Name:-
Zankhana .M.Matholiya
Roll.No:-36
Paper
No.-15- Mass communication and media study.
Class :-
M.A. Sem-4
Topic:- Detail note on Cinema.
Enrollment
No:- 2069108420180036
College:-
Smt.S.B.Gardi Department of English
Email ID
:- zankhanamatholiya96@gmail.com
Submitted:-Department
of English M.K.University, Bhavnagar
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Ø What is Cinema ?
·
Cinema is a
reflection of society, both present and past.
·
Cinema is a form
of communication.
·
Cinema is a
powerful vehicle for culture, education, leisure
and propaganda Cinema is a good
medium for entertainment. Cinema is no doubt one of the wonders of the present
age. Cinema is a film/ a story recorded as set of moving pictures to be shown
on screen of a theatre house and television. It is a channel of expression and
communication. The cinemas one of the most important inventions of
modern science. Cinema exercises a
great influence upon the popular mind. A popular movie, when shown in the
T.V., can be as large crowd-puller.
Ø The Beginnings.
- The
years preceding the dawn of cinema in India were witness to the growth of
musical dramas (sangeet natak), the Parsi theatre, the drama companies of
Madras, and the jatra in Bengal. Music, dance, song were an integral part
of these performing traditions; this was the heritage of Sanskrit drama
and later popular folk performing traditions such as the ram lila, the raslila,
the nautanki and the thirukoothu. In painting, the calendar art (sometimes
termed 'bazaar art') of Raja Ravi Varma and others was well-known and
stage sets incorporated some of the designs and colours of this new art
form.
- So,
when the first "cinematographic exhibitions' of the Lumiére Brothers
were held in Bombay on July 7, 1896, Indian dramatists, photographers,
magicians, musicians and singers saw in them great potential for the
re-telling of Indian myths and folklore, The Times of India advertised
these early exhibitions as "the marvel of the country, the wonder of
the world". The exhibitions' included 'living photographic pictures'
in life- sized reproductions' of the arrival of train, of workers leavinga
factory, of a sea-bath, and of ladies and soldiers on wheels. The
exhibitions continued to draw crowds to four shows daily for over two
months. Meanwhile, a British cinematographer held exhibitions of a similar
kind in Calcutta, then the capital of British India. It is significant that
the cinema had its beginnings in India almost the same time as in other
major film-producing countries. Indeed, barely six months after the first
Lumiére Brothers' cinematograph projected moving pictures on to a screen
in a Paris basement, and two years after Edison's invention of the
Kinetoscope in New York.
- Among
the numerous crowds that watched the first screenings at Bombay's Watson
Hotel with utmost fascination was a photographer named Harishchandra S.
Bhatwadekar (alias Save Dada). He ordered for a moving picture camera from
London, and when it arrived took it along to a wrestling match in Bombay's
Hanging Gardens, and shot the match live (Two Wrestlers). He soon acquired
a projector and processing equipment. To him must go the credit of
shooting one of the earliest Indian newsreels, Return of Wrangler
Paranjpe, which recorded the triumphant welcome in December 1901 accorded
to R. P.Paranjpe, an Indian student who had won honours in mathematics at
Cambridge. Another Bhatwadekar short wasA Man and His Monkey. Jag Mohan,
the historian of the Indian documentary, credits Bhatwadekar with being
'the father of the Indian factual film' However, it is likely that the
first Indian t films were Coconut Fair and Our Indian Empire, both made
and exhibited in 1897 by unknown English camera persons. (Keval.j.Kumar)
- Just
as Indian photographers and studios proliferated soon after the
introduction of the camera in 1840, so the arrival of the motion picture
attracted a large number of business people, artists and craftspeople into
film production and exhibitions Photographers in particular took to the
new enterprise with enthusiasm.They turned out such items as Poona Races,
Train Arriving at Bombay Station, Tilak's Visit to Calcutta, Bathing Ghats
at Benaras, Great Bengal Partition Movement, and Terrible Hyderabad
Floods. Some of them became professional showmen taking their equipment
all over the country and holding exhibitions even in remote towns and
villages.
- The
first rural travelling cinemas had begun operating by the end of the
twenties. On May 18, 1912, R.G.Torney filmed a Marathi stage play,
Pundalik, while it was being acted out. The play was based on the legend
of a famous Maharashtrian saint. Torney's screen version of Pundalik gave
India its first filmed play (or photoplay') but the credit for making the
first full length feature film must go to Dadasaheb Phalke's Rajah
Harishchandra, released a full year later. artists and craftspeople into
film production and exhibitions Photographers in particular took to the
new enterprise with enthusiasm. They turned out such items as Poona Races,
Train Arriving at Bombay Station, Tilak's Visit to Calcutta, Bathing Ghats
at Benaras, Great Bengal Partition Movement, and Terrible Hyderabad
Floods. Some of them became professional showmen taking their equipment
all over the country and holding exhibitions even in remote towns and
villages.
- The
first rural travelling cinemas had begun operating by the end of the
twenties. On May 18, 1912, R.G.Torney filmed a Marathi stage play,
Pundalik, while it was being acted out.The play was based on the legend of
a famous Maharashtrian saint. Torney's screen version of Pundalik gave
India its first filmed play (or photoplay') but the credit for making the
first full length feature film must go to Dadasaheb Phalke's Rajah
Harishchandra, released a full year later.
- Regional
Language' Cinema At the national level, films in Hindi made in Mumbai and
Chennai, continue to reign supreme. During the 1990s, however, some films
made in the languages of the South, either re-mad or dubbed in Hindi, have
found a good market nationwide. Mani Ratnam's Roja, Bombay, Dil Se, Yuva,
Hey Ram! and Guru are examples of such films.
- The
omnibus term 'Regional Language' refers to Indian languages other than
Hindi and English; strictly speaking though this is incorrect, since under
the Indian constitution all 23 recognised languages are 'national'. For
Hind is as much a 'regional' language as say Tamil or Telugu or Bengali.
Several Hollywood films too began to be dubbed in Hindi, beginning with
Jurassic Park, Schindler's List, Pretty Woman and The Lion King, though
not all of them managed to succeed at the box-office.
- The
various Hollywood companies such a Sony/Columbia, MGM, Twentieth Century
Fox, Paramount viacom and Disney have a signifieth presence in Mumbai and
other large cities. A recent trend is the production of Indian film in
English, such as The Making of the Mahatma,and English August. Yet another
trend is the making of films on India-related themes by NRI film makers
such as Mira Nair (Salaam Bombay, Monsoon Wedding, Mississippi Masala,
Kamasutra) and Deepa Mehta (the 'elements' trilogy: Fire and Water)
- Cinema
is goes from the both side; particular to general and general to
particular. It is goes regional to global cinema industry and also global
to particular means regional cinema industry. Let’s have a look on
regional cinema.
Ø Hindi Cinema:
- Cinema/movie
has always been one of the greatest sources of entertainment since ages.
The movies that released earlier are far more different than modern movies
we see today. We the youngsters of today are more interested in action and
rom-com movies.. But have we wondered how earlier movies used to be and
how did films origin in India???No?? Then let’s have a flashback of our
glorious 100 years of Indian cinema. Through this journey we will see the
different aspects of cinema from its origin till modern day cinema...
1950- George Eastman discovered film in New York.
- Camera
was invented byWilliam Frizgin William Frizgin is known “Father of
Cinema”First movie was charge of dragons by lumiere brothers.Mahadev
Patwardhan discovered art of films in 1885 First exhibition of films
was by Lumiere brothers in Bombay in 1896. The great train robbery was the
first movie with a story, David Grifithproduced this movie.
- The
era of cinema began Savedada’s short film on
wrestling. Dadasaheb Phalke is known as father of Indian
cinema. Satyavadi Raja Harishchandra was first silent
cinema. Aredeshir Iirani released first Indian talking
film Alam Ara on 14 march 1931.
- Pre
-Independence Post –
Independence Early 20’s 1930’s. The thirties is
recognized as the decade of social protest in the history of Indian Cinema Three
big banners - Prabhat, Bombay Talkies and New Theatres 1940’s It had
some bold themes By the late 1940s, films were being made in various
Indian languages with religion being the dominant theme.
- 1950’s
Late 50’s saw the Golden Age of music. Achut Kanya Kisan Kanya Sheela Sita
Bibaha S.D. Burman Mediocre films made to please the distributors.
Malayalam cinema derived much of its strength from literature 1960-1970
Changing social norms and changing economies influenced movies and the
companies that made them.
- Masala
films were the demand of the time. 1970-1980 The new cinema movement
continued with full spirit in the next decade 90’s was a mixed
genre of romantic, thrillers, action and comedy films. 1980-1990 This eras
is known as “THE NEW MILLENNIUM”. Today Indian Cinema ,especially, Hindi
cinema is not only popular in India but in parts of the Middle East,
Pakistan, UK and virtually every other place where Indians live.
- Films
like Lagaan, Salaam Bombay and Monsoon Wedding put a stamp of confirmation
that Bollywood had etched itself on the global podium. The time from 1950
to 1960 is regarded as golden era of Indian cinema. Some of the most
critically acclaimed films of all times were produced during this period.
The transition to color and the consequent preference for escapist
entertainment and greater reliance on stars brought about a complete
change in the film industry.
- The
year 1931 proved to be a landmark in film industry Talkies had same effect
as they did in western countries and in no time they replaced silent films
with a great speed. Advent of films also led to inclusion of
music. J.J Madan’s Indrasabha {1932} featured total 71
songs. The first colour film was made by ardeshir irani.It was
named as Kisan Kanya (peasant girl). Best known as the
co-founder of the Bombay Talkies in 1934, along with Rajnarayan Dube and
Devika Rani. He was married to actress Devika Rani Chaudhuri (1908-
1994). Ray directed 36 films, including feature films, documentaries
and shorts.
- He was
also a fiction writer, publisher, illustrator, calligrapher, music
composer, graphic designer and film critic. Ray received many
major awards in his career, including 32 Indian National Film Awards, a
number of awards at international film festivals and award ceremonies. He
directed his first film, "Netaji Palkar" in 1927.
- In
1929, he founded the Prabhat Film Company along with Vishnupant Damle,
K.R. Dhaiber, S. Fatelal and S.B. Kulkarni, which made Ayodhyecha Raja,
the first Marathi language film in 1932 under his direction. Jamshetdji
Framji Madan Dadasahed Phalke Raghupathi
Venkaiah Naidu Aredeshir Iraniv ShyamBengal Yashraj Chopra Known as the
“First Lady of the Indian screen” She founded the Bombay Talkies film
studio in the 1930s with her husband and became a mentor for upcoming
actresses.
- Achoot
Kanya (1936) is an interesting film of hers to watch for its technical
structure. Was one of the early superstars in Indian cinema and India's
first female film director. She established Fatima Films which later
became known as Victoria-Fatima Films in 1928. Were an early singer, music
composer, actress and filmmaker of Bollywood She was the first female
music director in the Indian film industry, followed by Saraswati
Devi,Madhubala , Nargis Dutt Mumtaz Meena
Kumari, Nutan Vyjayanthimala, Sharmila
Tagore, Shabana Azmi , Smita
Patil, Zeenat Aman, Sridevi Madhuri Dixit ,Juhi
Chawla, Kajol, Aishwarya Rai Bachchan, Kareena Kapoor,
Khan, Priyanka Chopra, Deepika Padukone, Katrina , Kaif Sonam
Kapoor, Lata Mangeshkar, Asha Bhosle, Ekta
Kapoor, Farah Khan, Gauri Khan, Zoya Aktar Reema
Katgi Kiran Rao, Gauri Shinde.
- The
cinema is the cheapest and the most popular form of amusement. Cinema is a
universal teacher. It educates the people in different branches of
learning. Social pictures throw light on social evils; these films ripen
our eyes and create in us an urge for improvement. Most of the modern
Indian movies ignore higher ideals. Bad films leave a very vitiating
effect on the minds of youth.
- They
give rise to different kinds of crimes. Indians during colonial rule
brought equipment from Europe. Indian cinema’s early contacts with other
regions became visible with its films making early inroads into the soviet
union, middle east, south East Asia and China. Mainstream film stars like
Rajnikanth and Raj Kapoor gained international fame across Asia. Parallel
film makers like Satyajit ray achieved worldwide popularity, his films
gaining success among European, American and Asian audiences. Danny
boyle’s Oscar winning movie slumdog millionaire (2008) was also inspired
by Indian films. Indian cinema was also recognised at American academy awards
Ø Tamil Cinema
- Madras
has been a centre for film production in Hindi and the South Indian
languages, from the early years of Indian cinema. Several silent features
based on the mythology and the puranas were produced, and proved to be
very popular among the masses. The first silent film was Keechakavatham
(The Extermination of Keechakan) (1916), a mythological, and the first
talkie Kalidas (1931) contained no fewer than 50 songs Tamil cinema was
seen as an extension of the popular performing arts such as company drama,
therukoothu, the circus and wrestling.
- The
repertoire of the (drama) companies was limited to a few mythologicals,
written as musicals. The stories were standardised as a series of songss.
In keeping with the tradition of company drama, the talkies carried a
large number of songs and placed less emphasis on dialogue." Right
from the beginnings of Tamil cinema, the Brahmin elite despised cinema
just as it did company dramas and therukoothu (folk street theatre),
regarding it as 'low culture', in contrast to Bharatnayam and Carnatic
music which constituted 'high culture'
- The
first three phases of Tamil cinema, according to one analyst, were (i) the
puranic, mythological and folklore period (1931-50), (ii) the melodramatic
story period (1951-75), and (iii) the partly realistic anti-sentimental
stories period (1951-75) e perspective is of course elitist; realism is
seen as the ideal towards which cinema must aspire. The parallel' cinema,
which was marked by social realism, had its influence on the Tamil cinema
of the late seventies. The pioneers were K. Balachander, Bharathi Raja,
Mahendran, Balu Mahendra, Dorai, Jayabharati, Bhagyaraj, Rudraiyya and
H.A. Kaja. Mahendran's Utharipookal and Dorai's Pasi continued the
realistic genre started by the late Bhim Singh’s sila Narangalil Sila
Manithangal which challenged the myth of the ideal heroine. The “Fan clubs” associated with
Rajnikant and other film stars continue to thrive and to direct Tamil film
and political culture. (Keval.j.Kumar)
Ø Gujarati Cinema
- The
first Gujarati film was a short feature entitled Mumbaini Sethani,
released on April 9, 1932, while the first full-length feature was Narsinh
Mehto. Other early films included Sati Savitri, and Ghar Jamai. As in
other parts of the country Gujarati films had to compete with Hindi films
made in Bombay and Madras, because of the samll number of theatres. So
until the early seventies, only 130 Gujarati films had been made, the most
remarkable being Kantilala Rathod's masterpiece Kanku. However, even Kanku
could be released only in one theatre for just a week Then came the film
'boom' consequent upon the State government's generosity in granting
subsidies and in exempting films produced in studios within the State,
from entertainment tax. As many as 40 films were produced each year during
the ovr1970s, but less than 30 during the 1980s, though the quality of films
was rather indifferent.
- Popular
Gujarati cinema has been 1979),Mlargely based on mythology, folk tales and
novels. Some graduates of the Film and Television Institute, Pune, have
set p a film co-operative called Sanchar. Sanchar's first venture, Bhavni
Bhavai (1980), made in 16 mm and shot on location and directed by Ketan
Mehta, won a national film award eand the acclaim of critics. So has Mirch
Masala (1985).
- Mehta's
Hindi films have met with greater success at the all-India box office.
They include Holi (1984), Hero Hiralal (1988), Maya Memsahib (1992),
Darling! Yeh Hai India (1995), Aar Ya Paar (1997), Mangal Pandey: The
Rising (2005) and Rang Rasiya 2007). He has also made seven documentaries,
most notably the biographical film, Sardar (1993) The spirit of Kanku and
Kashi No Dikro returned to Gujarati cinema between 1980 and 1985 (the
'golden period' of Gujarati cinema), but for the next decade or so
mythologicals and folk dramas continued to dominate. Gujarati cinema
received a boost at the close of twentieth century with a string of
blockbusters byGovindbhai Patel, the foremost being Unchi Medi Na Uncha
Mol (1996) and Desh Re Joya Dada Pardesh (1997). Like Hum Aapke Hain Koun
and Dilwale Dulhaniya Le Jayenge, Patel's films are the family drama
genre, with the focus on the joint family system and the search for an
Indian identity. (Keval.j.Kumar)
Ø Bhojpuri Cinema
- Bhojpuri
cinema is a Rs. 500 crore business.75 With over 200 million speakers in
Bihar and Uttar Pradesh and also among the 20-million strong Indian
diaspora in Fiji, Mauritius, Suriname, South Africa, and Trinidad and
Tobago, Bhojpuri films are often more successful at the box-office than
Hindi films. What is more, they are low-budget films with an occasional
star like Amitabh Bachchan, Ravi Kishen or Manoj Tiwari playing thelead
role. Perhaps the earliest Bhojpuri films were Nitin Bose's anga Jamuna
(1961) and Kunden Kumar's Ganga Maiya Tohe Piyari Chadhaibo (1962).
- Since
then they have been fitfully produced, though by 2000 around 30 films were
being released in North Indian and overseas territories. In 2005, Sasura
Bada Paisawala and Daroga Babu I Love You were runaway hits. The following
year Gangaa, Ab Ta Banja Hamaar and Dulha Milal Dildar drew larger
audiences than Bollywood films. Deal in Crime and 1971 were the major
box-office hits of 2007 Bhojpuri films now feature regularly in film
review columns in Sunday newspapers and film magazines. For the most part,
Bhojpuri films are family melodramas set in foreign locales and tell
familiar stories.
- So
successful has this home-grown low- budget cinema turned out to be that
production houses are keen on either re-making Bhojpuri versions or
dubbing Bollywood films into this popular dialect of Hindi. These films
are targeted not at the multiplex audiences in the metros but rather at
small town and rural audiences for whom, as Ravi Kishen puts it Bhojpuri
cinema is like home-cooked food'.
Ø Define Censorship.
- Censorship is the
suppression of speech, public communication, or other information, on the
basis that such material is considered objectionable, harmful,
sensitive, politically incorrect or "inconvenient" as
determined by government authorities or by community
consensus. Censorship could be direct or indirect, in which case it
is referred to as soft censorship. It occurs in a variety of
different media, including speech, books, music, films, and other arts,
the press, radio, television, and the Internet for a variety of claimed
reasons including national security, to
control obscenity, child pornography, and hate speech, to
protect children or other vulnerable groups, to promote or restrict
political or religious views, and to
prevent slander and libel.
- Governments and private
organizations may engage in censorship. Other groups or institutions may
propose and petition for censorship. When an individual such as an author
or other creator engages in censorship of their own works or speech, it is
referred to as self censorship.
“Censorship reflects
a society’s lack of confidence in itself”.
-Potter Stewart
Ø A brief history on Film Censorship.
- Film Censorship was set
in motion in India when the Cinematograph Act of 1918 was made law from
May 1920. It allowed the exhibition of films only after they had been
certified as suitable for public exhibition.
- Censor Boards were set up
in Bombay, Calcutta, Madras, Rangoon and Lahore. All members of the
Borders were appointed by the Government. The consisted of the
Commissioner of Police, the Collector of Customs, a member of the Indian
Educational Services, and three prominent citizens representing the Hindu,
Muslim and other community
- There were primarily
concerned with obscenity, the wounding of religious sentiments, or
inciting disaffection against the Government. Under the Act, the control
was made more rigid and effective countrywide. Amendments to the Act of
1918 in later years made film censorship a function of the Provincial
Governments.
- In October 1927 an Indian
Cinematograph Committee was appointed with an Indian, T. Rangachariar, as
Chairman. It observed in its Report submitted two years later that
censorship is certainly necessary in India, and is the only effective
method of preventing the import, production and public exhibition of films
which might demoralize morals, hurt religious susceptibilities or excite
communal or racial animosities.
- The Cinematograph Act of
1952 continued the British tradition of severe censorship of films that
made any references to the political situation or to communal groups. In
1969, the Khosla Commission was appointed to report on the whole film
industry. It recommended an autonomous Censor Board without any official
government control the examination of a film as a whole and to allow
kissing, nudity and violence, if they were integral to the theme. The
Government reluctantly accepted the Report, and in 1974 a Bill was
introduced in the Lok Sabha. The whims of the I and B Ministry decided
which films should be given ‘A’ of ‘U’ Certificates. Political satires
like Kissa Kursi Ka were banned.
Ø The Central Board of Film
Certification (CBFC)
·
The Central Board of Film Censors
(since June 1, 1983 renamed the Central Board of Film Certification') is set up
by the Central Govenment under the powers granted it by the Cinematograph Act
(1952) and the Cinematograph (Censorship)ding Rules 1958. The Board is headed
by a chairman, appointed by the Central Govemment and is assisted by not more
than nine members. (This number has now been increased to 12-35 members this
has been done to facilitate the opening of more regional offices. Presently,
there are offices at Bombay, Madras, Calcutta and Trivandrum, with Bombay as
the headquarters.
Ø Examining Committee.
·
The recommendations of all the
members of the Examinin Committee are sent by the Examining Officer to the
Chairman of the CBFC within three days of the preview. Within the next seven
days, the producer is informed about the Certificate issued. Under the Cinematograph
Act of 1952, films were certified U' (for unrestricted exhibition), and 'A'
(for public Examining Committee exhibition restricted to adults only). But
according to the new is 'UA' (for unrestricted public exhibition subject to
parental for public exhibition restricted to specialized audiences such as
amendment, two more categories have been introduced. The first uidance for
children below the age of 12), and the second is 'S doctors, etc.) The Board
may, of course, ban a film or refuse to give it certificate unless certain
deletions in visuals and sounds are ade. It may also offer to grant a 'U'
instead of an 'A' provided ted deletions are agreed to. In some cases where the
Examining Committee is divided or where the producer makes a request for a
reconsideration of the decision arrived at, a Revising Committee takes a second
look at the film. (Keval.j.Kumar)
Ø Conclusion:
·
Not only the moves but Music, Dramas, Maps,
Books, Regional films, Documentaries, which hurt the feeling of the people are
banned or censored. A film with distorted history, tradition or culture that is
feared to create controversy is harm to the national integrity. Given the reach
and power of the film medium, without censorship there might be a flood of
grade Z or reactionary films,. Hence, censorship is significant but we should
see that Censor board doesn’t become puppets of power.
Bibliography
Keval.j.Kumar. mass communication in india.
mumbai: JAICO PUBLICATISHING HOUSE, 2010.
very well written 👌🏻
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