Dating bombay
Dating > Dating bombay
Click here: ※ Dating bombay ※ ♥ Dating bombay
As of 2014Mumbai had the highest number of internet users in India with 16. Dating bombayunder the u of the Municipal Corporation, is headed by the Chief Fire Officer, who is assisted by four Deputy Chief Fire Officers and six Divisional Officers. Retrieved 12 November 2007. Retrieved 9 June 2009. Retrieved 12 October 2006. The average annual temperature is 27. When to visit: Weekday dinners Cost for two: Rs 2000 Image source: Must Read: 16. In August 1979, a sister township of was founded by the CIDCO across the and to help the dispersal and control of Bombay's population. Salim-Javed went on to write more successful masala films in the 1970s and 1980s. Its simplicity has been part of what makes it so attractive to its users - using geolocation, the app shows users profiles of their preferred gender and age-range within a set geographical area. Retrieved 15 July 2015. dating bombay
This article is about the Hindi film industry. For the entire film culture of India, see. For the tree species, see. Without proper , you may see , misplaced vowels or missing conjuncts instead of Indic text. Hindi cinema, often referred to as Bollywood, is the Indian film industry, based in the city of formerly Bombay , ,. Linguistically, Bollywood films tend to use a dialect of , or , mutually intelligible to both Hindi and speakers, while modern Bollywood films also increasingly incorporate elements of. Bollywood represents 43% of Indian net box office revenue, while and represent 36%, and the rest of the regional cinema constitute 21%, as of 2014. Bollywood is thus one of the largest centers of film production in the world. According to certain news outlets, in terms of ticket sales in 2001, sold an estimated 3. Credit for the term has been claimed by several different people, including the lyricist, filmmaker and scholar Amit Khanna, and the journalist Bevinda Collaco. Bollywood does not exist as a physical place. Some deplore the name, arguing that it makes the industry look like a poor cousin to Hollywood. By the 1930s, the industry was producing over 200 films per annum. The first Indian sound film, 's 1931 , was a major commercial success. There was clearly a huge market for talkies and musicals; Bollywood and all the regional film industries quickly switched to sound filming. The 1930s and 1940s were tumultuous times: was buffeted by the , , the , and the violence of the. Most Bollywood films were unabashedly , but there were also a number of filmmakers who tackled tough social issues, or used the struggle for Indian independence as a backdrop for their plots. In 1937, Ardeshir Irani, of Alam Ara fame, made the first colour film in ,. The next year, he made another colour film, a version of Mother India. However, colour did not become a popular feature until the late 1950s. At this time, lavish romantic musicals and melodramas were the staple fare at the cinema. Prior to the 1947 , which was divided into the and , the Bombay film industry now called Bollywood was closely to the film industry now the industry of , as both produced films in , or , the across northern and central India. In the 1940s, many actors, filmmakers and musicians in the Lahore industry migrated to the Bombay industry, including actors such as , , and and singers such as , and. Around that time, filmmakers and actors from the based in now Kolkata also began migrating to the Bombay film industry, which for decades after partition would be dominated by actors, filmmakers and musicians with origins in what is today , along with those from. Some of the most critically acclaimed Hindi films of all time were produced during this period. Examples include 1957 and 1959 directed by and written by , 1951 and 1955 directed by and written by , and 1952 directed by and starring. These films expressed social themes mainly dealing with working-class life in , particularly urban life in the former two examples; Awaara presented the city as both a nightmare and a dream, while Pyaasa critiqued the unreality of city life. Mother India was also an important film that defined the conventions of Hindi cinema for decades. It spawned a new genre of , which was further defined by 1961. Written and produced by Dilip Kumar, Gunga Jumna was a dacoit about two brothers on opposite sides of the law, a theme that later became common in Indian films since the 1970s. Some of the most famous of Hindi cinema were also produced at the time, such as 's 1960. Other acclaimed mainstream Hindi filmmakers at the time included and. Kapoor and Kumar are among the greatest and most influential movie stars in the history of Indian cinema, while Nargis is one of its greatest actresses. Successful actors at the time included , , , , and , while successful actresses included , , , , , , , , and. The three most popular male Indian actors of the 1950s and 1960s were Dilip Kumar, Raj Kapoor, and Dev Anand, each with their own unique acting style. While commercial Hindi cinema was thriving, the 1950s also saw the emergence of a new movement. Though the movement was mainly led by , it also began gaining prominence in Hindi cinema. Early examples of films in this movement include 1946 directed by and based on the , 1946 directed by and written by Khwaja Ahmad Abbas, and Bimal Roy's 1953. Their critical acclaim, as well as the latter's commercial success, paved the way for Indian and the Indian New Wave. Some of the internationally acclaimed Hindi filmmakers involved in the movement included , , , , and. Ever since the film Neecha Nagar won the at the , Hindi films were frequently in competition for the at the throughout the 1950s and early 1960s, with some of them winning major prizes at the festival. Dutt is now regarded as one of the greatest of all time, alongside the more famous Indian Bengali filmmaker. The 2002 critics' and directors' poll of greatest filmmakers ranked Dutt at No. Some of his films are now included among the , with 1957 being featured in list, and with both Pyaasa and 1959 tied at No. Other actors during this period include , , , , and , and actresses like , , , and. Classic Bollywood 1970s—1980s The screenwriting duo , consisting of l and r , revolutionized Indian cinema in the 1970s, and are considered Bollywood's greatest. By the start of the 1970s, Hindi cinema was experiencing thematic stagnation, dominated by musical. The arrival of screenwriter duo , consisting of and , marked a paradigm shift, revitalizing the industry. They began the genre of gritty, violent, in the early 1970s, with films such as 1973 and 1975. They reinterpreted the rural themes of 's 1957 and 's 1961 in a contemporary urban context reflecting the and climate of 1970s India, channeling the growing discontent and disillusionment among the masses, and unprecedented growth of , and dealing with themes involving urban poverty, corruption, and crime, as well as themes. The most successful Indian actor during the 1970s—1980s, he is considered one of India's greatest and most influential movie stars. By the mid-1970s, romantic confections had made way for gritty, violent crime films and about gangsters and bandits. Along with Bachchan, other actors that rode the crest of this trend include , , , , , and , which lasted into the early 1990s. Actresses from this era included , , , , , , , , , and. Key to this was the emergence of the genre, which combines elements of multiple genres , , , , ,. The masala film was pioneered in the early 1970s by filmmaker , along with screenwriter duo Salim-Javed, pioneering the Bollywood format. Salim-Javed went on to write more successful masala films in the 1970s and 1980s. Masala films launched Amitabh Bachchan into the biggest Bollywood movie star of the 1970s and 1980s. A landmark for the masala film genre was 1977 , directed by and written by. Manmohan Desai went on to successfully exploit the genre in the 1970s and 1980s. Both these trends, the masala film and the violent crime film, are represented by the blockbuster 1975 , written by Salim-Javed and starring Amitabh Bachchan. Some Hindi filmmakers such as continued to produce realistic throughout the 1970s, alongside , , , and. However, the 'art film' bent of the Film Finance Corporation came under criticism during a Committee on Public Undertakings investigation in 1976, which accused the body of not doing enough to encourage commercial cinema. The 1970s thus saw the rise of commercial cinema in the form of enduring films such as 1975 , which consolidated 's position as a lead actor. The devotional classic was also released in 1975. The most internationally acclaimed Hindi film of the 1980s was 's 1988 , which won the at the and was nominated for the. New Bollywood 1990s—present In 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 theaters. The turning point came with 1988 , directed by , written and produced by his father , and starring his cousin with. Its blend of youthfulness, wholesome entertainment, emotional quotients and strong melodies lured family audiences back to the big screen. It set a new template for Bollywood musical romance films that defined Hindi cinema in the 1990s. By the early 1990s, the pendulum had swung back toward family-centric romantic musicals. Qayamat Se Qayamat Tak was followed by blockbusters such as 1989 , 1989 , 1994 , 1995 , 1996 , 1997 , 1998 and 1998. A new generation of popular actors emerged, such as Aamir Khan, , , , , and , and actresses such as , , , , , , and. In that point of time, action films and comedy films were also successful, with actors like , , , Akshay Kumar, and Ajay Devgan, with Akshay Kumar gaining popularity for dangerous in in his well-known and other action films. Other actresses during this time included , , , , and. This decade also marked the entry of new performers in and independent films, some of which succeeded commercially, the most influential example being 1998 , directed by and written by. The critical and commercial success of Satya led to the emergence of a distinct genre known as , urban films reflecting social problems in the city of. This led to a resurgence of by the end of the decade. These films often featured actors like and , and actresses like , , and , whose performances were usually critically acclaimed. Combined, they have starred in the top ten. The three Khans have had successful careers since the late 1980s, and have dominated the Indian box office since the 1990s, across three decades. The 2000s saw a growth in Bollywood's recognition across the world due to a growing and prospering and communities overseas. A fast growth in the Indian economy and a demand for quality entertainment in this era, led the nation's film-making to new heights in terms of production values, cinematography and innovative story lines as well as technical advances in areas such as special effects and animation. Some of the largest production houses, among them and were the producers of new modern films. Some popular films of the decade were 2000 , 2001 , 2001 , 2003 , 2003 , 2006 , 2006 , 2006 , 2006 and 2007 among others. This decade also saw the rise of popular actors and movie stars like , , , , and , as well as actresses like , , , , , , , and. In the 2010s, the industry saw the trend of established movie stars like Salman Khan, Akshay Kumar and Shahrukh Khan making big-budget entertainers like 2010 , 2012 , 2012 , 2013 , 2014 and 2014 opposite much younger actresses. These films were often not the subject of critical acclaim, but were nonetheless major commercial successes. On the other hand, Aamir Khan has been credited for redefining and modernizing the which originated from his uncle Nasir Hussain's Yaadon Ki Baarat, which he first appeared in with his own distinct brand of socially conscious cinema in the early 21st century. His films blur the distinction between commercial masala films and realistic , combining the entertainment and production values of the former with the believable narratives and strong messages of the latter, earning both commercial success and critical acclaim, in India and overseas. While most stars from the 2000s continued their successful careers into the next decade, the 2010s also saw the rise of a new generation of popular actors like , , , , , , and , as well as actresses like , , , , , , , and , with Balan and Ranaut gaining wide recognition for successful female-centric films such as 2011 , 2012 and 2014 , and 2015. Examples of this influence include the techniques of a , and. Indian popular films often have plots which branch off into sub-plots; such narrative dispersals can clearly be seen in the 1993 films and. The theory of dating back to ancient Sanskrit drama is believed to be one of the most fundamental features that differentiate Indian cinema, particularly Hindi cinema, from that of the Western world. These regional traditions include the of , the of , and the of. The Parsi plays contained crude humour, melodious songs and music, sensationalism and dazzling stagecraft. Indian filmmakers, while enhancing the elements of fantasy so pervasive in Indian popular films, used song and music as a natural mode of articulation in a given situation in their films. There is a strong Indian tradition of narrating mythology, history, fairy stories and so on through song and dance. However, they demonstrated how this creation intersected with people's day to day lives in complex and interesting ways. An early example of this approach was in 's 1995. In the early 20th century, was the of popular cultural performances across northern India, established in popular traditions such as dancing, , and Parsi theater. Urdu and related were the most widely understood across northern India, thus became the standardized language of early Indian. The scholars Chaudhuri Diptakirti and , and the screenwriter , identify as a major influence on Hindi cinema. Most of the screenwriters and scriptwriters of classic Hindi cinema often came from Urdu literary backgrounds, from and to and , while a handful of screenwriters and scriptwriters also came from other traditions such as and. Most of Hindi cinema's classic scriptwriters wrote their scripts and dialogues mainly in Urdu, including the likes of Salim-Javed, , , , Rahi Masoom Raza and. Urdu poetry strongly influenced , where the lyrics draw heavily from Urdu poetry and the tradition. Todd Stadtman identifies several foreign influences on commercial Bollywood in the 1970s, including , Italian , and. Starting with 1975 , Bollywood films up until the 1990s often incorporated fight sequences inspired by 1970s from. Rather than following the Hollywood model, Bollywood action scenes tended to follow the Hong Kong model, with an emphasis on acrobatics and , and combining as it was perceived by Indians with particularly. India Perhaps the biggest influence of Bollywood has been on nationalism in itself, where along with rest of Indian cinema, it has become part and parcel of the 'Indian story'. In India, Bollywood is often associated with India's national identity. In the words of the economist and Bollywood biographer , Cinema actually has been the most vibrant medium for telling its own story, the story of its struggle for independence, its constant struggle to achieve national integration and to emerge as a global presence. Bollywood has influenced Indian society and culture for a long time. For many decades, Bollywood has influenced daily life and culture in India, where it has been the biggest entertainment industry. Many of the musical, dancing, wedding and fashion trends in India, for example, have been influenced by Bollywood. Some of the biggest Bollywood fashion trendsetters have included in 1960 and in 1994. Bollywood has also had a impact on Indian society, reflecting over the decades. In classic Bollywood cinema of the 1970s, for example, popular written by and starring , such as 1973 and 1975 , reflected the and socio-political realities of 1970s India, channeling the growing popular discontent and disillusionment among the masses, and the failure of the state in ensuring their welfare and well-being, in a time when prices were rapidly rising, commodities were becoming scarce, public institutions were losing legitimacy, smugglers and gangsters were gathering political clout, and there was an unprecedented growth of. Overseas Overseas, Bollywood has been a prominent form of for India, increasing India's influence overseas, as well as changing overseas perceptions of India. In countries such as , for example, included bullock carts, beggars, sacred cows, corrupt politicians, and catastrophes, before Bollywood as well as the transformed global perceptions of India. See below for further information on Bollywood's influence in different global regions. Bollywood has also influenced and other film industries. In the 2000s, Bollywood began influencing in the Western world, and played a particularly instrumental role in the revival of the American musical film genre. The film incorporated an Indian-themed play based on the ancient and a Bollywood-style dance sequence with a song from the film 1998. The critical and financial success of Moulin Rouge! The Bollywood 2001 was nominated for the , and two other Bollywood films 2002 and 2006 were nominated for the. Deewaar also had a remake, 1979 , which went on to inspire 's internationally acclaimed breakthrough 1986 , which set the template for the genre in. The theme of was popularised in through Bollywood films, with 1958 inspiring the Hollywood film 1975 , which in turn inspired the Bollywood film 1980 , which in turn influenced another Hollywood film 1989. The 1975 film is believed to have inspired 2005 , which in turn inspired the Bollywood film 2007. The influence of can also be seen in elsewhere in the world. In 1978, pioneers and of the produced an album Cochin Moon based on an between electronic music and Bollywood-inspired Indian music. Both songs were originally composed by , sung by , and featured the dancer. Filmi music composed by who would later win two for the has frequently been sampled by musicians elsewhere in the world, including the Singaporean artist , the Iroda Dilroz, the French rap group , the American artist , and the German band , among others. Many artists, particularly those among the , have also been inspired by Bollywood music. Melodrama and romance are common ingredients to Bollywood films. Pictured 1936 Bollywood films are mostly and are expected to contain catchy music in the form of song-and-dance numbers woven into the script. A film's success often depends on the quality of such musical numbers. Indeed, a film's music is often released before the movie and helps increase the audience. Songs and dances, love triangles, comedy and dare-devil thrills are all mixed up in a three-hour extravaganza with an intermission. They are called , after the Hindi word for a spice mixture. Like masalas, these movies are a mixture of many things such as action, comedy, romance and so on. Most films have heroes who are able to fight off villains all by themselves. Bollywood plots have tended to be. They frequently employ formulaic ingredients such as star-crossed lovers and angry parents, love triangles, family ties, sacrifice, corrupt politicians, kidnappers, conniving villains, , long-lost relatives and siblings separated by fate, dramatic reversals of fortune, and convenient coincidences. There have always been Indian films with more artistic aims and more sophisticated stories, both inside and outside the Bollywood tradition see. They often lost out at the box office to movies with more mass appeal. Bollywood conventions are changing, however. A large Indian diaspora in English-speaking countries, and increased influence at home, have nudged Bollywood films closer to Hollywood models. Strangely, it was after Independence the censor board came into being and so did all the strictures. Though these changes can widely be seen in contemporary Bollywood, traditional conservative ways of Indian culture continue to exist in outside the industry and an element of resistance by some to western-based influences. Despite this, Bollywood continues to play a major role in. Some studies into fashion in have revealed that some people are unaware that the changing nature of fashion in Bollywood films are often influenced by globalisation; many consider the clothes worn by Bollywood actors as authentically Indian. See also: , , , , , , and Bollywood employs people from all parts of. It attracts thousands of aspiring actors and actresses, all hoping for a break in the industry. Models and beauty contestants, television actors, theatre actors and even common people come to Mumbai with the hope and dream of becoming a star. Just as in , very few succeed. Since many Bollywood films are shot abroad, many foreign extras are employed too. Very few non-Indian actors are able to make a mark in Bollywood, though many have tried from time to time. There have been some exceptions, of which one recent example is the hit film , where the lead actress is , an Englishwoman. Of late, , an Australian born actress, has starred in a few Indian films. Bollywood can be very clannish, and the relatives of film-industry insiders have an edge in getting coveted roles in films or being part of a film's crew. However, industry connections are no guarantee of a long career: competition is fierce and if film industry scions do not succeed at the box office, their careers will falter. Some of the biggest stars, such as , , , , , and have succeeded despite a lack of any show business connections. For film clans, see. Dialogues are usually written in an unadorned , collectively known as , that would be understood by the largest possible audience. Bollywood films tend to use a dialect of Hindi-Urdu, mutually intelligible to both and speakers. While formally referred to as Hindi cinema, most of its classic scriptwriters actually wrote their scripts and dialogues mainly in Urdu, including the likes of , , , , and. Salim-Javed, for example, wrote in , with the Urdu dialogues then transcribed by an assistant into script so that Hindi readers could read the Urdu dialogues. Some movies have used to evoke a village setting, or old-fashioned, courtly, formal Urdu in. It is true that many Urdu words have survived and have become part of Hindi cinema's popular vocabulary. But that is as far as it goes. The notes that Bollywood films continue to use a colloquial Hindi-Urdu dialect that is mutually intelligible to both Hindi and Urdu speakers. Urdu continues to be extensively used in Bollywood films, in dialogues and particularly songs. Contemporary mainstream movies also make great use of English. Characters may shift from one language to the other to express a certain atmosphere for example, English in a business setting and Hindi in an informal one. The blend of Hindi, Urdu and English occasionally seen in modern Bollywood films is often referred to as , which has become increasingly prevalent in modern Bollywood films. Cinematic language, whether in dialogues or lyrics, is often melodramatic and invokes God, family, mother, duty, and self-sacrifice liberally. Song lyrics are often about love. Bollywood song lyrics, especially in the old movies, frequently use the poetic vocabulary of court Urdu, with many loanwords. Another source for love lyrics is the long tradition of poetry about the amours of , , and the , as referenced in films such as and. Music directors often prefer working with certain lyricists, to the point that the lyricist and composer are seen as a team. This phenomenon is compared to the pairings of American composers and songwriters that created old-time Broadway musicals. Sound in Bollywood films was once rarely recorded on location otherwise known as sync sound. This created several problems, since the sound in these films usually occurs a frame or two earlier or later than the mouth movements or gestures. The actors had to act twice: once on-location, once in the studio—and the emotional level on set is often very difficult to re-create. Commercial Indian films, not just the Hindi-language variety, are known for their lack of ambient sound, so there is a silence underlying everything instead of the background sound and noises usually employed in films to create aurally perceivable depth and environment. The ubiquity of ADR in Bollywood cinema became prevalent in the early 1960s with the arrival of the camera, which required a blimp cover to shield the sound of the camera, for which it was notorious, from on-location filming. Commercial Indian filmmakers, known for their speed, never bothered to blimp the camera, and its excessive noise required that everything had to be re-created in the studio. Eventually, this became the standard for Indian films. The trend was bucked in 2001, after a 30-year hiatus of synchronised sound, with the film , in which the sound was done on the location. This opened up a heated debate on the use and economic feasibility of on-location sound, and several Bollywood films have employed on-location sound since then. However, in 2014 the ruled that this rule was in violation of the Indian constitutional guarantees granted under Article 14 right to equality , 19 1 g freedom to carry out any profession and Article 21 right to liberty. The Court also found illegal the rule which mandated that for any artist, female or male, to work in the industry, they must have domicile status of five years in the state where they intend to work. Songs from Bollywood movies are generally pre-recorded by professional playback singers, with the actors then the words to the song on-screen, often while dancing. While most actors, especially today, are excellent dancers, few are also singers. One notable exception was , who starred in several major films in the 1950s while also having a stellar career as a playback singer. Some actors in the last thirty years have sung one or more songs themselves; for a list, see. Also, with the inspiration of global trends, such as Salsa, Pop and Hip Hop, there has been a modification of the type of music heard in Bollywood films. Playback singers are prominently featured in the opening credits and have their own who will go to an otherwise lackluster movie just to hear their favourites. Going by the quality as well as the quantity of the songs they rendered, most notable singers of Bollywood are , , , , , and among female playback singers; and K. Saigal, Talat Mahmood, , , , , , , and among male playback singers. Kishore Kumar and Mohammed Rafi are often considered arguably the finest of the singers that have lent their voice to Bollywood songs, followed by Lata Mangeshkar, who, through the course of a career spanning over six decades, has recorded thousands of songs for Indian movies. The composers of film music, known as music directors, are also well-known. Their songs can make or break a film and usually do. The dancing in Bollywood films, especially older ones, is primarily modelled on Indian dance: classical dance styles, dances of historic northern Indian courtesans , or. In modern films, Indian dance elements often blend with Western dance styles as seen on MTV or in Broadway musicals , though it is usual to see Western pop and pure classical dance numbers side by side in the same film. The hero or heroine will often perform with a troupe of supporting dancers. Many song-and-dance routines in Indian films feature unrealistically instantaneous shifts of location or changes of costume between verses of a song. If the hero and heroine dance and sing a duet, it is often staged in beautiful natural surroundings or architecturally grand settings. Songs typically comment on the action taking place in the movie, in several ways. Sometimes, a song is worked into the plot, so that a character has a reason to sing. Other times, a song is an externalisation of a character's thoughts, or presages an event that has not occurred yet in the plot of the movie. In this case, the event is often two characters falling in love. Previously song and dance scenes often used to be shot in , but due to political unrest in Kashmir since the end of the 1980s, those scenes have since then often been shot in Western Europe, particularly in and. Renowned contemporary Bollywood dancers include , , , , , , and. Older Bollywood dancers are people such as , known for her cabaret numbers, , , , , , , , , and. For the last few decades Bollywood producers have been releasing the film's soundtrack, as tapes or CDs, before the main movie release, hoping that the music will pull audiences into the cinema later. Often the soundtrack is more popular than the movie. In the last few years some producers have also been releasing music videos, usually featuring a song from the film. However, some promotional videos feature a song which is not included in the movie. Bollywood films are multi-million dollar productions, with the most expensive productions costing up to 1 billion roughly USD 20 million. The latest Science fiction movie was made at an immense budget of 1. As Western films and television gain wider distribution in India itself, there is an increasing pressure for Bollywood films to attain the same production levels, particularly in areas such as action and special effects. Recent Bollywood films have employed international technicians to improve in these areas, such as 2006 which has action choreographed by Hong Kong based. The increasing accessibility to professional action and special effects, coupled with rising film budgets, has seen an explosion in the action and sci-fi genres. Sequences shot overseas have proved a real box office draw, so Mumbai film crews are increasingly filming in Australia, Canada, , the United Kingdom, the United States, and elsewhere. Nowadays, Indian producers are winning more and more funding for big-budget films shot within India as well, such as , and other recent films. Funding for Bollywood films often comes from private distributors and a few large. Indian banks and financial institutions were forbidden from lending money to movie studios. However, this ban has now been lifted. As finances are not regulated, some funding also comes from illegitimate sources, such as the. The Mumbai underworld has been known to be involved in the production of several films, and are notorious for patronising several prominent film personalities. On occasion, they have been known to use money and muscle power to get their way in cinematic deals. In January 2000, Mumbai mafia hitmen shot , a film director and father of star. In 2001, the seized all prints of the movie after the movie was found to be funded by members of the. Another problem facing Bollywood is widespread of its films. Often, bootleg copies of movies are available before the prints are officially released in cinemas. Manufacturing of bootleg DVD, VCD, and VHS copies of the latest movie titles is a well established 'small scale industry' in parts of South Asia and. Besides catering to the homegrown market, demand for these copies is large amongst some sections of the , too. In fact, bootleg copies are the only way people in Pakistan can watch Bollywood movies, since the Government of Pakistan has banned their sale, distribution and telecast. Films are frequently broadcast without compensation by countless small cable TV companies in India and other parts of South Asia. Small convenience stores run by members of the Indian diaspora in the US and the UK regularly stock tapes and DVDs of dubious provenance, while consumer copying adds to the problem. The availability of illegal copies of movies on the Internet also contributes to the industry's losses. Satellite TV, television and imported foreign films are making huge inroads into the domestic Indian entertainment market. In the past, most Bollywood films could make money; now fewer tend to do so. However, most Bollywood producers make money, recouping their investments from many sources of revenue, including selling ancillary rights. There are also increasing returns from theatres in Western countries like the United Kingdom, Canada, and the United States, where Bollywood is slowly getting noticed. As more Indians migrate to these countries, they form a growing market for upscale Indian films. For a comparison of Hollywood and Bollywood financial figures, see chart. It shows tickets sold in 2002 and total revenue estimates. Many Indian artists used to make a living by hand-painting movie billboards and posters The well-known artist used to paint film posters early in his career. This was because human labour was found to be cheaper than printing and distributing publicity material. Now, a majority of the huge and ubiquitous billboards in India's major cities are created with computer-printed vinyl. The old hand-painted posters, once regarded as ephemera, are becoming increasingly collectible as. Releasing the film music, or music videos, before the actual release of the film can also be considered a form of advertising. A popular tune is believed to help pull audiences into the theatres. Bollywood publicists have begun to use the Internet as a venue for advertising. Most of the better-funded film releases now have their own websites, where browsers can view trailers, stills, and information about the story, cast, and crew. Bollywood is also used to advertise other products. Bollywood movie stars appear in print and television advertisements for other products, such as watches or soap see. Advertisers say that a star endorsement boosts sales. With the increasing prominence of international setting such as Switzerland, London, Paris, New York, Brazil, Singapore and so on, it does not entail that the people and cultures residing in these exotic settings are represented. Contrary to these spaces and geographies being filmed as they are, they are actually Indianized by adding Bollywood actors and Hindi speaking extras to them. While immersing in Bollywood films, viewers get to see their local experiences duplicated in different locations around the world. The ceremony is one of the most prominent film events given for Hindi films in India. The Indian screen magazine started the first Filmfare Awards in 1954, and awards were given to the best films of 1953. The ceremony was referred to as the Clare Awards after the magazine's editor. Modelled after the poll-based merit format of the , individuals may submit their votes in separate categories. A dual voting system was developed in 1956. The Filmfare awards are frequently accused of bias towards commercial success rather than artistic merit. The were introduced in 1954. Since 1973, the Indian government has sponsored the National Film Awards, awarded by the government run DFF. These awards are handed out at an annual ceremony presided over by the President of India. Under this system, in contrast to the National Film Awards, which are decided by a panel appointed by Indian Government, the Filmfare Awards are voted for by both the public and a committee of experts. See also: and Besides being popular among the , in far off locations, from and to and , generations of non-Indian fans have grown up with Bollywood over the decades, bearing witness to the cross-cultural appeal of Indian films. Indian cinema's early contacts with other regions became visible with its films making early inroads into the , , , and. Over the last years of the 20th century and beyond, Bollywood progressed in its popularity as it entered the consciousness of Western audiences and producers, with Western actors now actively seeking roles in Bollywood movies. Asia-Pacific South Asia Bollywood films are widely watched in other countries, including , , , and. In these countries, is widely understood. Many Pakistanis watch Bollywood films, as they understand Hindi due to its linguistic similarity to. Pakistan banned the legal import of Bollywood movies in 1965. However, trade in unlicensed DVDs and illegal cable broadcasts ensured the continued popularity of Bollywood releases in Pakistan. Exceptions were made for a few films, such as the 2006 colorised re-release of the classic or the 2006 film. Early in 2008, the Pakistani government eased the ban and allowed the import of even more movies; 16 were screened in 2008. Continued easing followed in 2009 and 2010. The new policy is opposed by nationalists and representatives of Pakistan's small film industry but is embraced by cinema owners, who are making profits after years of low receipts. The most popular male actors there are the three : , , and. Bollywood films are very popular in Nepal, to the extent that Bollywood films earn more than there. Actors such as Salman Khan, and Shah Rukh Khan are most popular in Nepal, with their films having audiences fully pack cinema halls across the country. Bollywood films also very popular in , due to the country's proximity to the Indian subcontinent and cultural similarities present in the films. For example, India seems to share a similar style of music and musical instruments with Afghanistan. Some of the popular stars there include Shah Rukh Khan, , , , , and Madhuri Dixit. A number of Bollywood films were filmed inside Afghanistan, while some dealt with the country, including , , and. Southeast Asia Bollywood films are popular in , particularly in. The three , , and are very popular in the , including , , and. Bollywood is also fairly popular in. In Indonesia, due to , Bollywood films have been popular in the country, where they were first introduced at the end of in 1945. Bollywood experienced a revival in Indonesia with the release of Shah Rukh Khan's 1998 in 2001, becoming a bigger box-office success there than 1997. Since then, Bollywood has had a strong presence in Indonesia, particularly Shah Rukh Khan films such as 2000 , 2001 , 2003 , 2003 , and 2004 , as well as 2003. East Asia In , some Bollywood films are widely appreciated in countries such as , , and. In Japan, several Hindi films have a cult following there, such as the films directed by. Several Hindi films have also had mainstream commercial success in Japan, including 's 1952 starring , and 's 1992 starring , which released there in 1997 and sparked a short-lived boom in Indian films released in Japan for the next two years. Another Shah Rukh Khan starrer, 1998 , was also a hit in Japan. The highest-grossing Hindi film in Japan is the starrer 2009 , which also received a nomination. Some Hindi movies had success in China back in the 1940s and 1950s, and are still popular among older generations of Chinese in the present. Some of the popular Hindi films in the region included 1946 , 1951 and 1953. In China, the few Indian films to gain commercial success there during the 1970s—1980s included Awaara, 's 1971 , 1979 , and 1982. Famous Indian film stars in China included Raj Kapoor, , and. Since the 1980s, Hindi films significantly declined in popularity there, taking decades before Tahir Hussain's son Aamir Khan opened up the Chinese market for Indian films in the early 21st century. His nominated 2001 became the first Indian film to have a nationwide release there. The filmmaker was impressed by Lagaan, especially its soundtrack, and thus hired the film's music composer to score the soundtrack for his film 2003. When 3 Idiots released in China, the country was only the 15th largest film market, partly due to China's widespread pirate distribution at the time. However, it was the pirate market that introduced 3 Idiots to most Chinese audiences, becoming a in the country. It became China's 12th favourite film of all time, according to ratings on Chinese film review site , with only one domestic Chinese film ranked higher. Aamir Khan gained a large growing Chinese fanbase as a result. After 3 Idiots went viral, several of his other films, such as 2007 and 2008 , also gained a cult following. By 2013, China grew to become the world's second largest film market after the United States , paving the way for Aamir Khan's Chinese box office success, with 2013 , 2014 , and 2016 , which became the , the fifth highest-grossing non- film worldwide, and the highest-grossing non-English foreign film in any market. Several Aamir Khan films, including Taare Zameen Par, 3 Idiots, and Dangal, are some of the highest-rated films on popular Chinese film site. He has become a household name in China, with his success there described as a form of Indian , helping to improve , despite political tensions between the two nations. With Bollywood giving serious competition to Hollywood in the Chinese market, the success of Aamir Khan films has drove up the buyout prices of Indian film imports for Chinese distributors. Oceania Bollywood is not as successful in the countries and Pacific Islands such as. However, it ranks second to in countries such as , with its large Indian minority, as well as and. Australia is one of the countries where there is a large South Asian diaspora. Bollywood is popular amongst non-Asians in the country as well. Since 1997 the country has provided a backdrop for an increasing number of Bollywood films. Indian filmmakers have been attracted to Australia's diverse locations and landscapes, and initially used it as the setting for song-and-dance sequences, which demonstrated the contrast between the values. However, nowadays, Australian locations are becoming more important to the plot of Bollywood films. Hindi films shot in Australia usually incorporate aspects of Australian lifestyle. The 2005 became the first Indian film to be shot entirely in Australia and was the most successful Bollywood film of 2005 in the country. This was followed by 2007 2007 and 2008 which turned out to be box office successes. Following the release of Salaam Namaste, on a visit to India the then prime minister also sought, having seen the film, to have more Indian movies shooting in the country to boost tourism, where the Bollywood and cricket nexus, was further tightened with 's appointment as tourism ambassador to India. Australian actress , who co-starred in Salaam Namaste, among other Bollywood films, expressed her keenness to expand her career in Bollywood. Eastern Europe and Central Asia Bollywood films are particularly popular in the former , ,. Bollywood films have been into , and shown in prominent theatres such as and. Indian films were , more so than and occasionally even domestic. The first Indian film to release there was 1946 , directed by and based on the , released in the Soviet Union in 1949. Since then, 300 Indian films were released in the Soviet Union, most of which were Bollywood films, drawing higher average audience figures than domestic Soviet productions, with 50 Indian films drawing more than 20 million viewers compared to 41 Hollywood films , with some such as 1951 and 1982 drawing more than 60 million viewers, establishing Indian actors like , , and as household names in the country. Ashok Sharma, Indian Ambassador to , who has served three times in the region during his diplomatic career said: The popularity of Bollywood in the CIS dates back to the Soviet days when the films from and other Western cinema centers were banned in the Soviet Union. As there was no means of other cheap entertainment, the films from Bollywood provided the Soviets a cheap source of entertainment as they were supposed to be non-controversial and non-political. In addition, the Soviet Union was recovering from the onslaught of the Second World War. The films from India, which were also recovering from the disaster of partition and the struggle for freedom from colonial rule, were found to be a good source of providing hope with entertainment to the struggling masses. The aspirations and needs of the people of both countries matched to a great extent. These films were dubbed in Russian and shown in theatres throughout the Soviet Union. The films from Bollywood also strengthened family values, which was a big factor for their popularity with the government authorities in the Soviet Union. The film 1970 , sought to cater to such an appeal and the popularity of in Russia, when it recruited Russian actress for the movie. In the contemporary era, 2005 was shot entirely in Russia. After the collapse of the Soviet film distribution system, Hollywood occupied the void created in the Russian film market. This made things difficult for Bollywood as it was losing market share to Hollywood. However, Russian newspapers report that there is a renewed interest in Bollywood among young Russians. In , Bollywood star has a large following. He was introduced to Polish audiences with the release of 2001 there in 2005, after which some of his other films became hits in the country, including 1998 , 2004 and 2006. Shah Rukh Khan has become a household name in Poland, and Bollywood films are often covered in the largest Polish newspaper. Middle East and North Africa Hindi films have been popular in , including , , , and the. Imported Indian films are usually subtitled in Arabic upon the film's release. Since the early 2000s, Bollywood has progressed in. Special channels dedicated to Indian films have been displayed on cable television. There are channels such as and , which show Hindi movies and serials. In Egypt, Bollywood films used to be very popular in the 1970s and 1980s. In 1987 however, Bollywood films were restricted to only a handful of films by the. Recently in Turkey, Bollywood has been gaining popularity as was the first Hindi film to have a wide theatrical release. Bollywood also has viewership in Central Asia particularly in and. South America Bollywood movies are not influential in many countries of South America, though Bollywood culture and dance is recognised. However, due to significant South Asian diasporic communities in and , Hindi-language movies are popular. In 2006, became the first Bollywood film to be shot in , Brazil. In January 2012, it was announced that UTV Motion Pictures would be releasing movies in , starting with. Sub-Saharan Africa and Horn of Africa Historically, Hindi films have been distributed to some parts of Africa, largely by Lebanese businessmen. Indian movies have also gained ground so as to alter the style of fashions, songs have also been copied by Hausa singers and stories have influenced the writings of Nigerian novelists. Stickers of Indian films and stars decorate taxis and buses in Northern Nigeria, while posters of Indian films adorn the walls of tailor shops and mechanics' garages in the country. Unlike in Europe and North America where Indian films largely cater to the expatriate Indian market yearning to keep in touch with their homeland, in West Africa, as in many other parts of the world, such movies rose in popularity despite the lack of a significant Indian audience, where movies are about an alien culture, based on a religion wholly different, and, for the most part, a language that is unintelligible to the viewers. One such explanation for this lies in the similarities between the two cultures. Other similarities include wearing turbans; the presence of animals in markets; porters carrying large bundles, chewing sugar cane; youths riding motor scooters; wedding celebrations, and so forth. In , film imports from India were watched by both and audiences. Several Bollywood personalities have avenued to the continent for both shooting movies and off-camera projects. The film 2005 was one of many movies shot in South Africa. Ominously, however, the popularity of old Bollywood versus a new, changing Bollywood seems to be diminishing the popularity on the continent. The changing style of Bollywood has begun to question such an acceptance. The new era features more sexually explicit and violent films. Nigerian viewers, for example, commented that older films of the 1950s and 1960s had culture to the newer, more westernised picturisations. The emergence of , Africa's local movie industry has also contributed to the declining popularity of Bollywood films. A greater world worked in tandem with the sexualisation of Indian films so as to become more like American films, thus negating the preferred values of an old Bollywood and diminishing Indian. Additionally, classic Bollywood actors like and have historically enjoyed popularity in and. In , Bollywood movies are shown alongside Hollywood productions in theatres, such as the Cinema Ethiopia in. In the other countries of , Bollywood films are also broadcast, though local aesthetics tend much more toward expressive or than commercial fare. The first Indian film to be released in the , and get mainstream attention, was 1952 , directed by , and starring and. It was subtitled in 17 languages and released in 28 countries, including the , , and. Aan also received critical acclaim in the British press at the time, such as which compared it favourably with Hollywood productions at the time. Mehboob Khan's later -nominated 1957 was an unprecedented success in overseas markets, including , , the , , and. The awareness of Hindi cinema is substantial in the United Kingdom, where they frequently enter the UK top ten. The most successful Indian actor at the UK box office has been , whose popularity in communities played a key role in introducing Bollywood to the UK, with films such as 1993 , 1995 , and 1998. Many Indian films, such as Dilwale Dulhaniya Le Jayenge and 2001 , have been set in London. Bollywood is also appreciated in other countries, such as , , the , and the countries. Various Bollywood films are dubbed in , and shown on the German television channel on a regular basis. Germany is the second largest European market for Indian films, after the United Kingdom. The most recognized Indian actor in Germany is Shah Rukh Khan, who has had box-office success in the country, with films such as 2011 and 2007. He has a large German fan following, particularly in cities such as , where the tabloid compared his popularity to that of the. Bollywood has experienced a marked growth in revenue in and the United States, particularly popular amongst the in large cities, such as , Chicago, and New York City. In other words, films from India do more business in the United States than films from any other non-English speaking country. Numerous films in the mid-1990s and onwards have been largely, or entirely, shot in New York, Los Angeles, Vancouver and Toronto. Bollywood's immersion in the traditional Hollywood domain was further tied with such films as 2002 and 2007 trying to popularise the Bollywood-theme for Hollywood. Constrained by rushed production schedules and small budgets, some Bollywood writers and musicians have been known to resort to. Ideas, plot lines, tunes or riffs have been copied from other Indian film industries or foreign films including and other without acknowledgement of the original source. This has led to criticism towards the film industry. Before the 1990s, this could be done with impunity. The Hindi film industry was not widely known to non-Indian audiences excluding the Soviet states , who would not even be aware that their material was being copied. Audiences may also not have been aware of the plagiarism since many audiences in India were unfamiliar with foreign films and music. While copyright enforcement in India is still somewhat lenient, Bollywood and other film industries are much more aware of each other now and Indian audiences are more familiar with foreign movies and music. Organisations like the India EU Film Initiative seek to foster a community between film makers and industry professional between India and the EU. One of the common justifications of plagiarism in Bollywood in the media is that producers often play a safer option by remaking popular Hollywood films in an Indian context. Screenwriters generally produce original scripts, but due to financial uncertainty and insecurity over the success of a film many were rejected. Screenwriters themselves have been criticised for lack of creativity which happened due to tight schedules and restricted funds in the industry to employ better screenwriters. Certain filmmakers see plagiarism in Bollywood as an integral part of globalisation where American and western cultures are firmly embedding themselves into Indian culture, which is manifested, amongst other mediums, in Bollywood films. Copying is endemic everywhere in India. Our TV shows are adaptations of American programmes. We want their films, their cars, their planes, their and also their attitude. The American way of life is creeping into our culture. There have been very few cases of film copyright violations taken to court because of serious delays in the legal process, and due to the long time they take to decide a case. There have been some notable cases of conflict though. The makers of 2007 and 2005 have been targeted by the owners and distributors of the original films, and. American Studio brought the Mumbai-based B. Films to court over its forthcoming Banda Yeh Bindaas Hai, allegedly an illegal remake of its 1992 film. Some on the other hand do comply with copyright law, with Orion Pictures in 2008 securing the rights to remake the Hollywood film. Retrieved 8 April 2016. Retrieved 21 April 2014. Retrieved 11 November 2016. JA: I write dialogue in Urdu, but the action and descriptions are in English. Then an assistant transcribes the Urdu dialogue into because most people read Hindi. But I write in Urdu. Not only me, I think most of the writers working in this so-called Hindi cinema write in Urdu: , or or or or , who wrote dialogue for films like and and. So most dialogue-writers and most song-writers are from the Urdu discipline, even today. I feel that the Government should eradicate the age-old evil of certifying Urdu films as Hindi ones. It is a known fact that Urdu has been willingly accepted and used by the film industry. It is a gross misrepresentation and unjust to the people who love Urdu. The Essential Guide to Bollywood. The Bollywood in Indian and American Perceptions: A Comparative Analysis. India Quarterly: A Journal of International Affairs, 67 1 , 65—77. Retrieved 20 February 2009. Madhava Prasad traces the origin of the term to a 1932 article in the by Wilford E. Deming, an American engineer who apparently helped produce the first Indian sound picture. At this point, the Calcutta suburb of Tollygunge was the main centr of film production in India. Deming refers to the area as Tollywood, since it already boasted two studios with 'several more projected' Prasad, 2003 'Tolly', rhyming with 'Holly', got hinged to 'wood' in the Anglophone Indian imagination, and came to denote the Calcutta studios and, by extension, the local film industry. Prasad surmises: 'Once Tollywood was made possible by the fortuitous availability of a half-rhyme, it was easy to clone new Hollywood babies by simply replacing the first letter' Prasad, 2003. Madhava; Punathambekar, Aswin 2008. Retrieved 6 February 2012. Archived from the original on 9 April 2005. Retrieved 31 May 2009. Retrieved 31 May 2009. Retrieved 17 November 2012. Retrieved 17 November 2012. New Delhi: Sage Publications. Encyclopædia Britannica India Pvt Ltd. Retrieved 9 March 2013. Gokulsing, Wimal Dissanayake 2004. Indian Popular Cinema: A Narrative of Cultural Change. Meridians: feminism, race, transnationalism. Gokulsing, Wimal Dissanayake 2004. Indian Popular Cinema: A Narrative of Cultural Change. Retrieved 29 July 2012. Retrieved 5 March 2012. Retrieved 7 June 2012. The woman who pretended to be who she was: myths of self-imitation. Archived from on 20 June 2009. Retrieved 20 May 2009. Archived from the original on 8 February 2012. Retrieved 9 January 2015. Retrieved 19 September 2011. Retrieved 30 June 2008. Retrieved 12 November 2010. Archived from on 7 March 2009. Retrieved 13 April 2009. Archived from on 20 June 2009. Retrieved 20 May 2009. Gokulsing, Wimal Dissanayake 2004. Indian Popular Cinema: A Narrative of Cultural Change. Asian American Film Commentary. Archived from on 31 May 2012. Retrieved 24 April 2009. Retrieved 19 May 2008. Retrieved 19 April 2009. Retrieved 22 November 2011. Retrieved 22 November 2011. Archived from on 2 June 2013. Retrieved 24 November 2011. Retrieved 4 January 2008. Lotus Collection, Roli Books. Retrieved 6 August 2013. Archived from on 23 March 2011. Retrieved 11 April 2011. Retrieved 19 June 2008. Archived from on 17 June 2009. Retrieved 11 May 2009. Retrieved 11 April 2018. Retrieved 15 July 2016. Retrieved 15 July 2016. Retrieved 29 September 2016. Retrieved 29 July 2010. Retrieved 8 January 2017. Moti; Dissanayake, Wimal 2004. Indian Popular Cinema: A Narrative of Cultural Change. Retrieved 15 January 2014. Retrieved 15 May 2009. Retrieved 12 February 2010. Retrieved 24 January 2008. Archived from on 25 March 2009. Retrieved 23 January 2009. Retrieved 30 January 2017. Retrieved 21 November 2017. The woman who pretended to be who she was: myths of self-imitation. Retrieved 15 March 2009. Retrieved 26 May 2011. Archived from on 13 April 2009. Retrieved 18 May 2009. Retrieved 1 March 2009. Suburban Sahibs: Three Immigrant Families And Their Passage from India to America. Retrieved 9 December 2009. Chatterji, Shoma 30 June 2007. Retrieved 9 August 2008. Encyclopædia Britannica India Pvt Ltd. Retrieved 9 December 2009. Retrieved 25 April 2011. Retrieved 29 December 2009. Journal of International and Intercultural Communication, 3 1 , 1-19. The Huffington Post UK. The Times of India. Retrieved 12 December 2011. Retrieved 9 March 2013. Retrieved 14 February 2008. Retrieved 21 November 2008. Retrieved 20 August 2013. Retrieved 20 August 2013. Retrieved 20 August 2013. Culture and Global Change. Retrieved 21 November 2008. Retrieved 9 March 2013. Imagining global India: Bollywood's transnational appeal. Continuum, 27 2 , 254-266. The Times of India. Archived from on 20 February 2009. Retrieved 12 November 2010. Retrieved 12 November 2010. Archived from on 31 July 2010. Retrieved 12 November 2010. Retrieved 9 March 2013. Archived from on 24 February 2008. Retrieved 5 February 2008. Retrieved 21 November 2008. Retrieved 23 February 2010. Retrieved 23 February 2009. Archived from on 9 August 2009. Retrieved 26 April 2010. Retrieved 31 December 2009. Retrieved 18 May 2009. Archived from on 20 June 2009. Retrieved 13 May 2009. Senri Ethnological Studies, Reitaku University. Archived from PDF on 22 July 2011. Retrieved 29 March 2012. Retrieved 12 January 2008. Joseph 20 November 2002. Archived from the original on 5 December 2013. Retrieved 30 January 2009. Archived from on 24 March 2009. Retrieved 24 February 2009. Retrieved 31 May 2017. Retrieved 14 June 2017. Retrieved 29 January 2018. Retrieved 4 April 2018. Archived from on 12 February 2008. Retrieved 12 November 2007. Retrieved 18 August 2008. Archived from on 20 January 2009. Retrieved 17 November 2008. Retrieved 17 November 2008. Retrieved 1 August 2013. Archived from on 9 November 2012. Retrieved 7 June 2011. Archived from on 3 December 2013. Press Trust of India. Retrieved 21 November 2008. Press Trust of India. Retrieved 21 November 2008. WSJ Blogs - Middle East Real Time. Retrieved 18 May 2009. Indian films are known for their all singing all dancing formula. Retrieved 18 May 2009. Retrieved 5 March 2008. Retrieved 9 December 2009. Retrieved 12 November 2010. Retrieved 2 November 2017. Retrieved 6 April 2011. Retrieved 21 November 2008. The Times of India. Retrieved 23 May 2017. Retrieved 14 April 2009. The Times of India. Retrieved 22 November 2016. Retrieved 13 February 2009. Retrieved 12 November 2010. Fantasies of a Bollywood Love-Thief: Inside the World of Indian Moviemaking. Bollywood Crafts: 20 Projects Inspired by Popular Indian Cinema, 2006. The Guild of Mastercraftsman Publications. Bollywood, Routledge, New York and London, 2004. Producing Bollywood: Inside the Contemporary Hindi Film Industry Duke University Press; 2012 424 pages; looks at how major changes in film production since the 1990s have been influenced by the liberal restructuring of India's state and economy. Passing the Envelope, 1994. Once Upon a Time in Bollywood: The Global Swing in Hindi Cinema, TSAR Publications. Bollywood: Popular Indian Cinema. Bollywood, Channel 4 Books, 2001. Maximum City, Knopf, 2004. Bollywood Cinema: Temples of Desire. Indian Popular Cinema: Industry, Ideology, and Consciousness. Ideology of the Hindi Film: A Historical Construction, Oxford University Press, 2000. Encyclopedia of Indian Cinema, Oxford University Press, revised and expanded, 1999. The Essential Guide to Bollywood.
Last updated
