9,742 (2023)<ref>{{cite web |title=Number of cinema screens across India from 2016 to 2023  |url=https://www.statista.com/statistics/1346899/india-number-of-cinema-screens |website=Statista |access-date=17 November 2024}}</ref>
| screens_per_capita    = 6 per million (2021)<ref name="Capacity">{{Cite web |title=Feature films: Cinema infrastructure – Capacity |url=https://www.business-standard.com/article/economy-policy/india-has-fewer-movie-screens-than-peer-economies-shows-data-123030200849_1.html |access-date=7 May 2019 |website=[[UNESCO Institute for Statistics]] |publisher=[[UNESCO]]}}</ref>
| distributors          = <!-- {{br separated entries|entry1|entry2|entry3}} <ref name="distributors_uis">{{Cite web |title=Table 6: Share of Top 3 distributors (Excel) |url=http://stats.uis.unesco.org/unesco/ReportFolders/reportFolders.aspx |access-date=5 November 2015 |publisher=UNESCO Institute for Statistics}}</ref> -->
| produced_year         = 2021–22
| produced_ref          = <ref>{{Cite web |title=Indian Feature Films Certified in 2021—22 |url=https://filmfederation.in/files/iff2022.pdf |website=[[Film Federation of India]] |access-date=8 September 2022}}</ref>
| produced_total        = 2886 {{increase}}
| produced_fictional    =
| produced_animated     =
| produced_documentary  =
| admissions_year       = 2016
| admissions_ref        = <ref name="adm_gross_uis">{{Cite web |year=2015 |title=Culture: Feature Films |url=http://stats.uis.unesco.org/unesco/TableViewer/tableView.aspx?ReportId=5538 |url-status=dead |archive-url=https://web.archive.org/web/20131103112139/http://stats.uis.unesco.org/unesco/TableViewer/tableView.aspx?ReportId=5538 |archive-date=3 November 2013 |access-date=7 May 2019 |publisher=UNESCO Institute for Statistics}}</ref>
| admissions_total      = 2,020,000,000
| admissions_per_capita = 1.69
| admissions_national   = 1,713,600,000 {{increase}}
| box_office_year       = 2022
| box_office_ref        = <ref>{{Cite web |year=2020 |title=India Box Office collections: Regional cinema led by Tamil movies overtakes Bollywood |url=https://www.financialexpress.com/entertainment/bollywoods-big-but-regional-cinema-is-also-raking-in-the-moolah/2020134/ |access-date=9 May 2021 |website=[[The Financial Express (India)|The Financial Express]]}}</ref>
| box_office_total      = {{INR|15,000 [[crore]]|link=yes}}<ref name="BS_Apr2023">{{cite news |last1=Jacob |first1=Shine |title=South Indian films outshine others in 2022, may maintain trend in 2023: CII |url=https://www.business-standard.com/india-news/south-indian-films-outshine-other-languages-in-2022-shows-cii-report-123041900702_1.html |access-date=12 August 2023 |work=Business Standard |date=19 April 2023}}</ref>
| box_office_national   = {{USD|3.7 billion|long=no}} (2020)<ref name="dna">{{Cite web |date=26 September 2016 |title=Indian film industry's gross box office earnings may reach $3.7 billion by 2020: Report – Latest News & Updates at Daily News & Analysis |url=http://www.dnaindia.com/entertainment/report-indian-film-industry-s-gross-box-office-earnings-may-reach-37-billion-by-2020-report-2258789}}</ref><!-- ${{Format price| }} -->
}}
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{{Culture of India}}

The '''cinema of India''', consisting of [[Film|motion pictures]] made by the Indian [[film industry]], has had a large effect on [[world cinema]] since the second half of the 20th century.<ref>{{Cite news| last=Hasan Suroor |date=26 October 2012 |title=Arts: Sharmila Tagore honoured by Edinburgh University |work=The Hindu |url=http://www.thehindu.com/arts/sharmila-tagore-honoured-by-edinburgh-university/article4031942.ece |access-date=1 November 2012}}</ref><ref name="produced">{{bulleted list|
*{{cite news |title=How India's COVID crisis has changed Bollywood |url=https://www.dw.com/en/how-indias-covid-crisis-has-changed-bollywood/a-58291931 |access-date=10 August 2022 |work=Deutsche Welle |date=16 July 2021}}
*{{Cite web |title=Leading film markets worldwide by number of films produced 2018 |url=https://www.statista.com/statistics/252727/leading-film-markets-worldwide-by-number-of-films-produced/ |access-date=7 June 2020 |website=Statista}}
*{{cite news |title=Tamil leads as India tops film production |url=https://timesofindia.indiatimes.com/city/hyderabad/Tamil-leads-as-India-tops-film-production/articleshow/21967065.cms |access-date=10 August 2022 |work=The Times of India |date=22 August 2013}}
*{{cite web |url=http://www.sebi.gov.in/dp/gvfilms.pdf |title=Electrolux-2nd |access-date=6 February 2012 |url-status=dead |archive-url=https://web.archive.org/web/20120207042220/http://www.sebi.gov.in/dp/gvfilms.pdf |archive-date=7 February 2012 }}}}</ref> Indian cinema is made up of various [[Cinema of India#Cinema by language|film industries]], each focused on producing films in a specific language, such as [[Hindi]], [[Telugu language|Telugu]], [[Tamil language|Tamil]], [[Kannada]], [[Malayalam]], [[Marathi language|Marathi]], [[Bengali language|Bengali]], [[Punjabi language|Punjabi]], [[Bhojpuri language|Bhojpuri]], [[Assamese language|Assamese]] and others.

Major centres of film production across the country include [[Mumbai]], [[Hyderabad]], [[Chennai]], [[Kolkata]], [[Kochi]], [[Bengaluru]], [[Bhubaneswar]]-[[Cuttack]], and [[Guwahati]].{{refn|group=details|* Mumbai is the hub of [[Hindi cinema]] and [[Marathi cinema]].<ref>{{Cite news |date=25 July 2013 |title=The birth of India's film industry: how the movies came to Mumbai |url=https://www.theguardian.com/film/2013/jul/25/birth-indias-film-industry-movies-mumbai |access-date=2 January 2021 |work=[[The Guardian]]}}</ref><ref>{{Cite news |date=25 December 2011 |title=Commercial and bollywood hub Mumbai vs Media and political 'capital' Delhi: Is the race over? |work=[[The Economic Times]] |url=https://economictimes.indiatimes.com/commercial-and-bollywood-hub-mumbai-vs-media-and-political-capital-delhi-is-the-race-over/articleshow/11235198.cms |access-date=2 January 2021}}</ref>
* Hyderabad is the hub of the [[Telugu cinema]].<ref>{{Cite news |date=7 May 2013 |title=Most of Jubilee Hills, Film Nagar is Wakf land |work=[[The Hindu]] |url=http://www.thehindu.com/news/cities/Hyderabad/most-of-jubilee-hillsfilm-nagar-is-wakf-land/article4690033.ece |access-date=3 January 2021}}</ref><ref>{{Cite news |date=13 May 2016 |title=ANR inspired Telugu film industry's shift from Chennai |work=[[The Hindu]] |url=https://www.thehindu.com/news/cities/Hyderabad/anr-inspired-telugu-film-industrys-shift-from-chennai/article5606692.ece |access-date=3 January 2021}}</ref>
* Chennai is the hub of [[Tamil cinema|Tamil film industry]].<ref>{{Cite web |date=23 February 2017 |title=Tamil films: How north Chennai marks its presence while Kodambakkam thrives |url=https://www.hindustantimes.com/regional-movies/tamil-films-how-north-chennai-marks-its-present-while-kodambakkam-thrives/story-TrsZN4P2BCWrIz61aOOBsK.html |access-date=3 January 2021 |website=[[Hindustan Times]]}}</ref><ref>{{Cite book |last=Hiro |first=Dilip |url=https://books.google.com/books?id=Zlivv_pQWnAC&pg=PA248 |title=After Empire: The Birth of a Multipolar World |year=2010 |isbn=978-1-56858-427-0 |page=248|publisher=PublicAffairs }}</ref>
* Kolkata is the home of [[Cinema of West Bengal|Bengali cinema]].<ref>{{Cite news |date=21 January 2013 |title=Lights, camera, action... |work=Business Standard India |publisher=[[Business Standard]] |url=https://www.business-standard.com/article/specials/lights-camera-action-112040200044_1.html |access-date=3 January 2021}}</ref><ref>{{Cite web |date=23 April 2020 |title=Will viewers return to theatres after lockdown? asks Bengal's film industry |url=https://www.hindustantimes.com/india-news/will-viewers-return-to-theatres-after-lockdown-asks-bengal-s-film-industry/story-NhCGFgvIsZEVSAtDHXHZKP.html |access-date=3 January 2021 |website=Hindustan Times}}</ref><ref>{{Cite web |date=16 December 2016 |title=Love, sex and the bhadralok |url=https://www.thehindubusinessline.com/blink/cover/love-sex-and-the-bhadralok/article9429012.ece |access-date=3 January 2021 |publisher=[[Business Line]]}}</ref>
* Kochi is known as the hub of [[Malayalam cinema]].<ref>{{Cite news |date=29 January 2013 |title=Kochi sizzling onscreen |work=[[The New Indian Express]] |url=http://newindianexpress.com/cities/kochi/article1439876.ece |archive-url=https://web.archive.org/web/20130526145345/http://newindianexpress.com/cities/kochi/article1439876.ece |url-status=dead |archive-date=26 May 2013 |access-date=3 January 2021}}</ref><ref>{{Cite news |date=4 March 2013 |title=Mollywood comes home to Kochi |work=[[The Hindu]] |url=http://www.thehindu.com/news/cities/Kochi/mollywood-comes-home-to-kochi/article4472387.ece |access-date=3 January 2021}}</ref><ref>{{Cite web |date=6 April 2015 |title=Kochi Says Lights, Camera, Action! |url=https://www.newindianexpress.com/entertainment/malayalam/2015/apr/06/kochi-says-lights-camera-action-738634.html |access-date=3 January 2021 |publisher=[[The New Indian Express]]}}</ref><ref>{{Cite news |date=7 November 2017 |title=Mini-film city at Ramanthuruth |work=The Times of India |url=https://timesofindia.indiatimes.com/city/kochi/mini-film-city-at-ramanthuruth/articleshow/61540255.cms |access-date=3 January 2021}}</ref>
* Bengaluru is the hub of [[Kannada cinema]].<ref>{{Cite news |date=12 October 2017 |title=Bengaluru's 100-yr-old Badami House, hub of Kannada cinema, will soon be no more |work=[[The News Minute]] |url=https://www.thenewsminute.com/article/bengalurus-100-yr-old-badami-house-hub-kannada-cinema-will-soon-be-no-more-69856 |access-date=3 January 2021}}</ref><ref>{{Cite news |date=28 October 2016 |title=Thriving nucleus of a film industry |work=[[The Hindu]] |url=https://www.thehindu.com/news/cities/bangalore/Thriving-nucleus-of-a-film-industry/article12767348.ece |access-date=3 January 2021}}</ref>
* The [[twin cities]] of Bhubaneswar & Cuttack play host to the [[Cinema of Odisha|Odia film industry]].<ref>{{Cite magazine |title=The New Capital at Bhubaneswar |url=http://magazines.odisha.gov.in/Orissareview/2013/apr/engpdf/55-59.pdf |magazine=[[Government of Odisha]] |access-date=3 January 2021}}</ref><ref>{{Cite news |date=25 June 2020 |title=First archives for Odia films soon |work=[[The New Indian Express]] |url=https://www.newindianexpress.com/states/odisha/2020/jun/25/first-archives-for-odia-films-soon-2160999.html |access-date=3 January 2021}}</ref>
* Guwahati is the hub of [[Assamese cinema]]<ref>{{Cite news |date=30 December 2018 |title=Express Rewind: Assamese cinema and the murmurs of a comeback |publisher=[[The New Indian Express]] |url=https://indianexpress.com/article/north-east-india/assam/express-rewind-2018-assamese-cinema-and-the-murmurs-of-a-comeback-5514942 |access-date=3 January 2021}}</ref><ref>{{Cite news |date=26 November 2019 |title=Guwahati to host 65th Filmfare Awards |work=The Times of India |url=https://timesofindia.indiatimes.com/india/guwahati-to-host-65th-filmfare-awards/articleshow/72233153.cms |access-date=3 January 2021}}</ref>}} For a number of years, the Indian film industry has ranked first in the world in terms of annual film output.<ref>{{Cite web |title=Leading film markets worldwide by number of films produced 2018 |url=https://www.statista.com/statistics/252727/leading-film-markets-worldwide-by-number-of-films-produced/ |access-date=25 August 2021 |website=Statista |language=en}}</ref> In 2022, Indian cinema earned {{INR|15,000 [[crore]]|link=yes}} ($1.9 billion) at the box-office.<ref name="BS_Apr2023" /> [[Ramoji Film City]] located in Hyderabad is certified by the [[Guinness World Records]] as the largest film studio complex in the world measuring over 1,666 [[acre]]s (674 [[Hectare|ha]]).<ref name="Guinness World Records">{{cite web |title=Largest film studio |url=http://www.guinnessworldrecords.com/world-records/largest-film-studio |access-date=2 January 2021 |publisher=Guinness World Records}}</ref>

Indian cinema is composed of [[Multilingualism|multilingual]] and [[Multiculturalism|multi-ethnic]] film art. The term '[[Bollywood]]', often mistakenly used to refer to Indian cinema as a whole, specifically denotes the Hindi-language film industry. Indian cinema, however, is an umbrella term encompassing multiple film industries, each producing films in its respective language and showcasing unique cultural and stylistic elements.

In 2021, [[Telugu cinema]] emerged as the largest film industry in India in terms of box office.<ref name="OM2">{{Cite web |date=27 January 2023 |title=10K Crore: Return of the box office |url=https://www.ormaxmedia.com/insights/stories/10k-crore-return-of-the-box-office.html |access-date=14 February 2023 |website=Ormax Media |language=en}}</ref><ref name=":2"/> In 2022, [[Hindi cinema]] represented 33% of box office revenue, followed by [[Telugu cinema|Telugu]] representing 20%, [[Tamil cinema|Tamil]] representing 16%, [[Kannada cinema|Kannada]] representing 8%, and [[Malayalam cinema|Malayalam]] representing 6%.<ref name="OM" /><ref name="Statista_20222">{{Cite web |date=22 March 2023 |title=Distribution of the Indian box office in 2022, by language |url=https://www.statista.com/statistics/948615/india-box-office-share-by-language/ |access-date=4 October 2023 |website=[[Statista]]|archive-url=https://web.archive.org/web/20231007050652/https://www.statista.com/statistics/948615/india-box-office-share-by-language/ |archive-date=7 October 2023 }}</ref> Other prominent film industries are [[Marathi cinema|Marathi]], [[Punjabi cinema|Punjabi]], [[Cinema of West Bengal|Bengali]], [[Gujarati cinema|Gujarati]], [[Bhojpuri cinema|Bhojpuri]], and [[Cinema of Odisha|Odia cinema]].<ref name="OM" /><ref name="Statista_20222" /> As of 2022, the combined revenue of [[Cinema of South India|South Indian]] film industries has surpassed that of the Mumbai-based Hindi-language film industry (Bollywood).<ref>{{Cite web |date=7 December 2022 |title=The rise of South Indian Cinema: How Southern movies are going national |url=https://www.moneycontrol.com/storyboard18/how-it-works/the-rise-of-south-indian-cinema-how-southern-movies-are-going-national-3828.htm |access-date=11 February 2023 |website=[[Moneycontrol]] |language=en}}</ref><ref name=":1b">{{Cite news |date=11 July 2020 |title=India Box Office collections: Regional cinema led by Telugu, Tamil movies overtakes Bollywood |work=The Financial Express |url=https://www.financialexpress.com/entertainment/bollywoods-big-but-regional-cinema-is-also-raking-in-the-moolah/2020134/ |access-date=9 May 2021}}</ref> As of 2022, Telugu cinema leads Indian cinema with 23.3 [[crore]] (233 million) tickets sold, followed by Tamil cinema with 20.5 crore (205 million) and Hindi cinema with 18.9 crore (189 million).<ref name="mint">{{Cite web |last=Jha |first=Lata |date=31 January 2023 |title=Footfalls for Hindi films slump up to 50% |url=https://www.livemint.com/industry/media/footfallsforhindifilmsslumpupto50-11675188279041.html |access-date=14 February 2023 |website=[[Mint (newspaper)|Mint]] |language=en}}</ref><ref name="OM">{{Cite web |date=27 January 2023 |title=Ormax Media Report: 2022 |url=https://www.ormaxmedia.com/data/library/IndiaIsBackReport-GroupM-OrmaxMedia-2022.pdf |access-date=14 February 2023 |website=Ormax Media |language=en}}</ref>

Indian cinema is a global enterprise,<ref name="Khanna155">Khanna, 155</ref> and its films have attracted international attention and acclaim throughout [[South Asia]].<ref name="Khanna158">Khanna, 158</ref> Since [[Sound film|talkies]] began in 1931, Hindi cinema has led in terms of box office performance, but in recent years it has faced stiff competition from Telugu cinema.<ref>{{Cite web |last=Srinivas |first=S. V. |date=2022-09-22 |title=Is Telugu cinema replacing Hindi as India's favourite film industry? |url=https://frontline.thehindu.com/arts-and-culture/cinema/is-telugu-cinema-replacing-hindi-as-indias-favourite-film-industry/article65889929.ece |access-date=2024-08-08 |website=Frontline |language=en}}</ref><ref name=":2">{{Cite magazine |last1=Mukherjee |first1=Nairita |last2=Joshi |first2=Tushar |date=22 December 2021 |title=Is South cinema the new Bollywood? |url=https://www.indiatoday.in/movies/regional-cinema/story/is-south-cinema-the-new-bollywood-1890835-2021-12-22 |access-date=20 January 2022 |magazine=India Today}}</ref> Overseas Indians account for 12% of the industry's revenue.<ref name="Potts74">Potts, 74</ref>

== History ==
The history of cinema in India extends to the beginning of the film era. Following the screening of the [[Auguste and Louis Lumière|Lumière]] and Robert Paul moving pictures in London in 1896, commercial [[cinematography]] became a worldwide sensation and these films were shown in Bombay (now [[Mumbai]]) that same year.<ref name="Burra&Rao252">Burra & Rao, 252</ref>

=== Silent era (1890s–1920s) ===
In 1897, a film presentation by filmmaker Professor Stevenson featured a stage show at Calcutta's Star Theatre. With Stevenson's camera and encouragement, Indian photographer [[Hiralal Sen]] filmed scenes from that show, exhibited as ''The Flower of Persia'' (1898).<ref name="Hiralal2">{{Cite web |last=McKernan |first=Luke |date=31 December 1996 |title=Hiralal Sen (copyright British Film Institute) |url=http://www.victorian-cinema.net/sen.htm |access-date=1 November 2006}}</ref> ''The Wrestlers'' (1899), by [[H. S. Bhatavdekar]], showing a wrestling match at the Hanging Gardens in Bombay, was the first film to be shot by an Indian and the first Indian documentary film.{{citation needed|date=October 2022}} From 1913 to 1931, all the movies made in India were [[silent film]]s, which had no sound and had [[intertitle]]s.<ref name="IT-2017">{{cite magazine |title=First Indian talkie film Alam Ara was released on this day: Top silent era films |url=https://www.indiatoday.in/education-today/gk-current-affairs/story/silent-films-311163-2016-03-14 |access-date=7 August 2023 |magazine=India Today |date=14 March 2017 |language=en}}</ref>
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File:PundalikAd.jpg|Newspaper ad for ''[[Shree Pundalik]]''
File:Raja Harishchandra.jpg|A scene from ''[[Raja Harishchandra]]''
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File:Phalke.jpg|[[Dadasaheb Phalke]], {{circa|1930s}}<ref name="thecolorsofindia1" /><ref name="google1" /><ref name="indiatimes1" /><ref name="vilanilam128" />
File:AVM Studios Globe.jpg|[[AVM Productions|AVM Studios]] globe
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In 1913, [[Dadasaheb Phalke]] released ''[[Raja Harishchandra]]'' (1913) in Bombay, the first film made in India. It was a silent film incorporating [[English language|English]], [[Marathi language|Marathi]], and [[Hindi]] [[Intertitle|intertitles]].<ref name=":1">{{cite news |last1=Bose |first1=Ishani |title=Dadasaheb Torne, not Dadasaheb Phalke, was pioneer of Indian Cinema |url=https://www.dnaindia.com/pune/report-dadasaheb-torne-not-dadasaheb-phalke-was-pioneer-of-indian-cinema-1826721 |access-date=7 August 2023 |work=DNA |date=21 November 2013 |language=en}}</ref> It was premiered in [[Coronation Cinematograph and Variety Hall|Coronation cinema]] in [[Girgaon]].<ref name="Burra&Rao253" />

Although some claim ''[[Shree Pundalik]]'' (1912) of [[Dadasaheb Torne]] as the first film ever made in India,<ref name="Maharashtratimes">{{Cite web |last=Kadam |first=Kumar |date=24 April 2012 |title=दादासाहेब तोरणेंचे विस्मरण नको! |url=http://author.blogs.maharashtratimes.com/kokan/entry/%E0%A4%A6-%E0%A4%A6-%E0%A4%B8-%E0%A4%B9-%E0%A4%AC |url-status=dead |archive-url=https://web.archive.org/web/20131008190417/http://author.blogs.maharashtratimes.com/kokan/entry/%E0%A4%A6-%E0%A4%A6-%E0%A4%B8-%E0%A4%B9-%E0%A4%AC |archive-date=8 October 2013 |website=[[Maharashtra Times]] }}</ref><ref name="The Pioneer">{{Cite web |last=Raghavendara |first=MK |date=5 May 2012 |title=What a journey |url=http://www.dailypioneer.com/home/online-channel/top-story/62942-what-a-journey.html}}</ref><ref name="Burra&Rao253">Burra & Rao, 253</ref> some film scholars have argued that ''Pundalik'' was not a true Indian film because it was simply a recording of a stage play, filmed by a British cameraman and it was processed in London.<ref name="Times of India">{{Cite news |last=Damle |first=Manjiri |date=21 April 2012 |title=Torne's 'Pundlik' came first, but missed honour |work=The Times of India |url=https://timesofindia.indiatimes.com/city/pune/Tornes-Pundlik-came-first-but-missed-honour/articleshow/12760794.cms |url-status=live |archive-url=https://web.archive.org/web/20130530104400/http://articles.timesofindia.indiatimes.com/2012-04-21/pune/31378416_1_english-films-subtitles-bourne |archive-date=30 May 2013}}</ref><ref name="Indian Express">{{Cite web |last=Mishra |first=Garima |date=3 May 2012 |title=Bid to get Pundalik recognition as first Indian feature film |url=http://www.indianexpress.com/news/bid-to-get-pundalik-recognition-as-first-indian-feature-film/944727/}}</ref><ref name=":1" /> ''Raja Harishchandra'' of Phalke had a story based on Hindu [[Sanskrit]] legend of [[Harishchandra]], a truthful King and its success led many to consider him a pioneer of Indian cinema.<ref name="Burra&Rao253" /> Phalke used an all Indian crew including actors [[Anna Salunke]] and [[D. D. Dabke]]. He directed, edited, [[Film developing|processed]] the film himself.<ref name=":1" /> Phalke saw ''The Life of Christ'' (1906) by the French director [[Alice Guy-Blaché]], While watching Jesus on the screen, Phalke envisioned Hindu deities [[Rama]] and [[Krishna]] instead and decided to start in the business of "moving pictures".<ref name="Dharap">{{cite book|first=B. V.|last=Dharap|title=Indian films|year=1985|publisher=National Film Archive of India|pages=35}}</ref>

In [[South India]], film pioneer [[Raghupathi Venkaiah Naidu]], credited as the father of [[Telugu cinema]], built the first cinemas in Madras (now [[Chennai]]), and a [[film studio]] was established in the city by Nataraja Mudaliar.<ref>{{Cite news |date=9 February 2007 |title=Nijam cheppamantara, abaddham cheppamantara... |url=https://www.thehindu.com/todays-paper/tp-features/tp-fridayreview/nijam-cheppamantara-abaddham-cheppamantara/article2271444.ece |access-date=7 January 2020 |work=The Hindu |via=www.thehindu.com}}</ref><ref name="velayutham2">{{Cite book |last=Velayutham |first=Selvaraj |url={{google books|plainurl=y|id=65Aqrna4o5oCTamil}} |title=Tamil cinema: the cultural politics of India's other film industry |page=2}}{{Dead link|date=December 2023|bot=InternetArchiveBot|fix-attempted=yes}}</ref><ref>{{Cite news |last=Muthiah |first=S. |date=7 September 2009 |title=The pioneer 'Tamil' film-maker |url=http://www.hindu.com/mp/2009/09/07/stories/2009090750790300.htm |url-status=dead |archive-url=https://web.archive.org/web/20090912035730/http://www.hindu.com/mp/2009/09/07/stories/2009090750790300.htm |archive-date=12 September 2009 |access-date=21 April 2014 |work=[[The Hindu]]}}</ref> In 1921, Naidu produced the silent film, ''[[Bhishma Pratigna (1921 film)|Bhishma Pratigna]]'', generally considered to be the first Telugu [[feature film]].<ref>{{Cite book |last1=Thoraval |first1=Yves |title=The cinemas of India |last2=Thoraval |first2=Yves |date=2007 |publisher=Macmillan India |isbn=978-0-333-93410-4 |edition=Repr |location=Delhi}}</ref>

The first [[Tamil cinema|Tamil]] and [[Malayalam cinema|Malayalam films]], also silent films, were ''[[Keechaka Vadham]]'' (1917–1918, [[R. Nataraja Mudaliar]])<ref name="RANDOR">{{Cite news |date=7 September 2009 |title=Metro Plus Chennai / Madras Miscellany: The pioneer 'Tamil' film-maker |work=[[The Hindu]] |location=Chennai, India |url=http://www.hindu.com/mp/2009/09/07/stories/2009090750790300.htm |url-status=dead |access-date=29 June 2011 |archive-url=https://web.archive.org/web/20090912035730/http://www.hindu.com/mp/2009/09/07/stories/2009090750790300.htm |archive-date=12 September 2009}}</ref> and ''[[Vigathakumaran]]'' (1928, [[J. C. Daniel|J. C. Daniel Nadar]]). The latter was the first Indian social drama film and featured the first [[Dalit]]-caste film actress.{{citation needed|date=October 2022}}

The first chain of Indian cinemas, [[Madan Theatre]], was owned by [[Parsis|Parsi]] entrepreneur [[Jamshedji Framji Madan]], who oversaw the production and distribution of films for the chain.<ref name="Burra&Rao253" /> These included film adaptations from Bengal's popular literature and ''[[Satyawadi Raja Harishchandra]]'' (1917), a remake of Phalke's influential film.{{citation needed|date=October 2022}}

Films steadily gained popularity across India as affordable entertainment for the masses (admission as low as an ''anna'' [one-sixteenth of a rupee] in Bombay).<ref name="Burra&Rao252" /> Young producers began to incorporate elements of Indian social life and culture into cinema, others brought new ideas from across the world. Global audiences and markets soon became aware of India's film industry.<ref name="Burra&Rao252-253">Burra & Rao, 252–253</ref>

In 1927, the British government, to promote the market in India for British films over American ones, formed the [[Indian Cinematograph Committee|Indian Cinematograph Enquiry Committee]]. The ICC consisted of three British and three Indians, led by [[T. Rangachari]], a Madras lawyer.<ref>{{Cite book |last=Purohit |first=Vinayak |url={{google books|plainurl=y|id=ae1Zrmz6ETwC|page=986}} |title=Arts of transitional India twentieth century, Volume 1 |publisher=Popular Prakashan |year=1988 |isbn=978-0-86132-138-4 |page=985 |access-date=16 December 2011}}</ref> This committee failed to bolster the desired recommendations of supporting British Film, instead recommending support for the fledgling Indian film industry, and their suggestions were set aside.

=== Sound era ===
The first Indian [[sound film]] was ''[[Alam Ara]]'' (1931) made by [[Ardeshir Irani]].<ref name="Burra&Rao253" /> ''[[Ayodhyecha Raja]]'' (1932) was the first sound film of [[Marathi cinema]].<ref name="IT-2017"/> Irani also produced South India's first sound film, the Tamil–Telugu bilingual talking picture ''[[Kalidas]]'' (1931, [[H.&nbsp;M. Reddy]]).<ref>[Narayanan, Arandhai (2008) (in Tamil) Arambakala Tamil Cinema (1931–1941). Chennai: Vijaya Publications. pp. 10–11. ISBN].</ref>

The first [[Telugu cinema|Telugu]] film with audible dialogue, ''[[Bhakta Prahlada (1932 film)|Bhakta Prahlada]]'' (1932), was directed by [[H. M. Reddy]], who directed the first bilingual (Telugu and Tamil) talkie [[Kalidas (film)|Kalidas]] (1931).<ref>{{Cite web |date=6 February 2017 |title=Tollywood turns 85: With the release of Bhakta Prahlada, this is how the industry was born |url=https://indianexpress.com/article/entertainment/telugu/tollywood-turns-85-with-the-release-of-bhakta-prahlada-this-is-how-the-industry-was-born-4511000/}}</ref> [[East India Film Company]] produced its first Telugu film, ''[[Savitri (1933 film)|Savitri]]'' (1933, [[C. Pullayya]]), adapted from a stage play by Mylavaram Bala Bharathi Samajam.<ref>{{Cite news |last=Narasimham |first=M. L. |date=7 November 2010 |title=SATI SAVITHRI (1933) |work=[[The Hindu]] |url=http://www.thehindu.com/todays-paper/tp-features/tp-cinemaplus/article871376.ece |access-date=8 July 2011}}</ref> The film received an honorary diploma at the [[2nd Venice International Film Festival]].<ref>{{Cite book |last=Bhagwan Das Garg |url={{google books|plainurl=y|id=wXRZAAAAMAAJ}} |title=So many cinemas: the motion picture in India |publisher=Eminence Designs |year=1996 |isbn=81-900602-1-X |page=86}}</ref> [[V. Nagayya|Chittoor Nagayya]] was one of the first multilingual filmmakers in India.<ref name="hindu.com">{{Cite news |date=8 April 2005 |title=Nagaiah – noble, humble and kind-hearted |url=http://www.hindu.com/fr/2005/04/08/stories/2005040800220400.htm |url-status=dead |archive-url=https://web.archive.org/web/20051125162147/http://www.hindu.com/fr/2005/04/08/stories/2005040800220400.htm |archive-date=25 November 2005 |work=[[The Hindu]] |location=Chennai, India}}</ref><ref>{{Cite web |date=6 May 2011 |title=Paul Muni of India – Chittoor V. Nagayya |url=http://bharatjanani.com/paul-muni-of-india-chittoor-v-nagayya/ |url-status=dead |archive-url=https://web.archive.org/web/20120326135647/http://bharatjanani.com/paul-muni-of-india-chittoor-v-nagayya/ |archive-date=26 March 2012 |access-date=21 September 2011 |publisher=Bharatjanani.com}}</ref>

''Jumai Shasthi'' was the first Bengali [[short film]] as a [[talkie]].<ref>{{cite book |last=Gokulsing |first=K. |url=https://books.google.com/books?id=_plssuFIar8C&q=Ayodhyecha+Raja+1932&pg=PA24 |title=Indian popular cinema: a narrative of cultural change |author2=[[Wimal Dissanayake]] |publisher=Trentham Books |year=2004 |isbn=1-85856-329-1 |page=24}}</ref>

[[Jyoti Prasad Agarwala]] made his first film ''[[Joymoti (1935 film)|Joymoti]]'' (1935) in Assamese, and later made ''[[Indramalati]]''.{{citation needed|date=October 2022}} The first film studio in South India, Durga Cinetone, was built in 1936 by Nidamarthi Surayya in [[Rajahmundry]], Andhra Pradesh.<ref>{{Cite news |date=6 May 2005 |title=The Hindu News |work=[[The Hindu]] |url=http://www.hindu.com/fr/2005/05/06/stories/2005050601300300.htm |url-status=dead |archive-url=https://web.archive.org/web/20050506025001/http://www.hindu.com/fr/2005/05/06/stories/2005050601300300.htm |archive-date=6 May 2005}}</ref>{{contradictory inline|reason=The previous section states that the first studio of South India was established by Mataraja Mudaliar in Madras|date=October 2022}} The advent of sound to Indian cinema launched musicals such as ''Indra Sabha'' and ''Devi Devyani'', marking the beginning of song-and-dance in Indian films.<ref name="Burra&Rao253" /> By 1935, studios emerged in major cities such as Madras, Calcutta and Bombay as filmmaking became an established industry, exemplified by the success of ''[[Devdas (1935 film)|Devdas]]'' (1935).<ref name="Burra&Rao254">Burra & Rao, 254</ref> The first colour film made in India was ''Kisan Kanya'' (1937, Moti B).<ref>{{Cite web |title=First Indian Colour Film |url=http://www.thecolorsofindia.com/interesting-facts/cinema/first-color-film-made-in-india.html |access-date=9 November 2015}}</ref> ''[[Viswa Mohini]]'' (1940) was the first Indian film to depict the Indian movie-making world.<ref>{{Cite news |date=22 August 2003 |title=A revolutionary filmmaker |work=[[The Hindu]] |url=http://www.hindu.com/thehindu/fr/2003/08/22/stories/2003082201400400.htm |url-status=dead |access-date=12 June 2013 |archive-url=https://web.archive.org/web/20040117021114/http://www.hindu.com/thehindu/fr/2003/08/22/stories/2003082201400400.htm |archive-date=17 January 2004}}</ref>

[[Swamikannu Vincent]], who had built the first cinema of South India in [[Coimbatore]], introduced the concept of "tent cinema" in which a tent was erected on a stretch of open land to screen films. The first of its kind was in Madras and called Edison's Grand Cinema Megaphone. This was due to the fact that electric carbons were used for motion picture projectors.<ref>{{Cite news |date=30 April 2010 |title=He brought cinema to South |work=[[The Hindu]] |location=Chennai, India |url=http://www.hindu.com/fr/2010/04/30/stories/2010043051340400.htm |url-status=dead |access-date=26 September 2011 |archive-url=https://web.archive.org/web/20100505150330/http://www.hindu.com/fr/2010/04/30/stories/2010043051340400.htm |archive-date=5 May 2010}}</ref>{{explain|date=October 2022}} [[Bombay Talkies]] opened in 1934 and [[Prabhat Film Company|Prabhat Studios]] in [[Pune]] began production of Marathi films.<ref name="Burra&Rao254" /> ''[[Sant Tukaram (film)|Sant Tukaram]]'' (1936) was the first Indian film to be screened at an international film festival,{{contradictory inline|reason=It is early stated that a 1935 film was shown at the VFF|date=October 2022}} at the 1937 edition of the Venice Film Festival. The film was judged one of the three best films of the year.<ref>{{Cite web |title=Citation on the participation of Sant Tukaram in the 5th Mostra Internazionale d'Arte Cinematographica in 1937 |url=http://www.nfaipune.gov.in/venice_festival.htm |url-status=dead |archive-url=https://web.archive.org/web/20121108014247/http://www.nfaipune.gov.in/venice_festival.htm |archive-date=8 November 2012 |access-date=14 November 2012 |publisher=[[National Film Archive of India]]}}</ref> However, while Indian filmmakers sought to tell important stories, the [[British Raj]] banned ''Wrath'' (1930) and ''[[Raithu Bidda (1939 film)|Raithu Bidda]]'' (1938) for broaching the subject of the [[Indian independence movement]].<ref name="Burra&Rao253" /><ref>{{Cite web |date=21 May 2012 |title=How free is freedom of speech? |url=http://postnoon.com/2012/05/21/how-free-is-freedom-of-speech/49700 |url-status=dead |archive-url=https://web.archive.org/web/20120524060853/http://postnoon.com/2012/05/21/how-free-is-freedom-of-speech/49700 |archive-date=24 May 2012 |access-date=25 April 2014 |publisher=Postnoon}}</ref><ref>{{Cite web |title=Celebrating 100 Years of Indian Cinema: www.indiancinema100.in |url=https://indiancinema100.in/swadeshi/ |url-status=dead |archive-url=https://web.archive.org/web/20130921054328/https://indiancinema100.in/swadeshi/ |archive-date=21 September 2013 |access-date=27 June 2013}}</ref>

The Indian ''[[Masala (film genre)|Masala film]]''—a term used for mixed-genre films that combined song, dance, romance, etc.—arose following the Second World War.<ref name="Burra&Rao254" /> During the 1940s, cinema in [[South India]] accounted for nearly half of India's cinema halls, and cinema came to be viewed as an instrument of cultural revival.<ref name="Burra&Rao254" /> The [[Indian People's Theatre Association]] (IPTA), an art movement with a [[Communism|communist]] inclination, began to take shape through the 1940s and the 1950s.<ref name="Rajadhyaksa96-679">Rajadhyaksa, 679</ref> IPTA plays, such as ''[[Nabanna]]'' (1944), prepared the ground for [[Realism (arts)|realism]] in Indian cinema, exemplified by [[Khwaja Ahmad Abbas]]'s ''[[Dharti Ke Lal]]'' (''Children of the Earth'', 1946).<ref name="Rajadhyaksa96-679" /> The IPTA movement continued to emphasise realism in films ''[[Mother India]]'' (1957) and ''[[Pyaasa]]'' (1957), among India's most recognisable cinematic productions.<ref name="Rajadhyaksa96-681">Rajadhyaksa, 681</ref>

Following independence, the 1947 [[partition of India]] divided the nation's assets and a number of studios moved to Pakistan.<ref name="Burra&Rao254" /> Partition became an enduring film subject thereafter.<ref name="Burra&Rao254" /> The Indian government had established a [[Films Division]] by 1948, which eventually became one of the world's largest documentary film producers with an annual production of over 200 short documentaries, each released in 18 languages with 9,000 prints for permanent film theatres across the country.<ref name="Rajadhyaksa96-681-683">Rajadhyaksa, 681–683</ref>

=== Golden Age (late 1940s–1960s) ===
[[File:Satyajit Ray in New York.jpg|thumb|right|[[Satyajit Ray]] is recognised as one of the greatest filmmakers of the 20th century.<ref>{{Cite web |title=BAM/PFA - Film Programs |url=http://www.bampfa.berkeley.edu/filmseries/ray |url-status=dead |archive-url=https://web.archive.org/web/20150122004852/http://www.bampfa.berkeley.edu/filmseries/ray |archive-date=22 January 2015 |access-date=5 February 2015}}</ref><ref>{{Cite web |title=Critics on Ray - Satyajit Ray Film and Study Center, UCSC |url=http://satyajitray.ucsc.edu/critics.html |url-status=dead |archive-url=https://web.archive.org/web/20140927033629/http://satyajitray.ucsc.edu/critics.html |archive-date=27 September 2014 |access-date=5 February 2015}}</ref><ref>{{Cite web |title=Satyajit Ray: five essential films |url=https://www.bfi.org.uk/lists/satyajit-ray-5-essential-films |website=British Film Institute|date=12 August 2013 }}</ref>|305x305px]]

The period from the late 1940s to the early 1960s is regarded by film historians as the Golden Age of Indian cinema.<ref>{{Cite book |last=K. Moti Gokulsing |first=K. Gokulsing, Wimal Dissanayake |title=Indian Popular Cinema: A Narrative of Cultural Change |publisher=Trentham Books |year=2004 |page=17}}</ref><ref>{{Cite journal |last=Sharpe |first=Jenny |year=2005 |title=Gender, Nation, and Globalization in Monsoon Wedding and Dilwale Dulhania Le Jayenge |journal=Meridians: Feminism, Race, Transnationalism |volume=6 |issue=1 |pages=58–81 [60 & 75] |doi=10.1353/mer.2005.0032 |s2cid=201783566}}</ref><ref>{{Cite journal |last=Gooptu |first=Sharmistha |date=July 2002 |title=Reviewed work(s): ''The Cinemas of India'' (1896–2000) by Yves Thoraval |journal=[[Economic and Political Weekly]] |volume=37 |issue=29 |pages=3023–4}}</ref> This period saw the emergence of the [[parallel cinema]] movement, which emphasised [[social realism]]. Mainly led by Bengalis,<ref name="Gokulsing-18" /> early examples include ''[[Dharti Ke Lal]]'' (1946, [[Khwaja Ahmad Abbas]]),<ref name="Rajadhyaksha">{{Cite book |last=Rajadhyaksha |first=Ashish |url={{google books|plainurl=y|id=QUq1DAAAQBAJ|page=61}} |title=Indian Cinema: A Very Short Introduction |date=2016 |publisher=[[Oxford University Press]] |isbn=9780191034770 |page=61 |language=en}}</ref> ''[[Neecha Nagar]]'' (1946, [[Chetan Anand (producer & director)|Chetan Anand]]),<ref name="Hindu">[https://web.archive.org/web/20081016143853/http://www.hindu.com/fr/2007/06/15/stories/2007061551020100.htm Maker of innovative, meaningful movies]. ''[[The Hindu]]'', 15 June 2007</ref> ''[[Nagarik]]'' (1952, [[Ritwik Ghatak]])<ref>{{Cite book |last=Ghatak |first=Ritwik |title=Rows and Rows of Fences: Ritwik Ghatak on Cinema |publisher=Ritwik Memorial & Trust Seagull Books |year=2000 |pages=ix & 134–36}}</ref><ref>{{Cite book |last=Hood |first=John |url=https://archive.org/details/essentialmystery00hood |title=The Essential Mystery: The Major Filmmakers of Indian Art Cinema |publisher=Orient Longman Limited |year=2000 |isbn=9788125018704 |pages=[https://archive.org/details/essentialmystery00hood/page/21 21–4] |url-access=registration}}</ref> and ''[[Do Bigha Zamin]]'' (1953, Bimal Roy), laying the foundations for Indian [[Neorealism (art)|neorealism]]<ref name="filmreference">{{Cite web |date=3 August 1980 |title=Do Bigha Zamin |url=http://dearcinema.com/review-do-bigha-zamin-bimal-roy |url-status=dead |archive-url=https://web.archive.org/web/20100115204002/http://dearcinema.com/review-do-bigha-zamin-bimal-roy |archive-date=15 January 2010 |access-date=13 April 2009 |publisher=Dear Cinema}}</ref>

''[[The Apu Trilogy]]'' (1955–1959, [[Satyajit Ray]]) won prizes at several major international film festivals and firmly established the parallel cinema movement.<ref name="Rajadhyaksa96-683">Rajadhyaksa, 683</ref> It was influential on [[world cinema]] and led to a rush of [[coming-of-age film]]s in [[art house]] theatres.<ref name="Sragow">{{Cite journal |last=Sragow |first=Michael |year=1994 |title=An Art Wedded to Truth |url=http://satyajitray.ucsc.edu/articles/sragow.html |url-status=dead |journal=[[The Atlantic|The Atlantic Monthly]] |publisher=[[University of California, Santa Cruz]] |archive-url=https://web.archive.org/web/20090412212046/http://satyajitray.ucsc.edu/articles/sragow.html |archive-date=12 April 2009 |access-date=11 May 2009}}</ref> Cinematographer [[Subrata Mitra]] developed the technique of [[Reflector (photography)#Bounce lighting|bounce lighting]], to recreate the effect of daylight on sets, during the second film of the trilogy<ref name="cinematographers">{{Cite web |title=Subrata Mitra |url=http://www.cinematographers.nl/GreatDoPh/mitra.htm |access-date=22 May 2009 |publisher=Internet Encyclopedia of Cinematographers |archive-date=2 June 2009 |archive-url=https://web.archive.org/web/20090602164022/http://www.cinematographers.nl/GreatDoPh/mitra.htm |url-status=dead }}</ref> and later pioneered other effects such as the [[Negative (photography)|photo-negative]] [[Flashback (narrative)|flashbacks]] and X-ray digressions.<ref>{{Cite news |last=Nick Pinkerton |date=14 April 2009 |title=First Light: Satyajit Ray From the Apu Trilogy to the Calcutta Trilogy |work=[[The Village Voice]] |url=http://www.villagevoice.com/2009-04-15/film/first-light-satyajit-ray-from-the-apu-trilogy-to-the-calcutta-trilogy |access-date=9 July 2009 |archive-date=25 June 2009 |archive-url=https://web.archive.org/web/20090625154630/http://www.villagevoice.com/2009-04-15/film/first-light-satyajit-ray-from-the-apu-trilogy-to-the-calcutta-trilogy |url-status=dead }}</ref>

During the 1950s, Indian cinema reportedly became the world's second largest film industry, earning a gross annual income of {{INRConvert|250|m|year=1953}} in 1953.<ref>{{Cite book |last=Pani |first=S. S. |url=https://books.google.com/books?id=kH4HAQAAIAAJ |title=The Film Daily Year Book of Motion Pictures |date=1954 |publisher=John W. Alicoate |volume=36 |page=930 |chapter=India in 1953 |quote=THE INDIAN FILM INDUSTRY, said to be the second largest in the world, claims to have invested Rs. {{nowrap|420 million}} and to have a gross annual income of Rs. {{nowrap |access-date=1 May 2022 |250 million}}.}}</ref> The government created the Film Finance Corporation (FFC) in 1960 to provide financial support to filmmakers.<ref name="Rajadhyaksa96-684">Rajadhyaksa, 684</ref> While serving as Information and Broadcasting Minister of India in the 1960s, [[Indira Gandhi]] supported the production of off-beat cinema through the FFC.<ref name="Rajadhyaksa96-684" />

[[Baburao Patel]] of ''[[Filmindia]]'' called [[B. N. Reddy]]'s ''[[Malliswari (1951 film)|Malliswari]]'' (1951) an "inspiring motion picture" which would "save us the blush when compared with the best of motion pictures of the world".<ref name="The Hindu BFP">{{Cite web |last=Narasimham |first=M. L. |date=16 March 2013 |title='Malleeswari' (1951) |url=http://www.thehindu.com/features/cinema/cinema-columns/malleeswari-1951/article4515823.ece |archive-url=https://web.archive.org/web/20130320174648/http://www.thehindu.com/features/cinema/cinema-columns/malleeswari-1951/article4515823.ece |archive-date=20 March 2013 |access-date=26 December 2015 |website=[[The Hindu]]}}</ref> Film historian [[Randor Guy]] called ''Malliswari'' scripted by [[Devulapalli Krishnasastri]] a "poem in celluloid, told with rare artistic finesse, which lingers long in the memory".<ref>{{Cite book |last1=Rajadhyaksha |first1=Ashish |url=https://indiancine.ma/texts/indiancine.ma%3AEncyclopedia_of_Indian_Cinema/text.pdf |title=Encyclopedia of Indian Cinema |last2=Willemen |first2=Paul |publisher=[[Oxford University Press]] |year=1998 |isbn=0-19-563579-5 |page=323 |orig-date=1994}}</ref>

Commercial [[Bollywood|Hindi cinema]] began thriving, including acclaimed films ''[[Pyaasa]]'' (1957) and ''[[Kaagaz Ke Phool]]'' (1959, [[Guru Dutt]]) ''[[Awaara]]'' (1951) and ''[[Shree 420]]'' (1955, [[Raj Kapoor]]). These films expressed social themes mainly dealing with working-class urban life in India; ''Awaara'' presented Bombay as both a nightmare and a dream, while ''Pyaasa'' critiqued the unreality of city life.<ref name="Gokulsing-18">{{Cite book |last=K. Moti Gokulsing |first=K. Gokulsing, Wimal Dissanayake |title=Indian Popular Cinema: A Narrative of Cultural Change |publisher=Trentham Books |year=2004 |page=18}}</ref>

[[Epic film]] ''[[Mother India]]'' (1957, [[Mehboob Khan]]) was the first Indian film to be nominated for the US-based Academy of Motion Picture Arts and Sciences' [[Academy Award for Best Foreign Language Film]]{{Citation needed|date=June 2024}} and defined the conventions of Hindi cinema for decades.<ref>{{Cite news |last=Sridharan |first=Tarini |date=25 November 2012 |title=Mother India, not Woman India |work=The Hindu |location=Chennai, India |url=http://www.thehindu.com/todays-paper/tp-features/tp-cinemaplus/mother-india-not-woman-india/article4131747.ece |url-status=live |access-date=5 March 2012 |archive-url=https://web.archive.org/web/20130106095550/http://www.thehindu.com/todays-paper/tp-features/tp-cinemaplus/mother-india-not-woman-india/article4131747.ece |archive-date=6 January 2013}}</ref><ref>{{Cite AV media |url=https://www.youtube.com/watch?v=wChe8xWDwbo |title=Bollywood Blockbusters: ''Mother India'' (Part 1) |date=2009 |type=Documentary |publisher=[[CNN-IBN]] |archive-url=https://web.archive.org/web/20150715143942/https://www.youtube.com/watch?v=wChe8xWDwbo&feature=results_main&playnext=1&list=PL8D9A71E9A0EED3C4 |archive-date=15 July 2015 |url-status=live |ref={{sfnRef|Bollywood Blockbusters Part 1|2009}}}}</ref><ref>{{Cite news |last=Kehr |first=Dave |date=23 August 2002 |title=Mother India (1957). Film in review; 'Mother India' |work=[[The New York Times]] |url=https://movies.nytimes.com/movie/review?res=9C03E5DE153CF930A1575BC0A9649C8B63 |access-date=7 June 2012}}</ref> It spawned a new genre of [[dacoit film]]s.<ref name="Teo">{{Cite book |last=Teo |first=Stephen |url={{google books|plainurl=y|id=pi8lDwAAQBAJ|page=122}} |title=Eastern Westerns: Film and Genre Outside and Inside Hollywood |date=2017 |publisher=[[Taylor & Francis]] |isbn=9781317592266 |page=122 |language=en}}</ref> ''[[Gunga Jumna]]'' (1961, [[Dilip Kumar]]) was a dacoit [[crime drama]] about two brothers on opposite sides of the law, a theme that became common in Indian films in the 1970s.<ref name="Ganti">{{Cite book |last=Ganti |first=Tejaswini |url={{google books|plainurl=y|id=GTEa93azj9EC|page=153}} |title=Bollywood: A Guidebook to Popular Hindi Cinema |publisher=Psychology Press |year=2004 |isbn=978-0-415-28854-5 |pages=153–}}</ref> ''[[Madhumati]]'' (1958, [[Bimal Roy]]) popularised the theme of [[reincarnation]] in [[Reincarnation in popular western culture|Western popular culture]].<ref name="Doniger">{{Cite book |last=Doniger |first=Wendy |title=The woman who pretended to be who she was: myths of self-imitation |publisher=[[Oxford University Press]] |year=2005 |pages=112–136 [135] |chapter=Chapter 6: Reincarnation}}</ref>

Actor [[Dilip Kumar]] rose to fame in the 1950s, and was the biggest Indian [[movie star]] of the time.<ref>{{Cite web |last=Usman |first=Yasser |date=16 January 2021 |title=Dilip Kumar as 'Pyaasa' hero is what Guru Dutt wanted. But first day of shoot changed it all |url=https://theprint.in/pageturner/excerpt/dilip-kumar-as-pyaasa-hero-is-what-guru-dutt-wanted-but-first-day-of-shoot-changed-it-all/586596/ |access-date=1 November 2021 |website=ThePrint |language=en-US}}</ref><ref>{{Cite web |title=How Bollywood legend Dilip Kumar became India's biggest star |url=https://gulfnews.com/entertainment/bollywood/how-bollywood-legend-dilip-kumar-became-indias-biggest-star-1.75765994 |access-date=1 November 2021 |website=Gulf News |date=9 December 2020 |language=en}}</ref> He was a pioneer of [[method acting]], predating Hollywood method actors such as [[Marlon Brando]]. Much like Brando's influence on [[New Hollywood]] actors, Kumar inspired Hindi actors, including [[Amitabh Bachchan]], [[Naseeruddin Shah]], [[Shah Rukh Khan]] and [[Nawazuddin Siddiqui]].<ref>{{cite news |last1=Mazumder |first1=Ranjib |title=Before Brando, There Was Dilip Kumar |url=https://www.thequint.com/entertainment/2015/12/11/before-brando-there-was-dilip-kumar |access-date=2 August 2023 |work=TheQuint |date=11 December 2015}}</ref>

''[[Neecha Nagar]]'' (1946) won the [[Palme d'Or]] at Cannes<ref name="Hindu" /> and Indian films competed for the award most years in the 1950s and early 1960s.{{citation needed|date=October 2022}} Ray is regarded as one of the greatest [[Auteur theory|auteurs]] of [[History of film|20th century cinema]],<ref>{{Cite book |last=Santas |first=Constantine |title=Responding to film: A Text Guide for Students of Cinema Art |publisher=Rowman & Littlefield |year=2002 |isbn=978-0-8304-1580-9 |page=18}}</ref> along with his contemporaries Dutt<ref name="Lee">{{Cite web |last=Kevin Lee |date=5 September 2002 |title=A Slanted Canon |url=http://www.asianamericanfilm.com/archives/000026.html |url-status=dead |archive-url=https://web.archive.org/web/20120218224432/http://www.asianamericanfilm.com/archives/000026.html |archive-date=18 February 2012 |access-date=24 April 2009 |publisher=Asian American Film Commentary}}</ref> and Ghatak.<ref name="Totaro">{{Cite journal |last=Totaro |first=Donato |date=31 January 2003 |title=The "Sight & Sound" of Canons |url=http://www.horschamp.qc.ca/new_offscreen/canon.html |journal=Offscreen Journal |publisher=[[Canada Council|Canada Council for the Arts]] |access-date=19 April 2009}}</ref> In 1992, the ''[[Sight & Sound]]'' Critics' Poll ranked Ray at {{abbr|No.|number}}&nbsp;7 in its list of Top 10 Directors of all time.<ref>{{Cite web |title=Sight and Sound Poll 1992: Critics |url=http://alumnus.caltech.edu/~ejohnson/sight/1992_1.html |url-status=dead |archive-url=https://web.archive.org/web/20131016212355/http://alumnus.caltech.edu/~ejohnson/sight/1992_1.html |archive-date=16 October 2013 |access-date=29 May 2009 |publisher=[[California Institute of Technology]]}}</ref> Multiple films from this era are included among the [[Films considered the greatest ever|greatest films of all time]] in various critics' and directors' polls, including ''The Apu Trilogy'',<ref name="Caldwell">{{Cite web |last=Aaron and Mark Caldwell |year=2004 |title=Sight and Sound |url=http://www.geocities.com/aaronbcaldwell/dimsscri.html |archive-url=https://web.archive.org/web/20090729180509/http://geocities.com/aaronbcaldwell/dimsscri.html |archive-date=29 July 2009 |access-date=19 April 2009 |publisher=Top 100 Movie Lists}}</ref> ''[[Jalsaghar]]'', ''[[Charulata]]''<ref name="SS-1992-ranking">{{Cite web |title=Sight and Sound 1992 Ranking of Films |url=http://www.geocities.com/the7thart/ranking.html |archive-url=https://web.archive.org/web/20091022115725/http://geocities.com/the7thart/ranking.html |archive-date=22 October 2009 |access-date=29 May 2009}}</ref> ''[[Aranyer Din Ratri]]'',<ref name="SS-1982-ranking">{{Cite web |title=Sight and Sound 1982 Ranking of Films |url=http://www.geocities.com/the7thart/1982.html |archive-url=https://web.archive.org/web/20091022225459/http://geocities.com/the7thart/1982.html |archive-date=22 October 2009 |access-date=29 May 2009}}</ref> ''Pyaasa'', ''Kaagaz Ke Phool'', ''[[Meghe Dhaka Tara (1960 film)|Meghe Dhaka Tara]]'', ''Komal Gandhar'', ''Awaara'', ''[[Baiju Bawra (1952 film)|Baiju Bawra]]'', ''Mother India'', ''Mughal-e-Azam''<ref name="Cinemacom">{{Cite web |year=2002 |title=2002 Sight & Sound Top Films Survey of 253 International Critics & Film Directors |url=http://www.cinemacom.com/2002-sight-sound.html |access-date=19 April 2009 |publisher=Cinemacom}}</ref> and ''[[Subarnarekha (film)|Subarnarekha]]'' (also tied at No.&nbsp;11).<ref name=Totaro/>

[[Sivaji Ganesan]] became India's first actor to receive an international award when he won the Best Actor award at the Afro-Asian film festival in 1960 and was awarded the title of Chevalier in the [[Legion of Honour]] by the [[French Government]] in 1995.<ref name="Sivaji Ganesan's birth anniversary">{{Cite news |date=1 October 2013 |title=Sivaji Ganesan's birth anniversary |work=The Times of India |url=http://timesofindia.indiatimes.com/entertainment/tamil/movies/news-interviews/Sivaji-Ganesans-birth-anniversary/articleshow/23338524.cms |access-date=29 April 2014}}</ref> Tamil cinema is [[Tamil cinema and Dravidian politics|influenced by Dravidian politics]],<ref name="Gokulsing&Dissanayake132-33">Gokulsing & Dissanayake, 132–133</ref> with prominent film personalities [[C N Annadurai]], [[M G Ramachandran]], [[M Karunanidhi]] and [[Jayalalithaa]] becoming [[List of Chief Ministers of Tamil Nadu|Chief Ministers of Tamil Nadu]].<ref name="Kasbekar 2006 215">{{Cite book |last=Kasbekar |first=Asha |url={{google books|plainurl=y|id=Sv7Uk0UcdM8C|page=215}} |title=Pop Culture India!: Media, Arts, and Lifestyle |publisher=ABC-CLIO |year=2006 |isbn=978-1-85109-636-7 |page=215}}</ref>{{clarify timeframe|date=October 2022}}

===1970s–present===
By 1986, India's annual film output had increased to 833 films annually, making India the world's largest film producer.<ref>{{Cite book |url=https://books.google.com/books?id=Ah1CAQAAIAAJ |title=Films in Review |date=1986 |publisher=Then and There Media, LCC. |page=368 |quote=And then I had forgotten that lndia leads the world in film production, with 833 motion pictures (up from 741 the previous year).}}</ref> Hindi film production of Bombay, the largest segment of the industry, became known as "Bollywood".

{{Pie chart
|caption= Summary of the 2022 box office revenues. 
|value1 = 33
|label1 = Hindi
|value2 = 20
|label2 = Telugu
|value3 = 16
|label3 = Tamil 
|value4 = 8
|label4 = Kannada
|value5 = 6
|label5 = Malayalam
|other  = yes
}}

By 1996, the Indian film industry had an estimated domestic cinema viewership of 600{{nbsp}}million people, establishing India as one of the largest film markets, with the largest regional industries being Hindi, Telugu, and Tamil films.<ref>{{Cite journal |date=July 1996 |title=Business India |url=https://books.google.com/books?id=h9wiAQAAMAAJ |journal=[[Business India]] |publisher=A. H. Advani |issue=478–481 |page=82 |quote=As the Indian film industry (mainly Hindi and Telugu combined) is one of the world's largest, with an estimated viewership of 600 million, film music has always been popular.}}</ref> In 2001, in terms of ticket sales, Indian cinema sold an estimated 3.6&nbsp;billion tickets annually across the globe, compared to [[Cinema of the United States|Hollywood]]'s 2.6&nbsp;billion tickets sold.<ref>{{Cite journal |date=2 December 2002 |title=Bollywood: Can new money create a world-class film industry in India? |url=https://people.well.com/user/willard/Kripalani-%20Bollywood%20Investments%20BizWeek12-02-2002.txt |journal=[[Business Week]] |access-date=22 December 2018 |archive-date=27 July 2020 |archive-url=https://web.archive.org/web/20200727012740/https://people.well.com/user/willard/Kripalani-%20Bollywood%20Investments%20BizWeek12-02-2002.txt |url-status=dead }}</ref><ref>{{Cite web |last=Lorenzen |first=Mark |date=April 2009 |title=Go West: The Growth of Bollywood |url=http://openarchive.cbs.dk/bitstream/handle/10398/7796/CreativeEncounters%20Working%20Papers%2026.pdf?sequence=1 |website=Creativity at Work |publisher=[[Copenhagen Business School]]}}</ref>

====Hindi====
Realistic [[parallel cinema]] continued throughout the 1970s,<ref name="Rajadhyaksa96-685">Rajadhyaksa, 685</ref> practised in many Indian film cultures. The FFC's art film orientation came under criticism during a Committee on Public Undertakings investigation in 1976, which accused the body of not doing enough to encourage commercial cinema.<ref name="Rajadhyaksa96-688">Rajadhyaksa, 688</ref>

Hindi commercial cinema continued with films such as ''[[Aradhana (1969 film)|Aradhana]]'' (1969), ''[[Sachaa Jhutha]]'' (1970), ''[[Haathi Mere Saathi (1971 film)|Haathi Mere Saathi]]'' (1971), ''[[Anand (1971 film)|Anand]]'' (1971), ''[[Kati Patang]]'' (1971) ''[[Amar Prem]]'' (1972), ''[[Dushman (1971 film)|Dushman]]'' (1972) and ''[[Daag (1973 film)|Daag]]'' (1973).{{importance inline|date=October 2022}}

{{multiple image
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| image2 = Akhtar for Talaash.jpg
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| footer = The screenwriting duo [[Salim–Javed]], consisting of [[Salim Khan]] (l) and [[Javed Akhtar]] (r), revitalised Indian cinema in the 1970s<ref name="Pandolin">{{Cite web |date=25 April 2013 |title=Salim-Javed: Writing Duo that Revolutionized Indian Cinema |url=https://pandolin.com/salim-javed-writing-duo-that-revolutionized-indian-cinema/ |url-status=dead |archive-url=https://web.archive.org/web/20171201035749/https://pandolin.com/salim-javed-writing-duo-that-revolutionized-indian-cinema/ |archive-date=1 December 2017 |access-date=29 November 2017 |website=Pandolin}}</ref> and are considered [[Bollywood]]'s greatest [[screenwriter]]s.<ref name="Chaudhuri">{{Cite book |last=Chaudhuri |first=Diptakirti |url={{google books|plainurl=y|id=Cri9CgAAQBAJ}} |title=Written by Salim-Javed: The Story of Hindi Cinema's Greatest Screenwriters |date=1 October 2015 |publisher=[[Penguin Books|Penguin UK]] |isbn=9789352140084}}</ref>
}}

By the early 1970s, Hindi cinema was experiencing thematic stagnation,<ref name="raj">{{Cite book |last=Raj |first=Ashok |url={{google books|plainurl=y|id=2wo9BAAAQBAJ|page=21}} |title=Hero Vol.2 |date=2009 |publisher=[[Hay House]] |isbn=9789381398036 |page=21 |language=en}}</ref> dominated by musical [[romance film]]s.<ref name="indianexpress2">{{Cite news |date=20 June 2017 |title=Revisiting Prakash Mehra's Zanjeer: The film that made Amitabh Bachchan |work=[[The Indian Express]] |url=http://indianexpress.com/article/entertainment/bollywood/revisiting-prakash-mehra-zanjeer-the-film-that-made-amitabh-bachchan-4714064/}}</ref> Screenwriter duo [[Salim–Javed]] ([[Salim Khan]] and [[Javed Akhtar]]) revitalised the industry.<ref name="raj" /> They established the genre of gritty, violent, [[Bombay underworld]] [[crime film]]s with ''[[Zanjeer (1973 film)|Zanjeer]]'' (1973) and ''[[Deewaar]]'' (1975).<ref name="ganti">{{Cite book |last=Ganti |first=Tejaswini |url={{google books|plainurl=y|id=GTEa93azj9EC|page=153}} |title=Bollywood: A Guidebook to Popular Hindi Cinema |date=2004 |publisher=[[Psychology Press]] |isbn=9780415288545 |page=153 |language=en}}</ref><ref>{{Cite book |last=Chaudhuri |first=Diptakirti |url={{google books|plainurl=y|id=Cri9CgAAQBAJ|page=72}} |title=Written by Salim-Javed: The Story of Hindi Cinema's Greatest Screenwriters |date=2015 |publisher=[[Penguin Books]] |isbn=9789352140084 |page=72 |language=en}}</ref> They reinterpreted the rural themes of ''Mother India'' and ''Gunga Jumna'' in an urban context reflecting 1970s India,<ref name="raj" /><ref name="legends">{{Cite book |last=Kumar |first=Surendra |url={{google books|plainurl=y|id=AfJkAAAAMAAJ|page=51}} |title=Legends of Indian cinema: pen portraits |date=2003 |publisher=Har-Anand Publications |page=51 |language=en}}</ref> channelling the growing discontent and disillusionment among the masses,<ref name="raj" /> unprecedented growth of [[slum]]s<ref name="Mazumdar" /> and urban poverty, corruption and crime,<ref>{{Cite book |last=Chaudhuri |first=Diptakirti |url={{google books|plainurl=y|id=Cri9CgAAQBAJ|page=74}} |title=Written by Salim-Javed: The Story of Hindi Cinema's Greatest Screenwriters |date=2015 |publisher=[[Penguin Group]] |isbn=9789352140084 |page=74 |language=en}}</ref> as well as [[anti-establishment]] themes.<ref name="hindustantimes">{{Cite news |date=29 January 2017 |title=Deewaar was the perfect script: Amitabh Bachchan on 42 years of the cult film |work=Hindustan Times |url=http://www.hindustantimes.com/bollywood/deewaar-was-the-perfect-script-amitabh-bachchan-on-42-years-of-the-cult-film/story-x2hy87zQ0ebVlsVMV59U2I.html}}</ref> This resulted in their creation of the "angry young man", personified by [[Amitabh Bachchan]],<ref name="hindustantimes" /> who reinterpreted Kumar's performance in ''Gunga Jumna''<ref name="raj" /><ref name="legends" /> and gave a voice to the urban poor.<ref name="Mazumdar">{{Cite book |last=Mazumdar |first=Ranjani |url={{google books|plainurl=y|id=xenNBrRKOGoC|page=14}} |title=Bombay Cinema: An Archive of the City |publisher=[[University of Minnesota Press]] |year=2007 |isbn=9781452913025 |page=14 |language=en}}</ref>

By the mid-1970s, Bachchan's position as a lead actor was solidified by crime-action films ''Zanjeer'' and ''[[Sholay]]'' (1975).<ref name="Rajadhyaksa96-688" /> The devotional classic ''[[Jai Santoshi Ma]]'' (1975) was made on a low budget and became a box office success and a cult classic.<ref name="Rajadhyaksa96-688" /> Another important film was ''[[Deewaar]]'' (1975, [[Yash Chopra]]),<ref name="Ganti" /> a [[crime film]] with brothers on opposite sides of the law which [[Danny Boyle]] described as "absolutely key to Indian cinema".<ref name="Kumar" />

The term "[[Bollywood]]" was coined in the 1970s,<ref name="collaco">{{Cite news |last=Anand |date=7 March 2004 |title=On the Bollywood beat |work=[[The Hindu]] |location=Chennai, India |url=http://www.hindu.com/lr/2004/03/07/stories/2004030700390600.htm |url-status=dead |access-date=31 May 2009 |archive-url=https://web.archive.org/web/20040403234115/http://www.hindu.com/lr/2004/03/07/stories/2004030700390600.htm |archive-date=3 April 2004}}</ref><ref name="khanna">{{Cite web |last=Subhash K Jha |date=8 April 2005 |title=Amit Khanna: The Man who saw 'Bollywood' |url=http://sify.com/movies/bollywood/fullstory.php?id=13713296 |url-status=dead |archive-url=https://web.archive.org/web/20050409171523/http://sify.com/movies/bollywood/fullstory.php?id=13713296 |archive-date=9 April 2005 |access-date=31 May 2009 |website=[[Sify]]}}</ref> when the conventions of commercial Bombay-produced Hindi films were established.<ref name="Chaudhuri58">{{Cite book |last=Chaudhuri |first=Diptakirti |url={{google books|plainurl=y|id=Cri9CgAAQBAJ|page=58}} |title=Written by Salim-Javed: The Story of Hindi Cinema's Greatest Screenwriters |date=1 October 2015 |publisher=[[Penguin Books|Penguin UK]] |isbn=9789352140084 |page=58}}</ref> Key to this was [[Nasir Hussain]] and Salim–Javed's creation of the [[masala film]] genre, which combines elements of [[Action film|action]], [[Comedy film|comedy]], [[Romance film|romance]], [[Drama film|drama]], [[melodrama]] and [[Musical film|musical]].<ref name="Chaudhuri58" /><ref>{{Cite news |date=30 March 2017 |title=How film-maker Nasir Husain started the trend for Bollywood masala films |work=Hindustan Times |url=http://www.hindustantimes.com/bollywood/how-film-maker-nasir-husain-created-the-prototype-for-bollywood-masala-films/story-ckL6zPLHJFDYoupjFBtbfN.html}}</ref> Their film ''[[Yaadon Ki Baarat]]'' (1973) has been identified as the first masala film and the first quintessentially Bollywood film.<ref name="Chaudhuri58" /><ref name="bhaumik">Kaushik Bhaumik, [https://thewire.in/24564/an-insightful-reading-of-our-many-indian-identities/ An Insightful Reading of Our Many Indian Identities], [[The Wire (Indian web publication)|The Wire]], 12 March 2016</ref> Masala films made Bachchan the biggest Bollywood movie star of the period. Another landmark was ''[[Amar Akbar Anthony]]'' (1977, [[Manmohan Desai]]).<ref name="bhaumik" /><ref name="Dwyer2005">{{Cite book |last=Rachel Dwyer |url={{google books|plainurl=y|id=4EBNAQAAIAAJ}} |title=100 Bollywood films |publisher=Lotus Collection, Roli Books |year=2005 |isbn=978-81-7436-433-3 |page=14 |access-date=6 August 2013}}</ref> Desai further expanded the genre in the 1970s and 1980s.

Commercial Hindi cinema grew in the 1980s, with films such as ''[[Ek Duuje Ke Liye]]'' (1981), ''[[Disco Dancer]]'' (1982), '' [[Himmatwala (1983 film)|Himmatwala]]'' (1983), ''[[Tohfa]]'' (1984), ''[[Naam (1986 film)|Naam]]'' (1986), ''[[Mr. India (1987 film)|Mr India]]'' (1987), and ''[[Tezaab]]'' (1988).

In the late 1980s,{{clarify timeframe|date=October 2022|reason=The following sentence talks about a revival in 1982, not the late 1980s}} Hindi cinema experienced another period of stagnation, with a decline in box office turnout, due to increasing violence, decline in musical melodic quality, and rise in video piracy, leading to middle-class family audiences abandoning theatres. The turning point came with Indian blockbuster ''[[Disco Dancer]]'' (1982) which began the era of disco music in Indian cinema. Lead actor [[Mithun Chakraborty]] and music director [[Bappi Lahiri]] had the highest number of mainstream Indian hit movies that decade. At the end of the decade, [[Yash Chopra]]'s ''[[Chandni (film)|Chandni]]'' (1989) created a new formula for Bollywood musical romance films, reviving the genre and defining Hindi cinema in the years that followed.<ref name="iDiva">{{Cite web |last=iDiva |date=13 October 2011 |title=Sridevi – The Dancing Queen |url=http://idiva.com/photogallery-entertainment/sridevi-the-dancing-queen/8403 |url-status=dead |archive-url=https://web.archive.org/web/20130224051712/http://idiva.com/photogallery-entertainment/sridevi-the-dancing-queen/8403 |archive-date=24 February 2013 |access-date=21 May 2019}}</ref><ref name="Ray">{{Cite news |last=Ray |first=Kunal |date=18 December 2016 |title=Romancing the 1980s |language=en-IN |work=[[The Hindu]] |url=http://www.thehindu.com/entertainment/movies/Romancing-the-1980s/article16898867.ece}}</ref> Commercial Hindi cinema grew in the late 1980s and 1990s, with the release of ''[[Mr. India (1987 film)|Mr. India]]'' (1987), ''[[Qayamat Se Qayamat Tak]]'' (1988), ''[[ChaalBaaz|Chaalbaaz]]'' (1989), ''[[Maine Pyar Kiya]]'' (1989), ''[[Lamhe]]'' (1991), ''[[Saajan]]'' (1991), ''[[Khuda Gawah]]'' (1992), ''[[Khalnayak]]'' (1993), ''[[Darr]]'' (1993),<ref name="Rajadhyaksa96-688" /> ''[[Hum Aapke Hain Koun..!]]'' (1994), ''[[Dilwale Dulhaniya Le Jayenge]]'' (1995), ''[[Dil To Pagal Hai]]'' (1997), ''[[Pyaar Kiya To Darna Kya (1998 film)|Pyar Kiya Toh Darna Kya]]'' (1998) and ''[[Kuch Kuch Hota Hai]]'' (1998). Cult classic ''[[Bandit Queen]]'' (1994) directed by [[Shekhar Kapur]] received international recognition and controversy.<ref>[http://www.india-today.com/itoday/19991213/roy.html Arundhati Roy, Author-Activist] {{Webarchive|url=https://web.archive.org/web/20101124103723/http://www.india-today.com/itoday/19991213/roy.html |date=24 November 2010 }} ''india-today.com''. Retrieved 16 June 2013</ref><ref>[http://www.sawnet.org/books/writing/roy_bq1.html "The Great Indian Rape-Trick"] {{webarchive|url=https://web.archive.org/web/20160414182145/http://www.sawnet.org/books/writing/roy_bq1.html|date=14 April 2016}}, SAWNET – The South Asian Women's NETwork. Retrieved 25 November 2011</ref>

[[File:Sridevi, Zee Cine Awards 2018.jpg|thumb|202x202px|[[Sridevi]] (2012) was regarded as the most popular female star in Indian cinema.<ref>{{Cite web |title=From India Today Magazine {{!}} When Sridevi emerged as the highest paid Indian actress |url=https://www.indiatoday.in/magazine/society-the-arts/films/story/19870630-sridevi-emerges-as-the-undisputed-empress-of-tinsel-town-the-highest-paid-indian-actress-799027-1987-06-29 |access-date=9 April 2023 |website=India Today |date=30 June 1987 |language=en}}</ref>]]

In the late 1990s, there was a resurgence of parallel cinema in Bollywood, largely due to the critical and commercial success of [[crime films]] such as ''[[Satya (1998 film)|Satya]]'' (1998) and ''[[Vaastav]]'' (1999). These films launched a genre known as "Mumbai noir",<ref name="Nayar">{{Cite news |last=Aruti Nayar |date=16 December 2007 |title=Bollywood on the table |work=The Tribune |url=http://www.tribuneindia.com/2007/20071216/spectrum/main11.htm |access-date=19 June 2008}}</ref> reflecting social problems in the city.<ref name="Jungen">{{Cite web |last=Christian Jungen |date=4 April 2009 |title=Urban Movies: The Diversity of Indian Cinema |url=http://www.fipresci.org/festivals/archive/2009/fribourg/indian_cinema_chjungen.htm |url-status=dead |archive-url=https://web.archive.org/web/20090617225942/http://www.fipresci.org/festivals/archive/2009/fribourg/indian_cinema_chjungen.htm |archive-date=17 June 2009 |access-date=11 May 2009 |publisher=[[FIPRESCI]]}}</ref> [[Ram Gopal Varma]] directed the [[Sarkar (film series)|Indian Political Trilogy]], and the [[Gangster (film series)|Indian Gangster Trilogy]]; film critic Rajeev Masand had labelled the latter series as one of the "most influential movies of Bollywood.<ref>{{cite web|url=http://www.ibnlive.com/news/masands-verdict-contract-mangled-mess-of-satya-company/69135-8.html|title=Masand's Verdict: ''Contract'', mangled mess of ''Satya'', ''Company''|work=CNN-News18}}</ref><ref>{{cite web|url=http://www.outlookindia.com/article.aspx?227527|title=Behind The Scenes - Rachel Dwyer - May 30, 2005|work=outlookindia.com}}</ref><ref name="The Sunday Tribune - Spectrum">{{cite web|url=http://www.tribuneindia.com/2007/20071216/spectrum/main11.htm|title=The Sunday Tribune - Spectrum|work=tribuneindia.com}}</ref> The first instalment of the trilogy, [[Satya (1998 film)|''Satya'']], was also listed in [[CNN-IBN]]'s 100 greatest [[Indian films]] of all time.<ref>{{cite web|url=http://ibnlive.in.com/photogallery/13200.html|title=100 Years of Indian Cinema: The 100 greatest Indian films of all time|work=IBNLive|access-date=18 May 2013|archive-date=24 April 2013|archive-url=https://web.archive.org/web/20130424003536/http://ibnlive.in.com/photogallery/13200.html|url-status=dead}}</ref>

Since the 1990s, the three biggest Bollywood movie stars have been the "[[Khans of Bollywood|Three Khans]]": [[Aamir Khan]], [[Shah Rukh Khan]], and [[Salman Khan]].<ref name="desiblitz">{{Cite web |date=18 September 2012 |title=The Three Khans of Bollywood – DESIblitz |url=https://www.desiblitz.com/content/the-three-khans-of-bollywood}}</ref><ref name="forbes">{{Cite web |last=Cain |first=Rob |title=Are Bollywood's Three Khans The Last Of The Movie Kings? |url=https://www.forbes.com/sites/robcain/2016/03/20/are-bollywoods-three-khans-the-last-of-the-movie-kings/ |website=[[Forbes]]}}</ref> Combined, they starred in the top ten [[List of highest-grossing Bollywood films|highest-grossing Bollywood films]],<ref name="desiblitz" /> and have dominated the Indian box office since the 1990s.<ref>{{Cite news |last=Raghavendra |first=MK |date=16 October 2016 |title=After Aamir, SRK, Salman, why Bollywood's next male superstar may need a decade to rise |language=en |work=Firstpost |url=http://www.firstpost.com/entertainment/after-aamir-srk-salman-why-bollywoods-next-male-superstar-may-need-a-decade-to-rise-3049864.html |access-date=18 May 2022}}</ref><ref>{{Cite news |agency=Agence France-Presse |date=12 July 2017 |title=Why Aamir Khan Is The King Of Khans: Foreign Media |work=NDTV |url=https://www.ndtv.com/india-news/aamir-khan-is-the-king-of-the-king-khans-moved-ahead-of-shah-rukh-salman-1723117 |access-date=18 May 2022}}</ref> Shah Rukh Khan was the most successful for most of the 1990s and 2000s, while Aamir Khan has been the most successful since the late 2000s;<ref name="forbes-2017-1-23">{{Cite web |last=D'Cunha |first=Suparna Dutt |title=Why 'Dangal' Star Aamir Khan Is The New King Of Bollywood |url=https://www.forbes.com/sites/suparnadutt/2017/01/23/why-dangal-star-aamir-khan-is-the-new-king-of-bollywood/ |website=[[Forbes]]}}</ref> according to ''[[Forbes]]'', Shah Rukh Khan is "arguably the world's biggest movie star" as of 2017, due to his immense popularity in India and China.<ref name="aamir-forbes">{{Cite web |last=Cain |first=Rob |date=5 October 2017 |title=Why Aamir Khan Is Arguably The World's Biggest Movie Star, Part 2 |url=https://www.forbes.com/sites/robcain/2017/10/05/heres-why-aamir-khan-is-arguably-the-worlds-biggest-movie-star-part-2/ |website=[[Forbes]]}}</ref> Other notable Hindi film stars of recent decades include [[Arjun Rampal]], [[Sunny Deol]], [[Akshay Kumar]], [[Ajay Devgn]], [[Hrithik Roshan]], [[Anil Kapoor]], [[Sanjay Dutt]], [[Sridevi]], [[Madhuri Dixit]], [[Juhi Chawla]], [[Karisma Kapoor]], [[Kajol]], [[Tabu (actress)|Tabu]], [[Aishwarya Rai]], [[Rani Mukerji]] and [[Preity Zinta]].

''[[Haider (film)|Haider]]'' (2014, [[Vishal Bhardwaj]]), the third instalment of the Indian Shakespearean Trilogy after ''[[Maqbool]]'' (2003) and ''[[Omkara (2006 film)|Omkara]]'' (2006),<ref>{{Cite news |last=Muzaffar Raina |date=25 November 2013 |title=Protests hit Haider shoot on Valley campus |work=[[The Telegraph (India)|The Telegraph]] |url=http://www.telegraphindia.com/1131125/jsp/nation/story_17609286.jsp |url-status=dead |access-date=11 September 2016 |archive-url=https://archive.today/20150420041308/http://www.telegraphindia.com/1131125/jsp/nation/story_17609286.jsp%23.VTR8zH3LfK4 |archive-date=20 April 2015}}</ref> won the ''People's Choice Award'' at the 9th [[Rome Film Festival]] in the Mondo Genere making it the first Indian film to achieve this honour.<ref>{{Cite web |date=25 October 2014 |title=The Official Awards of the ninth edition of the Rome Film Festival |url=http://www.romacinemafest.it/ecm/web/fcr/en/home/content/the-official-awards-of-the-ninth-edition-of-the-rome-film-festival.0000.FCR-4509 |archive-url=https://web.archive.org/web/20141026173454/http://www.romacinemafest.it/ecm/web/fcr/en/home/content/the-official-awards-of-the-ninth-edition-of-the-rome-film-festival |archive-date=26 October 2014 |access-date=26 October 2014 |website=romacinefest.it}}</ref>{{relevance inline|date=October 2022}}

The 2000s and 2010s also saw the rise of a new generation of popular actors like [[Shahid Kapoor]], [[Ranbir Kapoor]], [[Ranveer Singh]], [[Ayushmann Khurrana]], [[Varun Dhawan]], [[Sidharth Malhotra]], [[Sushant Singh Rajput]], [[Kartik Aaryan]], [[Arjun Kapoor]], [[Aditya Roy Kapur]] and [[Tiger Shroff]], as well as actresses like [[Vidya Balan]], [[Priyanka Chopra]], [[Kareena Kapoor]], [[Katrina Kaif]], [[Kangana Ranaut]], [[Deepika Padukone]], [[Sonam Kapoor]], [[Anushka Sharma]], [[Shraddha Kapoor]], [[Alia Bhatt]], [[Parineeti Chopra]] and [[Kriti Sanon]] with Balan, Ranaut and Bhatt gaining wide recognition for successful female-centric films such as ''[[The Dirty Picture]]'' (2011), ''[[Kahaani]]'' (2012), ''[[Queen (2014 film)|Queen]]'' (2014), ''[[Highway (2014 Hindi film)|Highway]]'' (2014), ''[[Tanu Weds Manu Returns]]'' (2015), ''[[Raazi]]'' (2018) and ''[[Gangubai Kathiawadi]]'' (2022).

[[Salim–Javed]] were highly influential in [[South Indian cinema]]. In addition to writing two [[Kannada cinema|Kannada films]], many of their Bollywood films had remakes produced in other regions, including Tamil, Telugu and Malayalam cinema. While the Bollywood directors and producers held the rights to their films in Northern India, Salim–Javed retained the rights in South India, where they sold remake rights for films such as ''Zanjeer'', ''Yaadon Ki Baarat'' and ''Don''.<ref>{{Cite book |last1=Kishore |first1=Vikrant |url={{google books|plainurl=y|id=wQLeCwAAQBAJ|page=238}} |title=Salaam Bollywood: Representations and Interpretations |last2=Sarwal |first2=Amit |last3=Patra |first3=Parichay |date=2016 |publisher=[[Routledge]] |isbn=9781317232865 |page=238 |language=en}}</ref> Several of these remakes became breakthroughs for actor [[Rajinikanth]].<ref name="indianexpress2" /><ref name="Mint">{{Cite news |last=Jha |first=Lata |date=18 July 2016 |title=10 Rajinikanth films that were remakes of Amitabh Bachchan starrers |work=[[Mint (newspaper)|Mint]] |url=http://www.livemint.com/Consumer/1zecmlLkbhchQlpXOOOsxN/10-Rajinikanth-films-that-were-remakes-of-Amitabh-Bachchan-s.html}}</ref>

[[Sridevi]] is widely regarded as the first female superstar of Indian cinema due to her pan-Indian appeal with equally successful careers in [[Bollywood|Hindi]], [[Tamil cinema|Tamil]], [[Malayalam cinema|Malayalam]], [[Kannada cinema|Kannada]] and [[Telugu cinema]]. She is the only Bollywood actor to have starred in a top 10 grossing film each year of her active career (1983–1997).{{citation needed|date=October 2022}}

==== Telugu====
[[K. V. Reddy]]'s ''[[Mayabazar]]'' (1957) is a landmark film in Indian cinema, a classic of [[Telugu cinema]] that inspired generations of filmmakers. It blends myth, fantasy, romance and humour in a timeless story, captivating audiences with its fantastical elements. The film excelled in various departments like cast performances, production design, music, cinematography and is particularly revered for its use of technology.<ref>{{Cite web |date=30 April 2015 |title=Mayabazar (1957) |website=[[The Hindu]] |url=http://www.thehindu.com/features/friday-review/mayabazar-1957/article7159111.ece |access-date=12 March 2024 |archive-date=2 May 2015 |archive-url=https://web.archive.org/web/20150502053722/http://www.thehindu.com/features/friday-review/mayabazar-1957/article7159111.ece |url-status=bot: unknown }}</ref><ref>{{Cite web |date=9 February 2013 |title="1" The Hindu |website=[[The Hindu]] |url=https://www.thehindu.com/todays-paper/tp-features/tp-metroplus/1/article4395126.ece}}</ref> The use of special effects, innovative for the 1950s, like the first illusion of moonlight, showcased technical brilliance.. Powerful performances and relatable themes ensure Mayabazar stays relevant, a classic enjoyed by new generations. On the centenary of Indian cinema in 2013, [[CNN-IBN]] included ''Mayabazar'' in its list of "100 greatest Indian films of all time".<ref>{{Cite web |date=17 April 2013 |title=100 Years of Indian Cinema: The 100 greatest Indian films of all time |url=http://ibnlive.in.com/photogallery/13200-60.html |access-date=12 March 2024 |archive-date=12 March 2015 |archive-url=https://web.archive.org/web/20150312062626/http://ibnlive.in.com/photogallery/13200-60.html |url-status=dead }}</ref> In a poll conducted by CNN-IBN among those 100 films, ''Mayabazar'' was voted by the public as the "Greatest Indian film of all time".<ref>{{Cite web |date=12 May 2013 |title=Mayabazar' is India's greatest film ever: IBNLive poll |url=http://www.ibnlive.com/news/india/mayabazar-is-indias-greatest-film-ever-ibnlive-poll-608772.html |access-date=12 March 2024 |archive-date=6 January 2016 |archive-url=https://web.archive.org/web/20160106080737/http://www.ibnlive.com/news/india/mayabazar-is-indias-greatest-film-ever-ibnlive-poll-608772.html |url-status=bot: unknown }}</ref>

[[K. Viswanath]], one of the prominent auteurs of Indian cinema, he received international recognition for his works, and is known for blending [[parallel cinema]] with mainstream cinema. His works such as ''[[Sankarabharanam (1980 film)|Sankarabharanam]]'' (1980) about revitalisation of Indian classical music won the "Prize of the Public" at the [[Besançon]] Film Festival of [[France]] in the year 1981.<ref name=":0">{{cite web|url=https://dff.nic.in/images/Documents/88_29thNfacatalogue.pdf|title=K. Viswanath Film craft Page 6 DFF|access-date=1 January 2013}}</ref> ''[[Forbes (India)|Forbes]]'' included [[J. V. Somayajulu]]'s performance in the film on its list of "25 Greatest Acting Performances of Indian Cinema".<ref name=":1a">{{cite web|url=http://forbesindia.com/article/100-years-of-indian-cinema/25-greatest-acting-performances-of-indian-cinema/35125/0|title=25 Greatest Acting Performances of Indian Cinema|magazine=[[Forbes (India)|Forbes]]|first1=Shishir|last1=Prasad|first2=N. S.|last2=Ramnath|first3=Sohini|last3=Mitter|date=27 April 2013 |access-date = 27 January 2015}}</ref> ''[[Swathi Muthyam]]'' (1986) was [[List of Indian submissions for the Academy Award for Best International Feature Film|India's official entry]] to the [[59th Academy Awards]].<ref name=":0" /> ''[[Swarna Kamalam]]'' (1988) the dance film choreographed by [[Kelucharan Mohapatra]], and [[Sharon Lowen]] was featured at the [[Ann Arbor Film Festival]], fetching three [[Cinema Express Awards - 1988|Indian Express Awards]].<ref>{{cite web|url=https://www.deccanchronicle.com/lifestyle/viral-and-trending/020517/dance-without-frontiers-k-viswanath-director-who-aims-to-revive-classical-arts.html|title=Dance without frontiers: K Viswanath – Director who aims to revive classical arts|date=2 May 2017}}</ref><ref>{{cite web|author=30 June 2011 - Ranjana Dave |url=http://archive.asianage.com/dance/meaning-movement-323|title=The meaning in movement |publisher=The Asian Age |date=30 June 2011 |access-date=4 September 2012}}</ref>

{{multiple image
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| image1            = K. Vishwanath at National Film Awards Function 2017.jpg
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| image2            = RamGopalVarma.jpg
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| footer            = ''From left to right:'' [[K. Viswanath]], [[Ram Gopal Varma]], [[Singeetam Srinivasa Rao]] and [[Chiranjeevi]]
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| image4            = Chiranjeevi at Amitabh Bachchan's 70th birthday celebration (cropped).jpg
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[[B. Narsing Rao]], [[K. N. T. Sastry]], and [[Akkineni Kutumba Rao|A. Kutumba Rao]] garnered international recognition for their works in new-wave cinema.<ref>{{Cite press release |title=Arts / Cinema: Conscientious filmmaker |date=7 May 2011 |url=http://www.thehindu.com/arts/cinema/article1998948.ece |access-date=25 August 2012 |url-status=dead |archive-url=https://web.archive.org/web/20110509045951/http://www.thehindu.com/arts/cinema/article1998948.ece |archive-date=9 May 2011 |work=The Hindu}}</ref><ref>{{Cite web |title=Tikkavarapu Pattabhirama Reddy – Poet, Film maker of international fame from NelloreOne Nellore |url=http://1nellore.com/1849/tikkavarapu-pattabhirama-reddy-poet-film-maker-of-international-fame/ |url-status=dead |archive-url=https://web.archive.org/web/20141006102018/http://1nellore.com/1849/tikkavarapu-pattabhirama-reddy-poet-film-maker-of-international-fame/ |archive-date=6 October 2014 |access-date=10 October 2014 |website=1nellore.com |publisher=One Nellore}}</ref> Narsing Rao's ''[[Maa Ooru]]'' (1992) won the "[[Media Wave International Film Festival|Media Wave Award]]" of Hungary; ''[[Daasi (1988 film)|Daasi]]'' (1988) and ''[[Matti Manushulu]]'' (1990) won the Diploma of Merit awards at the [[16th Moscow International Film Festival|16th]] and [[17th Moscow International Film Festival|17th]] [[Moscow International Film Festival|MIFF]] respectively.<ref>{{Cite web|url=http://mwave.irq.hu/index.php?modul=menupontok&kod=18028&nyelv=+/index.php|title=MEDIAWAVE ARCHÍVUM (1991-2022) :: 1992 :: FILMES DÍJLISTA - www.mediawave.hu|website=mwave.irq.hu}}</ref><ref>{{Cite press release |title=Narsing Rao's films regale Delhi |date=21 December 2008 |publisher=webindia123.com |url=http://news.webindia123.com/news/articles/India/20081221/1134082.html |access-date=25 August 2012 |archive-date=6 November 2013 |archive-url=https://web.archive.org/web/20131106105835/http://news.webindia123.com/news/articles/India/20081221/1134082.html |url-status=dead }}</ref><ref>{{Cite web |title=Metro Plus Hyderabad / Travel : Unsung moments |url=http://www.hindu.com/mp/2005/03/01/stories/2005030100530300.htm |url-status=dead |archive-url=https://web.archive.org/web/20050305213636/http://www.hindu.com/mp/2005/03/01/stories/2005030100530300.htm |archive-date=5 March 2005 |website=[[The Hindu]]}}</ref> Sastry's ''[[Thilaadanam]]'' (2000) received "New Currents Award" at the [[Busan International Film Festival|7th Busan]];<ref>{{Cite web |title=Awards |url=http://www.biff.kr/Template/Builder/00000001/page.asp?page_num=4892 |url-status=dead |archive-url=https://web.archive.org/web/20170620083906/http://biff.kr/Template/Builder/00000001/page.asp?page_num=4892 |archive-date=20 June 2017 |access-date=27 June 2017 |website=Busan International Film Festival}}</ref><ref>{{Cite press release |title=How Kamli came alive onscreen |date=31 December 2004 |url=http://www.rediff.com/movies/2006/nov/30sastry.htm |access-date=25 August 2012 |work=Rediff.com}}</ref> Rajnesh Domalpalli's ''[[Vanaja (film)|Vanaja]]'' (2006) won "Best First Feature Award" at the [[57th Berlin International Film Festival|57th Berlinale]].<ref>{{Cite web |date=22 February 2008 |title=Vanaja Best First Feature |url=https://www.berlinale.de/en/archive/jahresarchive/2007/03_preistraeger_2007/03_preistraeger_2007.html |access-date=22 August 2012 |website=57th Berlinale}}</ref><ref>{{Cite web |last=Ebert |first=Roger |title=The year's ten best films and other shenanigans {{pipe}} Roger Ebert's Journal |date=19 December 2012 |url=https://www.rogerebert.com/rogers-journal/the-years-ten-best-films-and-other-shenanigans |access-date=26 August 2019 |publisher=Roger Ebert}}</ref>

[[Ram Gopal Varma]]'s ''[[Siva (1989 Telugu film)|Siva]]'' (1989), which attained [[cult film|cult following]]<ref>{{Cite news |last=Raghavan |first=Nikhil |date=4 October 2010 |title=A saga in the making? |work=The Hindu |url=http://www.thehindu.com/features/cinema/a-saga-in-the-making/article812802.ece |access-date=20 April 2016 |archive-url=https://web.archive.org/web/20160420093100/http://www.thehindu.com/features/cinema/a-saga-in-the-making/article812802.ece |archive-date=20 April 2016}}</ref> introduced [[steadicam]]s and new sound recording techniques to Indian films.<ref>{{Cite web |last=Pasupulate |first=Karthik |date=29 October 2015 |title=Raj Tarun to star in a silent film by RGV |url=http://timesofindia.indiatimes.com/entertainment/telugu/movies/news/Raj-Tarun-to-star-in-a-silent-film-by-RGV/articleshow/49567908.cms |url-status=dead |archive-url=https://web.archive.org/web/20160419120901/http://timesofindia.indiatimes.com/entertainment/telugu/movies/news/Raj-Tarun-to-star-in-a-silent-film-by-RGV/articleshow/49567908.cms |archive-date=19 April 2016 |access-date=19 April 2016 |website=The Times of India}}</ref> ''Siva'' attracted the young audience during its theatrical run, and its success encouraged filmmakers to explore a variety of themes and make experimental films.<ref>{{Cite web |date=5 October 2014 |title=Nagarjuna's Shiva completes 25 years |url=http://timesofindia.indiatimes.com/entertainment/telugu/movies/news/Nagarjunas-Shiva-completes-25-years/articleshow/44401475.cms |url-status=dead |archive-url=https://web.archive.org/web/20160419025043/http://timesofindia.indiatimes.com/entertainment/telugu/movies/news/Nagarjunas-Shiva-completes-25-years/articleshow/44401475.cms |archive-date=19 April 2016 |access-date=19 April 2016 |website=The Times of India}}</ref> Varma introduced [[road movie]] and [[film noir]] to Indian screen with ''[[Kshana Kshanam]]'' (1991).<ref>{{cite web|url=https://www.indiatoday.in/magazine/up-front/story/20120528-edouard-waintrop-on-the-new-indian-cinema-758464-2012-05-18 |title=Cannes critic on RGV's film craft at fribourg festival|date=18 May 2012 |publisher=Indiatoday.in |access-date=21 January 2023}}</ref> Varma experimented with close-to-life performances by the lead actors, which bought a rather fictional storyline a sense of authenticity at a time when the industry was being filled with commercial fillers.<ref>{{Cite news|last=Gopalrao|first=Griddaluru|date=18 October 1991|title=చిత్ర సమీక్ష: క్షణ క్షణం|language=te|page=7|work=[[Zamin Ryot]]|url=http://www.zaminryot.com/pdf/1991/Oct/18-oct-1991.pdf|access-date=21 June 2021|archive-date=13 September 2016|archive-url=https://web.archive.org/web/20160913133558/http://zaminryot.com/pdf/1991/Oct/18-oct-1991.pdf|url-status=live}}</ref>

[[Singeetam Srinivasa Rao]] introduced [[time travel]] to the Indian screen with ''[[Aditya 369]]'' (1991). The film dealt with exploratory dystopian and apocalyptic themes, taking the audience through a post-apocalyptic experience via time travel and folklore from 1526 CE, including a romantic subplot.<ref>{{Cite news |last=Narasimham |first=M. L. |date=12 October 2018 |title=The story behind the song ' Nerajaanavule' from the movie Aditya 369 |url=https://www.thehindu.com/entertainment/movies/the-story-behind-the-song-nerajaanavule-from-the-movie-aditya-369/article25201254.ece |access-date=28 August 2019 |work=The Hindu}}</ref> Singeetam Srinivasa Rao was inspired by the classic sci-fi novel ''[[The Time Machine]]''.<ref>{{Cite web |title=Singeetam Srinivasa Rao Interview: "The Golden Rule Of Cinema Is That There Is No Golden Rule" |url=https://silverscreen.in/tamil/features/interviews/singeetam-srinivasa-rao-interview-golden-rule-cinema-no-golden-rule/ |url-status=dead |archive-url=https://web.archive.org/web/20170103175919/https://silverscreen.in/tamil/features/interviews/singeetam-srinivasa-rao-interview-golden-rule-cinema-no-golden-rule/ |archive-date=3 January 2017 |access-date=16 February 2017 |website=Silverscreen.in}}</ref><ref>{{Cite web |last=Srinivasan |first=Pavithra |date=7 September 2010 |title=Singeetham Srinivasa Rao's gems before Christ |url=https://www.rediff.com/movies/slide-show/slide-show-1-south-interview-with-singeetham-srinivasa-rao/20100907.htm |access-date=16 July 2022 |website=Rediff.com}}</ref><ref>{{Cite news |title=Sudeep's excited about film with Ram Gopal Varma |work=[[The Times of India]] |url=https://timesofindia.indiatimes.com/entertainment/kannada/movies/news/Sudeeps-excited-about-film-with-Ram-Gopal-Varma/articleshow/18046826.cms |url-status=live |archive-url=https://web.archive.org/web/20131102124438/http://articles.timesofindia.indiatimes.com/2013-01-16/news-interviews/36373029_1_sudeep-ram-gopal-varma-rgv |archive-date=2 November 2013}}</ref>

[[Chiranjeevi]]'s works such as the social [[drama film]] ''[[Swayamkrushi]]'' (1987), [[comedy thriller]] ''[[Chantabbai]]'' (1986), the [[Vigilante film|vigilante thriller]] ''[[Kondaveeti Donga]]'' (1990),<ref>{{Cite web |title=Kondaveeti Donga (1990) |url=http://www.REPLACE |publisher=IMDb}}{{Dead link|date=August 2024}}</ref> the [[Western genre|Western thriller]] ''[[Kodama Simham]]'' (1990), and the [[action film|action thriller]], ''[[Gang Leader]]'' (1991), popularised genre films with the highest estimated cinema footfalls.<ref name="gang_leader">{{Cite news |last=Gopalan |first=Krishna |date=30 August 2008 |title=Southern movie stars & politics: A long love affair |work=[[The Economic Times]] |url=http://economictimes.indiatimes.com/articleshow/msid-3424194.cms |access-date=19 September 2010}}</ref> [[Sekhar Kammula]]'s ''[[Dollar Dreams (film)|Dollar Dreams]]'' (2000), which explored the conflict between American dreams and human feelings, re-introduced [[social realism]] to Telugu film which had stagnated in formulaic commercialism.<ref>{{Cite web |last=Gangadhar |first=V |date=17 July 2000 |title=rediff.com, Movies: The Dollar Dreams review |url=https://m.rediff.com/movies/2000/jul/17dream.htm |access-date=28 August 2019 |website=Rediff.com}}</ref> War drama ''[[Kanche]]'' (2015, [[Krish (director)|Krish Jagarlamudi]]) explored the 1944 Nazi attack on the Indian army in the [[Italian campaign (World War II)|Italian campaign]] of the Second World War.<ref name="Hans India MR">{{Cite web |last=Kalyanam |first=Rajeswari |date=24 October 2015 |title=Breaking new grounds |url=http://www.thehansindia.com/posts/index/2015-10-24/Breaking-new-grounds--182145 |archive-url=https://web.archive.org/web/20151025164933/http://www.thehansindia.com/posts/index/2015-10-24/Breaking-new-grounds--182145 |archive-date=25 October 2015 |access-date=5 February 2016 |website=The Hans India}}</ref>

[[File:SS Rajamouli, 2021.jpg|thumb|230x230px|[[S. S. Rajamouli|S.S Rajamouli]] has been described as "the biggest Indian film director ever" and "India's most significant director today".<ref>{{Cite web |last=Sharma |first=Suparna |date=30 April 2022 |title=Indian director Rajamouli scores a global hit with new film RRR |url=https://www.aljazeera.com/news/2022/4/30/indian-director-ss-rajamouli-rrr-film-teluga-cinema}}</ref><ref>{{Cite web |last=Dwyer |first=Rachel |date=1 April 2022 |title=Director's Roar |url=https://openthemagazine.com/cover-stories/directors-roar/}}</ref>]]

[[Pan-Indian film|Pan-Indian]] film is a term related to Indian cinema that originated with [[Telugu cinema]] as a mainstream commercial film appealing to audiences across the country with a spread to world markets.<ref>{{Cite web |date=3 August 2022 |title=The secret of the pan-Indian success of films from the south: Balancing the local and universal |url=https://indianexpress.com/article/opinion/columns/the-secret-of-the-pan-indian-success-of-films-from-the-south-8068662/}}</ref> [[S. S. Rajamouli]] pioneered the pan-Indian films movement with duology of epic action films ''[[Baahubali: The Beginning]]'' (2015) and ''[[Baahubali 2: The Conclusion]]'' (2017), that changed the face of Indian cinema. ''Baahubali: The Beginning'' became the first Indian film to be nominated for American [[Saturn Awards]].<ref>{{Cite web |date=27 February 2016 |title='Baahubali' nominated for Saturn Awards in five categories |url=https://indianexpress.com/article/entertainment/regional/baahubali-nominated-for-saturn-awards-in-five-categories/}}</ref> It received national and international acclaim for Rajamouli's direction, story, visual effects, cinematography, themes, action sequences, music, and performances, and became a record-breaking box office success.<ref>{{Cite web |date=9 September 2022 |title="Baahubali-the-beginning" |website=[[Metacritic]] |url=https://www.metacritic.com/movie/baahubali-the-beginning/}}</ref> The sequel ''Baahubali 2'' (2017) went on to win the American "[[Saturn Award for Best International Film]]" & emerged as the [[List of highest-grossing Indian films#Worldwide gross collection|second-highest-grossing Indian film]] of all time.<ref>{{Cite magazine |last=McNary |first=Dave |date=27 June 2018 |title='Black Panther' Leads Saturn Awards; 'Better Call Saul,' 'Twin Peaks' Top TV Trophies |url=https://variety.com/2018/film/news/saturn-awards-2018-black-panther-better-call-saul-twin-peaks-1202860077/ |access-date=9 January 2019 |magazine=[[Variety (magazine)|Variety]]}}</ref><ref>{{Cite news |last=Sudhir |first=TS |date=May 2017 |title=Is Baahubali 2 a Hindu film? Dissecting religion, folklore, mythology in Rajamouli's epic saga |url=http://www.firstpost.com/entertainment/is-baahubali-2-a-hindu-film-bahubali-2-religion-rajamouli-3416228.html |access-date=26 October 2022 |work=FirstPost}}</ref>

S.S Rajamouli followed up with the alternate historical film ''[[RRR (film)|RRR]]'' (2022) that received universal critical acclaim for its direction, screenwriting, cast performances, cinematography, soundtrack, action sequences and [[VFX]], which further consolidated the Pan-Indian film market. The film was considered one of the ten best films of the year by the [[National Board of Review]], making it only the seventh non-English language film ever to make it to the list.<ref>{{Cite news |date=9 December 2022 |title='RRR' Oscar campaign gets a boost: Rajamouli's film named among National Board of Review's 10 best films |newspaper=The Economic Times |url=https://economictimes.indiatimes.com/news/new-updates/rrr-oscar-campaign-gets-a-boost-rajamoulis-film-named-among-national-board-of-reviews-10-best-films/articleshow/96109907.cms}}</ref> It also became the first Indian film by an Indian production to win an [[Academy Awards|Academy Award]].<ref name=":3">{{Cite news |date=13 March 2023 |title=Oscars 2023: RRR's Naatu Naatu wins best original song |url=https://www.bbc.com/news/world-asia-india-64935389}}</ref> The film went on to receive several other nominations at the [[Golden Globe Awards]], [[Critics' Choice Movie Awards|Critics' Choice Movie Award]] including [[Critics' Choice Movie Award for Best Foreign Language Film|Best Foreign Language Film]].<ref>{{Cite web |last=Davis |first=Clayton |date=12 December 2022 |title='RRR' Roars With Golden Globe Noms for Original Song and Non-English Language Film |url=https://variety.com/2022/awards/awards/rrr-golden-globes-nominated-1235456635/}}</ref> Films like ''[[Pushpa: The Rise]]'', ''[[Salaar: Part 1 – Ceasefire]]'' and ''[[Kalki 2898 AD]]'' have further contributed to the pan-Indian film wave.

Actors like [[Prabhas]], [[Allu Arjun]], [[Ram Charan]] and [[N. T. Rama Rao Jr.]] enjoy a nationwide popularity among the audiences after the release of their respective Pan-Indian films. [[Film criticism|Film critics]], journalists and analysts, such as [[Baradwaj Rangan]] and Vishal Menon, have labelled Prabhas as the "first legit Pan-Indian Superstar".<ref>{{Cite web |date=20 August 2020 |title="Is Prabhas India's First Legit PAN Indian Star?'". |url=https://www.filmcompanion.in/features/telugu-movies-is-prabhas-indias-first-legit-pan-indian-star-baradwaj-rangan}}</ref>

[[Hindi cinema]] has been remaking [[Telugu cinema|Telugu]] films since the late 1940s, some of which went on to become landmark films. Between 2000 and 2019, one in every three successful films made in Hindi was either a remake or part of a series. And most of the star actors, have starred in the hit remakes of Telugu films.<ref>{{Cite news |date=18 February 2023 |title=Bollywood's Telugu takeover: 'Shehzada' to 'Jersey', remakes of hit South films |url=https://timesofindia.indiatimes.com/entertainment/telugu/movies/news/bollywoods-telugu-takeover-shehzada-to-jersey-remakes-of-hit-south-films/photostory/98038983.cms?picid=98039072 |access-date=8 August 2024 |work=The Times of India |issn=0971-8257}}</ref>

==== Tamil ====
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Tamil cinema established Madras (now [[Chennai]]) as a secondary film production centre in India, used by [[Bollywood|Hindi cinema]], other South Indian film industries, and [[Cinema of Sri Lanka|Sri Lankan cinema]].<ref>{{Cite web |title=The Tamil Nadu Entertainments Tax Act, 1939 |url=http://www.tnvat.gov.in/English/TN_ENTERTAINMENT%20TAX_ACT_1939.pdf |url-status=dead |archive-url=https://web.archive.org/web/20111015202926/http://tnvat.gov.in/English/TN_ENTERTAINMENT%20TAX_ACT_1939.pdf |archive-date=15 October 2011 |access-date=26 September 2011 |publisher=Government of Tamil Nadu}}</ref> Over the last quarter of the 20th century, Tamil films from India established a global presence through distribution to an increasing number of overseas theatres.<ref>{{Cite news |last=Pillai |first=Sreedhar |title=A gold mine around the globe |language=en |work=[[The Hindu]] |url=http://www.thehindu.com/features/cinema/tamil-film-business-in-overseas-market/article8483410.ece |access-date=9 March 2017}}</ref><ref>{{Cite web |title=Eros buys Tamil film distributor |url=http://www.business-standard.com/india/storypage.php?autono=290977 |url-status=dead |archive-url=https://web.archive.org/web/20110903230315/http://www.business-standard.com/india/storypage.php?autono=290977 |archive-date=3 September 2011 |access-date=6 October 2011 |website=[[Business Standard]]}}
* {{Cite news|url=http://articles.economictimes.indiatimes.com/2011-06-12/news/29649940_1_big-cinemas-anil-arjun-screens|title=With high demand for Indian movies, Big Cinemas goes global|access-date=26 September 2011|work=The Times of India|date=12 June 2011}}</ref> The industry also inspired independent filmmaking in Sri Lanka and [[Tamil diaspora]] populations in Malaysia, Singapore, and the [[Western Hemisphere]].<ref>{{Cite news |title=Symposium: Sri Lanka's Cultural Experience |work=[[Frontline (magazine)|Frontline]] |location=Chennai, India |url=http://www.hindu.com/fline/fl1604/16040780.htm |access-date=26 September 2011}}
* {{Cite news|url=http://www.thehindu.com/news/cities/Chennai/article2339090.ece|title=Celebration of shared heritage at Canadian film festival|work=[[The Hindu]]|access-date=26 September 2011|location=Chennai, India|date=9 August 2011}}</ref>

{{multiple image
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| footer = ''From left to right:'' [[Mani Ratnam]] (film director), [[Kamal Hasan]] and [[Rajinikanth]]
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''[[Marupakkam]]'' (1991, [[K. S. Sethumadhavan]]) and ''[[Kanchivaram]]'' (2007) each won the [[National Film Award for Best Feature Film]].<ref name="Baskaran2013">{{Cite book |last=Baskaran |first=Sundararaj Theodore |url=https://books.google.com/books?id=3jBcAgAAQBAJ&pg=PT164 |title=The Eye Of The Serpent: An Introduction To Tamil Cinema |publisher=Westland |year=2013 |isbn=978-93-83260-74-4 |pages=164–}}</ref> Tamil films receive significant patronage in neighbouring Indian states [[Kerala]], [[Karnataka]], [[Andhra Pradesh]], [[Maharashtra]], Gujarat and New Delhi. In Kerala and Karnataka the films are directly released in Tamil but in Andhra Pradesh and Telangana they are generally dubbed into Telugu.<ref name="sify1">{{Cite web |last=Movie Buzz |date=14 July 2011 |title=Tamil films dominate Andhra market |url=http://www.sify.com/movies/tamil-films-dominate-andhra-market-news-tamil-lhnlKUabgib.html |url-status=dead |archive-url=https://web.archive.org/web/20110716065723/http://www.sify.com/movies/tamil-films-dominate-andhra-market-news-tamil-lhnlKUabgib.html |archive-date=16 July 2011 |access-date=27 April 2013 |website=[[Sify]]}}</ref><ref>{{Cite news |date=29 December 2006 |title=A few hits and many flops |work=[[The Hindu]] |location=Chennai, India |url=http://www.hindu.com/fr/2006/12/29/stories/2006122901630100.htm |url-status=dead |archive-url=https://web.archive.org/web/20070103213349/http://www.hindu.com/fr/2006/12/29/stories/2006122901630100.htm |archive-date=3 January 2007}}</ref>

Tamil films have had international success for decades. Since ''[[Chandralekha (1948 film)|Chandralekha]]'' (1948), ''[[Muthu (film)|Muthu]]'' (1995) was the second Tamil film to be dubbed into Japanese (as ''Mutu: Odoru Maharaja''<ref>{{Cite web |title=Mutu: Odoru Maharaja |url=http://ir.minpaku.ac.jp/dspace/bitstream/10502/1140/1/SES71_011.pdf |url-status=dead |archive-url=https://web.archive.org/web/20110722073202/http://ir.minpaku.ac.jp/dspace/bitstream/10502/1140/1/SES71_011.pdf |archive-date=22 July 2011 |access-date=12 May 2011}}</ref>) and grossed a record $1.6&nbsp;million in 1998.<ref>{{Cite news |last=Gautaman Bhaskaran |date=6 January 2002 |title=Rajnikanth casts spell on Japanese viewers |work=[[The Hindu]] |url=http://www.hinduonnet.com/2002/01/06/stories/2002010601320900.htm |url-status=usurped |access-date=10 May 2007 |archive-url=https://web.archive.org/web/20070520060231/http://www.hinduonnet.com/2002/01/06/stories/2002010601320900.htm |archive-date=20 May 2007 }}</ref> In 2010, ''[[Enthiran]]'' grossed a record $4&nbsp;million in North America.<ref>{{Cite web |date=11 March 2018 |title=Agni Natchathiram & Kaakha Kaakha {{!}} 12 Unknown facts in Kollywood history! |url=https://www.behindwoods.com/tamil-movies/slideshow/15-unknown-facts-in-kollywood-history/angi-natachathiram-kaakha-kaakha.html |access-date=13 July 2021 |website=Behindwoods}}</ref> Tamil-language films appeared at multiple film festivals. ''[[Kannathil Muthamittal]]'' (Ratnam), ''[[Veyil (2006 film)|Veyyil]]'' ([[Vasanthabalan]]) and ''[[Paruthiveeran]]'' ([[Ameer Sultan]]), ''[[Kanchivaram]]'' ([[Priyadarshan]]) premiered at the [[Toronto International Film Festival]]. Tamil films were submitted by India for the Academy Award for Best Foreign Language Film on eight occasions.<ref>{{Cite web |title=India's Oscar failures (25 Images) |url=http://movies.ndtv.com/GalleryDetails.aspx?ID=3290&category=Movies&picno=1&Section=Bollywood |url-status=dead |archive-url=https://web.archive.org/web/20120922140550/http://movies.ndtv.com/GalleryDetails.aspx?ID=3290&category=Movies&picno=1&Section=Bollywood |archive-date=22 September 2012 |access-date=12 May 2011 |publisher=Movies.ndtv.com}}</ref> Chennai-based music composer [[A. R. Rahman|A. R. Rahaman]] achieved global recognition with two [[Academy Awards]] and is nicknamed as "Isai Puyal" (musical storm) and "Mozart of Madras". ''[[Nayakan]]'' (1987, [[Kamal Haasan]]) was included in [[Time's All-Time 100 Movies|''Time''{{'s}} All-Time 100 Movies]] list.<ref>[https://web.archive.org/web/20050525030815/http://www.time.com/time/2005/100movies/0,23220,nayakan,00.html Nayakan], [[Time's All-Time 100 Movies|All-Time 100 Best Films]], ''[[Time (magazine)|Time]]'', 2005</ref>

====Malayalam====
[[File:Director of the film’Naalu Pennugal’ Adoor Gopalkrishnan addressing a press conference on November 29,2007 at IFFI, Panaji, Goa.jpg|thumbnail|180px|[[Adoor Gopalakrishnan]]]]

Malayalam cinema experienced its Golden Age during this time with works of filmmakers such as [[Adoor Gopalakrishnan]], [[G. Aravindan]], [[T. V. Chandran]] and [[Shaji N. Karun]].<ref name="malayalamcinema1">{{Cite web |title=Cinema History Malayalam Cinema |url=http://malayalamcinema.com/Content-4/CinemaHistory.html |url-status=dead |archive-url=https://web.archive.org/web/20081223132036/http://malayalamcinema.com/Content-4/CinemaHistory.html |archive-date=23 December 2008 |access-date=30 December 2008 |publisher=Malayalamcinema.com}}</ref> Gopalakrishnan is often considered to be Ray's spiritual heir.<ref name="auto1">{{Cite web |date=31 July 1997 |title=The Movie Interview: Adoor Gopalakrishnan |url=http://www.rediff.com/movies/jul/31adoor.htm |access-date=21 May 2009 |publisher=[[Rediff.com|Rediff]]}}</ref> He directed some of his most acclaimed films during this period, including ''[[Elippathayam]]'' (1981) which won the [[Sutherland Trophy]] at the [[London Film Festival]].{{Citation needed|date=June 2024}} In 1984 ''[[My Dear Kuttichathan]]'', directed by Jijo Punnoose under [[Navodaya Studio]], was released and it was the first Indian film to be filmed in [[3D film|3D]] format. Karun's debut film ''[[Piravi]]'' (1989) won the [[Caméra d'Or]] at [[1989 Cannes Film Festival|Cannes]], while his second film ''[[Swaham]]'' (1994) was in competition for the [[Palme d'Or]]. ''[[Vanaprastham]]'' was screened at the [[Un Certain Regard]] section of the Cannes Film Festival.{{Citation needed|date=June 2024}} [[Murali Nair]]'s ''[[Marana Simhasanam]]'' (1999), inspired by the first execution by [[electrocution]] in India, the film was screened in the [[Un Certain Regard]] section at the [[1999 Cannes Film Festival]] where it won the [[Caméra d'Or]].<ref name="festival-cannes.com">{{cite web |url=http://www.festival-cannes.com/en/archives/ficheFilm/id/5370/year/1999.html |title=Festival de Cannes: Throne of Death |access-date=10 October 2009|work=festival-cannes.com}}</ref><ref name="rediff">{{cite web|url=https://m.rediff.com/movies/1999/jul/08mur.htm |title=Rediff On The NeT, Movies: An interview with Murali Nair |publisher=M.rediff.com |date=8 July 1999 |access-date=26 August 2019}}</ref> The film received special reception at the [[British Film Institute]].<ref>{{cite news|url=https://www.bfi.org.uk/films-tv-people/4ce2b82b6db57 |archive-url=https://web.archive.org/web/20190826075649/https://www.bfi.org.uk/films-tv-people/4ce2b82b6db57 |url-status=dead |archive-date=26 August 2019 |title=Marana Simhasanam (1999) |newspaper=BFI |access-date=26 August 2019}}</ref><ref>{{cite web|author=site admin |url=https://www.indiatoday.in/magazine/society-the-arts/films/story/19990607-london-based-indian-filmmaker-murali-nair-wins-coveted-best-first-film-award-at-cannes-781050-1999-06-07 |title=Golden windfall - Society & The Arts News - Issue Date: Jun 7, 1999 |publisher=Indiatoday.in |date=7 June 1999 |access-date=26 August 2019}}</ref>

[[Fazil (director)|Fazil]]'s ''[[Manichitrathazhu]]'' (1993), scripted by [[Madhu Muttam]], is inspired by a tragedy that happened in an [[Ezhava]] ''[[tharavad]]'' of [[Alummoottil]] meda' (an old traditional house) located at Muttom, Alappuzha district, with a central [[Travancore]] [[Ezhava|Channar]] family, in the 19th century.<ref name="Mani01">{{Cite book |last1=Osella |first1=Filippo |url={{GBurl|rMRw0gTZSJwC|p=264}} |title=Social Mobility in Kerala: Modernity and Identity in Conflict |last2=Osella |first2=Caroline |publisher=Pluto Press |year=2000 |isbn=0-7453-1693-X |page=264}}</ref> It was remade in four languages&nbsp;– in [[Kannada]] as ''[[Apthamitra]]'', in [[Tamil language|Tamil]] as ''[[Chandramukhi]]'' , in [[Bengali language|Bengali]] as ''[[Rajmohol]]'' and in [[Hindi]] as ''[[Bhool Bhulaiyaa]]''&nbsp;– all being commercially successful.<ref>{{Cite news|title=Shobana reminisces on impact of Manichitrathazhu on film's "27 birthday" |url=https://timesofindia.indiatimes.com/entertainment/malayalam/movies/news/shobana-reminisces-on-impact-of-manichitrathazhu-on-films-27-birthday/articleshow/79880037.cms|access-date=8 July 2021|website=The Times of India|language=en|last1=Mathews |first1=Anna }}</ref> [[Jeethu Joseph]]'s ''[[Drishyam]]'' (2013) was remade into four other Indian languages: ''[[Drishya]]'' (2014) in [[Kannada]], ''[[Drushyam]]'' (2014) in [[Telugu language|Telugu]], ''[[Papanasam (film)|Papanasam]]'' (2015) in [[Tamil language|Tamil]] and ''[[Drishyam (2015 film)|Drishyam]]'' (2015) in [[Hindi]]. Internationally, it was remade in [[Sinhala language|Sinhala]] language as ''[[Dharmayuddhaya]]'' (2017) and in [[Chinese language|Chinese]] as ''[[Sheep Without a Shepherd]]'' (2019), and also in [[Indonesian language|Indonesian]].<ref>{{Cite web |date=22 January 2020 |title=Wu Sha: The Chinese remake of Mohanlal starrer Drishyam is minting moolah |url=https://indianexpress.com/article/entertainment/malayalam/mohanlal-drishyam-chinese-remake-box-office-6228054/ |website=The Indian Express}}</ref><ref>{{cite tweet|number=1438519432154730500|user=antonypbvr|title=ഇൻഡോനേഷ്യൻ ഭാഷയിലേക്ക് റീമേക്ക് ചെയ്യുന്ന ആദ്യ മലയാള ചിത്രമായി 'ദൃശ്യം' മാറിയ വിവരം സന്തോഷപൂർവം അറിയിക്കുന്നു. ജ...|date=16 September 2021}}</ref><ref name="The Times of India">{{Cite news |title=Mohanlal's 'Drishyam' to be remade in Indonesian |work=[[The Times of India]] |url=https://timesofindia.indiatimes.com/entertainment/malayalam/movies/news/big-update-mohanlal-jeethu-josephs-drishyam-to-get-an-indonesian-remake/articleshow/86284816.cms}}</ref>

====Kannada====
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Ethnographic works took prominence such as [[B. V. Karanth]]'s ''[[Chomana Dudi]]'' (1975), (based on ''Chomana Dudi'' by [[Shivaram Karanth]]), [[Girish Karnad]]'s ''[[Kaadu (1973 Kannada film)|Kaadu]]'' (1973), (based on ''Kaadu'' by [[Srikrishna Alanahalli]]), [[Tikkavarapu Pattabhirama Reddy|Pattabhirama Reddy]]'s ''[[Samskara (film)|Samskara]]'' (1970) (based on ''Samskara'' by [[U. R. Ananthamurthy]]), fetching the Bronze Leopard at [[Locarno International Film Festival]],<ref name="1nellore.com">{{Cite web |title=Tikkavarapu Pattabhirama Reddy – Poet, Film maker of international fame from Nellore |url=http://1nellore.com/1849/tikkavarapu-pattabhirama-reddy-poet-film-maker-of-international-fame/ |url-status=dead |archive-url=https://web.archive.org/web/20141006102018/http://1nellore.com/1849/tikkavarapu-pattabhirama-reddy-poet-film-maker-of-international-fame/ |archive-date=6 October 2014 |access-date=26 January 2016}}</ref> and [[T. S. Nagabharana]]'s [[Mysore Mallige (film)|Mysuru Mallige]] (based on the works of poet [[K. S. Narasimhaswamy]]).<ref>{{Cite web |title=TS Nagabharana movies list |url=http://www.bharatmovies.com/director/ts-nagabharana-movies.htm |access-date=4 November 2016 |website=bharatmovies.com}}</ref> [[Girish Kasaravalli]]'s ''[[Ghatashraddha]]'' (1977), won the Ducats Award at the Manneham Film Festival Germany,<ref name="auto">{{Cite web |title=Asiatic Film Mediale |url=http://www.asiaticafilmmediale.it/2002/uk/intro.html |url-status=dead |archive-url=https://web.archive.org/web/20081116041627/http://www.asiaticafilmmediale.it/2002/uk/intro.html |archive-date=16 November 2008 |publisher=asiaticafilmmediale.it }}</ref> ''[[Dweepa]]'' (2002), made to Best Film at [[Moscow International Film Festival]],<ref name="The Hindu">{{Cite news |date=25 April 2011 |title=Girish Kasaravalli to be felicitated |work=[[The Hindu]] |url=http://www.thehindu.com/todays-paper/tp-national/tp-karnataka/girish-kasaravalli-to-be-felicitated/article1765035.ece |access-date=25 March 2014}}</ref><ref name="awa">{{Cite web |date=25 October 2002 |title=A genius of theatre |url=http://www.hinduonnet.com/fline/fl1920/stories/20021011005912100.htm |access-date=14 March 2009 |website=The Frontline |archive-date=6 December 2008 |archive-url=https://web.archive.org/web/20081206090143/http://www.hinduonnet.com/fline/fl1920/stories/20021011005912100.htm |url-status=dead }}</ref>

[[Prashanth Neel]]'s ''[[K.G.F (film series)|K.G.F]]'' (2018, 2022) is a [[period film|period]] [[action film|action]] series based on the [[Kolar Gold Fields]].<ref>{{Cite news |title=The story of KGF is fresh and special for Indian cinema: Yash |url=https://www.newindianexpress.com/entertainment/kannada/2018/dec/05/no-technology-can-replace-the-theatrical-experience-1907707.html |access-date=12 September 2022 |newspaper=The New Indian Express | first=Shilajit | last=Mitra | date=5 December 2018 }}</ref> Set in the late 1970s and early 1980s the series follows Raja Krishnappa Bairya aka Rocky ([[Yash (actor)|Yash]]), a Mumbai-based high ranking [[Contract killing|mercenary]] born in poverty, to his rise to power in the Kolar Gold Fields and the subsequent uprising as one of the biggest gangster and businessman at that time.<ref>{{cite web | url=https://telugu.news18.com/news/movies/yash-prashanth-neel-kgf-chapter-2-total-world-wide-box-office-closing-collections-ta-1327904.html | title=KGF Chapter 2 Closing Collections : యశ్ కేజీఎఫ్ ఛాప్టర్ 2 క్లోజింగ్ కలెక్షన్స్.. ఎన్ని వందల కోట్ల లాభం అంటే | date=9 June 2022 }}</ref><ref name="newsable.asianetnews.com">{{cite web |title=Yash's KGF: Chapter 2 makes multiple records in Canada |url=https://newsable.asianetnews.com/gallery/entertainment/yash-kgf-chapter-2-makes-multiple-records-in-canada-drb-rcfwqh |access-date=29 May 2022 |website=Asianet News Network Pvt Ltd |language=en}}</ref> The film gathered cult following becoming the [[List of highest-grossing Kannada films|highest-grossing Kannada film]].<ref name="kgf12">{{citation|title=Yash's film KGF: Chapter 1 made more than Rs 250 crore at the box office worldwide and became a magnum-opus. Now, the makers are busy with pre-production work of KGF: Chapter 2.|date=9 February 2019|url=https://www.indiatoday.in/amp/movies/regional-cinema/story/yash-reveals-he-has-approached-sanjay-dutt-for-kgf-chapter-2-1452187-2019-02-09|work=indiatoday}}</ref> [[Rishab Shetty]]'s ''[[Kantara (film)|Kantara]]'' (2022), received acclaim for showcasing the [[Buta Kola|Bhoota Kola]], a native [[Ceremonial dance]] performance prevalent among the [[Hindus]] of coastal Karnataka.<ref>{{cite news |title=Kantara Twitter review: Celebs and netizens hail Rishab Shetty's film as a masterpiece |url=https://www.ottplay.com/news/kantara-twitter-review-celebs-and-netizens-hail-rishab-shettys-film-as-a-masterpiece/a62eac765e36.html |access-date=30 September 2022 |work=Ottplay |language=en }}{{Dead link|date=May 2023 |bot=InternetArchiveBot |fix-attempted=yes }}</ref>

====Marathi====
[[Marathi cinema]] also known as Marathi film industry, is a film industry based in [[Mumbai]], [[Maharashtra]]. It is the oldest film industry of India. The first Marathi movie, ''Raja Harishchandra'' of Dadasaheb Phalke was made in 1912, released in 1913 in [[Girgaon]], it was a silent film with [[Marathi language|Marathi]]-English [[intertitle]]s made with full Marathi actors and crew, after the film emerged successful, Phalke made many movies on Hindu mythology.

In 1932, the first [[sound film]], [[Ayodhyecha Raja]] was released, just five years after 1st Hollywood sound film ''[[The Jazz Singer]]'' (1927). The first Marathi film in colour, ''[[Pinjara (film)|Pinjara]]'' (1972), was made by [[V. Shantaram]]. In 1960s{{En dash}}70s movies was based on rural, social subjects with drama and humour genre, [[Nilu Phule]] was prominent villain that time. In 1980s, M. Kothare and [[Sachin Pilgaonkar (actor)|Sachin Pilgaonkar]] made many hit movies on thriller, and comedy genre respectively. [[Ashok Saraf]] and [[Laxmikant Berde]] starred in many of these and emerged as top actors. Mid-2000s onwards, the industry frequently made hit movies.<ref name="IT-2017" /><ref name=":1" /><ref name="Goldsmith" />

== Cultural context ==
[[File:Victoria Public Hall, Chennai.JPG|thumb|[[Victoria Public Hall]], [[Chennai]], served as a theatre in the late 19th century and the early 20th century.]]
[[File:Imax theater hyderabad.jpg|thumb|Prasads IMAX Theatre, [[Hyderabad State|Hyderabad]], was once the world's largest 3D-IMAX screen and the most attended screen in the world.<ref name="CNN Travel">{{Cite news |title=CNN Travel |work=CNN|url=http://travel.cnn.com/explorations/escape/worlds-10-coolest-movie-theaters-355218}}</ref><ref name="The Hindu Newspaper">{{Cite news |date=7 August 2011 |title=King of Good times Prasad's Imax |publisher=The Hindu Newspaper |url=http://www.thehindu.com/todays-paper/tp-features/tp-downtown/article2332172.ece}}</ref><ref name="gizmodo.com">{{Cite web |date=30 May 2009 |title=The Seven IMAX Wonders of the World |url=https://gizmodo.com/5273201/the-seven-imax-wonders-of-the-world |access-date=12 June 2013 |publisher=Gizmodo.com}}</ref>]]
[[File:Ramoji 14.jpg|thumb|[[Ramoji Film City]], Hyderabad, is the world's largest film studio.<ref>{{Cite web |title=Ramoji Film City sets record |url=http://www.thehindubusinessline.com/2005/08/03/stories/2005080301301901.htm |url-status=dead |archive-url=https://web.archive.org/web/20081208180407/http://www.thehindubusinessline.com/2005/08/03/stories/2005080301301901.htm |archive-date=8 December 2008 |access-date=3 August 2007 |website=[[Business Line]]}}</ref>]]

K. Moti Gokulsing and [[Wimal Dissanayake]] identified six major influences that have shaped Indian popular cinema:<ref name="Gokulsing">{{Cite book |last1=Gokulsing |first1=K. Moti |title=Indian Popular Cinema: A Narrative of Cultural Change |last2=Dissanayake, Wimal |publisher=Trentham Books |year=2004 |isbn=1-85856-329-1 |pages=98–99}}</ref>

*The ancient [[Indian epic poetry|epics]] of ''[[Mahabharata]]'' and ''[[Ramayana]]'' influenced the narratives of Indian cinema. Examples of this influence include the techniques of a [[side story]], [[back-story]] and [[story within a story]]. Indian popular films often have plots that branch into sub-plots; such narrative dispersals can be seen in the 1993 films ''[[Khalnayak]]'' and ''[[Gardish]]''.
*Ancient [[Sanskrit drama]], with its emphasis on spectacle, [[Classical Indian music|music]], [[Classical Indian dance|dance]] and gesture combined "to create a vibrant artistic unit with dance and mime being central to the dramatic experience". Sanskrit dramas were known as ''[[Natya Shastra|natya]]'', derived from the root word {{transliteration|sa|nrit}} (dance), featuring spectacular dance-dramas.<ref name="Gokulsing-98" /> The ''[[Rasa (aesthetics)|Rasa]]'' method of performance, dating to ancient times, is one of the fundamental features that differentiate Indian from Western cinema. In the ''Rasa'' method, the performer conveys emotions to the audience through empathy, in contrast to the Western [[Stanislavski's system|Stanislavski method]] where the actor must become "a living, breathing embodiment of a character". The ''rasa'' method is apparent in the performances of Hindi actors such as Bachchan and Shah Rukh Khan and in Hindi films such as ''[[Rang De Basanti]]'' (2006),<ref name="Jones">{{Cite journal |last=Matthew Jones |date=January 2010 |title=Bollywood, Rasa and Indian Cinema: Misconceptions, Meanings and Millionaire |journal=Visual Anthropology |volume=23 |issue=1 |pages=33–43 |doi=10.1080/08949460903368895 |s2cid=144974842}}</ref> and Ray's works.<ref name="Cooper 2000 1-4">{{Cite book |last=Cooper |first=Darius |url=https://archive.org/details/cinemaofsatyajit00coop/page/1 |title=The Cinema of Satyajit Ray: Between Tradition and Modernity |publisher=[[Cambridge University Press]] |year=2000 |isbn=978-0-521-62980-5 |pages=[https://archive.org/details/cinemaofsatyajit00coop/page/1 1–4]}}</ref>
*Traditional folk [[theatre of India|theatre]], which became popular around the 10th century with the decline of Sanskrit theatre. These regional traditions include the [[Yatra]] of [[West Bengal]], the [[Ramlila]] of Uttar Pradesh, [[Yakshagana]] of Karnataka, 'Chindu Natakam' of Andhra Pradesh and the [[Terukkuttu]] of Tamil Nadu.
*[[Parsi theatre]], which blends [[realism (arts)|realism]] and fantasy, containing crude humour, songs and music, sensationalism, and dazzling stagecraft.<ref name="Gokulsing-98">{{Cite book |last=K. Moti Gokulsing |first=K. Gokulsing, Wimal Dissanayake |title=Indian Popular Cinema: A Narrative of Cultural Change |publisher=Trentham Books |year=2004 |page=98}}</ref> These influences are clearly evident in ''[[Masala (film genre)|masala]]'' films such as ''[[Coolie (1983 Hindi film)|Coolie]]'' (1983), and to an extent in more recent critically acclaimed films such as ''Rang De Basanti''.<ref name=Jones/>
*Hollywood-made popular musicals from the 1920s through the 1960s, though Indian films used musical sequences as another fantasy element in the song-and-dance tradition of narration, undisguised and "intersect[ing] with people's day-to-day lives in compelex and interesting ways."<ref>{{Cite book |last=K. Moti Gokulsing |first=K. Gokulsing, Wimal Dissanayake |title=Indian Popular Cinema: A Narrative of Cultural Change |publisher=Trentham Books |year=2004 |pages=98–99}}</ref> 
*Western music videos, particularly [[MTV]], had an increasing influence in the 1990s, as can be seen in the pace, camera angles, dance sequences, and music of recent Indian films. An early example of this approach was ''[[Bombay (film)|Bombay]]'' (1995, Mani Ratnam).<ref>{{Cite book |last=K. Moti Gokulsing |first=K. Gokulsing, Wimal Dissanayake |title=Indian Popular Cinema: A Narrative of Cultural Change |publisher=Trentham Books |year=2004 |page=99}}</ref>

Sharmistha Gooptu and Bhaumik identify [[Indo-Persian culture|Indo-Persian]]/[[Islamicate]] culture as another major influence. In the early 20th century, [[Urdu]] was the [[lingua franca]] of popular performances across northern India, established in [[performance art]] traditions such as [[nautch]] dancing, [[Urdu poetry]] and Parsi theatre. Urdu and related [[Hindi dialects]] were the most widely understood across northern India, thus [[Hindustani language|Hindustani]] became the standardised language of early Indian [[talkies]]. ''[[One Thousand and One Nights]]'' (''Arabian Nights'') had a strong influence on Parsi theatre, which adapted "[[Persianate]] adventure-romances" into films, and on early Bombay cinema where "''Arabian Nights'' cinema" became a popular genre.<ref>{{Cite book |last=Gooptu |first=Sharmistha |url={{google books|plainurl=y|id=DcUtCgAAQBAJ|page=38}} |title=Bengali Cinema: 'An Other Nation' |date=2010 |publisher=[[Routledge]] |isbn=9781136912177 |page=38 |language=en}}</ref>

Like mainstream Indian popular cinema, Indian [[parallel cinema]] was influenced by a combination of Indian theatre and [[Indian literature]] (such as [[Bengali literature]] and [[Urdu poetry]]), but differs when it comes to foreign influences, where it is influenced more by [[European cinema]] (particularly [[Italian neorealism]] and French [[poetic realism]]) than by Hollywood. Ray cited [[Vittorio De Sica]]'s ''[[Bicycle Thieves]]'' (1948) and [[Jean Renoir]]'s ''[[The River (1951 film)|The River]]'' (1951), on which he assisted, as influences on his debut film ''[[Pather Panchali (film)|Pather Panchali]]'' (1955).

== International influence ==
During colonial rule, Indians bought film equipment from Europe.<ref name="Burra&Rao252-253" /> The British funded wartime propaganda films during the [[Second World War]], some of which showed the [[Indian Army (1895–1947)|Indian army]] pitted against the [[Axis powers]], specifically the [[Empire of Japan]], which had managed to infiltrate India.<ref name="Velayutham174">Velayutham, 174</ref> One such story was ''[[Burma Rani]]'', which depicted civilian resistance to [[Japanese occupation of Burma|Japanese occupation]] by British and Indian forces in Myanmar.<ref name=Velayutham174/> Pre-independence businessmen such as J. F. Madan and Abdulally Esoofally traded in global cinema.<ref name="Burra&Rao253" />

Early Indian films made early inroads into the [[Soviet Union]], [[Middle East]], [[Southeast Asia]]<ref name="Desai38">Desai, 38</ref> and [[China]]. Mainstream Indian movie stars gained international fame across [[Asia]]<ref>{{Cite web |last=Sudha Ramachandran |date=2 June 2015 |title=Budding romance: Bollywood in China |url=https://asiatimes.com/2015/06/budding-romance-bollywood-in-china/ |access-date=19 October 2015 |publisher=[[Asia Times]]}}</ref><ref>{{Cite web |last=Anil K. Joseph |date=20 November 2002 |title=Lagaan revives memories of Raj Kapoor in China |url=http://www.expressindia.com/news/fullstory.php?newsid=16983 |url-status=dead |archive-url=https://web.archive.org/web/20120924055801/http://www.expressindia.com/news/fullstory.php?newsid=16983 |archive-date=24 September 2012 |access-date=30 January 2009 |publisher=[[Press Trust of India]]}}</ref><ref>{{Cite web |date=13 February 2004 |title=Rahman's 'Lagaan' cast a spell on me |url=http://sify.com/peopleandplaces/fullstory.php?id=13388284 |url-status=dead |archive-url=https://web.archive.org/web/20090324022050/http://sify.com/peopleandplaces/fullstory.php?id=13388284 |archive-date=24 March 2009 |access-date=24 February 2009 |website=[[Sify]]}}</ref> and [[Eastern Europe]].<ref>{{Cite web |last=Ashreena |first=Tanya |title=Promoting Bollywood Abroad Will Help to Promote India |url=http://www.chillibreeze.com/articles/Indian-films.asp |url-status=dead |archive-url=https://web.archive.org/web/20131203003948/http://www.chillibreeze.com/articles/Indian-films.asp |archive-date=3 December 2013}}</ref> For example, Indian films were more [[List of highest-grossing films in the Soviet Union|popular in the Soviet Union]] than [[Cinema of the United States|Hollywood films]]<ref name="Rajagopalan2005">{{Cite book |last=Rajagopalan |first=Sudha |url={{google books|plainurl=y|id=cpoLAQAAMAAJ}} |title=Indian Films in Soviet Cinemas: The Culture of Movie-going After Stalin |publisher=Indiana University Press |year=2005 |isbn=978-0-253-22099-8}}</ref><ref name="moscow">[https://is.muni.cz/el/1421/podzim2015/FAV291/um/Roth-Ey-Moscow_Prime_Time.pdf#page=5 ''Moscow Prime Time: How the Soviet Union Built the Media Empire that Lost the Cultural Cold War'', page 44], [[Cornell University Press]], 2011</ref> and occasionally domestic [[Soviet films]].<ref name="ManschotVos2005">{{Cite book |last1=Manschot |first1=J. |url={{google books|plainurl=y|id=laoaAQAAIAAJ|page=138}} |title=Behind The Scenes Of Hindi Cinema: A Visual Journey Through The Heart Of Bollywood |last2=Vos |first2=Marijke De |publisher=Royal Tropical Institute Press KIT (Koninklijk Instituut voor de Tropen) |year=2005}}</ref> From 1954 to 1991, 206 Indian films were sent to the Soviet Union, drawing higher average audience figures than domestic Soviet productions,<ref name="moscow" /><ref name="KalinovskyDaigle2014">{{Cite book |last1=Kalinovsky |first1=Artemy M. |url={{google books|plainurl=y|id=bJnAAwAAQBAJ|page=357}} |title=The Routledge Handbook of the Cold War |last2=Daigle |first2=Craig |date=5 June 2014 |publisher=Routledge |isbn=978-1-134-70065-3 |pages=357–}}</ref> Films such as ''Awaara'' and ''Disco Dancer'' drew more than 60&nbsp;million viewers.<ref>{{Cite web |last=Sergey Kudryavtsev |author-link=Sergey Kudryavtsev (film critic) |title=Зарубежные фильмы в советском кинопрокате |url=http://kinanet.livejournal.com/13882.html}}</ref><ref name="hindu_russia">{{Cite news |date=27 September 2007 |title=Bollywood re-enters Russian homes via cable TV |work=[[The Hindu]] |location=Chennai, India |url=http://www.hindu.com/thehindu/holnus/009200709270360.htm |access-date=7 June 2011 |archive-url=https://web.archive.org/web/20121109235938/http://www.hindu.com/thehindu/holnus/009200709270360.htm |archive-date=9 November 2012}}</ref> Films such as ''Awaara'', ''[[3 Idiots]]'' and ''Dangal'',<ref name="aamir">[https://www.forbes.com/sites/robcain/2017/06/11/how-to-become-a-foreign-movie-star-in-china-aamir-khans-5-point-formula-for-success/ How To Become A Foreign Movie Star In China: Aamir Khan's 5-Point Formula For Success], ''[[Forbes]]'', 11 June 2017</ref><ref name="firstpost">{{Cite web |date=20 May 2017 |title=Dangal in China: How Aamir Khan became India's most popular export to the land of the dragon |url=http://www.firstpost.com/entertainment/dangal-in-china-how-aamir-khan-became-indias-most-popular-export-across-the-great-wall-3460692.html}}</ref> were among the 20 [[List of highest-grossing films in China|highest-grossing films in China]].<ref name="forbes9">[https://www.forbes.com/sites/robcain/2017/06/09/dangal-makes-history-in-china-by-joining-list-of-all-time-20-biggest-box-office-hits/ 'Dangal' Makes More History In China, Joins List Of All-Time 20 Biggest Box Office Hits], ''[[Forbes]]'', 9 June 2017</ref>

Many Asian and [[South Asian]] countries increasingly found Indian cinema more suited to their sensibilities than Western cinema.<ref name=Desai38/> [[Jigna Desai]] holds that by the 21st century, Indian cinema had become 'deterritorialised', spreading to parts of the world where Indian expatriates were present in significant numbers and had become an alternative to other international cinema.<ref name="Desai37">Desai, 37</ref>

Indian films frequently appeared in international fora and film festivals.<ref name=Desai38/> This allowed parallel Bengali filmmakers to achieve worldwide fame.<ref>{{Cite web |last=Arthur J Pais |date=14 April 2009 |title=Why we admire Satyajit Ray so much |url=http://movies.rediff.com/report/2009/apr/14/why-we-admire-satyajit-ray-so-much.htm |access-date=17 April 2009 |website=[[Rediff.com]]}}</ref>

Indian cinema more recently began influencing Western musical films, and played a particularly instrumental role in the revival of the genre in the Western world. Ray's work had a worldwide impact, with filmmakers such as [[Martin Scorsese]],<ref>{{Cite web |last=Chris Ingui |title=Martin Scorsese hits DC, hangs with the Hachet |url=http://media.www.gwhatchet.com/media/storage/paper332/news/2002/03/04/Arts/Martin.Scorsese.Hits.Dc.Hangs.With.The.Hachet-195598.shtml |url-status=dead |archive-url=https://web.archive.org/web/20090826214118/http://media.www.gwhatchet.com/media/storage/paper332/news/2002/03/04/Arts/Martin.Scorsese.Hits.Dc.Hangs.With.The.Hachet-195598.shtml |archive-date=26 August 2009 |access-date=6 June 2009 |publisher=Hatchet}}</ref> [[James Ivory]],<ref>{{Cite web |last=Sheldon Hall |title=Ivory, James (1928–) |url=http://www.screenonline.org.uk/people/id/532213/index.html |access-date=12 February 2007 |publisher=Screen Online}}</ref> [[Abbas Kiarostami]], [[François Truffaut]],<ref>{{Cite news |last=Dave Kehr |date=5 May 1995 |title=The 'world' of Satyajit Ray: Legacy of India's Premier Film Maker On Display |work=[[Daily News (New York)|Daily News]] |url=http://www.nydailynews.com/archives/entertainment/1995/05/05/1995-05-05_the__world__of_satyajit_ray_.html |url-status=dead |access-date=6 June 2009 |archive-url=https://web.archive.org/web/20090915204359/http://www.nydailynews.com/archives/entertainment/1995/05/05/1995-05-05_the__world__of_satyajit_ray_.html |archive-date=15 September 2009}}</ref> [[Carlos Saura]],<ref>{{Cite web |last=Suchetana Ray |date=11 March 2008 |title=Satyajit Ray is this Spanish director's inspiration |url=http://ibnlive.in.com/news/satyajit-ray-is-this-spanish-directors-inspiration/60900-8.html |url-status=dead |archive-url=https://web.archive.org/web/20090915212023/http://ibnlive.in.com/news/satyajit-ray-is-this-spanish-directors-inspiration/60900-8.html |archive-date=15 September 2009 |access-date=6 June 2009 |publisher=[[CNN-IBN]]}}</ref> [[Isao Takahata]] and [[Gregory Nava]]<ref name="The Statesman">{{Cite web |title=On Ray's Trail |url=http://www.thestatesman.net/page.arcview.php?clid=30&id=172929&usrsess=1 |archive-url=https://web.archive.org/web/20080103071501/http://www.thestatesman.net/page.arcview.php?clid=30&id=172929&usrsess=1 |archive-date=3 January 2008 |access-date=19 October 2007 |website=The Statesman}}</ref> citing his influence, and others such as [[Akira Kurosawa]] praising his work.<ref>{{Cite book |last=Robinson |first=A |title=Satyajit Ray: The Inner Eye: the Biography of a Master Film-maker |publisher=I. B. Tauris |year=2003 |isbn=978-1-86064-965-3 |page=96}}</ref> The "youthful coming-of-age dramas that flooded art houses since the mid-fifties owe a tremendous debt to the [[The Apu Trilogy|Apu trilogy]]", according to the film critic [[Michael Sragow]].<ref name="Sragow" /> Since the 1980s, overlooked Indian filmmakers such as Ghatak<ref>{{Cite journal |last=Carrigy |first=Megan |date=October 2003 |title=Ritwik Ghatak |url=http://archive.sensesofcinema.com/contents/directors/03/ghatak.html |url-status=dead |journal=[[Senses of Cinema]] |archive-url=https://web.archive.org/web/20090430123322/http://archive.sensesofcinema.com/contents/directors/03/ghatak.html |archive-date=30 April 2009 |access-date=3 May 2009}}</ref> and Dutt<ref>{{Cite web |year=2001 |title=Asian Film Series No. 9 GURU DUTT Retorospective |url=http://www.jpf.go.jp/e/culture/new/old/0101/01_03.html |url-status=dead |archive-url=https://web.archive.org/web/20090620144748/http://www.jpf.go.jp/e/culture/new/old/0101/01_03.html |archive-date=20 June 2009 |access-date=13 May 2009 |publisher=[[Japan Foundation]]}}</ref> posthumously gained international acclaim. [[Baz Luhrmann]] stated that his successful musical film ''[[Moulin Rouge!]]'' (2001) was directly inspired by [[Bollywood]] musicals.<ref>{{Cite web |title=Baz Luhrmann Talks Awards and 'Moulin Rouge' |url=http://movies.about.com/library/weekly/aa030902a.htm |access-date=15 May 2009 |publisher=[[About.com]] |archive-date=2 May 2012 |archive-url=https://web.archive.org/web/20120502074825/http://movies.about.com/library/weekly/aa030902a.htm |url-status=dead }}</ref> That film's success renewed interest in the then-moribund Western musical genre, subsequently fuelling a renaissance.<ref>{{Cite web |title=Guide Picks – Top Movie Musicals on Video/DVD |url=http://movies.about.com/library/weekly/aatpmusicals.htm |access-date=15 May 2009 |publisher=[[About.com]] |archive-date=24 January 2009 |archive-url=https://web.archive.org/web/20090124220433/http://movies.about.com/library/weekly/aatpmusicals.htm |url-status=dead }}</ref> [[Danny Boyle]]'s ''[[Slumdog Millionaire]]'' (2008) was directly inspired by Indian films,<ref name="Kumar">{{Cite web |last=Amitava Kumar |date=23 December 2008 |title=Slumdog Millionaire's Bollywood Ancestors |url=https://www.vanityfair.com/online/oscars/2008/12/slumdog-millionaires-bollywood-ancestors.html |access-date=4 January 2008 |website=[[Vanity Fair (magazine)|Vanity Fair]] |archive-date=25 December 2008 |archive-url=https://web.archive.org/web/20081225193313/http://www.vanityfair.com/online/oscars/2008/12/slumdog-millionaires-bollywood-ancestors.html |url-status=dead }}</ref><ref name="Age">{{Cite news |date=25 January 2009 |title=Slumdog draws crowds, but not all like what they see |work=[[The Age]] |location=Melbourne |url=http://www.theage.com.au/world/slumdog-draws-crowds-but-not-all-like-what-they-see-20090124-7p33.html |access-date=24 January 2008}}</ref> and is considered to be an "homage to Hindi commercial cinema".<ref name="autogenerated1">{{Cite news |date=11 January 2009 |title='Slumdog Millionaire' has an Indian co-director |work=[[The Hindu]] |location=Chennai, India |url=http://www.hindu.com/thehindu/holnus/009200901110925.htm |url-status=dead |access-date=23 January 2009 |archive-url=https://web.archive.org/web/20090325234357/http://www.hindu.com/thehindu/holnus/009200901110925.htm |archive-date=25 March 2009}}</ref>

Indian cinema has been recognised repeatedly at the US-based Academy Awards. Indian films ''Mother India'' (1957), ''[[Salaam Bombay!]]'' (1988) and ''[[Lagaan]]'' (2001), were nominated for the [[Academy Award for Best Foreign Language Film]]. Indian Oscar winners include [[Bhanu Athaiya]] (costume designer), Ray (filmmaker), [[A. R. Rahman]] (music composer), [[Resul Pookutty]] (sound editor) and [[Gulzar]] (lyricist), [[M. M. Keeravani]] (music composer), [[Chandrabose (lyricist)|Chandrabose]] (lyricist)  [[Cottalango Leon]] and [[Rahul Thakkar]] Sci-Tech Award.<ref>{{Cite news |date=13 March 2023 |title=True colours: On the significance of India's Oscar wins |language=en-IN |work=The Hindu |url=https://www.thehindu.com/opinion/editorial/true-colours-on-the-significance-of-indias-oscar-wins/article66614964.ece |access-date=18 May 2023 |issn=0971-751X}}</ref><ref>{{Cite web |title=Slumdog gets 10 Oscar noms |url=http://inhome.rediff.com/movies/2009/jan/22three-oscar-noms-for-slumdog.htm |access-date=23 January 2009 |publisher=Rediff News}}</ref>

== Genres and styles ==
=== Masala film ===
{{Main|Masala film}}

Masala is a style of Indian cinema that mixes multiple [[Film genre|genres]] in one work, pioneered in the early 1970s [[Bollywood]] by filmmaker [[Nasir Hussain]],<ref>{{Cite news |first=Poorva |last=Joshi |date=30 March 2017 |title=How film-maker Nasir Husain started the trend for Bollywood masala films |language=en |work=[[Hindustan Times]] |url=http://www.hindustantimes.com/bollywood/how-film-maker-nasir-husain-created-the-prototype-for-bollywood-masala-films/story-ckL6zPLHJFDYoupjFBtbfN.html}}</ref><ref name="Chaudhuri"/><ref name="bhaumik"/> For example, one film can portray [[Action film|action]], [[Comedy film|comedy]], [[Drama film|drama]], [[Romance film|romance]] and [[melodrama]]. These films tend to be musicals with songs filmed in picturesque locations. Plots for such movies may seem illogical and improbable to unfamiliar viewers. The genre is named after [[Spice mix|masala]], a mixture of spices in [[Indian cuisine]].

=== Parallel cinema ===
{{Main|Parallel cinema}}

Parallel cinema, also known as [[Art film|art cinema]] or the Indian New Wave, is known for its realism and naturalism, addressing the sociopolitical climate. This movement is distinct from mainstream Bollywood cinema and began around the same time as the [[French New Wave|French]] and [[Japanese New Wave]]s. The movement began in Bengal (led by Ray, Sen and Ghatak) and then gained prominence in other regions. The movement was launched by Bimal Roy's ''[[Do Bigha Zamin]]'' (1953), which was both a commercial and critical success, winning the International Prize at [[1954 Cannes Film Festival|Cannes]].<ref name="filmreference" /><ref name="Srikanth Srinivasan">{{Cite web |last=Srikanth Srinivasan |date=4 August 2008 |title=Do Bigha Zamin: Seeds of the Indian New Wave |url=http://dearcinema.com/review-do-bigha-zamin-bimal-roy |url-status=dead |archive-url=https://web.archive.org/web/20100115204002/http://dearcinema.com/review-do-bigha-zamin-bimal-roy |archive-date=15 January 2010 |access-date=13 April 2009 |publisher=Dear Cinema}}</ref><ref>{{Cite web |title=Trends and genres |url=http://www.filmreference.com/encyclopedia/Independent-Film-Road-Movies/India-TRENDS-AND-GENRES.html |access-date=12 November 2010 |publisher=Film Reference}}</ref>  Ray's films include the three instalments of ''[[The Apu Trilogy]]'' which won major prizes at the [[Cannes Film Festival|Cannes]], [[Berlin International Film Festival|Berlin]] and [[Venice Film Festival]]s, and are frequently listed among the greatest films of all time.<ref name="villagevoice">{{Cite news |year=1999 |title=Take One: The First Annual Village Voice Film Critics' Poll |work=[[The Village Voice]] |url=http://www.villagevoice.com/specials/take/one/full_list.php3?category=10 |access-date=27 July 2006 |archive-url=https://web.archive.org/web/20070826201343/http://www.villagevoice.com/specials/take/one/full_list.php3?category=10 |archive-date=26 August 2007}}</ref><ref name="Time">{{Cite magazine |date=12 February 2005 |title=All-Time 100 Best Movies |magazine=Time |url=http://www.time.com/time/2005/100movies/the_complete_list.html |url-status=dead |access-date=19 May 2008 |archive-url=https://web.archive.org/web/20050523235033/http://www.time.com/time/2005/100movies/the_complete_list.html |archive-date=23 May 2005}}</ref><ref name="bfipoll">{{Cite web |title=The Sight & Sound Top Ten Poll: 1992 |url=http://www.bfi.org.uk/sightandsound/topten/history/1992.html |url-status=dead |archive-url=https://web.archive.org/web/20120309164155/http://www.bfi.org.uk/sightandsound/topten/history/1992.html |archive-date=9 March 2012 |access-date=20 May 2008 |website=[[Sight & Sound]] |publisher=[[British Film Institute]]}}</ref><ref name="nytimes">[https://www.nytimes.com/ref/movies/1000best.html "The Best 1,000 Movies Ever Made"]. by the Film Critics of ''The New York Times'', 2002.</ref>

Other [[Neorealism (art)|neo-realist]] [[filmmakers]] were [[Shyam Benegal]], Karun, Gopalakrishnan<ref name="Gokulsing-18" /> and Kasaravalli.<ref name="Gokulsing&Dissanayake132">Gokulsing & Dissanayake, 132</ref>

=== Multilingual ===
{{Main|List of multilingual Indian films}}
Some Indian films are known as "multilinguals", filmed in similar but non-identical versions, in different languages. [[V. Nagayya|Chittoor Nagayya]], was one of the first multilingual filmmakers in India.<ref name="hindu.com" /> ''[[Alam Ara]]'' and ''[[Kalidas (film)|Kalidas]]'' are earliest examples of bilingual filmmaking in India''.'' According to Ashish Rajadhyaksha and Paul Willemen in the ''Encyclopedia of Indian Cinema'' (1994), in its most precise form, a multilingual is

{{blockquote|a bilingual or a trilingual [that] was the kind of film made in the 1930s in the studio era, when different but identical takes were made of every shot in different languages, often with different leading stars but identical technical crew and music.<ref name="eic1994">{{Cite book |last1=Rajadhyaksha |first1=Ashish |title=Encyclopaedia of Indian Cinema |last2=Willemen |first2=Paul |last3=Paul Willemen |publisher=Oxford University Press; British Film Institute (London) |year=1994 |isbn=0-19-563579-5 |location=New Delhi}}</ref>{{rp|15}}}}

Rajadhyaksha and Willemen note that in seeking to construct their ''Encyclopedia'', they often found it "extremely difficult to distinguish multilinguals in this original sense from dubbed versions, remakes, reissues or, in some cases, the same film listed with different titles, presented as separate versions in different languages&nbsp;... it will take years of scholarly work to establish definitive data in this respect".<ref name=eic1994/>{{rp|15}}

=== Pan-India film ===
{{Main|Pan-Indian film}}
[[Pan-Indian film|Pan-India]] is a term related to Indian cinema that originated with [[Telugu cinema]] as a mainstream commercial cinema appealing to audiences across the country with a spread to world markets. [[S. S. Rajamouli]] pioneered the Pan-Indian films movement with his duology of epic action films ''[[Baahubali: The Beginning]]'' (2015) and ''[[Baahubali 2: The Conclusion]]'' (2017).<ref>{{Cite web |date=1 April 2022 |title=Cinema's Biggest Mythmaker |url=https://openthemagazine.com/cover-stories/ss-rajamouli-cinemas-biggest-mythmaker/}}</ref><ref>{{Cite web |date=26 June 2022 |title="The original Pan India filmmaker"" |url=https://www.ormaxmedia.com/insights/stories/the-original-pan-india-filmmaker.html}}</ref> "Pan-India film" is both a style of cinema and a distribution strategy, designed to universally appeal to audiences across the country and simultaneously released in multiple languages.<ref>{{Cite web |date=17 April 2021 |title='Pan-India' films make a comeback |url=https://telanganatoday.com/pan-india-films-make-a-comeback |website=Telangana Today}}</ref>

== Music ==
{{See also|Filmi}}

[[Music]] and [[song]]s are a big part of Indian cinema and it's not just for entertainment but they play a crucial role in storytelling. Music and dance are a core part of Indian culture, and films weave them in to tell the story. Songs are used to express emotions that spoken dialogue might struggle to convey. Songs often used to move the plot forward. Lyrics might reveal a character's inner thoughts, motivations, or foreshadow future events. Sometimes the song itself can become a turning point in the story. While some may find them disruptive, songs remain a deeply rooted tradition in Indian cinema, reflecting both its culture and what audiences love.

Music is a substantial revenue generator for the Indian film industry, with music rights alone accounting for 4–5% of net revenues.<ref name="Potts75">Potts, 75</ref> The major film music companies are [[T-Series (company)|T-Series]] at [[Delhi]], [[Sony Music India]] at [[Chennai]] and [[Zee Music Company]] at [[Mumbai]], [[Aditya Music]] at [[Hyderabad]] and [[Saregama]] at [[Kolkata]].<ref name="Potts75" /> Film music accounts for 48% of net music sales in the country.<ref name="Potts75" /> A typical film may feature 5–6 choreographed songs.<ref name="Thompson">Thompson, 74</ref>

The demands of a multicultural, increasingly globalised Indian audience led to a mixing of local and international musical traditions.<ref name="Thompson" /> Local dance and music remain a recurring theme in India and followed the [[Non-resident Indian and Overseas Citizen of India|Indian diaspora]].<ref name="Thompson" /> [[Playback singer]]s such as [[Mohammed Rafi|Mohammad Rafi]], [[Lata Mangeshkar]], [[Kishore Kumar]], [[Asha Bhosle]], [[Mukesh (singer)|Mukesh]], [[S. Janaki]], [[P. Susheela]], [[K. J. Yesudas]], [[S. P. Balasubrahmanyam]], [[K. S. Chithra]], [[Anuradha Paudwal]], [[Kavita Krishnamurti|Kavita Krishnamurthy]], [[Alka Yagnik]], [[Sadhana Sargam]], [[Shreya Ghoshal ]],[[Sunidhi Chauhan]], [[Kumar Sanu]], [[Udit Narayan]], [[Abhijeet Bhattacharya|Abhijeet]] and [[Sonu Nigam]] drew crowds to presentations of film music.<ref name="Thompson" /> In the 21st century interaction increased between Indian artists and others.{{specify|date=October 2022}}<ref name="Zumkhawala-Cook312">Zumkhawala-Cook, 312</ref>

In 2023, the song "[[Naatu Naatu]]" composed by [[M. M. Keeravani]] for the movie ''[[RRR]]'' won the Oscar for [[Academy Award for Best Original Song|Best Original Song]] at the [[95th Academy Awards]], making it the first song from an Indian film, as well as the first from an [[Cinema of Asia|Asian film]], to win in this category. This made it the first Indian film by an Indian production to win an [[Academy Awards|Academy Award]].<ref name=":3" /><ref>{{Cite web |last=Willman |first=Chris |date=9 January 2023 |title='RRR' Composer and Director on How the Song 'Naatu Naatu' Became Such a Rip-Roaring Rouser |url=https://variety.com/2023/artisans/news/rrr-song-naatu-musical-number-composer-director-1235483148/}}</ref>

== Filming locations ==
A [[filming location]] is any place where acting and dialogue are recorded. Sites where filming without dialogue takes place are termed a [[second unit]] photography site. Filmmakers often choose to shoot on location because they believe that greater [[Realism (arts)|realism]] can be achieved in a "real" place. Location shooting is often motivated by budget considerations.{{Citation needed span|text=|date=March 2022}}

The most popular locations for filming in India are the main cities of their state for regional industry. Other locations include [[Manali, Himachal Pradesh|Manali]] and [[Shimla]] in [[Himachal Pradesh]]; [[Srinagar]] in [[Jammu and Kashmir (union territory)|Jammu and Kashmir]]; [[Ladakh]]; [[Darjeeling]] in [[West Bengal]]; [[Ooty]] and [[Kodaikanal]] in [[Tamil Nadu]]; [[Amritsar]] in [[Punjab, India|Punjab]]; [[Udaipur]], [[Jodhpur]], [[Jaisalmer]] and [[Jaipur]] in [[Rajasthan]]; [[Delhi]]; [[Ottapalam]] in [[Kerala]]; [[Goa]] and [[Puducherry (union territory)|Puducherry]].<ref>{{Cite web |last=ScoopWhoop |date=16 May 2015 |title=13 Locations In India Made Famous By Bollywood Movies |url=http://www.scoopwhoop.com/entertainment/locations-made-famous-bollywood-movies/}}</ref><ref>{{Cite web |date=26 October 2015 |title=Top filming locations in India |url=https://www.wiwigo.com/blog/top-10-filming-locations-in-india/ |url-status=dead |archive-url=https://web.archive.org/web/20160426155717/https://www.wiwigo.com/blog/top-10-filming-locations-in-india/ |archive-date=26 April 2016 |access-date=19 April 2016}}</ref>

== Production companies ==
{{main|List of film production companies in India}}

More than 1000 production organisations operate in the Indian film industry, but few are successful. [[AVM Productions]] is the oldest surviving studio in India. Other major production houses include [[Salman Khan Films]], [[Yash Raj Films]], [[K Sera Sera Limited|K Sera Sera Virtual Productions]] [[Vyjayanthi Movies|ProductionsVyjayanthi Movies]],[[T-Series (company)|T-Series]], Aamir Khan Productions, [[Lyca Productions]], [[Madras Talkies]], [[AGS Entertainment]], [[Sun Pictures]], [[Red Chillies Entertainment]], [[Arka Media Works]], [[Dharma Productions]], [[Eros International]], [[Sri Venkateswara Creations]], [[Ajay Devgn FFilms]], [[Balaji Motion Pictures]], [[UTV Motion Pictures]], [[Raaj Kamal Films International]], [[Aashirvad Cinemas]], [[Wunderbar Films]], [[Cape of Good Films]], [[Mythri Movie Makers]] and [[Geetha Arts]].<ref>{{Cite news |date=19 September 2013 |title=The myth of the overseas market |work=Business Standard India |publisher=Business-Standard |url=http://www.business-standard.com/article/companies/the-myth-of-the-overseas-market-113091901218_1.html |access-date=23 April 2015}}</ref>

== Cinema by language ==<!--History has already been covered in the above sections. These sections should very briefly outline these language-specific cinemas, how they differ from and relate to the mainstream national cinema.-->
Films are made in many cities and regions in India including [[Telugu cinema|Andhra Pradesh and Telangana]], [[Assamese cinema|Assam]], [[Cinema of West Bengal|Bengal]], [[Cinema of Bihar|Bihar]], [[Gujarati cinema|Gujarat]], [[Haryanvi cinema|Haryana]], [[Dogri cinema|Jammu]], [[Kashmiri cinema|Kashmir]], [[Cinema of Jharkhand|Jharkhand]], [[Kannada cinema|Karnataka]], [[Konkani cinema|Goa]], [[Malayalam cinema|Kerala]], [[Marathi cinema|Maharashtra]], [[Cinema of Manipur|Manipur]], [[Cinema of Odisha|Odisha]], [[Chhattisgarhi cinema|Chhattisgarh]], [[Punjabi cinema|Punjab]], [[Cinema of Rajasthan|Rajasthan]], [[Tamil cinema|Tamil Nadu]], [[Kokborok cinema|Tripura]] and [[Chakma cinema|Mizoram]].

{| class="wikitable" style="width:33em; text-align:center; margin-left:auto; margin-right:auto;"
|+Breakdown by languages
|-
| colspan="2" style="font-size:90%; text-align:left;" |2022 Indian feature films certified by the [[Central Board of Film Certification]] by languages.<ref>{{Cite web |title=Film Federation Of India |url=https://www.filmfederation.in/files/iff2022.pdf |access-date=10 April 2024}}</ref><br /><small>Note: This table indicates the number of films certified by the CBFC's regional offices in nine cities. The actual number of films produced may be less.</small>
|-
!Language!!No. of films
|-
| [[Hindi cinema|Hindi]]
| 468
|-
| [[Telugu cinema|Telugu]]
| 438
|-
| [[Kannada cinema|Kannada]]
| 381
|-
| [[Tamil cinema|Tamil]]
| 377
|-
| [[Malayalam cinema|Malayalam]]
| 355
|-
| [[Bhojpuri cinema|Bhojpuri]]
| 222
|-
| [[Marathi cinema|Marathi]]
| 136
|-
| [[Cinema of West Bengal|Bengali]]
| 111
|-
| [[Gujarati cinema|Gujarati]]
| 82
|-
| [[Odia cinema|Odia]]
| 74
|-
| [[Punjabi cinema|Punjabi]]
| 53
|-
|[[Hindustani language|Hindustani]]
|33
|-
|[[Cinema of Manipur|Manipuri]]
| 27
|-
|[[Urdu]]
|27
|-
| [[Assamese cinema|Assamese]]
| 24
|-
| [[Indian English|English]]
| 13
|-
|[[Chhattisgarhi language|Chhattisgarhi]]
|12
|-
|[[Awadhi language|Awadhi]]
|8
|-
| [[Tulu language|Tulu]]
| 6
|-
|[[Lambadi|Banjara]]
|5
|-
|[[Maithili language|Maithili]]
|4
|-
|[[Cinema of Rajasthan|Rajasthani]]
|4
|-
|[[Sanskrit cinema|Sanskrit]]
|4
|-
|[[Konkani language|Konkani]]
|3
|-
|[[Nagpuri language|Nagpuri]]
|2
|-
|[[Nepali language|Nepali]]
|2
|-
|[[Kodava language|Kodava]]
|2
|-
|[[Haryanvi language|Haryanvi]]
|2
|-
|[[Byari dialect|Beary]]
|1
|-
|[[Garhwali language|Garhwali]]
|1
|-
|[[Western Pahari|Himachali]]
|1
|-
|[[Kurumba languages|Kurumba]]
|1
|-
|[[Hajong language|Hajong]]
|1
|-
|[[Irula language|Irula]]
|1
|-
| [[Khasi language|Khasi]]
| 1
|-
| [[Magahi language|Magahi]]
| 1
|-
| [[Mising language|Mising]]
| 1
|-
| [[Rabha language|Rabha]]
| 1
|-
| [[Silent film|Silent]]
| 1
|-
| '''Total'''
| 2886
|}

=== Assamese ===
{{Main|Assamese cinema}}
<!--History has already been covered in earlier sections. These sections should very briefly outline these language-specific cinemas, how they differ from and relate to the mainstream national cinema.-->
[[File:A scene from Joymoti (1935 film).jpg|thumb|250px|''[[Joymoti (1935 film)|Joymati]]'', 1935]]

The [[Assamese-language]] film industry is based in [[Assam]] in northeastern India. It is sometimes called Jollywood, for the [[Jyoti Chitraban Film Studio]]. Some films have been well received by critics but they have not yet captured national audiences. The 21st century has produced [[Hindi cinema|Bollywood]]-style Assamese movies which have set new box office records for the small industry.<ref>Lakshmi B. Ghosh, ''A rare peep into the world of Assamese cinema'' [https://web.archive.org/web/20060110195304/http://www.hindu.com/2006/01/05/stories/2006010504870200.htm The Hindu: New Delhi News: A rare peep into the world of Assamese cinema], The Hindu, 2006</ref>

=== Bengali ===
[[File:Dena paona 1931.jpg|thumb|A scene from ''[[Dena Paona (film)|Dena Paona]]'' (1931), the first Bengali talkie]]

{{Main|Cinema of West Bengal}}
<!--History has already been covered in earlier sections. These sections should very briefly outline these language-specific cinemas, how they differ from and relate to the mainstream national cinema.-->
The [[Bengali-language]] cinematic tradition of [[Tollygunge]], [[West Bengal]], is also known as Tollywood.<ref name="Gokulsing&Dissanayake138">Gokulsing & Dissanayake, 138</ref> When the term was coined in the 1930s, it was the centre of the Indian film industry.<ref name="Sarkar">{{Cite journal |last=Sarkar |first=Bhaskar |year=2008 |title=The Melodramas of Globalization |journal=Cultural Dynamics |volume=20 |issue=1 |pages=31–51 [34] |doi=10.1177/0921374007088054 |s2cid=143977618}}</ref> West Bengal cinema is historically known for the [[parallel cinema]] movement and [[art films]].

=== Braj Bhasha ===

[[Braj-language]] films present [[Braj|Brij]] culture mainly to rural people, predominantly in the nebulous Braj region centred around [[Mathura]], [[Agra]], [[Aligarh]] and [[Hathras]] in [[Western Uttar Pradesh]] and [[Bharatpur, Rajasthan|Bharatpur]] and [[Dholpur]] in [[Rajasthan]] ([[northern India]]). It is the predominant language in the central stretch of the [[Ganges-Yamuna Doab]] in [[Uttar Pradesh]]. The first Brij Bhasha movie was ''[[Brij Bhoomi (film)|Brij Bhoomi]]'' (1982, Shiv Kumar), which was a success throughout the country.<ref>{{Cite web |date=21 January 2013 |title=Encyclopedia of India's Art, Culture, Movies and People |url=http://www.culturopedia.com/cinema/regional_cinema.html&sa=U&ei=EoW-T5r-NsTmrAeBs9CwDQ&sig2=eOFVgd-2cU5tUzVx2s1AKw&usg=AFQjCNFm8h-8ddY-qQO2KRICQ9K6DYkPug |url-status=dead |archive-url=https://archive.today/20130121053926/http://www.culturopedia.com/cinema/regional_cinema.html&sa=U&ei=EoW-T5r-NsTmrAeBs9CwDQ&ved=0CCEQFjAE&sig2=eOFVgd-2cU5tUzVx2s1AKw&usg=AFQjCNFm8h-8ddY-qQO2KRICQ9K6DYkPug |archive-date=21 January 2013}}</ref><ref>{{Cite web |date=2 April 2010 |title=First Film Produced In Different Languages |url=http://uiff.merapahad.in/first-film-produced-in-different-languages/ |archive-url=https://web.archive.org/web/20100430235911/http://uiff.merapahad.in/first-film-produced-in-different-languages/ |archive-date=30 April 2010 |website=merapahad.in}}</ref> Later Brij Bhasha cinema saw the production of films like ''[[Jamuna Kinare]]'' and ''Brij Kau Birju''.<ref>{{Cite web |title=Central Board of Film Certification |url=http://cbfcindia.gov.in/html/uniquepage.aspx?lang=BRIJBASI&va=&Type=search |url-status=dead |archive-url=https://web.archive.org/web/20160106080735/http://cbfcindia.gov.in/html/uniquepage.aspx?lang=BRIJBASI&va=&Type=search |archive-date=6 January 2016 |website=cbfcindia.gov.in}}</ref><ref>{{Cite web |title=Braj Bhasha: Braj Bhasha language - Audio Bible stories and lessons. Evangelism tools, church planting resources, Christian songs and audio bible study materials |url=http://globalrecordings.net/en/language/18753 |url-status=dead |archive-url=https://web.archive.org/web/20141027124523/http://globalrecordings.net/en/language/18753 |archive-date=27 October 2014 |access-date=27 October 2014}}</ref>

=== Bhojpuri ===
{{Main|Bhojpuri cinema}}

[[Bhojpuri-language]] films predominantly cater to residents of western Bihar and eastern Uttar Pradesh and also have a large audience in [[Delhi]] and Mumbai due to the migration of Bhojpuri speakers to these cities. International markets for these films developed in other Bhojpuri-speaking countries of the [[West Indies]], Oceania and South America.<ref>{{Cite book |last=Mesthrie |first=Rajend |title=Language in Indenture: A Sociolinguistic History of Bhojpuri-Hindi in South Africa |publisher=Routledge |year=1991 |isbn=978-0-415-06404-0 |location=London |pages=19–32}}</ref>

Bhojpuri film history begins with ''[[Ganga Maiyya Tohe Piyari Chadhaibo]]'' (''Mother Ganges, I will offer you a yellow sari'', 1962, Kundan Kumar).<ref>{{Cite book |last1=Gokulsing |first1=K. Moti |url=https://books.google.com/books?id=djUFmlFbzFkC&pg=PA155 |title=Routledge Handbook of Indian Cinemas |last2=Dissanayake |first2=Wimal |date=17 April 2013 |publisher=Routledge |isbn=978-1-136-77284-9 |pages=155 |language=en}}</ref> Throughout the following decades, few films were produced. The industry experienced a revival beginning with the hit ''Saiyyan Hamar'' (''My Sweetheart'', 2001, Mohan Prasad).<ref>{{Cite news |date=14 April 2006 |title=The Telegraph – Calcutta: etc |work=The Telegraph |location=Calcutta |url=http://www.telegraphindia.com/1060414/asp/etc/story_6075200.asp |archive-url=https://web.archive.org/web/20060918023650/http://www.telegraphindia.com/1060414/asp/etc/story_6075200.asp |url-status=dead |archive-date=18 September 2006 |access-date=12 November 2010}}</ref> Although smaller than other Indian film industries, these successes increased Bhojpuri cinema's visibility, leading to an awards show<ref>{{Cite web |title=Home |url=http://www.bhojpurifilmaward.com/ |access-date=12 November 2010 |publisher=Bhojpuri Film Award}}</ref> and a trade magazine, ''Bhojpuri City''.<ref>{{Cite web |title=bhojpuricity.com |url=http://www.bhojpuricity.com/ |access-date=25 April 2014 |publisher=bhojpuricity.com}}</ref>

=== Chakma ===
{{main|Chakma cinema}}
The [[Chakma language]] is spoken in [[Tripura]] and [[Mizoram]] ([[Northeast India]]), as well as in the [[Chittagong Hill Tracts]] region of Bangladesh. Films in Chakma include ''Tanyabi Firti'' (''Tanyabi's Lake'', 2005, [[Satarupa Sanyal]]).<ref>{{Cite press release |title=Rare language films enthral film buffs at KIFF |date=15 November 2017 |url=https://www.business-standard.com/article/pti-stories/rare-language-films-enthral-film-buffs-at-kiff-117111500585_1.html |access-date=15 April 2022 |work=Business Standard India |agency=Press Trust of India}}</ref>

=== Chhattisgarhi ===
{{Main|Chhattisgarhi cinema}}

The [[Chhattisgarhi-language]] film industry of [[Chhattisgarhi]] state, central India, is known as Chhollywood. Its beginnings are with ''Kahi Debe Sandesh'' (''In Black and White'', 1965, Manu Nayak)<ref>{{Cite news  |date=7 November 2010 |title=Chhollywood Films |work=CGFilm Chhollywood Industry |publisher=CGFilm |url=https://www.cgfilm.in/movie/ |access-date=7 November 2010}}</ref><ref>{{Cite book |url={{google books|plainurl=y|id=2NYDAAAAMAAJ|page=37}} |title=A film entitled "Kahi Debe Sandesh" the first film to be produced in Chhattisgarh dialect was released for commercial exhibition at Durg' |access-date=25 April 2014}}</ref><ref>{{Cite journal |last=P.E.N. All-India Centre, Bombay |year=1969 |title=The Indian P.E.N., Volume 35 |url={{google books|plainurl=y|id=RL1jAAAAMAAJ|page=362}} |journal=The Indian P.E.N. |volume=35 |page=362 |access-date=5 September 2013}}</ref> No Chhattisgarhi films were released from 1971<ref>{{Cite news |last=Ghosh |first=Avijit |date=16 May 2010 |title=Chhollywood calling |work=The Times of India |url=https://timesofindia.indiatimes.com/home/sunday-toi/special-report/Chhollywood-calling/articleshow/5936093.cms |url-status=live |access-date=16 May 2010 |archive-url=https://web.archive.org/web/20130928034236/http://articles.timesofindia.indiatimes.com/2010-05-16/special-report/28314831_1_film-industry-silver-jubilee-raipur |archive-date=28 September 2013}}</ref> until ''Mor Chhainha Bhuinya'' (2000).{{citation needed|date=October 2022}}

=== English ===
{{main|English-language Indian films}}
Indian filmmakers also produce English language films. [[Deepa Mehta]], [[Anant Balani]], [[Homi Adajania]], Vijay Singh, [[Vierendrra Lalit]] and [[Sooni Taraporevala]] have garnered recognition in [[Indian English]] cinema.

=== Gujarati ===
{{Main|Gujarati cinema}}

The [[Gujarati-language]] film industry, also known as Gollywood or Dhollywood, is currently centered in the state of [[Gujarat]]. During the silent era, many filmmakers and actors were Gujarati and Parsi, and their films were closely related to [[Culture of Gujarat|Gujarati culture]]. Twenty film companies and studios, mostly located in Bombay, were owned by Gujaratis and at least 44 major Gujarati directors worked during this era.<ref name="Ro2013">{{Cite book |last1=K. Moti Gokulsing |url={{google books|plainurl=y|id=djUFmlFbzFkC|page=99}} |title=Routledge Handbook of Indian Cinemas |last2=Wimal Dissanayake |date=17 April 2013 |publisher=Routledge |isbn=978-1-136-77284-9 |pages=88–99}}</ref> The first film released in Gujarati was ''[[Narsinh Mehta (1932 film)|Narsinh Mehta]]'' (1932).<ref name="Ro2013" /><ref>{{Cite magazine |date=4 May 2007 |title=News: Limping at 75 |magazine=[[Screen (magazine)|Screen]]}}</ref><ref>{{Cite news |date=22 April 2007 |title='Dhollywood' at 75 finds few takers in urban Gujarat |work=[[The Financial Express (India)|Financial Express]] |url=http://www.financialexpress.com/printer/news/104966/}}</ref>  More than one thousand Gujarati films have been released.<ref name="Thou2011">{{Cite news |date=29 July 2011 |title=Golly! Gujarati films cross 1k mark |work=The Times of India |url=http://timesofindia.indiatimes.com/city/ahmedabad/Golly-Gujarati-films-cross-1k-mark/articleshow/9401332.cms |access-date=15 July 2015}}</ref>

Gujarati cinema ranges from mythology to history and from social to political. Gujarati films originally targeted a rural audience, but after its revival ({{circa|2005}}) catered to an urban audience.<ref name="Ro2013" />

=== Hindi ===
{{Main|Hindi cinema}}
[[File:BACHCHAN Amitabh 03-24x30-2009b.jpg|thumb|120px|[[Amitabh Bachchan]] has been a popular [[Bollywood]] actor for over 45 years.<ref>{{Cite news |date=25 November 2009 |title=Bachchan Receives Lifetime Achievement Award at DIFF |work=[[Khaleej Times]] |url=http://www.khaleejtimes.com/displayarticle.asp?xfile=data/newsmakers/2009/November/newsmakers_November64.xml&section=newsmakers&col= |url-status=dead |access-date=24 November 2011 |archive-url=https://web.archive.org/web/20130602182846/http://www.khaleejtimes.com/displayarticle.asp?xfile=data%2Fnewsmakers%2F2009%2FNovember%2Fnewsmakers_November64.xml&section=newsmakers&col= |archive-date=2 June 2013}}</ref>]]

The [[Hindi language]] film industry of [[Mumbai]] (formerly Bombay), also known as Bollywood,<ref>{{Cite news |title=When Bollywood's ex-lovers reunited to work together |work=[[Mid-Day]] |issue=Mid-Day |url=http://www.mid-day.com/articles/when-bollywoods-ex-lovers-reunited-to-work-together/16044179 |access-date=9 March 2015}}</ref> is the largest and most powerful branch of [[Hindi cinema]].<ref>{{Cite book |author1=Pippa de Bruyn |author2=Niloufer Venkatraman |author3=Keith Bain |url=https://archive.org/details/frommersindia0000debr/page/579 |title=Frommer's India |publisher=Frommer's |year=2006 |isbn=978-0-471-79434-9 |page=[https://archive.org/details/frommersindia0000debr/page/579 579]}}{{cite book| last1 = Crusie| first1 = Jennifer| last2 = Yeffeth| first2 = Glenn| title = Flirting with Pride & Prejudice| url = https://archive.org/details/flirtingwithprid00jenn| url-access = registration| year = 2005| publisher = BenBella Books, Inc.| isbn = 978-1-932100-72-3| page = [https://archive.org/details/flirtingwithprid00jenn/page/92 92] }}</ref> Hindi cinema explores issues of caste and culture in films such as ''[[Achhut Kanya]]'' (1936) and ''[[Sujata (1959 film)|Sujata]]'' (1959).<ref name="Gokulsing&Dissanayake10-11">Gokulsing & Dissanayake, 10–11</ref> International visibility came to the industry with [[Raj Kapoor]]'s ''[[Awaara|Awara]]'' and later in [[Shakti Samanta|Shakti Samantha's]] ''[[Aradhana (1969 film)|Aradhana]]''.<ref name="Gokulsing&Dissanayake10">Gokulsing & Dissanayake, 10</ref> Art film directors include Kaul, [[Kumar Shahani]], [[Ketan Mehta]], [[Govind Nihalani]], [[Shyam Benegal]],<ref name="Gokulsing-18" /> [[Mira Nair]], [[Nagesh Kukunoor]], [[Sudhir Mishra]] and [[Nandita Das]].
Hindi cinema grew during the 1990s with the release of as many as 215 films annually. Magazines such as ''[[Filmfare]]'', ''[[Stardust (magazine)|Stardust]]'' and ''[[Cine Blitz]]'' popularly cover the industry.<ref name="Gokulsing&Dissanayake11">Gokulsing & Dissanayake, 11</ref>

=== Kannada ===
{{Main|Kannada cinema}}
Kannada cinema, also known as Sandalwood or Chandanavana,<ref>{{Cite web |title=From The Golden Era Of 70s To Now: A Brief History Of The Birth & Rise Of Kannada Cinema – ZEE5 News |url=https://www.zee5.com/zee5news/from-the-golden-era-of-70s-to-now-a-brief-history-of-the-birth-rise-of-kannada-cinema/amp/ |website=www.zee5.com|date=24 August 2019 }}</ref> is the segment of Indian cinema<ref name="deccanherald.com">{{Cite web |last=Manohar |first=R. |date=11 March 2011 |title=Sandalwood rechristened {{pipe}} Latest News & Updates at DNAIndia.com |url=https://www.dnaindia.com/entertainment/slideshow-sandalwood-rechristened-1518654 |website=DNA India}}</ref> dedicated to the production of motion pictures in the [[Kannada language]], which is widely spoken in [[Karnataka]] state.<ref>{{Cite book |last=Shampa Banerjee, Anil Srivastava |title=One Hundred Indian Feature Films: An Annotated Filmography |publisher=Taylor & Francis |year=1988 |isbn=0-8240-9483-2 |orig-date=1988}}</ref><ref>{{Cite news |last=Shenoy |first=Megha |date=27 December 2010 |title=When it rained films |work=Deccan Herald |url=http://www.deccanherald.com/content/124106/when-rained-films.html |access-date=29 July 2017}}</ref><ref>{{Cite web |date=3 May 1913 |title=Statewise number of single screens |url=http://www.filmfed.org/singlescreen.html |access-date=29 July 2013 |website=chitraloka.com}}</ref> ''[[Sati Sulochana]]'' (1934, [[Yaragudipati Varada Rao|Y. V. Rao]]) was the first talkie film in the Kannada language.<ref name="Rediff">{{Cite news |last=Dhaan |first=M S |date=13 April 2006 |title=Dr.Raj's impact on Kannada cinema |work=Rediff.com |url=http://www.rediff.com/movies/2006/apr/13ms.htm |access-date=18 March 2021}}</ref><ref>{{Cite news |date=31 December 2004 |title=First film to talk in Kannada |work=[[The Hindu]] |location=Chennai, India |url=http://www.hindu.com/thehindu/fr/2004/12/31/stories/2004123102420300.htm |url-status=dead |archive-url=https://web.archive.org/web/20050410165948/http://www.hindu.com/thehindu/fr/2004/12/31/stories/2004123102420300.htm |archive-date=10 April 2005}}</ref><ref>{{Cite news |date=22 August 2003 |title=A revolutionary filmmaker |work=[[The Hindu]] |location=Chennai, India |url=http://www.hindu.com/thehindu/fr/2003/08/22/stories/2003082201400400.htm |url-status=dead |archive-url=https://web.archive.org/web/20040117021114/http://www.hindu.com/thehindu/fr/2003/08/22/stories/2003082201400400.htm |archive-date=17 January 2004}}</ref> Kannada films include adaptations of major literary works<ref name="1nellore.com"/><ref>{{Cite web |title=TS Nagabharana movies list |url=http://www.bharatmovies.com/director/ts-nagabharana-movies.htm |access-date=4 November 2016 |website=www.bharatmovies.com}}</ref> and [[experimental films]].<ref name="auto"/> 
{{multiple image
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| caption1 =[[Dr. Rajkumar|Rajkumar]] on a 2009 postage stamp
| image2 =The Director Girish Kasaravalli and the National Award Winner Actress of film ‘Hasina’, Tara at a Press Conference during the ongoing 36th International Film Festival of India – 2005 in Panaji, Goa on December 3, 2005.jpg
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| caption2 =Director [[Girish Kasaravalli]] (right)
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=== Kokborok ===
{{Main|Kokborok Cinema}}
[[Kokborok|Kokborok-language]] films are mainly produced in [[Tripura]] and parts of [[Bangladesh]]. These films are also clubbed as 'Tripuri cinema' as a blanket term that alludes to the film industry of Tripura, encompassing films made by and for the people of Tripura and Kokborok speaking people in Bangladesh, regardless of the multitude of languages in which cinema is produced in the region'.<ref>{{Cite journal |last=Barma |first=Aloy Deb |date=2024 |title=Talking Back through Peripheral Visions and Negotiating Identity: Kokborok and Bengali Films and Music Videos in Tripura |url=https://muse.jhu.edu/pub/34/article/931184 |journal=Journal of Film and Video |volume=76 |issue=2 |pages=33–48 |doi=10.5406/19346018.76.2.05 |issn=1934-6018}}</ref>

=== Konkani ===
{{Main|Konkani cinema}}
[[Konkani-language]] films are mainly produced in [[Goa]], one of India's smallest film regions which produced four films in 2009.<ref name="CBFC-ANR2009">{{Cite web |title=Annual report 2009 |url=http://cbfcindia.gov.in/CbfcWeb/fckeditor/editor/images/Uploadedfiles/file/Publications/ANR2009-ch6-SI.pdf |url-status=dead |archive-url=https://web.archive.org/web/20110504130152/http://cbfcindia.gov.in/CbfcWeb/fckeditor/editor/images/Uploadedfiles/file/Publications/ANR2009-ch6-SI.pdf |archive-date=4 May 2011}}</ref> The first full-length Konkani film was ''[[Mogacho Anvddo]]'' (1950, Jerry Braganza).<ref>{{Cite web |title=Panaji Konkani Cinema – A Long Way to Go |url=http://www.daijiworld.com/news/news_disp.asp?n_id=59256&n_tit=Panaji:+Konkani+Cinema+-+A+Long+Way+to+Go |url-status=dead |archive-url=https://web.archive.org/web/20121013180946/http://www.daijiworld.com/news/news_disp.asp?n_id=59256&n_tit=Panaji:+Konkani+Cinema+-+A+Long+Way+to+Go |archive-date=13 October 2012 |access-date=6 February 2012 |publisher=Daijiworld.com}}</ref> The film's release date, 24 April, is celebrated as Konkani Film Day.<ref>{{Cite web |date=23 April 2011 |title=Konkani Cinema Day – Some Reflections {{pipe}} iGoa |url=http://www.navhindtimes.in/panorama/konkani-cinema-day-some-reflections |url-status=dead |archive-url=https://web.archive.org/web/20120610122109/http://www.navhindtimes.in/panorama/konkani-cinema-day-some-reflections |archive-date=10 June 2012 |access-date=6 February 2012 |website=[[The Navhind Times]]}}</ref> An immense body of Konkani literature and art is a resource for filmmakers. ''Kazar'' (''Marriage'', 2009, Richard Castelino) and ''Ujvaadu'' (''Shedding New Light on Old Age Issues'', Kasaragod Chinna) are major releases. The pioneering Mangalorean Konkani film is ''Mog Ani Maipas''.

===Maithili===
{{category see also|Maithili-language films}}
Maithili cinema is made in the [[Maithili language]]. The first full-length film was ''[[Kanyadan (film)|Kanyadan]]'' (1965).<ref>{{Cite news |title=First Maithili movie? |url=https://timesofindia.indiatimes.com/entertainment/bhojpuri/movies/did-you-know/first-maithili-movie/articleshow/14174788.cms |access-date=18 July 2021 |website=The Times of India |language=en}}</ref> There are numerous films made in the Maithili over the years<ref>{{Cite web |title='प्यारी बहनिया बनेगी दुल्हनिया मैथिली फिल्म का मुहुर्त |url=https://www.livehindustan.com/news/darbhanga/article1-Beloved-bride-will-Bhnia-Maithili-auspicious-film-609500.html |access-date=18 July 2021 |website=Hindustan |language=hindi}}</ref> The film ''[[Mithila Makhaan]]'' (2019) won a National Award in the regional films category.<ref>{{Cite news |title=Neetu Chandra's 'Mithila Makhaan' wins 'Best Maithili Film' National Award! |url=https://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/neetu-chandras-mithila-makhaan-wins-best-maithili-film-national-award/articleshow/51614931.cms |access-date=18 July 2021 |website=The Times of India |language=en|last1=Dedhia |first1=Sonil }}</ref>

=== Malayalam ===
{{Main|Malayalam cinema}}
[[File:ActorMammootty.jpg|thumb|173x173px|[[Mammootty|Mammooty]] has won the most number of National Awards in the Best Actor category in the Malayalam industry.<ref>{{Cite news |title=Mammootty: Lesser known facts |work=The Times of India |url=https://timesofindia.indiatimes.com/entertainment/malayalam/movies/photo-features/mammootty-lesser-known-facts/mammootty-lesser-known-facts/photostory/48651374.cms |access-date=9 September 2020}}</ref>]]

The [[Malayalam-language]] film industry, also known as Mollywood, is India's fourth-largest film industry. It is mainly based at [[Kochi]], [[Kerala]] state. ''[[Neelakkuyil]]'' (1954) was one of the first Malayalam films to get national recognition.<ref>{{Cite news |last=B. Vijayakumar |date=1 November 2008 |title=Neelakuyil 1954 |work=[[The Hindu]] |url=http://www.hindu.com/mp/2008/11/01/stories/2008110150781100.htm |url-status=dead |access-date=29 April 2011 |archive-url=https://web.archive.org/web/20110629052729/http://www.hindu.com/mp/2008/11/01/stories/2008110150781100.htm |archive-date=29 June 2011}}</ref> ''[[Newspaper Boy (1955 film)|Newspaper Boy]] (1955)'', made by a group of students, was the first [[Neorealism (art)|neo-realistic]] Malayalam film.<ref>{{Cite news |last=B. Vijayakumar |date=20 May 2005 |title=Newspaper Boy: a flashback to the Fifties |work=[[The Hindu]] |url=http://www.hindu.com/fr/2005/05/20/stories/2005052003150200.htm |url-status=dead |access-date=29 April 2011 |archive-url=https://web.archive.org/web/20050523225206/http://www.hindu.com/fr/2005/05/20/stories/2005052003150200.htm |archive-date=23 May 2005}}</ref> ''[[Chemmeen]]'' (1965, Ramu Kariat), based on a story by [[Thakazhi Sivasankara Pillai]], became the first South Indian film to win the [[National Film Award for Best Feature Film]].<ref>{{Cite news |last=B. Vijayakumar |date=22 November 2010 |title=Chemmeen 1965 |work=[[The Hindu]] |url=http://www.hindu.com/mp/2010/11/22/stories/2010112250310400.htm |url-status=dead |access-date=29 April 2011 |archive-url=https://web.archive.org/web/20121109070813/http://www.hindu.com/mp/2010/11/22/stories/2010112250310400.htm |archive-date=9 November 2012}}</ref>

Malayalam cinema has been in the forefront of technological innovation in Indian filmmaking. The first [[Neorealism (art)|neorealistic]] film (''[[Newspaper Boy (1955 film)|Newspaper Boy]]''),<ref name="malayalamcinema1"/> the first [[CinemaScope]] film (''[[Thacholi Ambu]]''),<ref name="Archives.chennaionline.com">{{Cite web |title=An interview with 'Navodaya' Appachan |url=http://archives.chennaionline.com/interviews/appachan.asp |url-status=dead |archive-url=https://web.archive.org/web/20090326065737/http://archives.chennaionline.com/interviews/appachan.asp |archive-date=26 March 2009 |access-date=30 December 2008 |publisher=Archives.chennaionline.com}}</ref> the first [[70 mm film]] (''[[Padayottam (1982 film)|Padayottam]]''),<ref>{{Cite web |title=Rediff Movies: Team of 48 |url=http://www.rediff.com/entertai/1998/sep/01hari1.htm |access-date=30 December 2008 |website=Rediff.com}}</ref> the first [[3D film]] (''[[My Dear Kuttichathan]]''),<ref name="thssk">{{Cite web |last=thssk |title=Casting a magic spell |url=http://www.hinduonnet.com/thehindu/mp/2003/05/15/stories/2003051500260100.htm |url-status=usurped |archive-url=https://web.archive.org/web/20090110090204/http://www.hinduonnet.com/thehindu/mp/2003/05/15/stories/2003051500260100.htm |archive-date=10 January 2009 |access-date=30 December 2008 |publisher=Hinduonnet.com}}</ref> the first [[Panavision]] film (''[[Vanaprastham]]''), the first [[digital cinema|digital film]] (''[[Moonnamathoral]]''),<ref name="cinemaofmalayalam.net">[http://www.cinemaofmalayalam.net/malayalam_his_5.html History of Malayalam Cinema] {{Webarchive|url=https://web.archive.org/web/20100623132249/http://www.cinemaofmalayalam.net/malayalam_his_5.html |date=23 June 2010 }}. Cinemaofmalayalam.net. Retrieved on 29 July 2013.</ref> the first [[Camera phone|Smartphone]] film (''[[Jalachhayam]]''),<ref>{{Cite news |date=7 June 2010 |title=Film shot with cell phone camera premiered |work=The Hindu |url=http://www.thehindu.com/todays-paper/tp-national/tp-kerala/Film-shot-with-cell-phone-camera-premiered/article16253812.ece |access-date=7 June 2010}}</ref> and the first [[8K resolution|8K]] film (''[[Villain (2017 film)|Villain]]'')<ref>{{Cite news |title=Mohanlals Villain shot an released in 8K resolution – Malayalam Movie News – IndiaGlitz |work=IndiaGlitz.com |url=https://www.indiaglitz.com/mohanlals-villain-shot-an-released-in-8k-resolution-malayalam-news-181343 |access-date=26 October 2017}}</ref> in India were made in Malayalam.

The period from 1986 to 1990 is regarded as the Golden Age of Malayalam cinema,<ref>{{Cite web |title=Filmfare for Malayalam Film Industry – Filmfare Awards for Malayalam Films |url=http://www.awardsandshows.com/features/filmfare-for-malayalam-films-81.html |access-date=7 January 2020 |website=www.awardsandshows.com}}</ref> with four Malayalam films recognised by selection at the [[Cannes Film Festival]]—Shaji N. Karun-directed ''[[Piravi]]'' (1989), ''[[Swaham]]'' (1994) and ''[[Vanaprastham]]'' (1999), and [[Murali Nair]]-directed ''[[Marana Simhasanam]]'' (1999). ''Piravi'' (1989) won the [[Caméra d'Or|Caméra d'Or — Mention Spéciale]] and ''Marana Simhasanam'' has won the [[Caméra d'Or]].{{citation needed|date=October 2022}}

The [[Kerala State Film Awards]] established by the [[Government of Kerala]] recognises the best works in Malayalam cinema every year, along with [[J. C. Daniel Award]] for lifetime achievement in Malayalam cinema. [[K. R. Narayanan National Institute of Visual Science and Arts]] (KRNNIVSA) is a training and research centre for film and video technology.<ref>{{Cite news |last=Special Correspondent |date=12 January 2016 |title=Cinema an integral part of our cultural identity |work=The Hindu |url=http://www.thehindu.com/news/national/cinema-an-integral-part-of-our-cultural-identity/article8093634.ece |access-date=12 January 2016}}</ref>

=== Manipuri ===
{{Main|Cinema of Manipur}}
Manipuri cinema is a small film industry of [[Manipur]], encompassing [[Meitei language]] and other languages of the state. It began in the 1970s and gained momentum following a 2002 state ban on Hindi films. 80–100 movies are made each year. Among the notable Manipuri films are ''[[Imagi Ningthem]]'' (1982, [[Aribam Syam Sharma]]), ''[[Ishanou]]'', ''[[Yenning Amadi Likla]]'', ''[[Phijigee Mani]]'', ''[[Leipaklei]]'', ''[[Loktak Lairembee]]'', ''[[Eikhoishibu Kanano]]'', ''[[Eikhoigi Yum]]'' and ''[[Oneness (film)|Oneness]]''.

=== Marathi ===
{{Main|Marathi cinema}}
Marathi films are produced in the [[Marathi language]] in Maharashtra state. It the oldest of India's film industries, which began in [[Kolhapur]], moved to [[Pune]] and is now [[Marathi cinema|based]] in old [[Mumbai]].<ref name="Goldsmith">{{Cite book |last1=Goldsmith |first1=Melissa U. D. |url=https://books.google.com/books?id=_TP3DAAAQBAJ&q=Marathi%20film%20%22oldest%22&pg=PR26 |title=The Encyclopedia of Musicians and Bands on Film |last2=Willson |first2=Paige A. |last3=Fonseca |first3=Anthony J. |date=7 October 2016 |publisher=Rowman & Littlefield |isbn=978-1-4422-6987-3 |language=en}}</ref>

Some of the more notable films are ''Sangte Aika'', ''Ek Gaon Bara Bhangadi'', ''[[Pinjara (film)|Pinjara]]'', ''[[Sinhasan]]'', ''Pathlaag'', ''[[Jait Re Jait]]'', ''[[Saamana]]'', ''Santh Wahate Krishnamai'', ''[[Sant Tukaram]]'' and ''[[Shyamchi Aai]]''.{{citation needed|date=October 2022}}

=== Nagpuri ===
{{Main|Nagpuri cinema}}

Nagpuri films are produced in the [[Nagpuri language]] in [[Jharkhand]] state. The first Nagpuri feature film was ''Sona Kar Nagpur'' (1992).<ref name="Hindustan times.com">{{Cite web |date=9 April 2017 |title=Balan may act in Nagpuri film if script is appealing |url=https://m.hindustantimes.com/ranchi/balan-may-act-in-nagpuri-film-if-script-is-appealing/story-ShAa4tTNaCLecD0tAnwWkI.html |website=Hindustan Times}}</ref><ref>{{Cite web |title=नागपुरी फिल्‍म के 'दादा साहेब' धनंजय नाथ तिवारी ! | language=hi  |url=http://www.panchayatnama.com/news/aamukh-katha/story/12.html |url-status=dead |archive-url=https://web.archive.org/web/20190324100842/http://www.panchayatnama.com/news/aamukh-katha/story/12.html |archive-date=24 March 2019 |access-date=26 March 2019 |website=www.panchayatnama.com}}</ref> With a mainly rural population and cinema halls closing, non-traditional distribution models may be used.<ref>{{cite web|url=https://www.researchgate.net/publication/355999172|title=Journey of Jhollywood: A Study in the Context of Nagpuri Cinema|website=researchgate|date=November 2021|access-date=16 March 2022}}</ref>

=== Gorkha ===
[[Indian Gorkha|Gorkha]] cinema consists of films produced by [[Nepali language|Nepali]]-speaking Indians.

=== Odia ===
{{Main|Cinema of Odisha}}
The [[Odia-language]] film industry of [[Bhubaneswar]] and [[Cuttack]], [[Odisha]] state, is also known as Ollywood.<ref>{{Cite web |title=History of Oriya Film Industry |url=http://www.izeans.com/ollywoodhistory |url-status=dead |archive-url=https://web.archive.org/web/20110920045053/http://www.izeans.com/ollywoodhistory |archive-date=20 September 2011 |access-date=23 October 2008 |publisher=izeans.com }}</ref> The first Odia-language film was ''[[Sita Bibaha]]'' (1936).<ref>{{Cite web |title=Orissa Cinema:: History of Orissa Cinema, Chronology of Orissa Films |url=http://orissacinema.com/history.html |url-status=dead |archive-url=https://web.archive.org/web/20080705050243/http://www.orissacinema.com/history.html |archive-date=5 July 2008 |access-date=23 October 2008 |publisher=orissacinema.com }}</ref> The best year for Odia cinema was 1984 when ''Maya Miriga'' ([[Nirad Mohapatra]]) and ''Dhare Alua'' were showcased in Indian Panorama and ''Maya Miriga'' was invited to Critics Week at Cannes. The film received the Best Third World Film award at Mannheim Film Festival, Jury Award in Hawaii and was shown at the London Film Festival.

=== Punjabi ===
{{Main|Punjabi cinema}}
The [[Punjabi-language]] film industry, based in [[Amritsar]] and [[Mohali]], Punjab, is also known as Pollywood. K. D. Mehra made the first Punjabi film, ''[[Sheela (film)|Sheela]]'' (1935). As of 2009, Punjabi cinema had produced between 900 and 1,000 movies.<ref>{{Cite news |title=Jatt, Juliet and jameen |url=http://www.thehindubusinessline.com/features/blink/watch/jatt-juliet-and-jameen/article6062038.ece |access-date=11 September 2016}}</ref>

=== Rajasthani ===
{{Main|Cinema of Rajasthan}}
The cinema of Rajasthan (Rajjywood) refers to films produced in Rajasthan in north-western India. These films are produced in various regional and tribal languages including Rajasthani varieties such as Mewari, Marwari, Hadoti etc.

=== Sindhi ===
{{Main|Sindhi cinema}}
The [[Sindhi-language]] film industry is largely based in [[Sindh]], Pakistan, and with Sindhi speakers in North Gujarat and Southwestern Rajasthan, India, and elsewhere among the [[Sindhis|Sindhi]] diaspora. The first Indian-made Sindhi film was ''Ekta'' (1940).<ref>{{Cite web |url=https://www.dawn.com/news/1203472 |title=Book launched to preserve half a century of Sindhi films |last=Salman |first=Peerzada |date=29 August 2015 |website=DAWN.COM |language=en |access-date=11 January 2020}}</ref> while the first Sindhi film produced in Pakistan was ''[[Umar Marvi (film)|Umar Marvi]]'' (1956).<ref>{{Cite journal |last1=Levesque |first1=Julien |last2=Bui |first2=Camille |date=5 January 2015 |title=Umar Marvi and the Representation of Sindh: Cinema and Modernity in the Margins |url=https://www.researchgate.net/publication/273163188 |journal=BioScope: South Asian Screen Studies |volume=5 |issue=2 |pages=119–128 |doi=10.1177/0974927614547990 |s2cid=147363789}}</ref> The industry has produced some Bollywood-style films.

The Sindhi film industry produces movies at intervals. The first was ''Abana'' (1958),{{clarify timeframe|date=October 2022}} which was a success throughout the country. Sindhi cinema then produced some Bollywood-style films such as ''Hal Ta Bhaji Haloon'', ''Parewari'', ''Dil Dije Dil Waran Khe'', ''[[Ho Jamalo]]'', ''[[Pyar Kare Dis: Feel the Power of Love]]'' and ''The Awakening''. Additionally, numerous Sindhi have contributed in Bollywood, including [[G P Sippy]], [[Ramesh Sippy]], [[Nikhil Advani]], [[Tarun Mansukhani]], [[Ritesh Sidhwani]] and [[Asrani]].{{relevance inline|date=October 2022}}

=== Sherdukpen ===
Director Songe Dorjee Thongdok introduced the first [[Sherdukpen language|Sherdukpen]]-language film ''[[Crossing Bridges (film)|Crossing Bridges]]'' (2014). Sherdukpen is native to the north-eastern state of [[Arunachal Pradesh]].<ref>{{Cite web |title=Interview with Sange Dorjee |url=http://dearcinema.com/interview/interview-sange-dorjee-director-crossing-bridges/4652 |url-status=dead |archive-url=https://web.archive.org/web/20140708060642/http://dearcinema.com/interview/interview-sange-dorjee-director-crossing-bridges/4652 |archive-date=8 July 2014 |access-date=22 July 2014 |publisher=DearCinema}}</ref>{{relevance inline|date=October 2022|Is this important to the Cinema of India? Perhaps this section should be removed.}}

=== Tamil ===
{{Main|Tamil cinema}}
The Tamil-language film industry based in Chennai, also known as Kollywood, once served as a hub for all [[South India]]n film industries.<ref name="Kasbekar2006">{{Cite book |last=Kasbekar |first=Asha |url={{google books|plainurl=y|id=Sv7Uk0UcdM8C|page=213}} |title=Pop Culture India!: Media, Arts, and Lifestyle |publisher=ABC-CLIO |year=2006 |isbn=978-1-85109-636-7 |page=213}}</ref>
The first South Indian talkie film ''Kalidas'' (1931, [[H. M. Reddy]]) was shot in Tamil. [[Sivaji Ganesan]] became India's first actor to receive an international award when he won Best Actor at the Afro-Asian film festival in 1960 and the title of ''Chevalier'' in the [[Legion of Honour]] by the [[French Government]] in 1995.<ref name="Sivaji Ganesan's birth anniversary" />

Tamil cinema is [[Tamil cinema and Dravidian politics|influenced by Dravidian politics]]<ref name="Gokulsing&Dissanayake132-33" /> and has a tradition of addressing social issues. Many of Tamil Nadu's prominent Chief Ministers previously worked in cinema: Dravidian stalwarts [[C N Annadurai]] and [[M Karunanidhi]] were scriptwriters and [[M G Ramachandran]] and [[Jayalalithaa]] gained a political base through their fan followings.<ref name="Kasbekar 2006 215" />

Tamil films are distributed to [[Tamil diaspora]] populations in various parts of Asia, Southern Africa, Northern America, Europe, and Oceania.<ref name="Gokulsing&Dissanayake133">Gokulsing & Dissanayake, 133</ref> The industry-inspired Tamil film-making in [[Sri Lankan Tamil cinema|Sri Lanka]], [[Malaysian Tamil cinema|Malaysia]], Singapore and Canada.{{citation needed|date=October 2022}}

=== Telugu ===
{{Main|Telugu cinema}}
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| footer = ''From left to right:'' [[Raghupathi Venkaiah Naidu|Raghupati Venkayya]] (father of Telugu cinema), [[Y. V. Rao]] (pioneer of cinema during crown rule)<ref name="filmmaker">{{cite web|last1=Guy|first1=Randor|title=A revolutionary filmmaker| url=http://www.thehindu.com/thehindu/fr/2003/08/22/stories/2003082201400400.htm |access-date=19 November 2016|date=22 August 2003|url-status=dead|archive-url=https://archive.today/20161119045811/http://www.thehindu.com/thehindu/fr/2003/08/22/stories/2003082201400400.htm|website=[[The Hindu]]|archive-date=19 November 2016}}</ref> and stalwart [[V. Nagayya|Chittoor Nagayya]] known for his [[method acting]].<ref>{{cite web |url=http://bharatjanani.com/paul-muni-of-india-chittoor-v-nagayya/ |title=Paul Muni of India – Chittoor V.Nagayya |publisher=Bharatjanani.com |date=6 May 2011 |access-date=21 September 2011 |url-status=dead |archive-url=https://web.archive.org/web/20120326135647/http://bharatjanani.com/paul-muni-of-india-chittoor-v-nagayya/ |archive-date=26 March 2012 }}</ref>}}

The Film and Television Institute of Telangana, Film and Television Institute of Andhra Pradesh, Ramanaidu Film School and [[Annapurna International School of Film and Media]] are among the largest film schools in India.<ref>{{Cite news |date=6 April 2012 |title=Annapurna Studios' film, media school to offer course on iPhone, iPad apps |work=[[The Hindu]] |location=Hyderabad, India |url=http://www.business-standard.com/article/companies/annapurna-studios-film-media-school-to-offer-course-on-iphone-ipad-apps-111070200073_1.html |access-date=2 March 2013}}</ref><ref>{{Cite news |date=6 April 2012 |title=FTIA |work=[[The Hindu]] |location=Hyderabad, India |url=http://www.hindu.com/mp/2004/07/21/stories/2004072100070302.htm |url-status=dead |access-date=6 April 2012 |archive-url=https://web.archive.org/web/20040917154445/http://www.hindu.com/mp/2004/07/21/stories/2004072100070302.htm |archive-date=17 September 2004}}</ref> The [[Telugu states]] are home to approximately 2800 theatres, more than any single state in India.<ref>{{Cite news |date=9 August 2013 |title=Economic times indiatimes.com |work=The Times of India |url=http://articles.economictimes.indiatimes.com/2013-08-09/news/41240683_1_telangana-rashtra-samithi-seemandhra-chiranjeevi |archive-url=https://web.archive.org/web/20130812024736/http://articles.economictimes.indiatimes.com/2013-08-09/news/41240683_1_telangana-rashtra-samithi-seemandhra-chiranjeevi |url-status=dead |archive-date=12 August 2013 |access-date=15 April 2014}}</ref> Being commercially consistent, Telugu cinema had its influence over commercial cinema in India.<ref>{{Cite news |date=25 January 2006 |title=Tamil, Telugu film industries outshine Bollywood |work=Business Standard India |url=http://www.business-standard.com/india/news/tamil-telugu-film-industries-outshine-bollywood/238821/ |access-date=19 February 2012}}</ref>

The industry holds the [[Guinness World Record]] for the largest film production facility in the world, Ramoji Film City.<ref name="ramoji">{{Cite web |title=Official Site of Guinnessworldrecords.com Largest Film studio in the world |url=http://www.guinnessworldrecords.com/records-1/largest-film-studio |url-status=dead |archive-url=https://web.archive.org/web/20140119000128/http://www.guinnessworldrecords.com/records-1/largest-film-studio |archive-date=19 January 2014}}</ref> The Prasads IMAX located in Hyderabad is one of the largest 3D IMAX screens, and is the most attended cinema screen in the world.<ref name="CNN Travel"/><ref>{{Cite news |date=7 August 2011 |title=Thehindu.com King of Good times Prasad's Imax |publisher=The Hindu Newspaper |location=Chennai, India |url=http://www.thehindu.com/todays-paper/tp-features/tp-downtown/article2332172.ece}}</ref><ref>{{Cite web |last=Dan Nosowitz |date=30 May 2009 |title=The Seven IMAX Wonders of the World |url=https://gizmodo.com/5273201/the-seven-imax-wonders-of-the-world |access-date=10 February 2013 |publisher=Gizmodo.com}}</ref> As per the [[Central Board of Film Certification|CBFC]] report of 2014, the industry is placed first in India, in terms of films produced yearly.<ref>{{Cite web|url=http://cbfcindia.gov.in/CbfcWeb/fckeditor/editor/images/Uploadedfiles/file/Publications/ANNUAL_2011.pdf|title=Annual report 2011|access-date=21 October 2022|archive-date=24 January 2013|archive-url=https://web.archive.org/web/20130124081428/http://cbfcindia.gov.in/CbfcWeb/fckeditor/editor/images/Uploadedfiles/file/Publications/ANNUAL_2011.pdf|url-status=dead}}</ref> In the years 2005, 2006, 2008, and 2014 the industry has produced the largest number of films in India, exceeding the number of films produced in [[Bollywood]].<ref>{{Cite news |date=2 October 2010 |title=Tollywood loses to Bollywood on numbers |work=[[The Times of India]] |url=https://timesofindia.indiatimes.com/city/hyderabad/-Tollywood-loses-to-Bollywood-on-numbers-/articleshow/6661950.cms |url-status=live |archive-url=https://web.archive.org/web/20121029033400/http://articles.timesofindia.indiatimes.com/2010-10-02/hyderabad/28254733_1_film-industry-telugu-tollywood-and-bollywood |archive-date=29 October 2012}}</ref><ref name="Blonnet.com">{{Cite web |date=6 November 2007 |title=Telugu film industry enters new era |url=http://www.blonnet.com/2007/11/06/stories/2007110650842300.htm |archive-url=https://web.archive.org/web/20090811085956/http://www.blonnet.com/2007/11/06/stories/2007110650842300.htm |archive-date=11 August 2009 |access-date=12 November 2010 |publisher=Blonnet.com}}</ref>

=== Tulu ===
{{Main|Tulu cinema}}
The [[Tulu-language]] film industry based in the port city of [[Mangalore]], Karnataka, is also known as Coastalwood. A small industry, its origins trace to the release of ''Enna Thangadi'' (1971) with about one release per year until growth was spurred by the commercial success of ''[[Oriyardori Asal]]'' (2011). Films are released across the [[Tulu Nadu]] cultural region, with some recent films having a simultaneous release in Mumbai, Bangalore, and Arabian Gulf countries.{{citation needed|date=October 2022}}

== Exhibition and distribution ==
{{Further|Category:Film distributors of India|label1=Film distributors of India}}
[[PVR Cinemas]], [[INOX Leisure]] etc. are some top multiplexes chains in [[India]], which have cinemas across the nation. Book My Show is the leading tickets selling mobile [[Android (operating system)|android]] application in India, it have tie-up with many such multiplexes. Although PVR and INOX also sell tickets through their application- websites. Due to the convince in tickets booking online most of the viewers pre-book tickets through mobile application. Since advancement of internet service in the country online ticket selling business having robust growth here.<ref>{{Cite web |title=Online movie ticket business on robust growth path in India |url=https://www.newindianexpress.com/amp/story/business/2017/sep/30/online-movie-ticket-business-on-robust-growth-path-in-india-1664776.html |website=[[The New Indian Express]] |date=30 September 2017 |first=J Deepthi Nandan |last=Reddy }}</ref> 2010 decade onward online platform gained popularity in the nation thus Many film-makers many time prefer to release their films online through one of paid app : [[Netflix]], [[World Film Communities Network|WFCN]], [[Amazon Prime]], [[JioCinema]], [[SonyLIV]], [[ZEE5]], [[Disney+ Hotstar]] etc. and avoiding theatrical release.<ref>{{cite news |last1=Sharma |first1=Deeksha |title=Here's How Big Banner Films Releasing on OTT Platforms Make Money |url=https://www.thequint.com/amp/story/entertainment/bollywood/is-releasing-films-online-a-sustainable-model-for-film-business |access-date=2 August 2023 |work=TheQuint |date=5 August 2020 |language=en}}</ref>

== Awards ==
The [[Dadasaheb Phalke Award]], named for "father of Indian cinema" [[Dadasaheb Phalke]],<ref name="thecolorsofindia1">{{Cite news |title=Dadasaheb Phalke Father of Indian Cinema |publisher=Thecolorsofindia.com |url=http://www.thecolorsofindia.com/dadasaheb-phalke/father-indian-cinema.html |access-date=1 November 2012}}</ref><ref name="google1">{{Cite book |last1=Bāpū Vāṭave |url={{google books|plainurl=y|id=zTZnAAAAMAAJ}} |title=Dadasaheb Phalke, the father of Indian cinema |last2=National Book Trust |publisher=National Book Trust |year=2004 |isbn=978-81-237-4319-6 |access-date=1 November 2012}}</ref><ref name="indiatimes1">{{Cite news |last=Sachin Sharma |date=28 June 2012 |title=Godhra forgets its days spent with Dadasaheb Phalke |work=The Times of India |url=https://timesofindia.indiatimes.com/city/vadodara/Godhra-forgets-its-days-spent-with-Dadasaheb-Phalke/articleshow/14444404.cms |url-status=live |access-date=1 November 2012 |archive-url=https://web.archive.org/web/20130419032237/http://articles.timesofindia.indiatimes.com/2012-06-28/vadodara/32456429_1_godhra-dadasaheb-phalke-father-of-indian-cinema |archive-date=19 April 2013}}</ref><ref name="vilanilam128">{{Cite book |last=Vilanilam |first=J. V. |url={{google books|plainurl=y|id=nADAQgAACAAJ|page=128}} |title=Mass Communication in India: A Sociological Perspective |publisher=Sage Publications |year=2005 |isbn=81-7829-515-6 |location=New Delhi |page=128}}</ref> is given in recognition of lifetime contribution to cinema. It was established by the government of India in 1969, and is the country's most prestigious film award.<ref>{{Cite news |date=10 June 2012 |title=Directorate of Film Festivals |publisher=Dff.nic.in |url=http://www.dff.nic.in/dadasahebphalke.asp |url-status=dead |access-date=1 November 2012 |archive-url=https://web.archive.org/web/20140427193700/http://dff.nic.in/dadasahebphalke.asp |archive-date=27 April 2014}}</ref>
{| class="wikitable"
|+Prominent government-sponsored film awards
|-
! Award !! Year of <br />inception !! Awarded by
|-
| [[Bengal Film Journalists' Association Awards]] || 1937 || [[Government of West Bengal]]
|-
| [[National Film Awards]] || 1954 || [[Directorate of Film Festivals]], [[Government of India]]
|-
| [[Maharashtra State Film Awards]] || 1963 || [[Government of Maharashtra]]
|-
| [[Nandi Awards]] || 1964 || [[Government of Andhra Pradesh]]
|-
| [[Punjab Rattan Award]]s<ref name="Hungama 2006">{{Cite web |date=16 November 2006 |title=Vinod Chopra awarded Sunil Dutt Punjab Rattan Award – Vidhu Vinod Chopra – Latest Celebrity news |url=http://www.bollywoodhungama.com/celebritymicro/news/type/view/id/8096/newsid/1178332 |archive-url=https://web.archive.org/web/20150923231114/http://www.bollywoodhungama.com/celebritymicro/news/type/view/id/8096/newsid/1178332 |url-status=dead |archive-date=23 September 2015 |access-date=23 August 2015 |website=Bollywood Hungama}}</ref> || 1940 || [[Government of Punjab, India|Government of Punjab]]
|-
| [[Tamil Nadu State Film Awards]] || 1967 || [[Government of Tamil Nadu]]
|-
| [[Karnataka State Film Awards]] || 1967 || [[Government of Karnataka]]
|-
| [[Orissa State Film Awards]] || 1968 || [[Government of Odisha]]
|-
| [[Kerala State Film Awards]] || 1969 || [[Government of Kerala]]
|}

{| class="wikitable"
|+Prominent non-governmental awards
|-
! Award !! Year of <br />inception !! Awarded by
|-
|[[Bhojpuri Film Awards]]
|2001
|AB5 Multimedia
|-
|[[Sabrang Film Awards]]
|2014
|[[Godrej Consumer Products]]
|-
|[[International Bhojpuri Film Awards]]
|2015
|Yashi Films International
|-
| [[Filmfare Awards]]|| rowspan="2" | 1954 || rowspan="2" | Bennett, Coleman and Co. Ltd.
|-
|[[Filmfare Awards South]]
|-
|[[South Indian International Movie Awards]]|| 2012 || Vibri Media Group
|-
|[[International Indian Film Academy Awards|IIFA Awards]]|| 2000 || rowspan="2" | Wizcraft International Entertainment Pvt Ltd
|-
|[[IIFA Utsavam]]
|2016
|-
|[[Zee Cine Awards Telugu]]
|2017
| rowspan="2" |[[Zee Entertainment Enterprises]]
|-
|[[Zee Cine Awards]]|| rowspan="2" | 1998 
|-
| Sansui Viewer's Choice Movie Awards ||[[Pritish Nandy|Pritish Nandy Communications]]{{citation needed|date=October 2022}}
|-
|[[Santosham Film Awards]]
| rowspan="2" |2004
|''Santosham'' film magazine
|-
|[[CineMAA Awards]]
|Tollywood Movie Artistes Association 
|-
|[[Asianet Film Awards]]|| 1998 ||[[Asianet (TV channel)|Asianet]]
|-
| [[Screen Awards]] || 1994 || Screen Weekly
|-
| [[Stardust Awards]] || rowspan="2" | 2003 || ''[[Stardust (magazine)|Stardust]]''
|-
| [[Zee Gaurav Puraskar]] || Zee Entertainment Enterprises
|-
|TSR TV9 National Awards Telugu
|2007–2008
|Associated Broadcasting Company Private Limited
[[T. Subbarami Reddy]]{{citation needed|date=October 2022}}
|-
| [[Apsara Awards]] || 2004 || Apsara Producers Guild Awards
|-
|[[Vijay Awards]] ||2007|| STAR Vijay

|-
| [[MICTA|Marathi International Film and Theatre Awards]] || 2010 || Marathi Film Industry
|-
| [[Punjabi International Film Academy Awards]] || 2012 || Parvasi Media Inc.
|-
| [[Prag Cine Awards]] || 2013 || Prag AM Television
|-
| [[Filmfare Awards East]] || 2014 || Bennett, Coleman and Co. Ltd.
|}

== Film education ==
Government-run and private institutes provide formal education in various aspects of filmmaking. Some of the prominent ones include:
{{colbegin|colwidth=22em}}
* [[State Institute of Film and Television]]
* AJK Mass Communication Research Centre, [[Jamia Millia Islamia]], New Delhi{{citation needed|date=October 2022}}
* [[Annapurna International School of Film and Media]], Hyderabad
* [[Asian Academy of Film & Television|Asian Academy of Film and Television]]
* [[Biju Pattnaik Film and Television Institute of Odisha]]
* BOFTA – Blue Ocean Film and Television Academy, Kodambakkam, Chennai, Tamil Nadu<ref>{{Cite web |title=Best Chennai Film Institute / Film School – BOFTA – Blue Ocean Film and Television Academy |url=http://bofta.in |website=Blue Ocean Film and Television Academy}}</ref>
* Centre for advanced media studies, Patiala
* [[Dr. Bhupen Hazarika Regional Government Film and Television Institute]], Guwahati{{citation needed|date=October 2022}}
* Mass Communication and the New Media Central University of Jammu{{citation needed|date=October 2022}}
* Department of Culture and Media studies, Central University of Rajasthan{{citation needed|date=October 2022}}
* [[Film and Television Institute of India]] (FTII), Pune
* [[Makhanlal Chaturvedi National University of Journalism and Communication]] (MCNUJC), Bhopal
* Film-Theater Studies, SOH, Tamil Nadu Open University, Saidapet, Chennai{{citation needed|date=October 2022}}
* [[Government Film and Television Institute]], Bangalore<ref>{{Cite web  |title=GFTI |url=http://www.filminstitutebangalore.com/ |access-date=21 August 2014 |website=www.filminstitutebangalore.com}}</ref>
* [[K. R. Narayanan National Institute of Visual Science and Arts]] (KRNNIVSA), Kottayam, Kerala<ref>{{Cite web |last=KRNNIVSA |title=Govt Film Institute in Kerala |url=http://www.krnnivsa.edu.in/ |access-date=21 August 2014 |website=www.krnnivsa.edu.in}}</ref>
* [[L. V. Prasad]] Film and TV Academy, [[Chennai]]<ref>{{Cite web |last=L.V.Prasad Film & TV Academy |title=prasadacademy.com |url=http://www.prasadacademy.com |access-date=25 April 2014 |publisher=prasadacademy.com}}</ref>
* [[M.G.R. Government Film and Television Training Institute|M.G.R. Government Film and Television Training Institute, Chennai]]
* Matrikas Film School<ref>{{Cite web |title=matrikasfilmschool.com |url=http://www.matrikasfilmschool.com |access-date=25 April 2014 |publisher=matrikasfilmschool.com}}</ref>
* [[National Institute of Design]], Ahmedabad<ref>{{Cite web |title=National Institute of Design – Film and Video Communication |url=http://www.nid.edu/education/postgraduate-diploma-programme-in-design/film-video-communication/p-overview |url-status=dead |archive-url=https://web.archive.org/web/20121118144536/http://www.nid.edu/education/postgraduate-diploma-programme-in-design/film-video-communication/p-overview |archive-date=18 November 2012 |access-date=25 April 2014 |publisher=Nid.edu}}</ref>
* Palme Deor Media College, Tambaram west, Chennai and Arulananda Nagar, Thanjavur<ref>{{Cite web |title=Welcome To Palmedeor Film & Media College |url=http://www.palmedeor.in |website=www.palmedeor.in}}</ref>
{{citation needed|date=October 2022}}
* [[Satyajit Ray Film and Television Institute]], Calcutta
* School of Media and Cultural Studies, Tata Institute of Social Sciences, Mumbai<ref>{{Cite web |title=School of Media and Cultural Studies – TISS |url=http://smcs.tiss.edu/ |url-status=dead |archive-url=https://web.archive.org/web/20130218200049/http://www.smcs.tiss.edu/ |archive-date=18 February 2013}}</ref>
* Srishti School of Art, Design, and Technology, Bangalore, Karnataka{{citation needed|date=October 2022}}
* [[Whistling Woods International]]
* [[National School of Drama|National School of Drama, Delhi]]
{{colend}}

== See also ==

* [[:Category:Indian films by language|List of Indian movies by language]]
* [[List of Indian winners and nominees of the Academy Awards]]
* [[List of Indian winners and nominees of the Golden Globe Awards]]
* [[List of Indian winners and nominees at the Cannes Film Festival]]
* [[International Film Festival of India]]
* [[Indian animation industry#List of Indian Animated Movies|List of Indian animated movies]]
* [[Lists of Indian actors]]
* [[List of Indian film actresses]]

== Explanatory notes ==
{{Reflist|group=details}}

== References ==
{{Reflist}}

== Further reading ==
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* Celli, Carlo. (2013) "The Promises of India" ''National Identity in Global Cinema: How Movies Explain the World''. Palgrave MacMillan, 61–70. {{ISBN|978-1137379023}}.
* {{Cite book |last1=Suresh Chabria |url={{google books|plainurl=y|id=CORkAAAAMAAJ}} |title=Light of Asia: Indian Silent Cinema, 1912–1934 |last2=Paolo Cherchi Usai |publisher=Wiley Eastern |year=1994 |isbn=978-81-224-0680-1}}
<!-- * {{Cite book |last=Bassano |first=Brian |title=MCC in South Africa 1938–39 |year=1997 |isbn=978-0-9516563-5-8}} Cricket book? -->
* {{Cite book |last=Stanley A. Wolpert |title=Encyclopedia of India |year=2006 |isbn=978-0-684-31350-4}}
* {{Cite book |last=Desai |first=Jigna |title=Beyond Bollywood: The Cultural Politics of South Asian Diasporic Film |publisher=Psychology Press |year=2004 |isbn=978-0-415-96684-9}}
* {{Cite book |last1=K. Moti Gokulsing |title=Indian Popular Cinema: A Narrative of Cultural Change |last2=Wimal Dissanyake |publisher=Trentham Books Limited |year=2004 |isbn=978-1-85856-329-9}}
* Gulzar, Govin Nihalanni, & Saibel Chatterjee. ''[[Encyclopaedia of Hindi Cinema]]'' New Delhi: Encyclopædia Britannica, 2003. {{ISBN|81-7991-066-0}}.
* Khanna, Amit (2003), "The Business of Hindi Films", ''Encyclopaedia of Hindi Cinema: historical record, the business and its future, narrative forms, analysis of the medium, milestones, biographies'', Encyclopædia Britannica (India) Private Limited, {{ISBN|978-81-7991-066-5}}.
<!-- * Khanna, Amit (2003), "The Future of Hindi Film Business", ''Encyclopaedia of Hindi Cinema: historical record, the business, and its future, narrative forms, analysis of the medium, milestones, biographies'', Encyclopædia Britannica (India) Private Limited, ISBN 978-81-7991-066-5. SAME AS ABOVE -->
* {{Cite book |last1=Gopal |first1=Sangita |title=Global Bollywood: Travels of Hindi Song and Dance |last2=Moorti |first2=Sujata |publisher=University of Minnesota Press |year=2008 |isbn=978-0-8166-4578-7}}
* Narweker, Sanjit, ed. ''Directory of Indian Film-Makers and Films''. Flicks Books, 1994. {{ISBN|0-948911-40-9}}
* {{Cite book |last=Stanley A. Wolpert |title=Encyclopedia of India |year=2006 |isbn=978-0-684-31351-1}}
* {{Cite book |last=Nowell-Smith |first=Geoffrey |url=https://archive.org/details/oxfordhistoryofw00geof |title=The Oxford History of World Cinema |publisher=Oxford University Press, US |year=1996 |isbn=978-0-19-811257-0}}
* {{Cite book |title=Le cinéma indien |date=1983 |publisher=Centre national d'art et de culture Georges Pompidou |isbn=9782864250371 |editor-last=Passek |editor-first=Jean-Loup |editor-link=Jean-Loup Passek |location=Paris |oclc=10696565}}
* {{Cite book |last1=Rajadhyaksha |first1=Ashish |title=Encyclopedia of Indian Cinema |last2=Willemen |first2=Paul |publisher=Routledge |year=1999 |isbn=978-1-57958-146-6}}
* {{Cite book |last=Stanley A. Wolpert |title=Encyclopedia of India |year=2006 |isbn=978-0-684-31351-1}}
* {{Cite book |last=Velayutham |first=Selvaraj |title=Tamil Cinema: The Cultural Politics of India's Other Film Industry |publisher=Psychology Press |year=2008 |isbn=978-0-415-39680-6}}
* Watson, James L. (2009), ''Globalization'', ''[[Encyclopædia Britannica]]''.
* {{Cite book |url=https://archive.org/stream/reportoftheindia030105mbp#page/n5/mode/2up |title=Report of the Indian Cinematograph Committee 1927–1928 |publisher=Superintendent, The Government Press, Madras |year=1928}}
* {{Cite book |last1=Dwyer |first1=Rachel |title=Cinema India: The Visual Culture of Hindi Film |last2=Patel |first2=Divia |year=2002 |publisher=Rutgers University Press |isbn=978-0-8135-3175-5}}
* Culture and Representation: The Emerging Field of Media Semiotics/J A H Khatri/[https://web.archive.org/web/20131019131146/http://www.rubypressco.com/ Ruby Press & Co.]/{{ISBN|978-93-82395-12-6}}/ 2013.
{{div col end}}

== External links ==
{{commons category}}
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{{Cinema of India}}
{{Media of India}}
{{India Animation Industry}}
{{Life in India}}
{{Worldcinema}}
{{Asia topic|Cinema of}}

{{DEFAULTSORT:India (cinema)}}
[[Category:Cinema of India| ]]
[[Category:Arts in India]]
[[Category:Culture of India]]
[[Category:Entertainment in India]]