A PROJECT REPORT

ON

(Problem of Piracy Faced By Industry)

FOR

BACHELOR OF MANAGEMENT STUDIES (BMS) UNIVERSITY OF

SUBMITTED TO MARATHA MANDIR¶S BABASAHEB GAWDE BUSINESS SCHOOL MUMBAI CENTRAL

UNDER THE GUIDANCE OF

(Dr. Taruna Parmar )

SUBMITTED BY (Archana.N.Parmar) (BATCH-2008-11 & Roll no- 36.)

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CERTIFICATE

This is to certify that ______has successfully completed the project work as a part of academic fulfillment of Bachelor of

Management Studies (B.M.S.) semester V examination.

Name & Signature of Project Guide

Date : ______

Principal BGBS

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DECLARATION

I, Archana Parmar of Bachelor of Management Studies (Semester V) of Babasaheb

Gawde Business School (BGBS), hereby declare that I have successfully completed this

Project on (Problem Of Piracy Faced By Bollywood Industry) in the academic year

2008-11. The information incorporated in this project is true and original to the best of my knowledge.

______

Signature

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ACKNOWLEDGEMENT

A part from the efforts of me, the success of this project depends largely on the encouragement and guidelines of many others. I take this opportunity to express my gratitude to the people who have been instrumental in the successful completion of this project

I would like to show my greatest appreciation to my greatest appreciation to my principal. I thank for the tremendous support and help from Dr. TARUNA PARMAR. I feel motivated and encouraged every time. Without their encouragement and guidance this project would not have materialized.

The guidance and support received from all the people, who contributed their knowledge to this project, was vital for the success of the project. I am grateful for their constant support and help.

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INDEX

Sr.no. Contents Page no.

1. CHAPTER 1 1.1 Problem of the study 1.2 Objective of Study 1.3 Scope of the study 1.4 Limitation of the study 1.5 Research methodology 1.6 Executive summary Chapter 2 2.1 Introduction 2.2 Industry profile

3. Chapter 3 3.1 Samsung in 3.2 Product profile 4. Chapter 4 4.1 Samsung history 5. Chapter 5 5.1 Theoretical background of the study 5.2 External sources 6. Chapter 6 6.1 Data analysis and interpretation 7. Chapter 7 7.1 Case study 8. Chapter 8 8.1 Findings

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9. Chapter 9 Suggestion and recommendation 10 Chapter 10 Conclusion 11 Chapter 11 11.1 Annexure 11.2 Bibliography

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Bollywood

Bollywood is the informal term popularly used for the Hindi-language film industry based in Mumbai, Maharashtra, India. The term is often incorrectly used to refer to the whole of Indian cinema; it is only a part of the total Indian film industry, which includes several regional film industries sorted by language.[1] Bollywood is the largest film producer in India and one of the largest centers of film production in the world.[2][3][4]

Bollywood is formally referred to as Hindi cinemathough frequent use of poetic Urdu words is fairly common. There has been a growing presence of Indian English in dialogue and songs as well. It is not uncommon to see films that feature dialogue with English words and phrases, or even whole sentences.

What is "Bollywood"? Bollywood is the name given to the Mumbai-based Hindi-language film industry in India. When combined with other Indian film industries (Tamil, Telugu, Bengali, Malayalam, Kannada), it is considered to be the largest in the world in terms of number of films produced, and maybe also the number of tickets sold.

The term Bollywood was created by conflating Bombay (the city now called Mumbai) and Hollywood (the famous center of the United States film industry).

Bollywood films are usually musicals. Few movies are made without at least one song- and-dance number. Indian audiences expect full value for their money; they want songs and dances, love interest, comedy and dare-devil thrills, all mixed up in a three hour long extravaganza with intermission. Such movies are called masala movies, after the spice mixture masala. Like masala, these movies have everything.

The plots are often melodramatic. They frequently employ formulaic ingredients such as star-crossed lovers, corrupt politicians, twins separated at birth, conniving villains, angry parents, courtesans with hearts of gold, dramatic reversals of fortune, and convenient coincidences.

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A film, also called a movie or motion picture, is a story conveyed with moving images. It is produced by recording photographic images with cameras, or by creating images using animation techniques or visual effects. The process of filmmaking has developed into an art form and industry.

Films are cultural artifacts created by specific cultures, which reflect those cultures, and, in turn, affect them. Film is considered to be an important art form, a source of popular entertainment and a powerful method for educating ² or indoctrinating ² citizens. The visual elements of cinema give motion pictures a universal power of communication. Some films have become popular worldwide attractions by using dubbing or subtitles that translate the dialogue.

Films are made up of a series of individual images called frames. When these images are shown rapidly in succession, a viewer has the illusion that motion is occurring. The viewer cannot see the flickering between frames due to an effect known as persistence of vision, whereby the eye retains a visual image for a fraction of a second after the source has been removed. Viewers perceive motion due to a psychological effect called beta movement.

The origin of the name "film" comes from the fact that photographic film (also called film stock) has historically been the primary medium for recording and displaying motion pictures. Many other terms exist for an individual motion picture, including picture, picture show, moving picture, photo-play and flick. A common name for film in the United States is movie, while in Europe the term cinema is preferred. Additional terms for the field in general include the big screen, the silver screen, the cinema and the movies

The consists of films produced across India, including the cinematic culture of Andhra Pradesh, Assam, , Karnataka, Kerala, Mumbai, Punjab, Tamil Nadu and West Bengal. Indian films came to be followed throughout South Asia and the

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Middle East. As cinema as a medium gained popularity in the country as many as 1,000 films in various languages of India were produced annually. Expatriates in countries such as the and the United States continued to give rise to international audiences for Indian films of various languages especially Telugu, Tamil, Kannada, Malayalam, Bengali and Hindi.

In the 20th century, Indian cinema, along with the American and Chinese film industries, became a global enterprise. Enhanced technology paved the way for up gradation from established cinematic norms of delivering product, radically altering the manner in which content reached the target audience. Indian cinema found markets in over 90 countries where films from India are screened. The country also participated in international film festivals, especially (Bengali), (Malayalam).[2] Indian filmmakers such as , Mira Nair, Deepa Mehta etc. 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.

India is the world's largest producer of films. In 2009, India produced a total of 2961 films on celluloid that include a staggering figure of 1288 feature films. The provision of 100% foreign direct investment has made the Indian film market attractive for foreign enterprises such as 20th Century Fox, Sony Pictures, and Warner Bros. Prominent Indian enterprises such as Zee, UTV, Adlabs and Sun Network's Sun Pictures 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 Indian diaspora consists of millions of Indians overseas for which films are made available both through mediums such as DVDs and by screening of films in their country of residence wherever commercially feasible. These earnings, accounting for some 12% of the revenue generated by a mainstream film, contribute substantially to the overall revenue of Indian cinema, the net worth of which was found to be 1.3 billion US Dollars

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in 2000. Music in Indian cinema is another substantial revenue generator, with the music rights alone accounting for 4±5% of the net revenues generated by a film in India.

Size

Next to Hollywood, Indian film industry is said to be the largest in the world. And it is the largest in terms of films produced & tickets sold.

y Current size: Rs 6,800 crore y Projected size by 2010: Rs 15,300 crore y CAGR: 18%

The Indian film industry is currently worth about US$ 1256 million and is expected to grow at a Compounded Annual Growth Rate of 18 per cent for the next 5 years. Nearly one thousand films are produced every year. The technology used and the special effects in movies are becoming increasingly sophisticated and animation is also finding a huge market with kids.

The industry is currently witnessing the trend of more digital cinemas and growth of multiplexes. The Dubbing industry has grown at the rate of 25-30% over the last 4-5 years. Many international films are dubbed in local languages and shown in India. India has over 5 million home video and DVD users. The Indian film industry is also making its presence felt in the international market. The foreign investment in the Indian film industry is also increasing significantly. In fact, it witnessed the maximum flow of foreign investment in 2006.

Regional (especially southern) films command almost 60 per cent of the total Indian film market with the rest being commanded by Hindi films.

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Origin

Bollywood is the informal name given to the popular Mumbai-based Hindustani language film industry in India. The term is often incorrectly used to refer to the whole of Indian cinema.

The name is a portmanteau of Bombay (the former name for Mumbai) and Hollywood, the center of the American film industry. Though some purists deplore the name, arguing that it makes the industry look like a poor cousin to Hollywood, it seems likely to persist and now has its own entry in the Oxford English Dictionary.

Bollywood was not by accident. It was very much by design« I got into film journalism by pure accident and knew nothing about Hindi films« I was given a studio beat to do. I was not happy with the name of the column Studio Roundup and thought of `Flipping around Follywood¶, but it sounded too harsh. I settled for `On the Bollywood Beat¶ instead. From a studio roundup column I began commenting on what was happening off the sets too and it turned into a gossip column. In no time at all the stars were calling up to find out why they were mentioned in Bollywood and others to find out why they were not mentioned in Bollywood. I guess they were responsible for giving my word longevity.

Bollywood the name itself tells us that it is name given to Bombay film industry which is having highest viewers in the world and also produces films in market terms that create some kind of challenge to Hollywood. In spite of its large contribution English cinema does not really have any distinctive status. Due to Oscars most European films are getting recognition and reaching global audience otherwise they too are viewed within the

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country of origin. Most of the remaining parts of world watch French, Italian and Polish films that concentrate on art and culture and they does not really make any good money in other parts of world.

Indian cinema on the other hand not only rules in its home country but also viewed in other parts like Middle East, South East Asia and even Africa. Even thought most of them do not understand the language they are familiar with the films and actors. Generally most of the bollywood movies are watched worldwide as Indian population is more throughout the world. Indian movie lover watch bollywood movies though they are made in similar way. It is said that on daily basis fourteen million Indian¶s go to the movies to watch over 800 films produced each year that is more than double the number of movies produced in United States. Bollywood movies are produced more than 1,000 a year and are watched by 3.6 billion audiences. The countries like Pakistan and Bangladesh are also having high number of viewers even after watching Indian movies was official ban by the government.

Based on analysis bollywood movies now make good money in UK and US as they are produced more in number throughout the year and also due to huge NRI population. Hollywood is also trying to make its influence on Asian country but it could only make its influence on some metro city in India with its blockbuster hits like Titanic, Jurassic park etc. The US films in India are estimated to be 150 in a year which is no way comparable to bollywood movies production each year.

In this globalized world it is expected that there will be a sharing of knowledge which is already done between Hollywood and bollywood. Movies in hindi are dubbed from Hollywood movies and there titles changed. This dubbing business has become big with American¶s dominating the business and a small extent is contributed by Indians. Some film making aspects are also outsourced to Bombay.

This tells us Indian film industry is getting a good recognition in global market and is becoming more and more conventional around the world.

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HISTORY

At the turn of this century, when the country was poised for major social and political reforms, a new entertainment form dawned in India-the Cinema. The first exposure to motion pictures which India received was in 1896, when the Lumiere Brothers' Cinematographer unveiled six soundless short films at Watson Hotel, Esplanade Mansion, and Bombay on July 7. And the first exposing of celluloid in camera by an Indian and its consequent screening took place in 1899, when Harishchandra Bhatvadekar (Save Dada) shot two short films and exhibited them under Edison's projecting kinetoscope. Hiralal Sen and F.B. Thanawalla were two other Indian pioneers engaged in the production of short films in Calcutta and Bombay in 1900. Around 1902, J.F. Madan and Abdullah Esoofally launched their career with Bioscope shows of imported short films. In 1912, N.G. Chitre and R.G. Torney made a silent feature film Pundalik which was released on May 18, and it was half British in its make.

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RESEARCH METHODOLOGY:-

1. The study involves the primary data which is collected through questionnaire,

interview, and observation.

2. It involves use of secondary sources such as web and other research articles

printed by various financial institutions and other journals and magazine.

3. It involves analysis and tabulation of data which is collected from customers is

done by various means such as pie charts.

4. The project involves the study of customer¶s perception.

PRINMARY DATA COLLECTION METHOD:-

In primary data collection, you collect the data yourself using methods such as interviews and questionnaires. The key point here is that the data you collect is unique to you and your research and, until you publish, no one else has access to it.

There are many methods of collecting primary data and the main methods include:

y Questionnaires

y Interviews

y Observation

y Case-studies

y Data collection

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The primary data, which is generated by the above methods, may be qualitative in

nature (usually in the form of words) or quantitative (usually in the form of numbers

or where you can make counts of words used).

Primary data

Sample Size: 50

It is proposed to collect primary data from homes of common people through proper

sampling

Sample Unit: Homes of relatives, friends living in nearby area

Sampling Instrument:

y Observation

y Personal Interview

y Telephonic Interview

y Internet feedback

Sample area: Mumbai

SECONDARY DATA COLLECTION METHOD

Secondary data is data collected by someone other than the user. Common sources of

secondary data for social science include censuses, surveys, organizational records and

data collected through qualitative methodologies or qualitative research.

Secondary data

y Newspaper

y Magazines

y Internet

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Secondary data analysis saves time that would otherwise be spent collecting data and,

particularly in the case of quantitative data, provides larger and higher-quality databases than would be unfeasible for any individual researcher to collect on their own. In addition to that, analysts of social and economic change consider secondary data essential, since it is impossible to conduct a new survey that can adequately capture past change and/or developments

Sampling Instrument:

y Internet

y Magazines

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WHAT IS PIRACY?

Piracy is simply defined as the creation of duplicate un-authenticated copies of some copyright protected item. The item can be a sound file, video file like movies, PC games, software¶s or even hardware utilities. But the piracy of audio-video files is a much developed and penetrated crime as compared to another sort of piracies. Piracy is a special crime categorized under sections of copyright violations; it is in fact severely detrimental for growing music and video industries.

Actually original copyrighted pieces of articles are very expensive by nature on the other hand, pirated materials are easily available in market at very cheap prices, so to save pockets people prefer to compromise with quality and they buy pirated items. This in turn dilutes the money invested in creating original items, and glut condition appears in market of original items. So piracy ultimately discourages the entertainment industry by rationalizing their hard works.

The recording industry is calling a lot of things piracy these days, but just what is piracy? Is copying a CD? They contend that to make a copy of a CD, whether the whole disc or just part of it, is piracy. It does not matter to them who copies the disc or why. Their contention is bogus. To make a copy of your own disc for personal use, or to make a custom mix of your favorite songs from discs you own, is fair use. To make copies of discs to sell for profit is piracy. This used to be called bootlegging.

Just what do these words mean? Piracy originally meant murder, rape and robbery on the high seas. Calling copying something piracy has always been a bit of sensationalism. Bootlegging originally meant hiding liquor in the legs of your boots during the prohibition era. How it came to mean making an unauthorized recording is unclear. An academic paper about this subject has been published by the University of Konstanz. (It is no longer on their server, but still on the Way back Machine at archive.org.)

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It is easy to find bootlegs and pirated CDs. Go to a flea market, a swap meet, a street vendor in a city, or some thrift stores and you will find music and videos at amazingly low prices. CDs can often be found for under five dollars. Not all music sold at flea markets and swap meets is pirated, but much of it is. You can frequently tell that these discs are not the genuine article. The cover art is wrong, or the colors are dull. The packaging is different from the CDs at the mall. Most people know that these discs are pirated, but week after week, and month after month, you can keep going to the flea market, and the dealers are still there. No one is busting them, or their suppliers. The artists who created the music we enjoy get nothing from the sale of these recordings, and their quality is often grossly inferior to legitimately produced CDs. It is clear that the people producing and selling these recordings are guilty of piracy. Why don't the RIAA and the recording labels go after them instead of file traders?

The main reason is that people who would buy a CD for under five dollars at a flea market would never spend almost twenty dollars for one at the mall. They wouldn't even consider it. Also, people who will pay full retail prices at the mall wouldn't be caught dead with something from the flea market, even if it were free. The recording industry does not consider the bootleg dealers to be competition or a threat.

The recording industry is afraid of CD burners and the Internet because they are new. Anything new will always be perceived as a threat by those in power. It is power that recording industry bigwigs fear they will lose. Before Napster, their power was akin to that of a king. They decided which artists we would hear on the radio, and which artists would have their music for sale at the mall. They arrogantly told artists, "I made you a star. I am entitled to the lion's share of money from your music sales, your t-shirt sales, your concert tickets, et cetera." Any artist that wouldn't do it their way might never find an audience. Napster changed that. Unknown artists simply made their music available to the file trading community, and found their audience without having to sell their souls. We were able to decide for ourselves what music was good, and what was not by trying before buying. The industry did not like that. They want to dictate to us what's hot and what's not. Kings fear a revolution, so the recording industry shut Napster down, and

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started to make discs that won't play in a computer. Sometimes these discs won't play at all.

There is an article on the RIAA's official website by Miles Copeland claiming to dispel recording industry myths. He accuses artists of biting the hand that feeds them. It is a classic example of the industry's "I made you a star" arrogance. Fans decide who is and isn't a star. Fans are the difference between a starving artist and a successful one. The industry constantly puts its prefabrications purported to be artists on the radio, and in stores, but their CDs either don't sell for long, or don't sell at all.

The new copy protected discs the industry is producing will be their undoing. A lot of people want to play CDs in their computer for background music while they work, or because they don't have a stereo system other than the computer. Take for example, a commuter on a bus or a subway train. This commuter puts a new CD by his or her favorite artist into a laptop computer, and it won't play! The industry just lost a customer.

The industry thinks that because the DMCA, and similar laws many nations are considering or have adopted prohibit circumvention of copy protection, they have the power to decide when, where and how we use their products, even after we buy them. They are mistaken. Every "copy protection" scheme they have invented has been cracked. It can be this easy or this easy. It may technically be illegal to do this, but how are they going to catch people? They are not making it hard for "pirates." They are only making it hard for paying customers to use our personal property as we see fit, and using our personal property as we see fit is our right.

Copy protection of CDs is an expensive exercise in futility that will only create new enemies for the record labels and the RIAA. Any time the industry spends millions of dollars to develop a new scheme; crackers will break it for next to nothing. Soon, none of the discs from the mall will play in a computer, but the ones from the flea market or a street vendor will. Once this is the case, people who previously wouldn't be caught dead with a disc from the flea market or street vendor will line up to buy them, especially teenagers with disposable income, who are the very people the recording industry covets.

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If the recording industry is so blinded by their lust for power and their greed, that they continue on their current course, they will self-destruct.

We at dontbuycds.org do not endorse buying pirated discs. Doing so does take earnings away from the artists we enjoy, but we must point out that the pirates have proven one thing. The price of CDs is way too high. Pirates are selling CDs dirt cheap, and still making a profit. We admit that the recording companies do have higher costs. They produce and promote music, as well as manufacturing the discs, and pirates only copy discs, but these costs do not justify price gouging.

Survey

International Forum on the Creative Economy: International Forum on the Creative Economy Bollywood - behind the scenes Sharada Ramanathan

Bollywood ± what¶s in the name?

Bollywood refers to India's film capital centered in the city of Mumbai (formerly known as Bombay and thus the origin of the word Bollywood). Bollywood produces more films than anywhere else in the world, including Hollywood. Amit Khanna, filmmaker, scholar and President of the Film & Television Guild coined this contentious term in the mid seventies in one of his articles and it caught on like wildfire which the purists are still trying to extinguish!

³People still have a problem with the word µBollywood¶. But the whole notion of what¶s pejorative has changed. We¶ve to see the Indian film industry as a brand. To say Bollywood is demeaning is to question a brand name like Coke or McDonalds.´ ± Amit Khanna The term µBollywood¶ reflects the politics of cultural colonialism and the politics of representation.

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Indian Film Industry (IFI) ± facts and figures: Over 800 films are censored/ released by IFI each year in over 15 languages. The Indian film industry is the largest in the world in terms of the ticket sales and the number of films produced annually (877 feature films and 1177 short films were released in the year 2003 alone). In contrast, 473 films were produced in the US in 2003. Movie tickets in India are among the cheapest in the world India accounts for 73% of movie admissions in the Asia-Pacific region, and earnings are currently estimated at US$2.9 billion. Fourteen million Indians go to the movies on a daily basis (about 1.4% of the population of 1 billion) and pay the equivalent to the average Indian's day's wages (US $1-3) to see a film. The Central Board of Film Certification of India cites on its website that every three months an audience as large as India's billion-strong population visits cinema halls

According to a Price Waterhouse Coopers study titled "The Indian Entertainment Industry ± An Unfolding Opportunity´, the Indian entertainment industry, which is 95% film based is valued at US $ 4.5 billion. According to an estimate by FICCI and Ernst and Young Indian entertainment industry would worth more than Rs. 400,000 million in 2008. It is expected to grow at a compounded rate of 18 per cent a year over the next five years to reach the US $10 billion mark by 2009.

In 2004, the market shares were: television - 65 % (US$ 4.9 billion), films - 28 % (US$ 2.15 billion), live entertainment and music - 3 % (US$ 20 million) and radio - 1 % (US$ 8 million). By 2009, television will grow to almost US$ 11.2 billion , followed by films at US$ 5 billion . Live events will be a US$ 60 million industry, up from US$ 26.6. Million in 2006.

Bollywood .vs. Hollywood:

About 150 Hollywood films (English/sub-titled/dubbed) release in India every year since 1998. Despite Hollywood¶s market penetration, only the film µTitanic¶ has ever made it to India's top five lists. But in 2007, 5 Indian films have made it to the top 5 list in the US

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and UK. Indian film screenings in American and British theaters are increasing. South Asians have found Indian films ± dominated by Bollywood - to be a great way of staying in touch with their culture and their fellow South Asians.

The principal difference between American and Indian commercial cinema is that Indian mainstream/commercial films usually feature periodic song-and-dance routines which need not be integrated into the film story. The lyrics are usually well written and set to music with catchy tunes, sung by professional play back singers and lip-synched by dancing actors and actresses, and often determine box office hits. Indian commercial films, are usually 2.5 to 3 hours long, with an intermission. They tend to feature romance, comedy, action, suspense, and other generic elements. Unlike commercial Western films, there is almost no nudity at all in Indian films. The mostly suggestive µvulgar¶ scenes are usually removed by the Indian Censor Board in µpublic interest¶.

IFI ± the setup:

IFI started in 1911 when the first silent Indian feature film was released by D.P. Phalke Cinema µindustries¶ of India Bengali, Assamese, Bollywood, Kannada, Tamil, Marathi, Malayalam, Telugu juxtaposed with Afghani, Bangladeshi, Pakistani, Nepali & Lankan

Film Training Government Institutions Film And Television Institute Of India, Pune Satyajit Ray Film Institute, Asian Academy of Film & Television, Film Institute, Chennai Private Institutions SAE Institute, Chennai Prasad institute, Chennai Whistling Woods, Mumbai Actors Training Centre, Mumbai Mindscreen Technical Institute, Chennai

IFI follows the µstar¶ system. The lead star in a film often receives as much as 40% of the budget (average US $2 million) for the formula/mainstream film. Stars are in such high demand that they're working on an average of 4 films a year. Since natural location

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shooting is impractical in India, the concept of the µfilm city¶ has emerged and there are now film cities in the three major film sub-industrial hubs in Mumbai, Chennai and Hyderabad.

The financial infrastructure for Indian cinema is customized to the traditional differentiation between art and commercial cinema. µCommercial¶ cinema claims to be for the µmasses¶ and follows the generic formula with a good deal of µwesternization¶ element. µArt¶ films usually deal with a wide range of subjects but many are in general explorations of complex human circumstances and relationships within an Indian setting. More than 95% of film financing goes towards µcommercial cinema¶ The National Film Development Corporation was set up in (year) to counter this trend and promote ³excellence in cinema´.

Two Indian production/distribution companies are ranked among the world's top 20 production houses by a Hollywood Reporter survey. The corporatization of the film industry and the mushrooming multiplexes, which cater to the expanding middle class of 300 million Indians and the diaspora are setting the trend for the future of IFI.

An estimated 6 million people earn their livelihood from the entertainment industry ± Film and TV Unionization of the film industry is a state subject. Each Indian state with a film industry has several registered unions for all categories of actors and technicians. It is critiqued that the film unions have excessive control over production processes. About 70% of television revenues are from films and film-based programs ± source: FICCI In- film advertising is helping to build brands and proving to be a revenue-spinner for several ad agencies. Film placements are currently raking in anything between Rs 5,00,000 to Rs 50 million for the producers.

In-Film advertising generates anything between US$ 15,000 ± 200,000 per film for film budget sizes ranging from USD 500,000 - Million. Film stars forge strategic linkages with advertising products and earn a separate income from this co-branding that ranges from USD 25,000- 2 million per star, per co-branding. Film production scales: high-

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budget ± US$ 15 million. Medium budget ± US$2 million. Low budget ± US$130,000- 1.5 million, Very low budgets for independent films and documentaries. Films on environment and wildlife are negligible.

Indian Cinema - impact:

The impact of Indian cinema is in terms of: Political Social Cultural Economic content International Perceptions of India

Indian Cinema ± impact Political:

Instrument of patriotism ± since the freedom movement in the 1930s up to the most recent war for Kashmir. Mass electorate and film stars ± Four film stars have become Chief Ministers in two South Indian states Cinema as instrument for political careers ± The current chief minister of Tamilnadu became popular as an ideological Script writer

In contrast, Bollywood stars have failed political careers since they don¶t represent any ideology and attain stardom mostly through socially disconnected films for non-urban audiences. Film related stars as national icons e.g. of (tribals activism) and A.R. Rahman (remixes of national songs) Film stars are wooed and paid handsomely to campaign for political parties during elections.

Indian Cinema ± impact Social: Indian Cinema ± impact Social Mainstream Indian films are contexualized in 3 broad social spaces ± The µReal¶ ± reality is attempted to be depicted in µart¶ cinema The µUnreal¶ ± the context could be Indian but the protagonist is unreal/superhero. The µSurreal¶- the context is aspirational such as a European/American/Pseudo-Indian setting. Neither the context nor the cinematic style has any connection with reality The Unreal and Surreal sub-genres abet and promote aspirational lifestyle and Indian perceptions of

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western materialism. Gender equations/dynamics of youth are influenced by film stars¶ behavioural patterns on and off screen

Indian Cinema ± impact Cultural:

Mainstream formula films are based on their own perceptions of westernization in every aspect of film making The cinema-advertising nexus promotes not just products but lifestyles where culture specificities and nuances are threatened. Indian films have a tangible impact on youth. The cinema-advertising nexus deliberately develop and merchandize Film trends/styles ± from hair clips to retro-wardrobes the new trend of commercial films fashioned in culturally alien settings aims to reach µglobal¶ urban audiences and the diaspora. However, it was a film maker rooted in his culture who won the lifetime achievement award at the Oscars.

Economic content More than 50% of The Indian TV industry¶s revenue is derived from film-based programs. The top three revenue earners of all channels are film-based programs. Film stars are used as protagonists for the growing industries of animation, gaming, and new media comics Live events and film award functions are revenue earners since the branded stars participate even though the quality of the event is often compromised.

International perceptions Bollywood as the mainstream face of India is problematic Non- Resident Indian film makers are also perceived as representing Indian cinema.- Deepa Mehta, Meera Nair. Hollywood used them as entry points to Indian cinema. The international film festivals are the only platforms for Indian cinema to be properly represented and the presence of quality mainstream cinema is increasing.

Since the TV boom, film stars are being shipped in to please the diaspora - Shilpa Shetty and µBig Brother¶ in the UK Indo-American and Indo-European productions is now underway. The former is hard-core commercial while the latter is strictly art-films

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oriented. Indian cinema is a powerful vehicle for the diaspora to stay µconnected¶ with its¶roots. But the quality of this vehicle is critiqued and questioned.

Etymology

The name "Bollywood" is a portmanteau of Bombay (the former name for Mumbai) and Hollywood, the center of the American film industry. However, unlike Hollywood, Bollywood does not exist as a physical place. Though some deplore the name, arguing that it makes the industry look like a poor cousin to Hollywood, it has its own entry in the Oxford English Dictionary.

The term "Bollywood" has origins in the 1970s, when India overtook America as the world's largest film producer. Credit for the term has been claimed by several different people, including the lyricist, filmmaker and scholar Amit Khanna, and the journalist Bevinda Collaco.

The naming scheme for "Bollywood" was inspired by "Tollywood", the name that was used to refer to the cinema of West Bengal. Dating back to 1932, "Tollywood" was the earliest Hollywood-inspired name, referring to the Bengali film industry based in Tollygunge, which rhymed with "Hollywood" and was the center of the cinema of India at the time. The name "Bollywood" later arose as the Bombay-based film industry overtook the one in Tollygunge as the center of the Indian film industry.

History

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Film poster for first Indian sound film, Ardeshir Irani's Alam Ara (1931)

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Nargis and Raj Kapoor in Awaara (1951) , also directed and produced by Kapoor. It was nominated for the Grand Prize of the 1951 Cannes Film Festival.

Guru Dutt in Pyaasa (1957), for which he was the director, producer and leading actor. It is one of Time magazine's "All-TIME" 100 best movies.

Raja Harishchandra (1913), by Dadasaheb Phalke, was the first silent feature film made in India. By the 1930s, the industry was producing over 200 films per annum. The first Indian sound film, Ardeshir Irani's Alam Ara (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: India was buffeted by the Great Depression, World War II, the Indian independence movement, and the violence of the Partition. Most Bollywood films were unabashedly escapist, 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 Hindi, Kisan Kanya. The next year, he made another color film, Mother India. However, color 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.

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Golden Age

Following India's independence, the period from the late 1940s to the 1960s are regarded by film historians as the "Golden Age" of Hindi cinema. Some of the most critically- acclaimed Hindi films of all time were produced during this period. Examples include the Guru Dutt films Pyaasa (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 of the most famous epic films of Hindi cinema were also produced at the time, including 's Mother India (1957), which was nominated for the Academy Award for Best Foreign Language Film, and K. Asif's Mughal - e- Azam (1960). Madhumati (1958), directed by and written by , popularized the theme of reincarnation in Western popular culture. Other acclaimed mainstream Hindi filmmakers at the time included Kamal Amrohi and Vijay Bhatt. Successful actors at the time included , , Raj Kapoor and Guru Dutt, while successful actresses included , Meena Kumari, , , and .

While commercial Hindi cinema was thriving, the 1950s also saw the emergence of a new Parallel Cinema movement. Though the movement was mainly led by Bengali cinema, it also began gaining prominence in Hindi cinema. Early examples of Hindi films in this movement include Chetan Anand's Neecha Nagar (1946) and Bimal Roy's Two Acres of Land (1953). Their critical acclaim, as well as the latter's commercial success, paved the way for Indian neorealism and the Indian New Wave. Some of the internationally-acclaimed Hindi filmmakers involved in the movement included Mani Kaul, Kumar Shahani, Ketan Mehta, , and Vijaya Mehta.s

Ever since the social realist film Neecha Nagar won the Grand Prize at the first Cannes Film Festival, Hindi films were frequently in competition for the Palme d'Or at the Cannes Film Festival throughout the 1950s and early 1960s, with some of them winning major prizes at the festival. Guru Dutt, while overlooked in his own lifetime, had

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belatedly generated international recognition much later in the 1980s. Dutt is now regarded as one of the greatest Asian filmmakers of all time, alongside the more famous Indian Bengali filmmaker Satyajit Ray. The 2002 Sight & Sound critics' and directors' poll of greatest filmmakers ranked Dutt at 73 on the list. Some of his films are now included among the greatest films of all time, with Pyaasa (1957) being featured in Time magazine's "All-TIME" 100 best movies list, and with both Pyaasa and Kaagaz Ke Phool (1959) tied at 160 in the 2002 Sight & Sound critics' and directors' poll of all-time greatest films. Several other Hindi films from this era were also ranked in the Sight & Sound poll, including Raj Kapoor's Awaara (1951), Vijay Bhatt's Baiju Bawra (1952), Mehboob Khan's Mother India (1957) and K. Asif's Mughal - e- Azam (1960) all tied at 346 on the list.

Modern cinema

In the late 1960s and early 1970s, romance movies and action films starred actors like Rajesh Khanna and Dharmendra, and actresses like , , Leena Chandavarkar and . In the mid-1970s, romantic confections made way for gritty, violent films about gangsters (see Indian mafia) and bandits. , the star known for his "angry young man" roles, rode the crest of this trend with actors like Mithun Chakraborty and Anil Kapoor, which lasted into the early 1990s. Actresses from this era included , and .

Some Hindi filmmakers such as Shyam Benegal continued to produce realistic Parallel Cinema throughout the 1970s, alongside Mani Kaul, Kumar Shahani, Ketan Mehta, Govind Nihalani and Vijaya Mehta. 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 solidified Amitabh Bachchan's position as a lead actor. The devotional classic Jai Santoshi Ma was also released in 1975. Another important film from 1975 was Deewar, directed by Yash Chopra and written by Salim- Javed. A crime film pitting "a policeman against his brother, a gang leader based on real-

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life smuggler Haji Mastan", portrayed by Amitabh Bachchan, it was described as being ³absolutely key to Indian cinema´ by Danny Boyle. The most internationally-acclaimed Hindi film of the 1980s was Mira Nair's Salaam Bombay! (1988), which won the Camera or at the 1988 Cannes Film Festival and was nominated for the Academy Award for Best Foreign Language Film.

During the late 1980s and early 1990s, the pendulum swung back toward family-centric romantic musicals with the success of such films as Qayamat Se Qayamat Tak (1988), Maine Pyar Kiya (1989), Hum Aapke Hain Kaun (1994) and Dilwale Dulhania Le Jayenge (1995), making stars out of a new generation of actors (such as Aamir Khan, Salman Khan and Shahrukh Khan) and actresses (such as , , Juhi Chawla and ). In that point of time, action and comedy films were also successful, with actors like Govinda and and actresses such as Raveena Tandon and appearing in films of this genre. Furthermore, this decade marked the entry of new performers in art house and independent films, some of which succeeded commercially, the most influential example being Satya (1998), directed by Ram Gopal Varma and written by Anurag Kashyap. The critical and commercial success of Satya led to the emergence of a distinct genre known as Mumbai noir, urban films reflecting social problems in the city of Mumbai. This led to a resurgence of Parallel Cinema by the end of the decade. These films often featured actors like , Manoj Bajpai, Manisha Koirala, and Urmila Matondkar, whose performances were usually critically approved.

The 2000s saw a growth in Bollywood's popularity in the world. This led the nation's filmmaking to new heights in terms of quality, cinematography and innovative story lines as well as technical advances in areas such as special effects, animation, etc. Some of the largest production houses, among them Yash Raj Films and Dharma Productions were the producers of new modern films. The opening up of the overseas market, more Bollywood releases abroad and the explosion of multiplexes in big cities, led to wider box office successes in India and abroad, including Lagaan (2001), Devdas (2002), Koi... Mil Gaya (2003), Kal Ho Naa Ho (2003), Veer-Zaara (2004), Rang De Basanti (2006), Lage Raho Munnabhai (2006), Krrish (2006), Dhoom 2 (2006), Om Shanti Om (2007),

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Chak De India (2007), Rab Ne Bana Di Jodi (2008), Ghajini (2008) and 3 Idiots (2009), delivering a new generation of popular actors (Hrithik , Abhishek Bachchan) and actresses (Aishwarya Rai, Preity Zinta, Rani Mukerji, Kareena Kapoor and Priyanka Chopra), and keeping the popularity of actors of the previous decade. Among the mainstream films, Lagaan won the Audience Award at the Locarno International Film Festival and was nominated for Best Foreign Language Film at the 74th Academy Awards, while Devdas and Rang De Basanti were both nominated for the BAFTA Award for Best Foreign Language Film.

The Hindi film industry has preferred films that appeal to all segments of the audience (see the discussion in Ganti, 2004, cited in references), and has resisted making films that target narrow audiences. It was believed that aiming for a broad spectrum would maximise box office receipts. However, filmmakers may be moving towards accepting some box-office segmentation, between films that appeal to rural Indians and films that appeal to urban and overseas audiences.

Influences

Gokulsing and Dissanayake identify six major influences that have shaped the conventions of Indian popular cinema:

y The ancient Indian epics of Mahabharata and Ramayana which have exerted a profound influence on the thought and imagination of Indian popular cinema, particularly in its narratives. Examples of this influence include the techniques of a side story, back-story and story within a story. Indian popular films often have plots which branch off into sub-plots; such narrative dispersals can clearly be seen in the 1993 films Khalnayak and Gardish. y 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 experience." Sanskrit dramas were known as natya, derived from the root word nrit (dance), characterizing them as

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spectacular dance-dramas which has continued Indian cinema. The theory of rasa 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. y The traditional folk , which became popular from around the 10th century with the decline of Sanskrit theatre. These regional traditions include the Yatra of Bengal, the Ramlila of , and the Terukkuttu of Tamil Nadu. y The 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 Parsi plays contained crude humour, melodious songs and music, sensationalism and dazzling stagecraft." y Hollywood, where musicals were popular from the 1920s to the 1950s, though Indian filmmakers departed from their Hollywood counterparts in several ways. "For example, the Hollywood musicals had as their plot the world of entertainment itself. 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." In addition, "whereas Hollywood filmmakers strove to conceal the constructed nature of their work so that the realistic narrative was wholly dominant, Indian filmmakers made no attempt to conceal the fact that what was shown on the screen was a creation, an illusion, a fiction. However, they demonstrated how this creation intersected with people's day to day lives in complex and interesting ways." y 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 2000s Indian films. An early example of this approach was in 's Bombay (1995).

In the 2000s, Bollywood began influencing musical films in the Western world, and played a particularly instrumental role in the revival of the American musical film genre.

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Baz Luhrmann stated that his musical film Moulin Rouge! (2001) was directly inspired by Bollywood musicals. The film incorporated an Indian-themed play based on the ancient Sanskrit drama The Little Clay Cart and a Bollywood-style dance sequence with a song from the film China Gate. The critical and financial success of Moulin Rouge! renewed interest in the then-moribund Western musical genre, and subsequently films such as Chicago, The Producers, Rent, Dreamgirls, Hairspray, Sweeney Todd, Across the Universe, The Phantom of the Opera, Enchanted and Mamma Mia! Were produced, fueling a renaissance of the genre.

A. R. Rahman, an Indian film composer, wrote the music for Andrew Lloyd Webber's Bombay Dreams, and a musical version of Hum Aapke Hain Koun has played in 's West End. The Bollywood musical Lagaan (2001) was nominated for the Academy Award for Best Foreign Language Film, and two other Bollywood films Devdas (2002) and Rang De Basanti (2006) were nominated for the BAFTA Award for Best Foreign Language Film. Danny Boyle's Slumdog Millionaire (2008), which has won four Golden Globes and eight Academy Awards, was also directly inspired by Bollywood films, and is considered to be a "homage to Hindi commercial cinema". The theme of reincarnation was also popularized in Western popular culture through Bollywood films, with Madhumati (1958) inspiring the Hollywood film The Reincarnation of Peter Proud (1975), which in turn inspired the Bollywood film Karz (1980), which in turn influenced another Hollywood film Chances Are (1989). The 1975 film Chhoti Si Baat is believed to have inspired Hitch (2005), which in turn inspired the Bollywood film Partner (2007).

The influence of Bollywood music can also be seen in popular music elsewhere in the world. For example, Devo's 1988 hit song "Disco Dancer" was inspired by the song "I am a Disco Dancer" from the Bollywood film Disco Dancer (1982). The 2002 song "Addictive", sung by Truth Hurts and produced by DJ Quik and Dr. Dre, was lifted from 's "Thoda Resham Lagta Hai" from Jyoti (1981). The Black Eyed Peas' Grammy Award winning 2005 song "Don't Phunk with My Heart" was inspired by two 1970s Bollywood songs: "Ye Mera Dil Yaar Ka Diwana" from Don (1978) and "Ae Nujawan Hai Sub" from (1972). Both songs were originally composed by Kalyanji Anandji, sung by , and featured the dancer Helen. Also in 2005, the

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Kronos Quartet re-recorded several R. D. Burman compositions, with Asha Bhosle as the singer, into an album You've stolen my heart - Songs From R D Burman's Bollywood, which was nominated for "Best Contemporary World Music Album" at the 2006 Grammy Awards. Filmi music composed by A. R. Rahman (who would later win two Academy Awards for the Slumdog Millionaire soundtrack) has frequently been sampled by musicians elsewhere in the world, including the Singaporean artist Kelly Poon, the Uzbek artist Iroda Dilroz, the French rap group La Caution, the American artist Ciara, and the German band Löwenherz, among others. Many Asian Underground artists, particularly those among the overseas Indian diaspora, have also been inspired by Bollywood music.

Genre conventions

Bollywood films are mostly musicals, 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 itself and helps increase the audience.

Indian audiences expect full value for their money, with a good entertainer generally referred to as paisa vasool, (literally, "money's worth").Songs and dances, love triangles, comedy and dare-devil thrills are all mixed up in a three-hour-long extravaganza with an intermission. Such movies are called masala films, after the Hindi word for a spice mixture. Like masalas, these movies are a mixture of many things such as action, comedy, romance etc. Most films have heroes who are able to fight off villains all by themselves.

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Melodrama and romance are common ingredients to Bollywood films. Pictured Achhut Kanya (1936)

Bollywood plots have tended to be melodramatic. They frequently employ formulaic ingredients such as star-crossed lovers and angry parents, love triangles, family ties, sacrifice, corrupt politicians, kidnappers, conniving villains, courtesans with hearts of gold, 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 Parallel Cinema). 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 Western influence at home, have nudged Bollywood films closer to Hollywood models.

Film critic Lata Khubchandani writes,".Our earliest films...had liberal doses of sex and kissing scenes in them. Strangely, it was after Independence the censor board came into being and so did all the strictures." Plots now tend to feature Westernised urbanites dating and dancing in clubs rather than centering on pre-arranged marriages. Though these changes can widely be seen in contemporary Bollywood, traditional conservative ways of Indian culture continue to exist in India outside the industry and an element of resistance

36 | P a g e by some to western-based influences. Despite this, Bollywood continues to play a major role in fashion in India. Indeed some studies into fashion in India have revealed that some people are unaware that the changing nature of fashion in Bollywood films which are presented to them are often influenced by globalization and many consider the clothes worn by Bollywood actors as authentically Indian.

Cast and crew for further details see Indian movie actors, Indian movie actresses, Indian film directors, Indian film music directors and Indian playback singers

Bollywood employs people from all parts of India. 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 Hollywood, very few succeed. Since many Bollywood films are shot abroad, many foreign extras are employed too.

Stardom in the entertainment industry is very fickle, and Bollywood is no exception. The popularity of the stars can rise and fall rapidly. Directors compete to hire the most popular stars of the day, who are believed to guarantee the success of a movie (though this belief is not always supported by box-office results). Hence many stars make the most of their fame, once they become popular, by making several movies simultaneously.

Only a 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; one recent example is the hit film Rang De Basanti, where the lead actress is Alice Patten, an Englishwoman. Kisna, Lagaan, and The Rising: Ballad of Mangal Pandey also featured foreign actors.

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. 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

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Dharmendra, Amitabh Bachchan, and Shahrukh Khan have succeeded despite total lack of show business connections. For film clans, see List of Bollywood film clans.

Sound

Sound in Bollywood films is rarely recorded on location (otherwise known as sync sound). Therefore, the sound is usually created (or recreated) entirely in the studio, with the actors reciting their lines as their images appear on-screen in the studio in the process known as "looping in the sound" or ADR²with the foley and sound effects added later. This creates 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 have to act twice: once on-location, once in the studio²and the emotional level on set is often very difficult to recreate. 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 Arriflex 3 camera, which required a blimp (cover) in order 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 recreated in the studio. Eventually, this became the standard for Indian films.

The trend was bucked in 2001, after a 30-year hiatus of synchronized sound, with the film Lagaan, in which producer-star Aamir Khan insisted that the sound be done on location.[57] 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.

Bollywood song and dance

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Songs in Bollywood are sung by professional playback singers, rather than actors, who lip-sync the lyrics. Pictured here is Mukesh, a famed playback singer.

Bollywood dances usually follow filmi songs

Bollywood film music is called filmi music (from Hindi, meaning "of films"). Songs from Bollywood movies are generally pre-recorded by professional playback singers, with the actors then lip synching 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. K. L. Saigal, Suraiyya, and Noor Jehan were also known as both singers and actors. Some actors in the last thirty years

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have sung one or more songs themselves; for a list, see Singing actors and actresses in Indian cinema.

Playback singers are prominently featured in the opening credits and have their own fans who will go to an otherwise lackluster movie just to hear their favorites. Going by the quality as well as the quantity of the songs they rendered, most notable singers of Bollywood are Lata Mangeshkar, Asha Bhosle, , and Alka Yagnik among female playback singers; and K. L. Saigal, Talat Mahmood, Mukesh, , , , Kishore Kumar, , S.P.Balasubramanyam, and Sonu Nigam among male playback singers. Mohammed Rafi is 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. Remixing of film songs with modern beats and rhythms is a common occurrence today, and producers may even release remixed versions of some of their films' songs along with the films' regular soundtrack albums.

The dancing in Bollywood films, especially older ones, is primarily modelled on Indian dance: classical dance styles, dances of historic northern Indian courtesans (tawaif), or folk dances. In modern films, Indian dance elements often blend with Western dance styles (as seen on MTV or in Broadway musicals), though it is not unusual 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. This staging is referred to as a "picturisation".

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

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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. The songs are also often referred to as a "dream sequence", and anything can happen that would not normally happen in the real world.

Bollywood films have always used what are now called "item numbers". A physically attractive female character (the "item girl"), often completely unrelated to the main cast and plot of the film, performs a catchy song and dance number in the film. In older films, the "item number" may be performed by a courtesan (tawaif) dancing for a rich client or as part of a cabaret show. The actress Helen was famous for her cabaret numbers. In modern films, item numbers may be inserted as discotheque sequences, dancing at celebrations, or as stage shows.

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.

Dialogues and lyrics

The film script or lines of dialogue (called "dialogues" in Indian English) and the song lyrics are often written by different people.

Dialogues are usually written in an unadorned Hindi or Hindustani that would be understood by the largest possible audience. Some movies, however, have used regional dialects to evoke a village setting, or old-fashioned courtly Urdu in Mughal era historical films. Contemporary mainstream movies also make great use of English. Some movie scripts are first written in Roman alphabet. 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).

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Cinematic language, whether in dialogues or lyrics, is often melodramatic and invokes God, family, mother, duty, and self-sacrifice liberally.

Music directors often prefer working with certain lyricists, to the point that the lyricist and composer are seen as a team. This phenomenon is not unlike the pairings of American composers and songwriters that created old-time Broadway musicals (e.g., Richard Rodgers and Oscar Hammerstein II, or Alan Jay Lerner and Frederick Loewe). Song lyrics are usually about love. Bollywood song lyrics, especially in the old movies, frequently use Arabo-Persic Urdu vocabulary. Another source for love lyrics is the long Hindu tradition of poetry about the mythological amours of Krishna, Radha, and the gopis. Many lyrics compare the singer to a devotee and the object of his or her passion to Krishna or Radha.

Finances

Bollywood films are multi-million dollar productions, with the most expensive productions costing up to 100 crores rupees (roughly USD 20 million). Sets, costumes, special effects, and cinematography were less than world-class up until the mid-to-late 1990s, although with some notable exceptions. 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 Krrish (2006) which has action choreographed by Hong Kong based Tony Ching. 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, New Zealand, the United Kingdom, the United States, continental Europe and elsewhere. Nowadays, Indian producers are winning more and more funding for big-budget films shot within India as well, such as Lagaan, Devdas and other recent films.

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Funding for Bollywood films often comes from private distributors and a few large studios. 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 Mumbai underworld. The Mumbai underworld has been known to be involved in the production of several films, and are notorious for their patronisation of 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 Rakesh Roshan, a film director and father of star Hrithik Roshan. In 2001, the Central Bureau of Investigation seized all prints of the movie Chori Chori Chupke Chupke after the movie was found to be funded by members of the Mumbai underworld.

Another problem facing Bollywood is widespread copyright infringement of its films. Often, bootleg DVD 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 South East Asia. The Federation of Indian Chambers of Commerce and Industry (FICCI) estimates that the Bollywood industry loses $100 million annually in loss of revenue from pirated home videos and DVDs. Besides catering to the homegrown market, demand for these copies is large amongst some sections of the Indian diaspora, 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 U.S. 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 piracy problem.

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

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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 an interesting comparison of Hollywood and Bollywood financial figures, see chart. It shows tickets sold in 2002 and total revenue estimates. Bollywood sold 3.6 billion tickets and had total revenues (theatre tickets, DVDs, television etc.) of US$1.3 billion, whereas Hollywood films sold 2.6 billion tickets and generated total revenues (again from all formats) of US$51 billion.

Advertising

Many Indian artists used to make a living by hand-painting movie billboards and posters (The well-known artist M.F. Hussain 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 folk art.

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 theaters.

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. Product placement, as used in Hollywood, is widely practiced in Bollywood.

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Bollywood movie stars appear in print and television advertisements for other products, such as watches or soap (see Celebrity endorsement). Advertisers say that a star endorsement boosts sales.

Awards

The Filmfare Awards ceremony is one of the most prominent film events given for Hindi films in India. The Indian screen magazine Filmfare 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 Academy of Motion Picture Arts and Sciences, individuals may submit their votes in separate categories. A dual voting system was developed in 1956. Like the Oscars, the Filmfare awards are frequently accused of bias towards commercial success rather than artistic merit.

As the Filmfare, the National Film Awards were introduced in 1954. Since 1973, the Indian government has sponsored the National Film Awards, awarded by the government run Directorate of Film Festivals (DFF). The DFF screens not only Bollywood films, but films from all the other regional movie industries and independent/art films. 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.

Additional ceremonies held within India are:

y Stardust Awards y Star Screen Awards

Ceremonies held overseas are:

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y Bollywood Movie Awards - Long Island, New York, United States y Global Indian Film Awards - (different country each year) y IIFA Awards - (different country each year) y Zee Cine Awards- (different country each year)

Most of these award ceremonies are lavishly staged spectacles, featuring singing, dancing, and numerous celebrities.

Film education

y Film and Television Institute of India y Satyajit Ray Film and Television Institute y Asian Academy of Film & Television

Popularity and appeal

Besides being popular among the India diaspora, such far off locations as Nigeria to Egypt to Senegal and to Russia generations of non-Indian fans have grown up with Bollywood during the years, bearing witness to the cross-cultural appeal of Indian movies. Over the last years of the twentieth century and beyond, Bollywood progressed in its popularity as it entered the consciousness of Western audiences and producers.

Historically, Hindi films have been distributed to some parts of Africa, largely by Lebanese businessmen. Mother India (1957), for example, continued to be played in Nigeria decades after its release. Indian movies have also gained ground so as to alter the style of Hausa 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

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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 unintelligble to the viewers. One such explanation for this lied 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 Bajaj motor scooters; wedding celebrations, and so forth. With the strict Muslim culture, Indian movies were said to show "respect" toward women, where Hollywood movies were seen to have "no shame". In Indian movies women were modestly dressed, men and women rarely kiss, and there is no nudity, thus Indian movies are said to "have culture" that Hollywood films lack. The latter choice was a failure because "they don't base themselves on the problems of the people," where the former is based socialist values and on the reality of developing countries emerging from years of colonialism. Indian movies also allowed for a new youth culture to follow without such ideological baggage as "becoming western."

Bollywood is also popular among Somalis and the Somali diaspora, where the emerging Islamic Courts Union found a bete noire. Chad and Ethiopia have also shown an interest in the movies.

Several Bollywood personalities have avenued to the continent for both shooting movies and off-camera projects. The film Padmashree Laloo Prasad Yadav (2005) was one of many movies shot in South Africa. Dil Jo Bhi Kahey (2005) was shot almost entirely in Mauritius, which has a large ethnically Indian population.

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 westernized picturizations.

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The old days of India avidly "advocating decolonization ... and India's policy was wholly influenced by his missionary zeal to end racial domination and discrimination in the African territories" were replaced by newer realities. The emergence of Nollywood, Africa's local movie industry has also contributed to the declining popularity of Bollywood films. A greater globalised 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 soft power.

Asia

Bollywood films are widely watched in South Asian countries, such as Bangladesh, Nepal, Pakistan and Sri Lanka.

Many Pakistanis watch Bollywood films, as they understand Hindi (due to its linguistic similarity to Urdu). Pakistan banned the legal import of Bollywood movies in 1965. However, a thriving trade in pirated 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 colorized re-release of the classic Mughal-e-Azam or the 2006 film Taj Mahal. 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 controversial in Pakistan. It is opposed by ardent nationalists and representatives of Pakistan's small film industry; it is embraced by cinema owners, who are booking large profits after years of poor receipts.

Bollywood movies are also popular in Afghanistan due to the country's proximity with the Indian subcontinent and certain other cultural perspectives present in the movies. A number of Bollywood movies were filmed inside Afghanistan while some dealt with the country, including , Kabul Express, Khuda Gawah and Escape From Taliban. Hindi films have also been popular in numerous Arab countries, including Palestine, Jordan, Egypt and the Gulf countries. Imported Indian films are usually subtitled in Arabic upon the film's release. Since the early 2000s, Bollywood has progressed in Israel. Special channels dedicated to Indian films have been displayed on cable television.

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Bollywood films are also popular across Southeast Asia (particularly the Malay Archipelago) and Central Asia (particularly in Uzbekistan and Tajikistan).

Some Hindi movies also became big successes in the People's Republic of China during the 1940s and 1950s. The most popular Hindi films in China were Dr. Kotnis Ki Amar Kahani (1946), Awaara (1951) and Two Acres of Land (1953). Raj Kapoor was a famous movie star in China, and the song "Awara Hoon" ("I am a Tramp") was popular in the country. Since then, Hindi films significantly declined in popularity in China, until the Academy Award nominated Lagaan (2001) became the first Indian film to have a nation- wide release there in decades. The Chinese filmmaker He Ping was impressed by Lagaan, especially its soundtrack, and thus hired the film's music composer A. R. Rahman to score the soundtrack for his film Warriors of Heaven and Earth (2003). Several older Hindi films also have a cult following in Japan, particularly the films directed by the late Guru Dutt.

Europe

Bollywood films are particularly popular in the former Soviet Union. Bollywood films have been dubbed into Russian, and shown in prominent theatres such as Mosfilm and Lenfilm.

Ashok Sharma, Indian Ambassador to Suriname, who has served three times in the Commonwealth of Independent States region during his diplomatic career said: The popularity of Bollywood in the CIS dates back to the Soviet days when the films from Hollywood and other Western countries 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

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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 Mera Naam Joker (1970), sought to cater to such an appeal and the popularity of Raj Kapoor in Russia, when it recruited Russian actress Kseniya Ryabinkina for the movie. In the contemporary era, Lucky: No Time for Love 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.

The awareness of Hindi cinema is also substantial in the United Kingdom, where they frequently enter the UK top ten. Many films, such as Kabhi Khushi Kabhie Gham (2001) have been set in London. Bollywood is also appreciated in France, Germany, the , and the Scandinavian countries. Various Bollywood movies are dubbed in German and shown on the German television channel RTL II on a regular basis. A considerable number of Hindi movies has been shot in Western Europe as well, particularly in Switzerland, starting with Dilwale Dulhania le Jayenge.

North America

Bollywood has experienced a marked growth in revenue in North American markets, and is particularly popular amongst the South Asian communities in large cities as Chicago, Toronto and New York City. Yash Raj Films, one of India's largest production houses and distributors, reported in September 2005 that Bollywood films in the United States earn around $100 million a year through theater screenings, video sales and the sale of movie soundtracks. 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,

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Vancouver and Toronto. Bollywood's immersion in the traditional Hollywood domain was further tied with such films as The Guru (2002) and Marigold: An Adventure in India (2007) trying to popularise the Bollywood-theme for Hollywood.

Oceania

Bollywood is not as successful in the Oceanic countries and Pacific Islands such as New Guinea. However, it ranks second to Hollywood in countries such as Fiji, with its large Indian minority, Australia and New Zealand.

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 Yash Raj Film Salaam Namaste (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 Heyy Babyy (2007) Chak De! India (2007) and Singh Is Kinng (2008) which turned out to be box office successes. Following the release of Salaam Namaste, on a visit to India the then Prime Minister John Howard 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 Steve Waugh's appointment as tourism ambassador to India. Australian actress Tania Zaetta, who co-starred in Salaam Namaste, among other Bollywood films, expressed her keenness to expand her career in Bollywood.

South America

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Bollywood movies are not influential in South America, though Bollywood culture and dance is recognised. In 2006, Dhoom 2 became the first Bollywood film to be shot in Rio de Janeiro, Brazil.

Plagiarism

Constrained by rushed production schedules and small budgets, some Bollywood writers and musicians have been known to resort to plagiarism. Ideas, plot lines, tunes or riffs have been copied from other Indian film industries or foreign films (including Hollywood and other Asian films). This has led to criticism towards the film industry.

In past times, this could be done with impunity. Copyright enforcement was lax in India and few actors or directors ever saw an official contract. 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. Organizations 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 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. Vikram Bhatt, director of films such as Raaz, a remake of What Lies Beneath, and Kasoor, a remake of Jagged Edge, has spoken about the strong influence of

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American culture and desire to produce box office hits based along the same lines in Bollywood. He said, "Financially, I would be more secure knowing that a particular piece of work has already done well at the box office. Copying is endemic everywhere in India. Our TV shows are adaptations of American programmes. We want their films, their cars, their planes, their diet cokes and also their attitude. The American way of life is creeping into our culture." Mahesh Bhatt has said, "If you hide the source, you're a genius. There's no such thing as originality in the creative sphere".

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 Partner (2007) and Zinda (2005) have been targeted by the owners and distributors of the original films, Hitch and Oldboy. American Studio Twentieth Century Fox brought the Mumbai-based B.R. Films to court over its forthcoming Banda Yeh Bindaas Hai, allegedly an illegal remake of its 1992 film My Cousin Vinny. B.R. Films eventually settled out of court by paying the studio at a cost of about $200,000, paving the way for the film's release. Some on the other hand do comply with copyright law, with Orion Pictures recently securing the rights to remake the Hollywood film.

Hollywood, Bollywood battle DVD piracy

Hollywood has teamed up with Bollywood, the name given to India's vast movie industry, to battle counterfeiting.

It marks a new relationship between the Motion Picture Association of America and the industry in India, which has often been at odds with Hollywood.

Many U.S. films are pirated in India by people who take camcorders into cinemas.

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"This is a country of one billion people who love movies more than anywhere else," Dan Glickman, head of the U.S. association, told The Associated Press. "We'd be foolish not to want to come into this market."

Now seven Indian production companies say they need to fight piracy, which cost that country's film industry $2.3 billion US in 2008, according to an Ernst & Young study. Piracy was also blamed for the loss of 571,000 jobs.

The announcement of a joint attack comes just two days after a precedent-setting ruling in Canada that sent a Montreal man to prison for pirating movies. On Tuesday, Gérémi Adam, 27, became the first Canadian to get a prison sentence for breaking cinematic copyright. He was sentenced to 2½ months after pleading guilty to two counts of distributing high-quality pirated copies of Hollywood films.

DVD piracy laws were tightened in Canada in 2007. Making illegal movie recordings is a criminal offence punishable by six months in jail and a $25,000 fine.

The deal between the U.S. industry group and India's movie studios would translate into pressure on police in India to step up enforcement as well as on legislators to tighten piracy laws, the promoters say.

Pernicious problem:-

"Piracy is one of the most pernicious problems facing the entertainment industry," said Reliance Pictures CEO Sanjeev Lamba. Last year, Reliance took a 50 per cent share in Steven Spielberg's DreamWorks studio, signalling a major push by an Indian firm into the Hollywood market.

The Motion Picture Association of America has made similar deals with alliances in Europe and Hong Kong to crack down on camcorder filming, which is a source of 90 per cent of pirated DVDs.

Piracy has made huge leaps in India because of higher internet connection speeds and DVD player usage. 54 | P a g e

Moser Baer, a CD and DVD manufacturer in India, says the number of households in India with DVD players has gone risen to 45 million from four million in just two years.

Moser Baer executive Harish Dayani says 700 million illegal DVDs are bought by Indian consumers every year.

"The Indian film industry now understands their product is getting stolen at significant rates," Glickman said.

CASE STUDY:-

1)'Piracy in US leads to $1 billion loss for Indian films'

Bobby BediIndian filmmaker Bobby Bedi has said India is losing huge chunks of its entertainment profits to global pirates, and America is becoming the battleground. "We are losing 90 percent of our home video market in the United States...one billion dollars per year -- through piracy and related activities in the United States," said the producer of 'Bandit Queen' and 'The Rising' (Mangal Pandey), quoted by press agency AFP.

Bedi was speaking at an event in Washington to mark the World Intellectual Property Day on Saturday. He said the American enforcement agencies were not forceful enough in helping plug losses suffered by the Indian entertainment industry in the United States.

The founder of Kaleidoscope Pvt. Ltd., Bedi made his name with Electric Moon (1992), Bandit Queen (1994), Fire (1997), Saathiya (2002), Maqbool (2003) and The Rising (2005) as a producer.

Bobby Bedi, according to reports, is currently producing a three-film series of the Indian mythology, the Mahabharata, at an estimated cost of 70 million dollars.

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March 2008 Piracy Report

Bipasha Basu, and Katrina Kaif in Superhit 'Race'The U.S.-India Business Council (USIBC) had released a study in March 2008 showing huge job and revenue losses to the Indian economy as a result of piracy in India's burgeoning entertainment industry. The study - 'The Effects of Counterfeiting and Piracy on India's Entertainment Industry' - prepared for USIBC by Ernst & Young India, shows as much as Rs. 16,000 crores are lost each year due to piracy. As many as 800,000 direct jobs are also lost as a result of theft and piracy, afflicting India's entertainment industry.

Speaking at the Federation of Indian Chambers of Commerce and Industry (FICCI) FRAMES 'Business of Entertainment' Conference, USIBC President, Ron Somers, said, "This study estimates that the Indian entertainment industry loses some 820,000 jobs and about $4 billion each year to piracy. This is an enormous and unacceptable magnitude of loss - by any measure."

The piracy study was commissioned as part of the USIBC-FICCI Bollywood- Hollywood Initiative. "This study covers film, music, television and video games and has been funded by the Global Intellectual Property Center of the U.S. Chamber of Commerce, which aims to highlight the value of intellectual property, as well as illuminate the adverse impact theft and piracy have on creativity and innovation. The Bollywood-Hollywood Initiative promotes the sustainable growth and convergence underway between the entertainment industries in both our countries."

Presented with a copy of the study, FICCI Secretary General, Dr. Amit Mitra, said, "This study shows that the best way to make the boom in the Indian entertainment bigger is to stop the affliction of piracy. For the average Indian who wants to increase his or her chances for being employed in Bollywood and associated industries, fighting piracy is a place where all our collective efforts must start."

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Dr. Mitra went on to point out, "The Media and Entertainment industry in India is an industry of the future. India's entertainment industry already generates more than $11 billion annually for the country, growing at a combined annual rate of over 18%. If we can stop piracy, these industries will grow even faster and employ more Indian workers."

Also present at the media briefing was , famed producer and director of the all-time number-one blockbuster 'Sholay.' Sippy said, "I know first hand the importance of fighting piracy to support the growth of Bollywood. I commend the USIBC-FICCI Initiative for enlisting all elements of the entertainment industry against piracy."

Farokh T. Balsara, National Sector Leader, Media and Entertainment for Ernst & Young India, said, "Our Mumbai office collected data for this study from on the ground - via direct interviews with stakeholders from the Bollywood entertainment industry. We looked at the industry from every angle - films, music, TV, radio, and electronic games. The story was the same across the board: if we can slow or stop piracy, a direct correlation in the generation of wealth and employment will be the result."

Commenting on the USIBC-FICCI Bollywood-Hollywood Initiative, USIBC President Ron Somers said, "This study is only the beginning. Now that we have documented the job and revenue losses to the Indian entertainment industry from piracy, we intend to continue fighting piracy across the board. We will strive to bring these findings to the attention of the average person in India. We will attempt to enlist more effectively the U.S. and Indian governments to cooperate in fighting the scourge of piracy in India, as well as in the U.S. and worldwide. We strongly support passage by India of optical disc legislation that will thwart piracy in this important industry. We are pleased to stand shoulder to shoulder with counterparts in India to help protect jobs and revenues that are now being needlessly lost to piracy."

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Also previewed at FICCI FRAMES as a part of the Bollywood-Hollywood Initiative was 'Illicit - The Dark Trade' - a special documentary that airs world- wide, produced by National Geographic for the U.S. Chamber of Commerce's Global Intellectual Property Center. This made-for-television documentary shows that the problem of piracy is an epidemic affecting many sectors of world-wide dimensions.

The U.S.-India Business Council, formed in 1975 at the request of the and the U.S. Government to advance U.S.-India commercial ties, is hosted under the aegis of the U.S. Chamber of Commerce. The U.S. Chamber of Commerce is the world's largest business federation representing more than 3 million businesses and organizations of every size, sector, and region. The U.S.- India Business Council celebrates its 33rd Anniversary at the U.S. Chamber of Commerce on June 12, 2008 in Washington, D.C.

2) Bollywood united against piracy

First Ashutosh Gowariker¶s What¶s Your Raashee? and now the recently

released Karan Johar film starring Imran Khan and Sonam Kapoor losing lots of money in its opening weekend due to piracy has certainly shaken up the industry.

Police raids prove that piracy is rampant in the city and that the film-makers haven¶t been able to plug the problem. DNA has learnt that film-makers are doing their own planning to fight against piracy.

A big budget Bollywood producer, who recently delivered a hit with a multi- starrer reveals on conditions of anonymity, ³It¶s like a plague. We are just constantly bleeding due to piracy. Some of us are planning to start our own vigilante team.

They will be a scouting team who will go and check out places where pirated

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films are up for sale on the day of the release. We will make a note of these areas and quickly go and report to the police for them to take necessary action.

First we will start this in Mumbai and then try and go national. It is a hectic process but something has to be done to combat it.´

Another film-maker adds, ³Since all the plans are sketchy, we don¶t want to reveal everything but we are planning to plug the losses incurred. For this we have to work closely with the police.

We are also looking to hire private firms tackling piracy to help us out. These firms locate the source where the CDs are being made and filtered into the market. If we shut down those warehouses, we will hit them hard.´

Karan Johar feels though individual efforts are the need of the hour, the industry has to be united in its fight against piracy. ³All the film-makers should come and form a body that only looks into stopping piracy nationally or else it will be very difficult to cut losses.

We should join hands with everyone possible to tackle the crime.´

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³Piracy in India, Introduction´

Well I'm not a Lawyer, neither some piracy expert to start debates or lectures here. I only write this article because I'm bored and thought this information might entertain some curious souls here and pass the time of other bored souls here. and I've no other platform to express this information apart from piratebay!

I divide the piracy in India in 2 parts,

1. Online Piracy - Torrent , Wares & File sharing etc.

2. Offline Physical Piracy of CDs & DVDs

Part-1 : Online Piracy in India.

We've only 2 major forensic labs (FSL) in India which are capable of analyzing the hard disk and computer data for cyber crime. One is located in Hyderabad and another is in Gandhinagar. So unless the offense is related to credit card theft, blackmailing some girl or making fake profile of her in Face book or sending death threats to ministers or claiming responsibility after doing a terrorist attack, the police doesn't really care about anything cyber. Porn or piracy doesn¶t even remotely come under their priorities. We've an Information & Technology (IT) Act, which provides prison upto 10 Years and Fine up to 1 Million Rupees. But as far as I know, no one is yet convicted under it lol.

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Apart from this IT Act, we've age old Indian Penal code which was made in 1860s, during the Britishers' rule. The Same law which also provided for 10 years' prison for homosexual also known as Art.377 however that anti-gay law was scrapped off last year.

Since our policemen are not very skilled regarding cyber crime, in fact when some honest officer is to be 'taught a lesson' he is sent to the cyber crime department. because its considered to be a punishment posting, just like in your Hollywood movie when hero cop is given some traffic duty or desk job

When someone comes with a cyber crime complaint, the register it under the Indian Penal Code's cheat & fraud related chapters rather than in IT Act's stringent sections, and in cheating cases you can easily get bails and max jail is 2 years only even if convicted.

For police there is a secret advantage of booking people under Penal code instead of IT act. because you see in IT act the evidences have to be technical like harddisk, IP records, so cops can't manipulate them easily. unlike in Penal code's fraud cases where case moves based on witnesses and other pen-paper evidences, which can be easily manipulated so the bribe earning potential is better for them. Needless to say, the moment you're arrested you've to pay bribe no matter you're guilty or not. Same way if you want to file complain and to get someone else arrested you again have to pay bribe.

The court process are very slow, the average time span of a petty criminal case can take from 5 to 15 years and you can always bribe your way out of any trouble in India .If you get convicted you can appeal to higher court. and since your jail term is 2 years, you can get a bail even after conviction. So first you go to High court and then you go to supreme-court in appeal when it doesn't come in your favour. And since those courts already have millions of cases pending, thus you can easily be out on bail for 30-40 years even when you're convicted in cybercrime.

And at worse if you're sent to jail, you can still enjoy all the luxuries of life like wine and 61 | P a g e

women after paying the bribe to the police. Always remember the rule in India that "you can always bribe your way out of any trouble."

Cyber cafes and Piracy After the terrorists started sending emails from cyber cafe after the bomb attacks, the police issued an order that every owner of such cafe needs to maintain a register of every visitor also about which websites did he go, what emails did he send? (LOL ) So theoretically cyber cafe owner is supposed to check my id, driving license and all, but he won't because that'll ruin the business. So any Tom, Dick & Harry can come to any cyber cafe with a blank DVD or USB drive and download the choicest pirated movies, software¶s and games and walk away without any problem. Apart from this, Cyber cafes are also ideal places for unmarried couples to go and enjoy sex in those secluded small cabins, however sometimes the cafe owner makes a CCTV recording of it and sells it to mobile porn sellers.

Now to the second part

Part-2: Offline or Physical Piracy

We've a single Copyrights act that covers everything from books, songs to movies.

*Books & Piracy*

Photocopying the copyrighted book is regular phenomenon here. Since most college students can't afford to buy the legit copies of original authors, they buy the photo copied versions. The cost of it is: 1$ for 150 pages of anything photocopied on A4 sized paper.

*Music-Mobile, IPod etc.*

The mobile store owners keep a separate computer for the sole purpose of giving

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ringtones, full music tracks, movies and everything to customer. If you're a new mobile phone or i-pod buyer, they'll install the choicest application-

music-movies as per your requirement without additional charges. They even keep pre-loaded memory cards. So you've to only tell him "I'm a music guy" or "I'm a porn guy" and he'll give you appropriate memory card

Sometimes they get caught, (not the buyer, but the store owner) but he can always bribe his way out.

*Videos, Mp3*

There are special vendors with Hand-carts or Rickshaws, sit in the crowded markets. You can buy anything and everything under the sky from them. Be it the latest Hollywood movie to Video song. The prices are 10 Rs. to 20 Rs. That means for 1 dollar you can buy 4 DVD. they also give it on rent so in that case you've to give 50 Rs. (1$) as deposit and once you return the CD or DVD, he'll keep 10 Rs and return you 40 Rs. Sometimes he'll ask you to give a photocopy of your driving license, so you don't runaway with his stuff loll . But If you're a regular customer, he won't even ask for deposit.

*Movies-Bollywood*

Just like you've Hollywood for America, we've Bollywood for India. As stated ago, you can buy pirated copy for 20 Rs. so Indian movie producers got smart and now they start selling the legit copy for 24 Rs. after 6months of movie release and or sell the rights to cable channels like Sony India or Star India. Then he recovers all his money. And those cable TVs recover their money by showing 1 hour ads in 2 hours' movie so their money is also recovered, so its not like that Industry's people are loosing their bread and butter due to piracy.

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Same as above except that the legit copies are not available at all, because no one buys them anyway. If you want to buy a legit copy then you've to goto big city like Mumbai. Every Hollywood movie available in small towns is pirated.

When the internet was absent, the master copies of pirated CDs generally came from Pakistan or Dubai. And there were Pirate Mafias controlling the business. Nowadays thanks to internet, direct movies are downloaded and distributed so any no0b in the neighborhood can be a pirated CD vendor.

*Physical Piracy and India Police*

Indian police gets a regular payment for allowing those pirated CD vendors to operate in their territoriy. A no0b Pirate vendor can earn up to 1200 Rs a day ($24) if he's in a good locality. from that he has to give Commission to police. there are two types of pirates, small time isolated vendors and big organized city based groups. The small time isolated vendors have to pay Commission at the end of everyday, while City based big groups pay on monthly basis.

Big Companies like Sony, T-series, Shemaroo, have special agents to check piracy. So when they see it, they'll complaint the police & police will arrest a few people for the namesake along with only a small portion of their inventory, and close the case.

Under any circumstances, no user or buyer or customer is ever caught or booked so far.

*Software piracy*

Almost every Home-computer running Microsoft is pirated. Except the Big government

64 | P a g e or corporate offices. Here again, the computer guys keep readymade disk to install everything in one go when you buy a new computer. If anything messes up, they'll fix it for Rs. 50. If they've to install a new Vista or XP the charge is Rs. 250/- (5$)

*Prices*

The cheapest computer you can get is in 180 $ 50 Blank Cd for about 1$, if you buy in bulk. 5 Blank DVDs for 1$. Cheapest DVD writer (Samsung)- about 20$ Cheapest Computer (Acer) -about 180$ so as you can see physical piracy doesn't require huge investment in India

Piracy is killing the Cine Industry (Movie Industry)

Movies are the word that most of the people look at when they need an entertainment. The movies in each region have their importance. The movies are for entertainment and enjoyment. The movies give us a kind of relaxation. Many of us feel that if we watch a movie with good theme it will be refreshment for us. The word which buzzes around mouth is movies. We sing songs, dance, and watch programs related movies only. Even the channels evolved with the movie programs only.

The movie industries after Hollywood are Bollywood and Tollywood which produces good number of movies. The movies that are produced released in these industries are huge. The people also love to watch the movies. Movies are the great pass time in these areas. The movie industry gives a lot of employment. Even though it is a entertainment most of the people are depended on these. There are thousands of people working with

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the industry. The total movie industry revenue depends upon the movie hits and flops.

Hence, Movie industry is not only an entertainment sector but also it gives life to lot of people. The movies have changed a lot then it was used to release in the past. The movies updated themselves with technology. Huge amounts of money, time, work is being spent to make and release a movie. It takes a tough path to release the movie. Its like a building a house with care by spending lot of money on it. Hence it is really a tough task to make a good movie and meet the expectation of people.

The only word which is killing the whole industry in terms of revenue, employment and creativity is "piracy". This is making the movie industry horrible. When we think of piracy there arises two options one is to watching the movie for free by one click, other one is thinking about the whole movie industry. But when we take the positive note then we have to go with second option. Because A movie involves lot of creativity, investment in terms of money, work and time; apart from this the importance of creativity and ideas. Hence when we are watching the piracy movie it is killing their ideas. Because here we watch the movie for free this impacts on the revenue of movie industry.

This is not only making damage for the industry, but also hitting their life patterns too. They work very hard to meet our expectations. But we people watch the movie for free on internet. We download the songs for free. The music album consist lot of hard work from the whole music team. This involves lot of creativity .Every year this is damaging the industry. Recently Hollywood and Bollywood joined to fight the piracy. The Reliance Big Entertainment, Yash Raj Films, UTV Motion pictures, EROS International joined hands with the motion picture association of America to fight piracy. The Tollywood people recently went for hunger strike and requested state government to fight for piracy.

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INTERVIEWS

Ranbir, Priyanka¶s Views against piracy

After being a part of AACT, Ranbir said, ³Piracy has become a serious issue for the industry, especially among the youth. As people from the film fraternity, the on us rests with us to educate and inform people about initiatives like AACT¶s toll free number´

³I hope that every one supports us and go to theatres to watch the movie.´

Supporting the campaign against piracy, Priyanka added, ³People forget that there is no replacement to watching a movie in a theatre.´

³When someone buys or downloads a pirated movie they are not aware about the damage that piracy causes to the industry. As responsible citizens we need to be vigilant about not encouraging illegal activities,´ added the µFashion¶ star.

µAnjaana Anjaani¶ producer Sajid Nadiadwala commented, ³Over the last decade Bollywood has been in the midst of a transformation. With corporates coming into industry, everyone in the value chain right from distributors to exhibitors as well as the audience has benefitted. However, Piracy nullifies the effect of these changes. I am glad that we now have an industry body like AACT to fight piracy on behalf of all of us.´

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Boman Irani urges all against piracy

Intellectual and a gifted actor Boman Irani had launched the DVD of Shyam Benegal¶s film µWell Done Abba¶ and he felt happy while doing that.

Boman Irani at that time urged everyone to stop piracy and help the Bollywood industry in being successful to fight against piracy, to help in saving the intellectual property of the Bollywood industry.

When an actor like Boman urges all to go against piracy, everyone tends to listen to that don¶t all of them listen?

³Please do not encourage piracy. It¶s negative implications way beyond money alone.´ Warms the veteran actor.

He also adds that, ³We do hope piracy is stopped, as some senior actors are hurt and we feel sad to see them hurt.

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Salman Khan Speaks About Piracy

A glittering event had stars and filmmakers making an earnest appeal against piracy and discussing ways to create public awareness about the crisis industry is facing.

The Cinema People¶s Academy (CPA) launched it¶s first initiative in association with Sahara Manoranjan to educate the public about film piracy in a star-studded extravaganza that combined entertainment with some sermonizing.

There were the regular dance performances by Amisha Patel and Yana Gupta. But it was Salman Khan who rocked at the Kambakht Piracy gig. After his performance, host Rakshanda Khan requested him to say few words on piracy.

Breathless after his act, Salman made an impassioned case for not watching pirated films on DVD¶s or VCD¶s. Unlike most clichéd speeches on the topic, Salman focused on how films were pirated.

He said films were pirated when they are sent for processing, much before they were released. ³Just to check the quality of these movies, I brought five pirated VCDs of my own movies and the quality was really bad. The picture and sound was worst.´

He added jocularly: ³If you come across people who are pirating movies then you can call me and we¶ll fix them! These days even my mobile number has been pirated. There is a kid who has been pirating my number for Rs. 25,000 and then I get calls from kids asking µis this Salman Uncle¶ late in the night.

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1) Do you watch movies?

0%

100%

yes

no

INTERPRETATION: According to survey I found out that 100% of my samples watch movies. Mostly People watch Movies for entertainment as it¶s an important part of life to reduce the stress, tension of our life¶s.

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2) If yes how do you watch movies generally?

Others 14%

CD/DVD 45% Theatre 25%

Download 16%

INTERPRETATION: According to the survey I found out that most of the people watch movies by buying CD/DVD, 45% of the people prefer watching movies by buying new CD/DVD, 16% of the total public prefer watching movies by Downloading it directly from the internet, 25% of the total public prefer watching movies going to the theatre directly whenever the movies get released they watch movies in the theatre till the time the movie is available in the theatre, rest 14% of the total public prefer watching movies by other means. Other means of watching movies that I found through the survey was Television. 14% of the total public watch movies through Television.

3) How often do you watch movies?

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Yearly 6%

Monthly 38% Weekly 56%

INTERPRETATION: According to the survey I found out that most of the people go to watch movies weekly. 56% of the total public goes to watch movies on a weekly basis. It means that they watch movie at least once in a week. Whenever the new movies get released, that is gets released on every Friday, and hence these people, who prefer watching movies on a weekly basis go to watch every Friday. There is an other group of people who go to watch movies on a monthly basis. 38% of the total public prefers watching movies on a monthly basis. That is they go to watch movie every month. Next group of people is that group which prefers watching movies on a yearly basis. That is they go to watch movie once in a year. This is the least group with only 6%.

4) Do you buy pirated CD/DVD?

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No 30%

Yes 70%

INTERPRETATION: According to the survey I found out that maximum number of the people prefer watching movies by buying pirated CD/DVD. Most of the people buy the pirated CD/DVD, 70% of the total public prefer watching movies by buying pirated CD/DVD. Rest 30% do not buy pirated CD/DVD. They answered no to the question about do they buy the pirated CD/DVD.

5) If yes then from where do you buy them?

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Other Train 17% 17%

Foothpath Vendor 66%

INTERPRETATION: According to the survey I found out that out of the total public that buy pirated CD/DVD, most of the people buy it from the footpath vendors. By studying the market I found out that pirated CD/DVD are sold on the footpath vendors, Trains and some other places. Out of these places most of the people buy it from the footpath vendors. 66% of the total public prefer buying pirated CD/DVD from this place. Next group of people is that group which buy CD/DVD from the trains. About 17% of the total public prefer buying pirated CD/DVD from the train. This % is exactly the same as that of people who prefer buying from the other means of buying the CD/DVD. Other means can be getting the CD/DVD from friends, or copying the movie in a CD/DVD from the computer.

6) Why do you prefer buying pirated CD¶S/DVD?

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Availability 42%

Cheap rates 58%

INTERPRETATION: According to the survey I found out that most of the public prefer buying pirated CD/DVD because of the cheap rates of the pirated CD/DVD. There are 2 groups of people who prefer buying pirated CD/DVD due to 2 reasons, they are cheap rates and the availability of these CD/DVD. About 58% of the total public buy the pirated CD/DVD because these CD/DVD are available at very cheap rates as compared to the original CD/DVD. The rest 42% of the total public buy the pirated CD/DVD due to the reason of the availability of them. Pirated CD/DVD are available within 2-3 days after the release of the new movie in the theatre. People cannot afford to go to the theatre and therefore think that watching movie by these CD/DVD can be profitable as it is cheap, as well as available very soon.

9) How do you listen to music generally?

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Others 4%

Radio Pirated CD/DVD 8% 14% Original CD/DVD 16%

Downloading 58%

INTERPRETATION: According to the survey I found out that there are 5 groups of people that listen to music in 5 different ways. The first group is the group who listen to music by downloading the music directly from the internet. Out of the total public 58% prefer listening to the music by downloading directly from the internet. The next group is who prefer buying the original CD/DVD to listen to the Music. The next group of people is those who buy the pirated CD/DVD to listen to the music. 14% from the total public prefer listening to music by buying pirated CD/DVD. The next group of people is that group who prefer listening to the music on radio. As nowadays radio is available on the cellphones, it¶s easier to carry radio everywhere. 8% of the total public prefer listening to the music by radio. The rest 4% of the total public listen to music by other means , such as MP3 etc«

11) Who do you think gets affected by piracy?

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Actor/Actress 14%

Producers 20% Entire Industry 62%

Directors 4%

INTERPRETATION: According to the survey I found out that there are 4 groups of people who think that who get¶s affected by piracy. Most of the people think that the entire industry gets affected by piracy. 62% of the total public think that the entire industry gets affected. Next group think that producers get affected due to piracy. About 20% of the total public think that producers are the one who get affected due to piracy. Next group of people think that the Actors/Actresses get affected due to piracy. About 14% of the total public think that Actors/Actresses are the only people who get affected due to piracy. The last group of people are the one¶s who think that directors get affected. Around 4% of the total public think that directors get affected due to piracy.

13) Do you think piracy is damaging the intellectual property of Bollywood?

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No 14%

Yes 86%

INTERPRETATION: According to the survey I found that what people think about the damage of the intellectual property of the bollywood industry. Intellectual property means the t5alent of the Actor/Actresses that act in the movies. There are 2 groups of people who think whether the intellectual property is damaged or not. 86% of the total public think that yes the intellectual property does get damaged due to piracy. And only 14% of the total public think that no the intellectual property does not get damaged due to piracy. The answer is that actually the intellectual property does get affected due to piracy because the Actor/Actresses talented does not get the actual price. 15) What influences you to buy pirated movies or music?

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habit 24% Friends 44%

Surrounding 32%

INTERPRETATION: According to the survey I found out that there are 3 types of people who influence the customers to buy the pirated CD/DVD. The 3 types of people are the friends, the surrounding, and the habit of the people. According to the findings, maximum numbers of customers get influenced by their friends to buy the pirated CD/DVD. 44% out of the total public get6 influenced by their friends to buy the CD/DVD. There are also some people who get influenced by their surroundings. 32% of the total public get influenced by their surroundings. And the last group are the people who get influenced due to their habit. Around 24% of the total public get influenced due to their own habit.

16) Do you get satisfied by watching pirated movie?

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Yes 30%

No 70%

INTERPRETATION: According to the survey I found out that maximum number of people are not satisfied by watching the pirated movies. About 70% of the total public do not get satisfied by watching pirated movies. The rest that is the 30% of the total public gets satisfied by watching the pirated movies.

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17) Do you get good quality picture and sound in pirated CD/DVD?

Yes 18%

No 82%

INTERPRETATION: According to the survey I found out that the maximum numbers of people do not find good quality of picture and sound in the pirated CD/DVD. Around 82% of the total public do not find good quality of picture and sound in the pirated CD/DVD. About 18% of the total public find good quality of picture and sound in the pirated CD/DVD.

18) Within how many days is the movie available in pirated CD/DVD after release?

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2 Days W 1 eek 28% 36%

3 Days 36%

INTERPRETATION: According to the survey I found that there are three different times in which the public thinks the pirated CD/DVD is available after the release of the movie in the theatre. Those 3 timings are 2 days, 3 days and 1 week. 36% of the total public say that the pirated CD/DVD is available within 3 days. 36% of the total public say that the pirated CD/DVD is available within 1 week after the release of the movie. And only 28% of the total public say that the pirated CD/DVD is available within 2 days after the release of the movie.

19) While buying a new CD/DVD which do you prefer?

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pirated 40%

Original 60%

INTERPRETATION:

According to the survey I found that people who prefer buying original CD/DVD are more as compared to those who want to buy the pirated CD/DVD. About 60% of the total public would prefer to buy the original CD/DVD and the rest of the 40% prefer buying pirated CD/DVD if they want to buy the new CD/DVD

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APPENDIX

Name:______

Gender: Female Male

Age:______

Location:______

Occupation:______

1) Do you watch movies? Yes No

2) If yes how do you watch movies generally? CD/DVD Download Theatre Other

3) If other please specify: ______

4) How often do you watch movies? Weekly Monthly Yearly

5) Do you buy pirated CD/DVD? Yes No 84 | P a g e

6) If yes then from where do you buy them? Trains Footpath vendors Other

7) If others then please specify: ______

8) Why do you prefer buying pirated CD¶S/DVD? Cheap Rates Availability

9) How do you listen to music generally? Pirated CD/DVD Downloading Original CD/DVD Radio

Others 10) If others please specify:______

11) Who do you think gets affected by piracy? Actors/Actresses Producers Director¶s Entire industry

12) What would you do to stop piracy? ______

13) Do you think piracy is damaging the intellectual property of Bollywood? Yes No

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14) In what ways is piracy damaging the intellectual property of Bollywood? ______

15) What influences you to buy pirated movies or music? Friends Surrounding Habit

16) Do you get satisfied by watching pirated movie? Yes No

17) Do you get good quality picture and sound in pirated CD/DVD? Yes No

18) Within how many days is the movie available in pirated CD/DVD after release? 2 days 3 days 1 week

19) While buying a new CD/DVD which do you prefer? Original Pirated

20) If any suggestions please specify:______

______

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BIBILOGRAPHY:-

1) www.google.com

2) www.wikipedia.com

3) www.scribd.com

4) www.managementparadise.com

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