NandaKishore FilmMMBA, AISFM & Development and Distribution 100 Years of Indian Cinema Introduction to page no. 2 Process of film making page no. 3 development page no. 4 Pre-production page no. 11 production page no. 14 Post-production page no. 18 distribution page no. 25 Digital-cinema page no. 33 imax page no. 36 dth page no. 40 epg page no. 42 iptv page no. 43 Law’s & copyrights page no. 48 Cinematography act page no. 49 Cable TV act page no. 53 Copy-right page no. 54

100 years of indian cinema page no. 61 Golden age of indian page no. 64 cinema conclusion page no. 70 index

1 INTRODUCTION TO FILM

Film is a young medium, at least to most other media. are more than entertainment. They inspire, inform, and may even become part of our culture. And for many people films offer jobs and a career path. Painting, literature, dance and other theaters have existed for thousands of years, but films came into existence only a little more than a century ago. Yet in this fairly short span, the newcomer has established itself as an energetic and powerful art form. But this art form has some unusual features we should admit up front. More than most arts, film depends on complex technology. Without machines, movies wouldn’t move and film makers would have no tools. In addition, film art usually requires collaboration among many participants, people who follow well-proven work routines. Films are not only created but also produced.

2 This report gives you an abstract idea about how the films are made, it deals with the three stages or steps involved in film production which are pre-production, production, and post-production. And then it also explains you about how the finalized films are then distributed, it also explains about various procedures involved in distribution, then it explains about the various techniques and technologies involved in the exhibition of movies. It also covers about some of the media laws and how a film is certified and on what basis a certificate is issued for a film by the Central Board of Film Certification. Further it also covers various aspects regarding television. How a show will be telecasted on a TV. What are the various ways in the TV industry through which the content reaches the audience like for example through cable network, DTH service, on Demand and the IPTV.

Process of Film Making

3 The process of film making involves of five major steps they are: 1. Development 1.1. Story development 1.2. Writing screenplay 1.3. Re-writing screenplay 1.4. Financing the movie 2. Pre-Production 2.1. Casting 2.2. Locations 2.3. Shot list 2.4. Script breakdown 2.5. Tech support 2.6. Scheduling by the 1st AD 2.7. Production Design 3. Production 3.1. Principal photography- Setting up 3.2. Rehearsal 3.3. Setting up shots 3.4. Checking the take 4. Post-Production 4.1. Editing 4.2. Sound Mixing 4.3. Music 4.4. Test Screenings 5. Movie Distribution 5.1. Distribution to theater’s 5.2. Distribution through satellite

4 5.3. Distribution through Video on Demand 5.4.Distribution through DVD’s Development

Development is a fuzzy, amorphous, painfully interminable period in which the film’s conception takes shape and the foundational elements are assembled. Development consists of following activities, which may overlap and may be sequenced in a different order in a different movie.

Story development/ Structure/ Scriptment A script is a document that outlines every aural, visual, behavioral, and lingual element required to tell a story. Story development is the phase in which the story for a movie is developed. Every screenwriter has a personal way of developing a story. There are three

5 approaches from which a script can be developed: 1. Stream of Consciousness In this type of approach the writer has an idea which is not fully developed. It may be a logline, a premise, or a few scenes and writer plunge into the script, writing one scene after the other in a stream of consciousness. 2. Analytical Approach In this type of approach the writer develops every detail about the story before proceeding to write the script. The plot is worked out in intricate detail. 3. Methodical Approach This approach not only combines the better of the two previous approaches, but also seeds the story from a well- developed premise.

Writing the Screenplay

6 Screenplay begins when the writer has a crystal clear vision of the structure, plot points and scene outline is there to the writer. Many screenwriters make the mistake of diving straight into writing the actual script, which causes all sorts of problems. It is written in such a way that one page of script usually equates to one minute of screen time. Each scene is numbered and the standard font used is 12 point, 10 pitch Courier typeface. The major components of a screenplay are action and dialogue. For a motion picture screenplays are intended for submission to mainstream studios, and are expected to conform to a standard typographical style known as studio format. For television shows the format rules for hour-long dramas, the main difference is that TV scripts have act breaks. Multi- camera sitcoms use a different specialized format that derives from radio and stage plays. In this format dialogue is double spaced, action lines are capitalized and scene headings, character entrances and exits are capitalized.

7 For documentaries and audio visual presentations which largely consist of voice over matched to still or moving pictures is again different and uses a two column format which can be particularly difficult to achieve in standard word processors. The five basic elements considered while developing a story are: 1. 1. The story is about somebody with whom we have some empathy. 2. This somebody wants something very badly. 3. This goal is difficult, but possible to do, get, or achieve. 4. The story accomplishes maximum emotional impact and audience connection. 5. And the story comes to a satisfactory ending, not necessarily a happy one. Ten central themes among which most of the movies revolve are: 1. Man Vs. Man 2. Man Vs. Himself 3. The Loss of Innocence 4. Revenge 5. Death as a Part of Life 6. The Battle

8 7. Individual vs. Society 8. Triumph over Adversity 9. Love Conquers All 10. Good vs. Evil Where does a script come from? Typically it comes in one of the following ways: 1. A Standard Script is pitched to Producers or the Studio and if they are interested, it is than developed and written with their input. Sometimes a well-known scriptwriter will be approached to write a script based on a concept. 2. A Spec Script is written by a writer in advance with no solicitation in hopes that it will be optioned and eventually purchased by someone who can turn it into a film like a producer or a studio. These are considered more long shots because the writer is usually unknown, with little to no entertainment industry contacts and this is how they are trying to break into the business.

9 3. An Adapted Script is adapted from something that already exists in another form like a book, a play, TV show, prior film (remake) or even a real life news story. There are so many countless examples of this but probably the most common are bestselling books. Now days if there is a bestselling fiction book it’s almost a guarantee it will be adapted for film.

Re-writing the Screenplay Someone ones said “Great scripts are not written, they are re-written”. Most talented writers produce at least three drafts before the screenplay can be deemed even remotely decent. Financing a Movie Film financing is by far the most frustrating and painfully tedious part of movie making. No two movies ever use exactly the same financing model. Various models or ways in which movies can be financed are as following:

10 1. In-House production/Distribution In this model the selected studio/distributor to which the project has been pitched, provides the development finance and develops the project at studio level under some supervision. An independent producer might have submitted the original idea, but the rights to produce as a motion picture are acquired by the studio.

2. Production Financing/Distribution Agreement In this model the producer provides the development financing and takes the deal to a studio/distributor with a fairly complete package. The distribution agreement is made prior to start of production. The distributor will deduct its fee, recoup distributor expenses, collect interest on the production money loan and then reduce the negative cost with remaining gross receipts. 3. Negative Pickups

11 The independent producer provides acquisition/development financing and obtains one or more distributor commitments and guarantees to purchase the completed picture, if the finished film meets specified delivery requirements. The producer takes this or these distributor commitment(s) to an entertainment lender to secure production funds using the distributor's contract(s) as effective collateral. In this instance, the only part of the financing provided by the distributor relates to distribution expenses. 4. Acquisition Deal The independent producer raises acquisition/development as well as production movies, often from investors outside the film industry, but distributor funds are used to distribute the movie. The distribution agreement is entered into after the film is produced. 5. Rent a distributor The independent producer raises acquisition/development, production and some or all of the money needed to distribute the film. This type of

12 distribution agreement is generally entered into after the film is produced. Distributor fees are generally at their lowest with this transaction.

All this stages are the ground work for a film. After the idea of scriptwriter has transformed into screenplay which is of the prescribed format for which it is intended and after finding the sources for the film finance the movie then enters into the actual cycle of production. That is the film enters into the first level of production which is called as post-production.

Pre-Production After going through the process of development of content for the movie the next step in the process is pre-production. This is the stage where we select the crew members and the preparatory state of the movie making process starts at the earnest level. Pre-production involves activities like

13 casting, locations, shot list, script breakdown, tech scout, scheduling and the production design. They are not always executed in same order and they frequently overlap.

1. Casting Casting is taken care of by Casting Directors, who are very good at finding actors who match the director’s specifications. Obviously the director makes the final choices, but the preliminary selection – which is the most time-consuming and tedious part – is done by casting directors, who are, frankly, worth every penny they charge. They know literally thousands of actors and can quickly find the right actor for a role. They also tend to follow the careers of actors, knowing that, a decade or more down the line, a currently unemployable actor will be hot property, having developed his skills and maturity. 2. Locations Finding appropriate locations can be a real pain. Finding locations is a nightmare if something like a spacious office is needed which is not affordable.

14 The best way to get a good location is to contact an honest film location agent and explain your situation. Depending on your budget, location scouts – just like casting directors – are worth every penny, if you can afford them. They do precisely what their name suggests: they go out with your specifications and find candidates for your locations. 3. Shot List This is simply a numbered list of shots, with a description of the framing and other details such as focal length, camera movement, things to bear in mind and other issues. Sometimes storyboards are included. It is a very personal document and every director has his/her own way of shot listing. 4. Script breakdown The script breakdown is the process in which every single item needed for the movie’s shoot is identified. This includes locations, props, and effects – absolutely everything. 5. Tech Scout The tech scout is very enjoyable. Having locked all locations and produced the

15 shot list, the director, cinematographer, production designer, line producer and 1st AD go on the tech scout. On TV commercials the producer sometimes also attends. The purpose of the tech scout is for the director to visit each and every location with the heads of department and explain precisely what each shot will entail: where the camera will be, details of camera movement, what the actors will be doing, what the look of the scene must be, and so on. The 1st AD makes a careful note of anything the director says that has important implications for the shoot. A good 1st AD will also warn the director and other heads of department of any problems that may arise, such as background noise that may compromise good location sound recording. The tech scout is one reason for which when a film crew is setting up, it looks like the director is just sitting back and letting the crew get on with it: it is because they were already briefed in great detail during the tech scout well in advance. 6. Scheduling by the 1st AD

16 After the tech scout the 1st AD uses the director’s shot list to draw up a schedule for each day of the shoot. This is one of the main roles of 1st ADs, and a new director, no matter how brilliant, should always hire an experienced 1st AD and trust his/her schedule. A common practice is to schedule shots in the order of lighting or camera setups (whichever is the most time-consuming), not in chronological order. 7. Production design After the scout the production designer designs and oversees the production of set pieces, and arranges the procurement of anything that needs to be purchased: plants, furniture, etc. The costume designer does the same.

Production

The production phase is the phase in film making where the actual shooting takes

17 place, and the shoot is recorded for the final output. This phase mainly involves four stages they are: 1. Principal photography- setting up Each day’s schedule begins with the call time, which is the time at which the crew must report to the location. The 1st AD immediately begins to oversee the crew, and the director need not be around at this stage, although he should be wise to be there and start thinking about the shots. 2. Rehearsal While the crew unloads the trucks and sets up, the actors walk through the shot and determine what they do in relation to the camera. This is known as blocking the shot. Refining and tweaking the shots happens, sometimes radically changing them. Planning shots in advance and thinking about them is no substitute for experimenting with the viewfinder

18 with the actors on their marks. This is when the shots really take shape.

3. Setting up shots Having chosen the focal length, camera placement, the actor’s marks and other details such as camera movement, the director tells the cinematographer where to put the camera, which lens to use and the details of any camera movement. Different directors get involved with camerawork to different extents. 4. Checking the take After a take, the director reviews the take on the video monitor and decides what needs to be tweaked. The process is repeated until the director is satisfied. Reviewing takes in the editing room is the opposite: you have the time, mental clarity and perspective to notice every single little thing in a take that could have been done

19 better — it’s excruciating, but very instructive.

Production phase involves various tasks like . Direction It is done by a director who oversees all aspects of the production, assistant Assistant director drives the set, Second assistant director works with the

. Camera This work is done by a cinematographer or DP who oversees the camera operations. Camera operator, operate the camera, camera assistants loads camera and pulls focus, clapper/loader loads film and slate scenes. . Lighting

20 Cinematographer oversees lighting design, graffer & electricians control the lights, key grip & grips control the shadow and do special rigging. . Sound Sound mixer records the sound, boom operator positions the microphone, and clapper displays the clap slate for the camera. . Talent Actors perform before the camera.

. Miscellaneous Production coordinator schedules, script girl watches for continuity errors, make-up artists apply make up to actors.

All these positions and departments serve on one goal: to capture sound and image to tell a story. In traditional film production sound is recorded separately from the image, this is known as “double system” sound recording.

21 There are at least four sound tracks in any feature length film.

. DIALOGUE In order to record dialogue in double system it is necessary to synchronize the movement of lips with the sound of voices. Most modern film sound is recorded digitally. The function of a clap slate is to supply a marking point for when the synchronization between picture and audio begins, allowing the editor to accurately align picture with sound. . ROOM TONE Room tone is recorded silence. Normally once all the sound is recorded the sound mixer asks for about a minute of quite to record the sound of silence in the particular setting. The reason for recording room tone is that all recordings have a low level of noise in the background and during the editing process to fill the gaps so that there is not an abrupt change in the tone of the background noise. . SOUND EFFECT

22 Sound effects are obtained separately by a Foley artist who coordinates sound effects in synchronization with the onscreen action through a process known as looping. Where a portion of the film is repeatedly played to perfect the timing of the sound effects. .MUSIC Film music is either purchased or scored specifically for the production, Music that is scored is done in similar fashion to Foley sound in the scene. Post-Production

Post-production, is part of the process of filmmaking, video production and photography. It occurs in the making of motion pictures, television programs, radio programs, advertising, audio recordings, photography, and digital art. It is a term for all stages of production occurring after shooting or recording individual program segments. Post-production is many different processes grouped under one name. These typically include:

23 .Video editing the picture of a television program using an edit decision list (EDL) .Writing, (re)recording, and editing the . .Adding visual special effects - mainly computer-generated imagery (CGI) and digital copy from which release prints will be made. .Sound design, Sound effects, ADR, Foley and Music, culminating in a process known as sound re-recording or mixing with professional audio equipment. .Transfer of Color motion picture film to Video or DPX with a and (correction) in a color suite.

Planning post production Post production supervisor: A post supervisor is normally brought on board during pre-production, and has the responsibility of locating the various individuals or companies needed during post. During production, the post supervisor coordinates with the production crew, the

24 laboratory, and the editorial staff. In many respects, they are the counterpart to the Production Manager. During post-production, he or she oversees the entire post process and delivers it all on a specific timeline, within the budget. The post supervisor should have a basic understanding of each of the different processes required during post-production (including the time each stage takes), and the ability to work with the different companies. Scheduling: The first step is to create the postproduction schedule. Make sure every step you are going to perform is included. The type of project and your budget will help determine the amount of time it will take to complete postproduction. If you are shooting at a distant location, you will have to arrange to ship your to the lab or cutting room. This may add days between production and editing. It may also add days between the time production wraps and the time the final dailies reach the cutting room. These extra days will need to be included in your schedule.

25 Budgeting: The goal of most projects is to create a high-quality piece that either entertains or informs, or both. The bottom line for most projects is the budget. Unless you are making a high-profile feature, you will probably be required to stay within the budget allotted at the start of the project. The areas you’ll likely include in your postproduction budget are: .Film processing .Editing room equipment .Telecine transfer .Titling and optical .Sound editorial and design .ADR and Foley .Sound mixing .Layback .Visual effects .Negative cutting .Delivery element The lab:

26 Most film laboratories offer a variety of services. They develop your film and prepare it for transfer to videotape, create prints, and repair damaged film. Some have optical departments where they create your film effects and titles, blow-ups and repositions. Dailies and Telecine: In a film shoot, dailies, as the name implies, is the footage that is shot each day and rushed to the lab for processing. It then moves on to telecine or printing so you and your crew can view them, usually the next morning. Off-line editing: Off-line editing indicates an electronic cut. This means that your processed negative shot each day will be transferred to videotape or to a hard drive. This videotape is then provided to the off-line editor to be recorded into electronic editing equipment for (non-linear) editing. It can also mean you have taken your digital raw files and compressed them to create smaller, more manageable file sizes for your editing workflow.

27 On-line editing: The on-line is where you do the final assembly of your project or you conform your project by linking to your highest definition or raw digital files after the edit is complete. You may have to change your sequence settings and relink to your highest resolution footage (2K or 4K for example) to conform your locked cut to the highest resolution files before you send them to color correction.

Sound: Sound for your project actually starts in dailies with your “production sound.” This is sound recorded right on the set at the same time your picture dailies are recorded. Whether you are shooting on film or videotape, you will probably have some production sound. The exception will be a project that relies solely on voiceovers or sound and effects that are recorded later. Production sound elements are delivered to sound editors to be used to help “sweeten” the sound that was married to the picture either in the film editing room or the off-line

28 editing room. Once all of the sound edits have been agreed upon, production sound, along with any ancillary sound effects and music are mixed together. This is called mixing or “dubbing” (it is also called “audio sweetening in commercials and television). Mixing takes your production audio and finalizes it with enhancements, ADR, music, sound effects, and various clean-up procedures. Once completed, the sound facility creates an element called an “optical track negative (OTN)” which the film lab then marries onto film to make release prints or onto videotape for broadcast or home video release.

Completion: Once you have the picture and sound elements nailed down, your delivery requirements will determine how you complete your project. A film finish means that all of your work toward delivery will be done on film. This does not preclude making a file-based or videotape master from your film elements, but the file-based or videotape master will only be struck once

29 the film’s picture and sound elements are completed. A completely finished film element must be created to satisfy your delivery requirements. The negative is cut once the show has been locked (final edits are approved) and opticals (fades, dissolves and titles) are ordered. The film lab creates the color-corrected print. The movie is color- corrected prior to striking release prints and can also be color-corrected for use as a telecine print master.

Delivery: Delivery is completed successfully only when you have fulfilled all of the delivery requirements and the distributor has accepted the elements. Delivery elements are best made along the way, at the steps where they are the easiest and most cost- effective to create. They often require paperwork and contracts drawn and signed.

30 Visual representation of the film production process

31 DISTRIBUTION Film distribution is the process of making a movie available for viewing by an audience. This is normally the task of a professional film distributor, who would determine the marketing strategy for the film, the media by which a film is to be exhibited or made available for viewing, and who may set the release date and other matters. The film may be exhibited directly to the public either through a movie theater or television, or personal home viewing (including DVD-Video or Blu-ray Disc, video- on-demand, download, television programs through broadcast syndication etc.). For commercial projects, film distribution is usually accompanied by film promotion. It has been said that making a movie is not nearly as difficult as getting it distributed. Because of the enormous amount of cost in money and time involved in distributing a movie, a distributor must feel confident that they can make a sufficient return on their investment. Once a distributor is interested in a film, the two

32 parties arrive at a distribution agreement based on one of two financial models:  Leasing  Profit sharing In the leasing model, the distributor agrees to pay a fixed amount for the rights to distribute the film. If the distributor and the studio have a profit- sharing relationship, on the other hand, the distributor gets a percentage (typically anywhere from 10 to 50 percent) of the net profits made from the movie. Most of the major studios have their own distribution companies. For example, Disney owns Buena Vista, a major distributor. The obvious advantages of this are that it is very simple to set up a distribution deal and the parent company doesn't have to share the profits with another company. The big problem is when an expensive movie is a flop -- there's no one else to share the costs. That's the main reason several studios have partnered on major movies in recent years. This is how movies are distributed to the theaters traditionally.

33 Theatrical Distribution : If a distributor is working with a theatrical exhibitor, the distributor secures a written contract stipulating the amount of the gross ticket sales the exhibitor will be allowed to retain (usually a percentage of the gross). The distributor collects the amount due, audits the exhibitor's ticket sales as necessary to ensure the gross reported by the exhibitor is accurate, secures the distributor's share of these proceeds, surrenders the exhibitor's portion to it, and transmits the remainder to the production company. The distributor must also ensure that enough film prints are struck to service all contracted exhibitors on the contract- based opening day, ensure their physical delivery to the theater by the opening day, monitor exhibitors to make sure the film is in fact shown in the particular theatre with the minimum number of seats and show times, and ensure the prints' return to the distributor's office or other storage resource also on the contract-based return date. In practical terms, this includes the physical

34 production of release prints and their shipping around the world (a process that is being replaced by digital distribution in most developed markets) as well as the creation of posters, newspaper and magazine advertisements, television commercials, trailers, and other types of ads. Foreign Distribution : If the distributor is handling an imported or foreign film, it may also be responsible for securing dubbing or subtitling for the film, and securing censorship or other legal or organizational "approval" for the exhibition of the film in the country/territory in which it does business, prior to approaching the exhibitors for booking. Depending on which studio that is distributing the film, the studio will either have offices around the world, by themselves or partnered with another studio, to distribute films in other countries.

Early Distribution Windows : The studios revenue was gained from myriad distribution windows. These

35 windows created many opportunities in the industry and allowed networks to make a profit and eliminate failure. These new distribution methods benefited audiences that were normally too small to reach and expanded the content of television. With the new age of technology, networks accepted the fact that it was a consumer demand industry and accepted the new models of distribution. Non-theatrical distribution : The distribution of feature films for screening to a gathered audience, but not in theatres at which individual tickets are sold to members of the public. The defining distinctions between a theatrical and a non-theatrical screening are that the latter has to be to a closed audience in some way, e.g. pupils of a school, members of a social club or passengers on an airline, and that there can be no individual admission charge. Most non-theatrical screening contracts also specify that the screening must not be advertised, except within the group that is eligible to attend. Home Video Distribution :

36 Some distributors only handle home video distribution or some sub-set of home video distribution such as DVD and/or Blu-ray distribution. The remaining home video rights may be licensed by the producer to other distributors or the distributor may sub-license them to other distributors. If a distributor is going to distribute a movie on a physical format such as DVD, they must arrange for the creation of the artwork for the case and the face of the DVD and arrange with a DVD replicator to create a glass master to press quantities of the DVD. Today some movie producers are using a process called "DVD-on-demand." In DVD- on-demand, a company will burn a DVD-R (a process called "duplication") when a copy of the DVD is ordered, and then ship it to the customer.

The other method of distributing a movie using the digital distribution method is known as Video on Demand. Video on demand (VOD) are systems which allow

37 users to select and watch/listen to video or audio content when they choose to, rather than having to watch at a specific broadcast time. IPTV technology is often used to bring video on demand to and personal computers. Television VOD systems can either stream content through a set-top box, a computer or other device, allowing viewing in real time, or download it to a device such as a computer, digital video recorder (also called a personal video recorder) or portable media player for viewing at any time. The majority of cable- and Telco-based television providers offer both VOD streaming, including pay-per-view and free content, whereby a user buys or selects a movie or television program and it begins to play on the television set almost instantaneously, or downloading to a DVR rented from the provider, or downloaded onto a PC, for viewing in the future.

38

DIGITAL DISTRIBUTION Digital distribution is the delivery or distribution of media content such as audio, video, software and video games. The term is generally used to describe distribution over an online delivery medium, such as the Internet, thus bypassing physical

39 distribution methods, such as paper, compact discs, and DVDs. If you take the physical film out of the equation, things get a lot cheaper. Digital movies are basically big computer files, and just like computer files, you can write them to a DVD-ROM, send them through broadband cable or transmit them via satellite. There are virtually no shipping costs, and it doesn't cost the production company much more to show the movie in 100 theaters than in one theater. With this distribution system, production companies could easily open movies in theaters all over the world on the same day. The digital distribution system also helps out the individual theaters. If a movie sells out, a theater could decide to show it on additional screens on the spur of the moment. They simply connect to the digital signal. Theaters could also show live sporting events and other digital programming. The main advantage of digital technology (such as a CD) is that it can store, transmit and retrieve a huge amount of information exactly as it was originally recorded.

40 affects three major areas of movie-making: Production - how the movie is actually made Distribution - how the movie gets from the production company to movie theaters Projection - how the theater presents the movie. Advantages:

. Film is hundreds of times more expensive than digital video. The raw video alone is extremely cheap, and there is virtually no processing involved before the editing stage.

. For the filmmaker, the most exciting element of digital technology is how easy it is to use. As soon as they shoot digital footage, filmmakers can immediately play it back and start editing it. With film, they have to send the footage off for processing before they know what they have. A director might spend all day shooting only to discover the lighting was off and the footage is totally unusable.

41 DIGITAL CINEMA: Digital Cinemas use digital processes end to end – right from the capture (digital movies are shot using digital CCD based cameras with high resolution), storage (they are stored in digital tapes, hard disks or flash drives), processing (editing, mixing, re- recording, sound, special effects etc. are handled in the digital format), display (digital cinema is displayed using digital

42 projectors which are controlled by industry standard servers with management software in the theatres) and distribution (digital cinema copies are mostly transmitted electronically over the Internet or satellites or even hard disks). To the audience, the most important aspect of digital cinema is the projection system. This is the final piece of technology that controls how the movie actually looks at the end of the line. Piracy could be more effectively monitored with robust copy protection, encryption and water marking processes for digital cinemas. The chances of introducing a new anti-piracy technology is higher in the digital format. Digital cinema is advantageous for low budget cinemas made with limited man-power as such movies have lower budgets and alternatives are available for cheaper capturing, editing, processing, recording and distribution of digital cinemas. List of distribution companies in : Pen N Camera International Oscar Film Pvt. Ltd Aashirvad Cinemas

43 AA Films Box office Entertainment Sehbin Digital A Techno’s AVM Productions Central Prism Entertainments Dharma Productions Dhudiya Entertainment DD Production HOUSE Eros Entertainment Excel Entertainment Fox Star Studios Heera Laxmi Amusements Pvt. Ltd. Impeeduss cine solutions LUCSAM Creations PVR Pictures Rajshri Productions Pvt. Ltd. Red Chillies Entertainment Reliance Entertainment Sahara One Sara Entertainment (P) Ltd.

44 Shree Ashtavinayak Cine Vision Ltd Shree Venkatesh Films Pvt. Ltd. Sun Pictures Sax Pictures Tips Music Films Ultra Media & Entertainment Pvt. Ltd. UTV Motion Pictures Viacom 18 Motion Pictures Vishesh Films Western Pacific Production The Walt Disney Company India Pvt. Ltd. Yash Raj Films Priyeranjan Gautam movies EktAnand pictures Kiran Media Pvt.Ltd Suresh Productions Shahanshah.com Y.D.G. Films Stone Bench Creations Vijaya Films

45 IMAX IMAX (an acronym for Image Maximum) is a motion picture film format and a set of cinema projection standards created by the Canadian company IMAX Corporation and developed by Graeme Ferguson, Roman Kroitor, Robert Kerr, and William C. Shaw. IMAX has the capacity to record and display images of far greater size and resolution than conventional film systems. What makes IMAX so special? DIGITAL RE-MASTERING (DMR) The content being shown in an IMAX theatre is significantly better than the content playing at another cinema. The secret sauce in the IMAX mix is DMR – or Digital Re-mastering – a transformative process invented by IMAX Corporation. This is IMAX’s proprietary method of turning an already powerful movie into a breathtaking IMAX blockbuster with unparalleled image and sound quality. IMAX spends months on location and in the editing room of its DMR facilities with the director and technical teams of each film – planning the shots, re-

46 mixing the sound, meticulously adjusting the saturation, contrast, brightness and hundreds of details in virtually every frame to present the film at its best.

PROJECTION IMAX invented a revolutionary film projection system – one that remained the highest quality in the industry for the past 40 years. As digital entertainment emerged, IMAX began to face the next challenge: how do we make digital technology that goes above and beyond this quality product we are known for? That’s simple: by focusing on the value this new format would bring – its greater precision, clarity and perfection of image quality. These are the qualities that IMAX digital projection systems bring to bear. SOUND Simply stated, sound is affected by the room in which the listener sits as well as the quality of the source of the sound. IMAX has patents on theatre geometry that can control these variables - the shape, angles

47 and dimensions are specific to IMAX. The theatre architecture has been customized and enhanced– with better soundproofing and more effective placement of the speakers. This allows us to create an optimum listening environment and deliver a result so precise that you can hear a pin drop from across the room – and know exactly where it fell. THEATRE GEOMETRY The obvious difference in an IMAX theatre is the large screen – it literally spans from floor to ceiling and wall to wall. In fact, the screen isn’t simply bigger, it’s also shaped differently – not only wider but higher and curved, as well– which creates an immersive experience no matter where you’re seated. The very material of the screen is also different, more reflective and brighter. Most movie auditoriums are long and narrow, to get the most people in, with the screen way off at the far end. The distinctive shape of an IMAX theatre is designed to bring the audience not only closer to the screen, but better-positioned in relation to it. The result is an image that’s

48 wider and higher than your field of view; a picture that’s immersive because you’re not aware of where it ends. 3D The difference between IMAX 3D and regular 3D is as vast as the difference between an IMAX movie and an ordinary one. The IMAX 3D projector delivers 3D images of unsurpassed brightness and clarity, unlike any other 3D technology available today. IMAX 3D takes advantage of the fact that we see the world through two eyes. An IMAX 3D movie actually consists of two separate images projected onto a special silver-coated IMAX 3D screen at the same time. One image is captured from the viewpoint of the right eye, and the other shows the viewpoint of the left eye. IMAX 3D glasses separate the images, so the left and right eyes each see a different view. Your brain blends the views together to create an amazing three-dimensional image that appears to have depth beyond and in front of the screen. Types of projectors used by IMAX

49 The IMAX format is generically called "15/70" film, the name referring to the 15 sprocket holes per frame. IMAX projectors which use the 15 perforation, 70mm film format are: 1. Grand Theater(GT) 2. Grand Theater Dual Rotor(GT3D) 3. Small Rotor (SR) 4. MPX

IMAX uses ESTER which is Kodak’s trade name for PET film. The reason for precision more than strength, Developing chemicals do not change the size or shape of ESTER. The 15 kW Xenon short-arc lamp used in IMAX projectors is the GT 3D projector (dual rotor). Its operating voltage is 37.5 volts with a current consumption of 400 amps (3D 800 amps). At an operating temperature of approx. 700 degrees C, up to 1.6 cubic meters (3D 3.2 cubic meters) of air and 36 liters (3D 72 liters) of distilled water per minute are fed through the lamp house, to cool down the xenon gas discharge lamp. The lamp is very expensive.

50 Its cost is approximately 6000 US $ for Grand Theater Projector and 12000 US $ for Grand Theater Dual Rotor (GT3D). Conventional 70 mm systems were not steady enough for the 586× magnification. As a solution to this William Shaw adapted an Australian patent which uses a vacuum to pull the film into contact with this lens. This the "field flattener" flattens the image field. The lens is twice the height of the film and connects to a pneumatic piston so it can be moved up or down while the projector is running. This way, if a piece of dust comes off the film and sticks to the lens, the projectionist can switch to the clean side of the lens at the push of a button. The lens also has "wiper bars" made of a felt or brush-like material which can wipe dust off the lens as it moves up or down. IMAX projectors are pin stabilized, meaning four registration pins engage the perforations at the corners of the projected frame to ensure perfect alignment. The projector's shutter is open around 20% longer than in

51 conventional equipment and the light source is brighter.

Apart from the above specified projectors, in July 2008 IMAX introduced a digital projection system, which it has not given a distinct name or brand designed for complex multiplex theaters with screen no wider than 70 Ft.

DTH DTH stands for Direct-To-Home television. DTH is defined as the reception of satellite programmers with a personal dish in an individual home. DTH does away with the need for the local cable operator and puts the broadcaster directly in touch with the consumer. Only cable operators can receive satellite programmers and they then distribute them to individual homes. For a DTH network to be transmitted and received, the following components are needed. . Centre

52 . Satellites . Encoders . Multiplexers . Modulators . DTH receivers Advantages: . The main advantage is that this technology is equally beneficial to everyone. As the process is wireless, this system can be used in all remote or urban areas. . High quality audio and video which are cost effective due to absence of mediators. . Almost 4000 channels can be viewed along with 2000 radio channels. Thus the world’s entire information including news and entertainment is available to you at home. . As there are no mediators, a complaint can be directly expressed to the provider.

53 . With a single DTH service you will be able to use digital quality audio, video and also high speed broadband. . This work on single channel and subscriber do not require to buy new television with more channels. We can change channel through the set-top box of DTH service. . We can pay the subscription fee online through net-banking, voucher recharge or credit card.

Electronic Program Guide Electronic program guides (EPGs) and interactive program guides (IPGs) are menu-based systems that provide users of television, radio and other media applications with continuously updated menus displaying broadcast programming or scheduling information for current and upcoming programming. Some guides also feature backward scrolling to promote their catch up content.

54 Non-interactive electronic program guides (sometimes known as "navigation software") are typically available for television and radio, and consist of a digitally displayed, non-interactive menu of program scheduling information shown by a cable or satellite television provider to its viewers on a dedicated channel. EPGs are transmitted by specialized video character generation (CG) equipment housed within each such provider's central head end facility. By tuning into an EPG channel, a menu is displayed that lists current and upcoming television programs on all available channels. A more modern form of the EPG, associated with both television and radio broadcasting, is the interactive [electronic] program guide. An IPG allows television viewers and radio listeners to navigate scheduling information menus interactively, selecting and discovering programming by time, title, channel or genre using an input device such as a keypad, computer keyboard or television remote control. Its interactive menus are generated entirely within local receiving or display equipment

55 using raw scheduling data sent by individual broadcast stations or centralized scheduling information providers. A typical IPG provides information covering a span of seven or 14 days.

IPTV Internet Protocol television (IPTV) is a system through which television services are delivered using the Internet protocol suite over a packet-switched network such as a LAN or the Internet, instead of being delivered through traditional terrestrial, satellite signal, and cable television formats. IPTV services may be classified into three main groups:

Live television, with or without interactivity related to the current TV show; Time-shifted television: catch-up TV (replays a TV show that was broadcast hours or days ago), start-over TV (replays the current TV show from its beginning); Video on demand (VOD): browse a catalog of , not related to TV programming.

56 Types of video on demand are: Catch up TV: A growing number of TV stations offer Catch up TV as a way to watch TV shows though their VOD service for a period of days after the original television broadcast. Subscription models: Subscription VOD (SVOD) services use a subscription business model, where subscribers are charged a monthly fee to access unlimited programs. These services include Netflix, Hulu Plus, Amazon Instant Video and HBO Go.

Near video on demand: Near video on demand (NVOD) is a pay- per-view consumer video technique used by multi-channel broadcasters using high- bandwidth distribution mechanisms such as satellite and cable television. Multiple copies of a program are broadcast at short time intervals (typically 10–20 minutes) providing convenience for viewers, who can watch the program without needing to tune in at a scheduled point in time. This form is

57 bandwidth intensive and is generally provided only by large operators with a great deal of redundant capacity and has been reduced in popularity as video on demand is implemented; only the satellite services Dish Network and DirecTV continue to seriously provide NVOD experiences out of necessity as many of their customers have no access to their broadband VOD services.

Push video on demand: Push video on demand is a technique used by a number of broadcasters on systems that lack connectivity to provide true video on demand or by broadcasters who want to optimize their video streaming infrastructure by pre-loading the most popular contents to the consumer device. A push VOD system uses a personal video recorder (PVR) to store a selection of content, often transmitted in spare capacity overnight or all day long at low bandwidth. Users can watch the downloaded content at the time they desire, immediately and without any buffering issue. As content

58 occupies space on the PVR hard drive, downloaded content is usually deleted after a week to make way for newer programs.

How does an IPTV work? TV Head-End The TV head-end is the station or broadcast center where the delivery of IP multicast streams, encoding, recording, and encryption take place. When viewers are watching TV delivered by an IPTV system, the content they are viewing originates or is being delivered from the TV head-end. Resource Management Resource management is done through another piece of hardware referred to as the application server and refers to an IPTV system’s ability to keep track of customer privileges and utilize content information. One of the advantages of an IPTV system is providers can customize channel availability down to the individual set-top box; the application server keeps track of all the data necessary to manage all of the system’s

59 end-points and gives them the necessary privileges. Middleware The middleware, also known as the interactive portal, is the graphical user interface (GUI) that the viewers see. The electronic program guide, navigation, or any visual guide with which the viewer interacts make up the middleware.

Advantages of an IPTV 1. All of the content is digital which vastly improves the picture quality that viewers experience.

2. The switched broadcast capability of an IPTV system allows it to put only the content the viewer is requesting on the wire, and when the viewer requests a different channel, the provider switches the channel. This allows the provider to have virtually an unlimited amount of channels and frees

60 them from the constraints of the available bandwidth.

3. It is economically more efficient. Many pieces of an IPTV system are significantly less expensive due to the ever decreasing cost of IP related technology, allowing providers to give their customers more content for less. The cost of transporting content with Internet Protocol is inherently less than the current cable delivery costs. IP set-top boxes are less expensive than cable set-top boxes, and IP networking costs are declining faster than traditional networking costs.

4. IPTV allows for more content at a lower price, provides interactivity and features not typically seen in smaller operations, and with the LEIGHTRONIX IPTV solution, Luxe Vision™, providers can create an IPTV system using their existing DSL/PON, cable, or Ethernet infrastructures.

5. IPTV also gives smaller operations like campuses, small telephone companies and cable operators, hotels/motels/resorts, and numerous other industries features typically only offered by big name cable companies.

61 Utilizing the middleware that accompanies the IPTV system, providers have the ability to provide branded services like video-on- demand, time-shifted television, the “start over” feature, and converged services such as on-screen caller ID.

Law’s and copyrights related to Film and Television Central Board of Film Certification (CBFC) is a Statutory body under Ministry of Information and Broadcasting, regulating the public exhibition of films under the provisions of the Cinematograph Act 1952. Films can be publicly exhibited in India only after they have been certified by the Central Board of Film Certification. The Board, consists of non-official members and a Chairman (all of whom are appointed by Central Government) and functions with headquarters at . It has nine Regional offices, one each at Mumbai, Kolkata, Chennai, Bangalore, Thiruvananthapuram, Hyderabad, New

62 Delhi, Cuttack and Guwahati. The Regional Offices are assisted in the examination of films by Advisory Panels. The members of the panels are nominated by Central Government by drawing people from different walks of life for a period of 2 years.

The Certification process is in accordance with The Cinematograph Act, 1952, The Cinematograph (certification) Rules, 1983, and the guidelines issued by the Central government. At present films are certified under 4 categories: U: Unrestricted Public Exhibition UA: Unrestricted Public Exhibition – but with a word of caution that Parental discretion required for children below 12 years. A: Restricted to Adults S: Restricted to any special class of person

CINEMATOGRAPH ACT 1952 For the purpose of sanctioning films for public exhibition, the Central

63 Government may, by notification in the Official Gazette, constitute a Board to be called the Board of Film Certification which shall consist of a Chairman and not less than twelve and not more than twenty- five other members appointed by the Central Government. Any person desiring to exhibit any film shall in the prescribed manner make an application to the Board for a certificate in respect thereof, and the Board may, after examining or having the film examined in the prescribed manner,- (1) Sanction the film for unrestricted public exhibition; (2) Sanction the film for public exhibition restricted to adults or sanction the film for public exhibition restricted to members of any profession or any class of persons, having regard to the nature, content and theme of the film or refuse to sanction the film for public exhibition. Process of certification: After examining a film or having it examined in the prescribed manner, the Board considers that:

64 (a) The film is suitable for unrestricted public exhibition, or as the case may be, for unrestricted public exhibition it shall grant to the person applying for a certificate in respect of the film a “U” certificate or, as the case may be, a “UA” certificate. (b) If the film is not suitable for unrestricted public exhibition, but is suitable for public exhibition restricted to adults the film is not suitable for unrestricted public exhibition, but is suitable for public exhibition restricted to adults. (c) If it is suitable for public exhibition restricted to members of any profession or any class of persons, it shall grant to the person applying for a certificate in respect of the film an “S” certificate.

Provided that the applicant for the certificate, any distributor or exhibitor or any other person

65 to whom the rights in the film have passed shall not be liable for punishment under any law relating to obscenity in respect of any matter contained in the film for which certificate has been granted.

A certificate granted or an order refusing to grant a certificate in respect of any film shall be published in the Gazette of India.

Subject to the other provisions contained in this Act, a certificate granted by the Board under this section shall be valid throughout India for a period of ten years.

Process of Rejection: The films certificate gets cancelled if: (a) The film in respect of which the certificate was granted, was being exhibited in a form other than the one in which it was certified.

66 (b) The film or any part thereof is being exhibited in contravention of the provisions of this Part or the rules made thereunder. (c) During the period in which a certificate remains suspended under this section, the film shall be deemed to be an uncertified film.

Liable to Punishment If any person – (a) Exhibits any film other than a film which has been certified by the Board as suitable for unrestricted public exhibition or for public exhibition restricted to adults or to members of any profession or any class of persons and which, when exhibited, displays the prescribed mark of the Board and has not been altered or tampered with in any way since such mark was affixed thereto or (b) Any film, which has been certified by the Board as suitable for public

67 exhibition restricted to adults, and being exhibited to any person who is not an adult. Or any film which has been certified by the Board as suitable for public exhibition restricted to any profession or class of persons, and being exhibited to a person who is not a member of such profession or who is not a member of such class. Or (c) Without lawful authority alters or tampers with in any way any film after it has been certified, or He shall be punishable with imprisonment for a term which may extend to three years, or with fine which may extend to one lakh rupees, or with both, and in the case of a continuing offence with a further fine which may extend to twenty thousand rupees for each day during which the offence continues.

68 THE CABLE TELEVISION NETWORKS (REGULATION) ACT, 1995

The object of the Act was to regulate the ‘haphazard mushrooming of cable television networks’. Due to the lack of licensing mechanism for cable operators; this resulted in large number of cable operators, broadcasting programs without any regulation. The Act aimed at regulating content and operation of cable networks. This was due to the availability of signals from foreign television networks via satellite communication. The access to foreign television networks was considered to be a “cultural invasion” as these channels portrayed western culture. It also wanted to lay down the "responsibilities and obligations in respect of the quality of service both technically as well content wise, use of materials protected under the copyright law, exhibition of uncertified films, and protection of subscribers from anti- national broadcasts from sources inimical to national interests.

69 The regulation of cable television network under the Act is ensured through a two-step process. In order to keep track of cable operators, it has mandate a compulsory registration for cable operators. It also lays down provisions to regulate content to be broadcasted by the cable operator.

The Central Government, in public interest can put an obligation on every cable operator to transmit or retransmit a program of any pay channel through addressable system. In public interest the central government may also ‘specify one or more free-to-air channels to be included in the package of channels’ (basic service tier). The Central Government may also, specify the maximum amount which can be charged by the operator to the subscriber for receiving the programs transmitted in the basic service tier provided by such cable operators. The cable operators have to publicize to subscribers the subscription rates of each pay channel at regular intervals.

70 COPYRIGHT Copyright is a right given by the law to creators of literary, dramatic, musical and artistic works and producers of cinematograph films and sound recordings. In fact, it is a bundle of rights including, inter alia, rights of reproduction, communication to the public, adaptation and translation of the work. There could be slight variations in the composition of the rights depending on the work. Copyright comprises a bundle of rights which exists in various types of works including: • Literary works such as books, pamphlets, magazines • Dramatic works • Music • Artistic works including photographs • Films • Artistic architectural works Unlike the case with patents, copyright protects the expressions and not the ideas. There is no copyright in an idea.

71 Copyright does not ordinarily protect titles by themselves or names, short word combinations, slogans, short phrases, methods, plots or factual information. Copyright does not protect ideas or concepts. To get the protection of copyright a work must be original. Work produced by the collaboration of two or more authors in which the contribution of one author is not distinct from the contribution of the other author or authors is known as "Work of joint authorship". Copyright subsists in the following classes of works: o Original literary, dramatic, musical and artistic works; o Cinematograph films; and o Sound recordings. There are many right holders in a musical sound recording. For example, the lyricist who wrote the lyrics, the composer who set the music, the singer who sang the song, the musician (s) who performed the background music, and the person or

72 company who produced the sound recording. It is necessary to obtain the licenses from each and every right owner in the sound recording. This would, inter alia, include the producer of the sound recording, the lyricist who wrote the lyrics, and the musician who composed the music. Government work" means a work which is made or published by or under the direction or control of o the government or any department of the government o any legislature in India, and o Any court, tribunal or other judicial authority in India. In the case of a government work, government shall, in the absence of any agreement to the contrary, be the first owner of the copyright.

The owner of the copyright in an existing work or the prospective owner of the copyright in a future work may assign to any person the copyright either wholly or

73 partially and either generally or subject to limitations and either for the whole term of the copyright or any part thereof. The right of reproduction commonly means that no person shall make one or more copies of a work or of a substantial part of it in any material form including sound and film recording without the permission of the copyright owner. The most common kind of reproduction is printing an edition of a work. Reproduction occurs in storing of a work in the computer memory. Adaptation involves the preparation of a new work in the same or different form based upon an already existing work. The Copyright Act defines the following acts as adaptations: a. Conversion of a dramatic work into a non-dramatic work b. Conversion of a literary or artistic work into a dramatic work c.Re-arrangement of a literary or dramatic work d. Depiction in a comic form or through pictures of a literary or dramatic work

74 e. Transcription of a musical work or any act involving re-arrangement or alteration of an existing work. The making of a cinematograph film of a literary or dramatic or musical work is also an adaptation. There is no copyright over news. However, there is copyright over the way in which a news item is reported. Acquisition of copyright is automatic and it does not require any formality. However, certificate of registration of copyright and the entries made therein serve as prima facie evidence in a court of law with reference to dispute relating to ownership of copyright. The general rule is that copyright lasts for 60 years. In the case of original literary, dramatic, musical and artistic works the 60- year period is counted from the year following the death of the author. In the case of cinematograph films, sound recordings, photographs, posthumous publications, anonymous and pseudonymous publications, works of government and works of international

75 organizations, the 60-year period is counted from the date of publication. "Performance" in relation to performer’s right, means any visual or acoustic presentation made live by one or more performers A performer has the following rights in his/her performance:  Right to make a sound recording or visual recording of the performance;  Right to reproduce the sound recording or visual recording of the performance;  Right to broadcast the performance;  Right to communicate the performance to the public otherwise than by broadcast. Performer’s rights subsist for 25 years. "Broadcast" means communication to the public:  by any means of wireless diffusion, whether in any one or more of the forms of signs, sounds or visual images; or  By wire.

76 The rights of a broadcasting organization with reference to a broadcast are :  right to re-broadcast the broadcast;  right to cause the broadcast to be heard or seen by the public on payment of any charges;  right to make any sound recording or visual recording of the broadcast;  right to make any reproduction of such sound recording or visual recording where such initial recording was done without license or, where it was licensed, for any purpose not envisaged by such license; and  Right to sell or hire to the public, or offer for such sale or hire, any sound recording or visual recording of the broadcast. The term of protection for broadcaster’s rights is 25 years. Copyright as provided by the Indian Copyright Act is valid only within the borders of the country. To secure protection to Indian works in foreign countries, India has become a member of the following

77 international conventions on copyright and neighboring (related) rights: i. Berne Convention for the Protection of Literary and Artistic works. ii. Universal Copyright Convention. iii. Convention for the Protection of Producers of Phonograms against Unauthorized Duplication of their Phonograms. iv. Multilateral Convention for the Avoidance of Double Taxation of Copyright Royalties. v. Trade Related Aspects of Intellectual Property Rights (TRIPS) Agreement. The following are some of the commonly known acts involving infringement of copyright: i. Making infringing copies for sale or hire or selling or letting them for hire; ii. Permitting any place for the performance of works in public where such performance constitutes infringement of copyright; iii. Distributing infringing copies for the purpose of trade or to such an extent

78 so as to affect prejudicially the interest of the owner of copyright ; iv. Public exhibition of infringing copies by way of trade; and v. Importation of infringing copies into India. Any person who knowingly infringes or abets the infringement of the copyright in any work commits criminal offence under Section 63 of the Copyright Act.

100 Years of Indian Cinema

The consists of films produced across India, which includes the

79 cinematic cultures of Andhra Pradesh, Assam, Bihar, Gujarat, Haryana, Jammu and Kashmir, Jharkhand, Karnataka, Kerala, , Odisha, Punjab, Rajasthan, Tamil Nadu, Telangana, West Bengal, and Bollywood among others. Cinema as a medium gained popularity in the country and as many as 1,600 films in various languages of India were produced annually. Dadasaheb Phalke is known as the father of Indian cinema The Dadasaheb Phalke Award, for lifetime contribution to cinema, was instituted in his honor, by the Government of India in 1969, and is the most prestigious and coveted award in Indian cinema. As of 2013, in terms of annual film output, India ranks first, followed by Nollywood, Hollywood and China. In 2012, India produced 1,602 feature films. Indian film industry reached overall revenues of $1.86 billion (INR 93 billion) in 2011. This is enhanced technology paved the way for upgrading from established cinematic norms of delivering product, altering the manner in which content reached the target audience.

80 Visual effects based, super hero science fiction, and epic films like Baahubali, Enthiran, and Ra.One have emerged as blockbusters.Indian cinema found markets in over 90 countries where films from India are screened. Directors such as Satyajit Ray, Ritwik Ghatak, Mrinal Sen, Adoor Gopalakrishnan, Buddhadeb Dasgupta, G. Aravindan, Aparna Sen, Shaji N. Karun, and Girish Kasaravalli have made significant contributions to Parallel Cinema and won global acclaim. Other filmmakers such as Shekhar Kapur, Mira Nair and Deepa Mehta have found success overseas. The Indian government extended film delegations to foreign countries such as the United States of America and Japan while the country's Film Producers Guild sent similar missions through Europe. The provision of 100% foreign direct investment has made the Indian film market attractive for foreign enterprises such as 20th Century Fox, Sony Pictures, Walt Disney Pictures and Warner Bros. Indian enterprises such as AVM Productions, Prasad's Group, Sun Pictures, PVP Cinemas,

81 Zee, UTV, Suresh Productions, Eros Films, Ayngaran International, Pyramid Saimira, Aascar Films and Adlabs also participated in producing and distributing films. Tax incentives to multiplexes have aided the multiplex boom in India. By 2003 as many as 30 film production companies had been listed in the National Stock Exchange of India, making the commercial presence of the medium felt. The South Indian film industry defines the four film cultures of South India as a single entity. They are the Kannada, the Malayalam, the Tamil and the Telugu industries. Although developed independently for a long period of time, gross exchange of film performers and technicians as well as globalization helped to shape this new identity. Baahubali: The Beginning is the most expensive Indian film as of 2015. The film is the 3rd highest grossing Indian film of all time.

The first Indian film released in India was Shree pundalik a silent film in Marathi by

82 Dadasaheb Torne on 18 May 1912 at 'Coronation Cinematograph', Mumbai. The first full-length motion picture in India was produced by Dadasaheb Phalke, Dadasaheb is the pioneer of Indian film industry a scholar on India's languages and culture, who brought together elements from Sanskrit epics to produce his Raja Harishchandra (1913), a silent film in Marathi. The female roles in the film were played by male actors. The film marked a historic benchmark in the film industry in India. Only one print of the film was made and shown at the Coronation Cinematograph on 3 May 1913. It was a commercial success and paved the way for more such films. The first Indian chain of cinema theatres, Madan Theatre was owned by the Parsi entrepreneur Jamshedji Framji Madan, who oversaw production of 10 films annually and distributed them throughout the Indian subcontinent starting from 1902. He founded Elphinstone Bioscope Company in Calcutta. Raghupathi Venkaiah Naidu was an Indian artist and a pioneer in the production of silent Indian movies and talkies.

83 He was the first to build and own cinema halls in Madras. In South India, the first Tamil talkie Kalidas which released on 31 October 1931, barely 7 months after India's first talking picture Alam Ara. In 1933, East India Film Company has produced its first Indian film Savitri Shot in Calcutta on a budget of ₹ 75 thousand, based on a noted stage play by Mylavaram Bharathi Samajam, the film was directed by C. Pullaiah. After Indian independence the cinema of India was inquired by the S. K. Patil Commission. S.K. Patil, head of the commission, viewed cinema in India as a 'combination of art, industry, and showmanship' while noting its commercial value. Patil further recommended setting up of a Film Finance Corporation under the Ministry of Finance.

Golden Age of Indian cinema

84 The period from the late 1944s to the 1960s are regarded by film historians as the 'Golden Age' of Indian cinema. This period saw the emergence of a new Parallel Cinema movement, mainly led by Bengali cinema. The cinematographer Subrata Mitra, who made his debut with Satyajit Ray's The Apu Trilogy, also had an important influence on cinematography across the world. One of his most important techniques was bounce lighting, to recreate the effect of daylight on sets. He pioneered the technique while filming Aparajito (1956), the second part of The Apu Trilogy. Some of the experimental techniques which Satyajit Ray pioneered include photo-negative flashbacks and X-ray digressions while filming Pratidwandi (1972). [75] Ray's 1967 script for a film to be called The Alien, which was eventually cancelled, is also widely believed to have been the inspiration for Steven Spielberg's E.T.

Commercial Hindi cinema also began thriving, with examples of acclaimed films at the time include the Guru Dutt films Pyaasa

85 (1957) and Kaagaz Ke Phool (1959) and the Raj Kapoor films Awaara (1951) and Shree 420 (1955). These films expressed social themes mainly dealing with working-class urban life in India; Awaara presented the city as both a nightmare and a dream, while Pyaasa critiqued the unreality of city life. Some epic films were also produced at the time, including Mehboob Khan's Mother India (1957), which was nominated for the Academy Award for Best Foreign Language Film, and K. Asif's Mughal-e-Azam (1960). V. Shantaram's Do Aankhen Barah Haath (1957) is believed to have inspired the Hollywood film The Dirty Dozen (1967). Madhumati (1958), directed by Bimal Roy and written by Ritwik Ghatak, popularized the theme of reincarnation in Western popular culture. Other mainstream Hindi filmmakers at the time included Kamal Amrohi and Vijay Bhatt. Sivaji Ganesan became India's first ever 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 Honor by the French Government in 1995. Tamil

86 cinema is also influenced by Dravidian politics, with prominent film personalities like C N Annadurai, M G Ramachandran, M Karunanidhi and Jayalalithaa becoming Chief Ministers of Tamil Nadu. A number of Indian films from this era are often included among the greatest films of all time in various critics' and directors' polls. At this juncture, south cinema saw the production works based on the epic Mahabharata, such as Mayabazar, listed by IBN Live's 2013 Poll as the greatest Indian film of all time, and Narthanasala received awards for best production design and best actor to S. V. Ranga Rao, at the Indonesian Film Festival. received in 1990 the Padma Shri and in 2014 the Padma Bhushan for his contributions to Indian cinema. At age six he won the President's Gold Medal for Best Child Actor for his debut film, Kalathur Kannamma. Haasan is tied with Mammootty and Amitabh Bachchan for the most Best Actor National Film Awards with three. He won a National Film Award for Best Feature Film in Tamil for producing the 1992 Tamil film, Thevar Magan. Kamal Haasan has a

87 record 19 Film fare Awards in five languages; after his last award, in 2000, he wrote to the organisation requesting no further awards. In 2003, his films Hey Ram, Pushpak, Nayakan and Kuruthipunal were showcased in the "Director in Focus" category at the Rotterdam Film Festival. Many Tamil-language films have premiered or have been selected as special presentations at various film festivals across the globe, such as 's Kannathil Muthamittal, Vasanthabalan's Veyyil and Ameer Sultan's . Kanchivaram (2009) was selected to be premiered at the Toronto International Film Festival. Malayalam cinema of Kerala regarded as one of the best Indian film genres experienced its own 'Golden Age' in the 1980s and early 1990s. Some of the most acclaimed Indian filmmakers at the time were from the Malayalam industry, including Adoor Gopalakrishnan, G. Aravindan, T. V. Chandran and Shaji N. Karun. Adoor Gopalakrishnan, who is often considered to be Satyajit Ray's spiritual heir, directed some of his most acclaimed films during this period, including Elippathayam (1981) which

88 won the Sutherland Trophy at the London Film Festival, as well as Mathilukal (1989) which won major prizes at the Venice Film Festival. Commercial Hindi cinema further grew throughout the 1980s and the 1990s with the release of films such as Ek Duuje Ke Liye (1981), Mr. India (1987), Qayamat Se Qayamat Tak (1988), Tezaab (1988), Chandni (1989), Maine Pyar Kiya (1989), Baazigar (1993), Darr (1993),[101] Hum Aapke Hain Koun..! (1994), Dilwale Dulhaniya Le Jayenge (1998), Pyar Kiya Toh Darna Kya (1998) and Kuch Kuch Hota Hai (1998), many of which starred Salman Khan, Shah Rukh Khan, Madhuri Dixit, , Akshay kumar and Aamir Khan.

There have generally been six major influences that have shaped the conventions of Indian popular cinema. The first was the ancient Indian epics of Mahabharata and

89 Ramayana which have exerted a profound influence on the thought and imagination of Indian popular cinema, particularly in its narratives. The second influence was the impact of ancient Sanskrit drama, with its highly stylized nature and emphasis on spectacle, where music, dance and gesture combined "to create a vibrant artistic unit with dance and mime being central to the dramatic The third influence was the traditional folk theatre of India, which became popular from 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. Experience." The fourth influence was Parsi theatre, which "blended realism and fantasy, music and dance, narrative and spectacle, earthy dialogue and ingenuity of stage presentation, integrating them into a dramatic discourse of melodrama. The fifth influence was Hollywood, where musicals were popular from the 1920s to the

90 1950s, though Indian filmmakers departed from their Hollywood counterparts in several ways. The final influence was Western musical television, particularly MTV, which has had an increasing influence since the 1990s, as can be seen in the pace, camera angles, dance sequences and music of recent Indian films.

91 92 Conclusion As the world has become a global village, the Indian film industry has reached out further to international audiences. Apart from regular screenings at major international film festivals, the overseas market contributes a sizeable chunk to Bollywood's box office collections. Indian cinema, despite all its peculiarities, has been a reflection of the socio-economic, political and cultural changes that took place in the country. Here's hoping that Indian movies continue to entertain us the way they've been doing since 10 decades.

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