Cinema of India

{{Main|History of cinema of India}}

The history of cinema in India extends to the beginning of the film era. Following the screening of the Lumière and Robert Paul moving pictures in London in 1896, commercial cinematography became a worldwide sensation and these films were shown in Bombay (now Mumbai) that same year.Burra & Rao, 252

From 1913 to 1931, all the movies made in India were silent films, which had no sound and had intertitles.{{cite magazine |title=First Indian talkie film Alam Ara was released on this day: Top silent era films |url=https://www.indiatoday.in/education-today/gk-current-affairs/story/silent-films-311163-2016-03-14 |access-date=7 August 2023 |magazine=India Today |date=14 March 2017 |language=en}}

In 1913, Dadasaheb Phalke released Raja Harishchandra (1913) in Bombay, the first film made in India. It was a silent film incorporating English, Marathi, and Hindi intertitles.{{cite news |last1=Bose |first1=Ishani |title=Dadasaheb Torne, not Dadasaheb Phalke, was pioneer of Indian Cinema |url=https://www.dnaindia.com/pune/report-dadasaheb-torne-not-dadasaheb-phalke-was-pioneer-of-indian-cinema-1826721 |access-date=7 August 2023 |work=DNA |date=21 November 2013 |language=en}} Films steadily gained popularity across India as affordable entertainment for the masses (admission as low as an anna [one-sixteenth of a rupee] in Bombay). Young producers began to incorporate elements of Indian social life and culture into cinema, others brought new ideas from across the world. Global audiences and markets soon became aware of India's film industry.Burra & Rao, 252–253

In 1927, the British government, to promote the market in India for British films over American ones, formed the Indian Cinematograph Enquiry Committee.{{Cite book |last=Purohit |first=Vinayak |url={{google books|plainurl=y|id=ae1Zrmz6ETwC|page=986}} |title=Arts of transitional India twentieth century, Volume 1 |publisher=Popular Prakashan |year=1988 |isbn=978-0-86132-138-4 |page=985 |access-date=16 December 2011}} This committee failed to support the intended recommendations for promoting British film, instead recommending support for the fledgling Indian film industry. As a result, their suggestions were set aside.

The first Indian sound film was Alam Ara (1931) made by Ardeshir Irani.Burra & Rao, 253

The first film studio in South India, Durga Cinetone, was built in 1936 by Nidamarthi Surayya in Rajahmundry, Andhra Pradesh.{{Cite news |date=6 May 2005 |title=The Hindu News |work=The Hindu |url=http://www.hindu.com/fr/2005/05/06/stories/2005050601300300.htm |url-status=dead |archive-url=https://web.archive.org/web/20050506025001/http://www.hindu.com/fr/2005/05/06/stories/2005050601300300.htm |archive-date=6 May 2005}}{{contradictory inline|reason=The previous section states that the first studio of South India was established by Mataraja Mudaliar in Madras|date=October 2022}} The advent of sound to Indian cinema launched musicals such as Indra Sabha and Devi Devyani, marking the beginning of song-and-dance in Indian films. By 1935, studios emerged in major cities such as Madras, Calcutta and Bombay as filmmaking became an established industry, exemplified by the success of Devdas (1935).Burra & Rao, 254 The first colour film made in India was Kisan Kanya (1937, Moti B).{{Cite web |title=First Indian Colour Film |url=http://www.thecolorsofindia.com/interesting-facts/cinema/first-color-film-made-in-india.html |access-date=9 November 2015}}

Swamikannu Vincent, who had built the first cinema of South India in Coimbatore, introduced the concept of "tent cinema" in which a tent was erected on a stretch of open land to screen films. The first of its kind was in Madras and was called Edison’s Grand Cinema Megaphone, named for the electric carbons used in motion picture projectors.{{Cite news |date=30 April 2010 |title=He brought cinema to South |work=The Hindu |location=Chennai, India |url=http://www.hindu.com/fr/2010/04/30/stories/2010043051340400.htm |url-status=dead |access-date=26 September 2011 |archive-url=https://web.archive.org/web/20100505150330/http://www.hindu.com/fr/2010/04/30/stories/2010043051340400.htm |archive-date=5 May 2010}}{{explain|date=October 2022}} Bombay Talkies opened in 1934 and Prabhat Studios in Pune began production of Marathi films. However, while Indian filmmakers sought to tell important stories, the British Raj banned Wrath (1930) and Raithu Bidda (1938) for broaching the subject of the Indian independence movement.{{Cite web |date=21 May 2012 |title=How free is freedom of speech? |url=http://postnoon.com/2012/05/21/how-free-is-freedom-of-speech/49700 |url-status=dead |archive-url=https://web.archive.org/web/20120524060853/http://postnoon.com/2012/05/21/how-free-is-freedom-of-speech/49700 |archive-date=24 May 2012 |access-date=25 April 2014 |publisher=Postnoon}}{{Cite web |title=Celebrating 100 Years of Indian Cinema: www.indiancinema100.in |url=https://indiancinema100.in/swadeshi/ |url-status=dead |archive-url=https://web.archive.org/web/20130921054328/https://indiancinema100.in/swadeshi/ |archive-date=21 September 2013 |access-date=27 June 2013}}

The Indian Masala film—a term used for mixed-genre films that combined song, dance, romance, etc.—arose following the Second World War. During the 1940s, cinema in South India accounted for nearly half of India's cinema halls, and cinema came to be viewed as an instrument of cultural revival. The Indian People's Theatre Association (IPTA), an art movement with a communist inclination, began to take shape through the 1940s and the 1950s.Rajadhyaksa, 679 IPTA plays, such as Nabanna (1944), prepared the ground for realism in Indian cinema, as seen in the films Mother India (1957) and Pyaasa (1957), among India's most recognisable cinematic productions.Rajadhyaksa, 681

Following independence, the 1947 partition of India divided the nation's assets and a number of studios moved to Pakistan. Partition became an enduring film subject thereafter. The Indian government had established a Films Division by 1948, which eventually became one of the world's largest documentary film producers.Rajadhyaksa, 681–683

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

The period from the late 1940s to the early 1960s is regarded by film historians as the Golden Age of Indian cinema.{{Cite book |last=K. Moti Gokulsing |first=K. Gokulsing, Wimal Dissanayake |title=Indian Popular Cinema: A Narrative of Cultural Change |publisher=Trentham Books |year=2004 |page=17}}{{Cite journal |last=Sharpe |first=Jenny |year=2005 |title=Gender, Nation, and Globalization in Monsoon Wedding and Dilwale Dulhania Le Jayenge |journal=Meridians: Feminism, Race, Transnationalism |volume=6 |issue=1 |pages=58–81 [60 & 75] |doi=10.1353/mer.2005.0032 |s2cid=201783566}}{{Cite journal |last=Gooptu |first=Sharmistha |date=July 2002 |title=Reviewed work(s): The Cinemas of India (1896–2000) by Yves Thoraval |journal=Economic and Political Weekly |volume=37 |issue=29 |pages=3023–4}} This period saw the emergence of the parallel cinema movement, which emphasised social realism. Mainly led by Bengalis, it laid the foundations for Indian neorealism.{{Cite web |date=3 August 1980 |title=Do Bigha Zamin |url=http://dearcinema.com/review-do-bigha-zamin-bimal-roy |url-status=dead |archive-url=https://web.archive.org/web/20100115204002/http://dearcinema.com/review-do-bigha-zamin-bimal-roy |archive-date=15 January 2010 |access-date=13 April 2009 |publisher=Dear Cinema}}

The Apu Trilogy (1955–1959, Satyajit Ray) won prizes at several major international film festivals and firmly established the parallel cinema movement.Rajadhyaksa, 683 It was influential on world cinema and led to a rush of coming-of-age films in art house theatres.{{Cite journal |last=Sragow |first=Michael |year=1994 |title=An Art Wedded to Truth |url=http://satyajitray.ucsc.edu/articles/sragow.html |url-status=dead |journal=The Atlantic Monthly |publisher=University of California, Santa Cruz |archive-url=https://web.archive.org/web/20090412212046/http://satyajitray.ucsc.edu/articles/sragow.html |archive-date=12 April 2009 |access-date=11 May 2009}}

During the 1950s, Indian cinema reportedly became the world's second largest film industry, earning a gross annual income of {{INRConvert|250|m|year=1953}} in 1953.{{Cite book |last=Pani |first=S. S. |url=https://books.google.com/books?id=kH4HAQAAIAAJ |title=The Film Daily Year Book of Motion Pictures |date=1954 |publisher=John W. Alicoate |volume=36 |page=930 |chapter=India in 1953 |quote=THE INDIAN FILM INDUSTRY, said to be the second largest in the world, claims to have invested Rs. {{nowrap|420 million}} and to have a gross annual income of Rs. {{nowrap |access-date=1 May 2022 |250 million}}.}} The government created the Film Finance Corporation (FFC) in 1960 to provide financial support to filmmakers.Rajadhyaksa, 684 While serving as Information and Broadcasting Minister of India in the 1960s, Indira Gandhi supported the production of off-beat cinema through the FFC. Commercial Hindi cinema began thriving, including acclaimed films Pyaasa (1957) and Kaagaz Ke Phool (1959, Guru Dutt) Awaara (1951) and Shree 420 (1955, Raj Kapoor). These films expressed social themes mainly dealing with working-class urban life in India.{{Cite book |last=K. Moti Gokulsing |first=K. Gokulsing, Wimal Dissanayake |title=Indian Popular Cinema: A Narrative of Cultural Change |publisher=Trentham Books |year=2004 |page=18}}

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

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

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

{{Pie chart

|caption= Summary of the 2022 box office revenues.

|value1 = 33

|label1 = Hindi

|value2 = 20

|label2 = Telugu

|value3 = 16

|label3 = Tamil

|value4 = 8

|label4 = Kannada

|value5 = 6

|label5 = Malayalam

|other = yes

}}

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

Realistic parallel cinema continued throughout the 1970s,Rajadhyaksa, 685 practised in many Indian film cultures. The FFC's art film orientation came under criticism during a Committee on Public Undertakings investigation in 1976, which accused the body of not doing enough to encourage commercial cinema.Rajadhyaksa, 688

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

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

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

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

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

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

In the late 1980s,{{clarify timeframe|date=October 2022|reason=The following sentence talks about a revival in 1982, not the late 1980s}} Hindi cinema experienced another period of stagnation, with a decline in box office turnout, due to increasing violence, decline in musical melodic quality, and rise in video piracy, leading to middle-class family audiences abandoning theatres. The turning point came with Indian blockbuster Disco Dancer (1982) which began the era of disco music in Indian cinema. Lead actor Mithun Chakraborty and music director Bappi Lahiri had the highest number of mainstream Indian hit movies that decade. At the end of the decade, Yash Chopra's Chandni (1989) created a new formula for Bollywood musical romance films, reviving the genre and defining Hindi cinema in the years that followed. The film consolidated Sridevi's position as the biggest female star of the era.{{Cite web |last=iDiva |date=13 October 2011 |title=Sridevi – The Dancing Queen |url=http://idiva.com/photogallery-entertainment/sridevi-the-dancing-queen/8403 |url-status=dead |archive-url=https://web.archive.org/web/20130224051712/http://idiva.com/photogallery-entertainment/sridevi-the-dancing-queen/8403 |archive-date=24 February 2013 |access-date=21 May 2019}}{{Cite news |last=Ray |first=Kunal |date=18 December 2016 |title=Romancing the 1980s |language=en-IN |work=The Hindu |url=http://www.thehindu.com/entertainment/movies/Romancing-the-1980s/article16898867.ece}}{{Cite web |date=26 November 2012 |title=Yash Chopra’s greatest hits - Hindustan Times |url=https://web.archive.org/web/20121126002510/http://www.hindustantimes.com/Entertainment/Bollywood/Yash-Chopra-s-greatest-hits/Article1-948908.aspx |access-date=27 April 2025 |website=web.archive.org}} Commercial Hindi cinema grew in the late 1980s and 1990s, with the release of Mr. India (1987), Qayamat Se Qayamat Tak (1988), Chaalbaaz (1989), Maine Pyar Kiya (1989), Lamhe (1991), Saajan (1991), Khuda Gawah (1992), Khalnayak (1993), Darr (1993), Hum Aapke Hain Koun..! (1994), Dilwale Dulhaniya Le Jayenge (1995), Dil To Pagal Hai (1997), Pyar Kiya Toh Darna Kya (1998) and Kuch Kuch Hota Hai (1998). Cult classic Bandit Queen (1994) directed by Shekhar Kapur received international recognition and controversy.[http://www.india-today.com/itoday/19991213/roy.html Arundhati Roy, Author-Activist] {{Webarchive|url=https://web.archive.org/web/20101124103723/http://www.india-today.com/itoday/19991213/roy.html |date=24 November 2010 }} india-today.com. Retrieved 16 June 2013[http://www.sawnet.org/books/writing/roy_bq1.html "The Great Indian Rape-Trick"] {{webarchive|url=https://web.archive.org/web/20160414182145/http://www.sawnet.org/books/writing/roy_bq1.html|date=14 April 2016}}, SAWNET – The South Asian Women's NETwork. Retrieved 25 November 2011

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Tamil cinema established Madras (now Chennai) as a secondary film production centre in India, used by Hindi cinema, other South Indian film industries, and Sri Lankan cinema.{{Cite web |title=The Tamil Nadu Entertainments Tax Act, 1939 |url=http://www.tnvat.gov.in/English/TN_ENTERTAINMENT%20TAX_ACT_1939.pdf |url-status=dead |archive-url=https://web.archive.org/web/20111015202926/http://tnvat.gov.in/English/TN_ENTERTAINMENT%20TAX_ACT_1939.pdf |archive-date=15 October 2011 |access-date=26 September 2011 |publisher=Government of Tamil Nadu}} Over the last quarter of the 20th century, Tamil films from India established a global presence through distribution to an increasing number of overseas theatres.{{Cite news |last=Pillai |first=Sreedhar |title=A gold mine around the globe |language=en |work=The Hindu |url=http://www.thehindu.com/features/cinema/tamil-film-business-in-overseas-market/article8483410.ece |access-date=9 March 2017}}{{Cite web |title=Eros buys Tamil film distributor |url=http://www.business-standard.com/india/storypage.php?autono=290977 |url-status=dead |archive-url=https://web.archive.org/web/20110903230315/http://www.business-standard.com/india/storypage.php?autono=290977 |archive-date=3 September 2011 |access-date=6 October 2011 |website=Business Standard}}

• {{Cite news|url=http://articles.economictimes.indiatimes.com/2011-06-12/news/29649940_1_big-cinemas-anil-arjun-screens|title=With high demand for Indian movies, Big Cinemas goes global|access-date=26 September 2011|work=The Times of India|date=12 June 2011}} The industry also inspired independent filmmaking in Sri Lanka and Tamil diaspora populations in Malaysia, Singapore, and the Western Hemisphere.{{Cite news |title=Symposium: Sri Lanka's Cultural Experience |work=Frontline |location=Chennai, India |url=http://www.hindu.com/fline/fl1604/16040780.htm |access-date=26 September 2011}}
• {{Cite news|url=http://www.thehindu.com/news/cities/Chennai/article2339090.ece|title=Celebration of shared heritage at Canadian film festival|work=The Hindu|access-date=26 September 2011|location=Chennai, India|date=9 August 2011}}

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

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

File:Director of the film’Naalu Pennugal’ Adoor Gopalkrishnan addressing a press conference on November 29,2007 at IFFI, Panaji, Goa.jpg]]

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

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

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

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

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

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

File:Victoria Public Hall, Chennai.JPG, Chennai, served as a theatre in the late 19th century and the early 20th century.]]

File:Imax theater hyderabad.jpg, was once the world's largest 3D-IMAX screen and the most attended screen in the world.{{Cite news |title=CNN Travel |work=CNN|url=http://travel.cnn.com/explorations/escape/worlds-10-coolest-movie-theaters-355218}}{{Cite news |date=7 August 2011 |title=King of Good times Prasad's Imax |publisher=The Hindu Newspaper |url=http://www.thehindu.com/todays-paper/tp-features/tp-downtown/article2332172.ece}}{{Cite web |date=30 May 2009 |title=The Seven IMAX Wonders of the World |url=https://gizmodo.com/5273201/the-seven-imax-wonders-of-the-world |access-date=12 June 2013 |publisher=Gizmodo.com}}]]

File:Ramoji 14.jpg, Hyderabad, is the world's largest film studio.{{Cite web |title=Ramoji Film City sets record |url=http://www.thehindubusinessline.com/2005/08/03/stories/2005080301301901.htm |url-status=dead |archive-url=https://web.archive.org/web/20081208180407/http://www.thehindubusinessline.com/2005/08/03/stories/2005080301301901.htm |archive-date=8 December 2008 |access-date=3 August 2007 |website=Business Line}}]]

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

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

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

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

During colonial rule, Indians bought film equipment from Europe. The British funded wartime propaganda films during the Second World War, some of which showed the Indian army pitted against the Axis powers, specifically the Empire of Japan, which had managed to infiltrate India.Velayutham, 174 One such story was Burma Rani, which depicted civilian resistance to Japanese occupation by British and Indian forces in Myanmar. Pre-independence businessmen such as J. F. Madan and Abdulally Esoofally traded in global cinema.

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

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

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

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

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

{{Main|Masala film}}

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

{{Main|Parallel cinema}}

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

Other neo-realist filmmakers were Shyam Benegal, Karun, Gopalakrishnan and Kasaravalli.Gokulsing & Dissanayake, 132

{{Main|List of multilingual Indian films}}

Some Indian films are known as "multilinguals", filmed in similar but non-identical versions, in different languages. Chittoor Nagayya, was one of the first multilingual filmmakers in India.{{Cite news |date=8 April 2005 |title=Nagaiah – noble, humble and kind-hearted |url=http://www.hindu.com/fr/2005/04/08/stories/2005040800220400.htm |url-status=dead |archive-url=https://web.archive.org/web/20051125162147/http://www.hindu.com/fr/2005/04/08/stories/2005040800220400.htm |archive-date=25 November 2005 |work=The Hindu |location=Chennai, India}} Alam Ara and Kalidas are earliest examples of bilingual filmmaking in India. According to Ashish Rajadhyaksha and Paul Willemen in the Encyclopedia of Indian Cinema (1994), in its most precise form, a multilingual is

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

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

{{Main|Pan-Indian film}}

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

{{See also|Filmi}}

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

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

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

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

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

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

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

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

Films are made in many cities and regions in India including Andhra Pradesh and Telangana, Assam, Bengal, Bihar, Gujarat, Haryana, Jammu, Kashmir, Jharkhand, Karnataka, Goa, Kerala, Maharashtra, Manipur, Odisha, Chhattisgarh, Punjab, Rajasthan, Tamil Nadu, Tripura and Mizoram.

{{Pie chart

|thumb = right

|caption = Percent of share of each language by number of films produced in India in 2022.

|label1 = Hindi |value1 = 16.21 |color1 = Orange

|label2 = Telugu |value2 = 15.17 |color2 = skyblue

|label3 = Kannada |value3 = 13.20 |color3 = red

|label4 = Tamil |value4 = 13.06 |color4 = yellow

|label5 = Malayalam |value5 = 12.30 |color5 = pink

|label6 = Bhojpuri |value6 = 7.69 |color6 = green

|label7 = Marathi |value7 = 4.71 |color7 = purple

|label8 = Bengali |value8 = 3.84 |color8 = brown

|label9 = Others |value9 = 13.82 |color9 = grey

}}

{{Main|Assamese cinema}}

File:A scene from Joymoti (1935 film).jpg, 1935]]

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

File:Dena paona 1931.jpg (1931), the first Bengali talkie]]

{{Main|Cinema of West Bengal}}

The Bengali-language cinematic tradition of Tollygunge, West Bengal, is also known as Tollywood.Gokulsing & Dissanayake, 138 When the term was coined in the 1930s, it was the centre of the Indian film industry.{{Cite journal |last=Sarkar |first=Bhaskar |year=2008 |title=The Melodramas of Globalization |journal=Cultural Dynamics |volume=20 |issue=1 |pages=31–51 [34] |doi=10.1177/0921374007088054 |s2cid=143977618}} West Bengal cinema is historically known for the parallel cinema movement and art films.

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

{{Main|Bhojpuri cinema}}

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

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

{{main|Chakma cinema}}

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

{{Main|Chhattisgarhi cinema}}

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

{{main|English-language Indian films}}

Indian filmmakers also produce English language films. Deepa Mehta, Anant Balani, Homi Adajania, Vijay Singh, Vierendrra Lalit and Sooni Taraporevala have garnered recognition in Indian English cinema.

{{Main|Gujarati cinema}}

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

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

{{Main|Hindi cinema}}

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

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

Hindi cinema grew during the 1990s with the release of as many as 215 films annually. Magazines such as Filmfare, Stardust and Cine Blitz popularly cover the industry.Gokulsing & Dissanayake, 11

{{Main|Kannada cinema}}

Kannada cinema, also known as Sandalwood or Chandanavana,{{Cite web |title=From The Golden Era Of 70s To Now: A Brief History Of The Birth & Rise Of Kannada Cinema – ZEE5 News |url=https://www.zee5.com/zee5news/from-the-golden-era-of-70s-to-now-a-brief-history-of-the-birth-rise-of-kannada-cinema/ |website=www.zee5.com|date=24 August 2019 }} is the segment of Indian cinema{{Cite web |last=Manohar |first=R. |date=11 March 2011 |title=Sandalwood rechristened {{pipe}} Latest News & Updates at DNAIndia.com |url=https://www.dnaindia.com/entertainment/slideshow-sandalwood-rechristened-1518654 |website=DNA India}} dedicated to the production of motion pictures in the Kannada language, which is widely spoken in Karnataka state.{{Cite book |last=Shampa Banerjee, Anil Srivastava |title=One Hundred Indian Feature Films: An Annotated Filmography |publisher=Taylor & Francis |year=1988 |isbn=0-8240-9483-2 |orig-date=1988}}{{Cite news |last=Shenoy |first=Megha |date=27 December 2010 |title=When it rained films |work=Deccan Herald |url=http://www.deccanherald.com/content/124106/when-rained-films.html |access-date=29 July 2017}}{{Cite web |date=3 May 1913 |title=Statewise number of single screens |url=http://www.filmfed.org/singlescreen.html |access-date=29 July 2013 |website=chitraloka.com}} Sati Sulochana (1934, Y. V. Rao) was the first talkie film in the Kannada language.{{Cite news |last=Dhaan |first=M S |date=13 April 2006 |title=Dr.Raj's impact on Kannada cinema |work=Rediff.com |url=http://www.rediff.com/movies/2006/apr/13ms.htm |access-date=18 March 2021}}{{Cite news |date=31 December 2004 |title=First film to talk in Kannada |work=The Hindu |location=Chennai, India |url=http://www.hindu.com/thehindu/fr/2004/12/31/stories/2004123102420300.htm |url-status=dead |archive-url=https://web.archive.org/web/20050410165948/http://www.hindu.com/thehindu/fr/2004/12/31/stories/2004123102420300.htm |archive-date=10 April 2005}}{{Cite news |date=22 August 2003 |title=A revolutionary filmmaker |work=The Hindu |location=Chennai, India |url=http://www.hindu.com/thehindu/fr/2003/08/22/stories/2003082201400400.htm |url-status=dead |archive-url=https://web.archive.org/web/20040117021114/http://www.hindu.com/thehindu/fr/2003/08/22/stories/2003082201400400.htm |archive-date=17 January 2004}} Kannada films include adaptations of major literary works{{Cite web |title=TS Nagabharana movies list |url=http://www.bharatmovies.com/director/ts-nagabharana-movies.htm |access-date=4 November 2016 |website=www.bharatmovies.com}} and experimental films.

{{multiple image

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}}

{{Main|Kokborok Cinema}}

Kokborok-language films are mainly produced in Tripura and parts of Bangladesh. These films are also clubbed as 'Tripuri cinema' as a blanket term that alludes to the film industry of Tripura, encompassing films made by and for the people of Tripura and Kokborok speaking people in Bangladesh, regardless of the multitude of languages in which cinema is produced in the region'.{{Cite journal |last=Barma |first=Aloy Deb |date=2024 |title=Talking Back through Peripheral Visions and Negotiating Identity: Kokborok and Bengali Films and Music Videos in Tripura |url=https://muse.jhu.edu/pub/34/article/931184 |journal=Journal of Film and Video |volume=76 |issue=2 |pages=33–48 |doi=10.5406/19346018.76.2.05 |issn=1934-6018|url-access=subscription }}

{{Main|Konkani cinema}}

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

{{category see also|Maithili-language films}}

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

{{Main|Malayalam cinema}}

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

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

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

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

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

{{Main|Cinema of Manipur}}

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

{{Main|Marathi cinema}}

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

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

{{Main|Nagpuri cinema}}

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

Gorkha cinema consists of films produced by Nepali-speaking Indians.

{{Main|Cinema of Odisha}}

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

{{Main|Punjabi cinema}}

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

{{Main|Cinema of Rajasthan}}

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

{{Main|Sindhi cinema}}

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

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

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

{{Main|Tamil cinema}}

The Tamil-language film industry based in Chennai, also known as Kollywood, once served as a hub for all South Indian film industries.{{Cite book |last=Kasbekar |first=Asha |url={{google books|plainurl=y|id=Sv7Uk0UcdM8C|page=213}} |title=Pop Culture India!: Media, Arts, and Lifestyle |publisher=ABC-CLIO |year=2006 |isbn=978-1-85109-636-7 |page=213}}

The first South Indian talkie film Kalidas (1931, H. M. Reddy) was shot in Tamil. Sivaji Ganesan became India's first actor to receive an international award when he won Best Actor at the Afro-Asian film festival in 1960 and the title of Chevalier in the Legion of Honour by the French Government in 1995.{{Cite news |date=1 October 2013 |title=Sivaji Ganesan's birth anniversary |url=http://timesofindia.indiatimes.com/entertainment/tamil/movies/news-interviews/Sivaji-Ganesans-birth-anniversary/articleshow/23338524.cms |access-date=29 April 2014 |work=The Times of India}}

Tamil cinema is influenced by Dravidian politicsGokulsing & Dissanayake, 132–133 and has a tradition of addressing social issues. Many of Tamil Nadu's prominent Chief Ministers previously worked in cinema: Dravidian stalwarts C N Annadurai and M Karunanidhi were scriptwriters and M G Ramachandran and Jayalalithaa gained a political base through their fan followings.{{Cite book |last=Kasbekar |first=Asha |url={{google books|plainurl=y|id=Sv7Uk0UcdM8C|page=215}} |title=Pop Culture India!: Media, Arts, and Lifestyle |publisher=ABC-CLIO |year=2006 |isbn=978-1-85109-636-7 |page=215}}

Tamil films are distributed to Tamil diaspora populations in various parts of Asia, Southern Africa, Northern America, Europe, and Oceania.Gokulsing & Dissanayake, 133 The industry-inspired Tamil film-making in Sri Lanka, Malaysia, Singapore and Canada.{{citation needed|date=October 2022}}

{{Main|Telugu cinema}}

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

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

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

{{Main|Tulu cinema}}

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

{{Further|Category:Film distributors of India|label1=Film distributors of India}}

PVR INOX, Cinepolis India etc. are some of the top multiplexes chains in India, which have cinemas across the nation. Book My Show and District are the leading online booking platforms in India. They have tie-ups with multiplexes and other cinemas. However, PVR INOX and Cinepolis India also sell tickets through their applications and websites. Due to the convenience in booking tickets, online most of the viewers pre-book tickets through mobile application. Since the advancement of internet service in India, online ticket selling business have had robust growth in the country.{{Cite web |title=Online movie ticket business on robust growth path in India |url=https://www.newindianexpress.com/business/2017/Sep/30/online-movie-ticket-business-on-robust-growth-path-in-india-1664776.html |website=The New Indian Express |date=30 September 2017 |first=J Deepthi Nandan |last=Reddy }} Since 2010, OTT platforms have gained popularity in India, thus some film-makers prefer to release their films online through OTT platforms like Netflix, WFCN, Amazon Prime, JioHotstar, SonyLIV, ZEE5, etc. and avoid a theatrical release.{{cite news |last1=Sharma |first1=Deeksha |title=Here's How Big Banner Films Releasing on OTT Platforms Make Money |url=https://www.thequint.com/entertainment/bollywood/is-releasing-films-online-a-sustainable-model-for-film-business |access-date=2 August 2023 |work=TheQuint |date=5 August 2020 |language=en}}

The Dadasaheb Phalke Award, named for "father of Indian cinema" Dadasaheb Phalke,{{Cite news |title=Dadasaheb Phalke Father of Indian Cinema |publisher=Thecolorsofindia.com |url=http://www.thecolorsofindia.com/dadasaheb-phalke/father-indian-cinema.html |access-date=1 November 2012}}{{Cite book |last1=Bāpū Vāṭave |url={{google books|plainurl=y|id=zTZnAAAAMAAJ}} |title=Dadasaheb Phalke, the father of Indian cinema |last2=National Book Trust |publisher=National Book Trust |year=2004 |isbn=978-81-237-4319-6 |access-date=1 November 2012}}{{Cite news |last=Sachin Sharma |date=28 June 2012 |title=Godhra forgets its days spent with Dadasaheb Phalke |work=The Times of India |url=https://timesofindia.indiatimes.com/city/vadodara/Godhra-forgets-its-days-spent-with-Dadasaheb-Phalke/articleshow/14444404.cms |url-status=live |access-date=1 November 2012 |archive-url=https://web.archive.org/web/20130419032237/http://articles.timesofindia.indiatimes.com/2012-06-28/vadodara/32456429_1_godhra-dadasaheb-phalke-father-of-indian-cinema |archive-date=19 April 2013}}{{Cite book |last=Vilanilam |first=J. V. |url={{google books|plainurl=y|id=nADAQgAACAAJ|page=128}} |title=Mass Communication in India: A Sociological Perspective |publisher=Sage Publications |year=2005 |isbn=81-7829-515-6 |location=New Delhi |page=128}} is given in recognition of lifetime contribution to cinema. It was established by the government of India in 1969, and is the country's most prestigious film award.{{Cite news |date=10 June 2012 |title=Directorate of Film Festivals |publisher=Dff.nic.in |url=http://www.dff.nic.in/dadasahebphalke.asp |url-status=dead |access-date=1 November 2012 |archive-url=https://web.archive.org/web/20140427193700/http://dff.nic.in/dadasahebphalke.asp |archive-date=27 April 2014}}

Government-run and private institutes provide formal education in various aspects of filmmaking. Some of the prominent ones include:

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• State Institute of Film and Television
• AJK Mass Communication Research Centre, Jamia Millia Islamia, New Delhi{{citation needed|date=October 2022}}
• Annapurna International School of Film and Media, Hyderabad
• Asian Academy of Film and Television
• Biju Pattnaik Film and Television Institute of Odisha
• BOFTA – Blue Ocean Film and Television Academy, Kodambakkam, Chennai, Tamil Nadu{{Cite web |title=Best Chennai Film Institute / Film School – BOFTA – Blue Ocean Film and Television Academy |url=http://bofta.in |website=Blue Ocean Film and Television Academy}}
• Centre for advanced media studies, Patiala
• Dr. Bhupen Hazarika Regional Government Film and Television Institute, Guwahati{{citation needed|date=October 2022}}
• Mass Communication and the New Media Central University of Jammu{{citation needed|date=October 2022}}
• Department of Culture and Media studies, Central University of Rajasthan{{citation needed|date=October 2022}}
• Film and Television Institute of India (FTII), Pune
• Makhanlal Chaturvedi National University of Journalism and Communication (MCNUJC), Bhopal
• Film-Theater Studies, SOH, Tamil Nadu Open University, Saidapet, Chennai{{citation needed|date=October 2022}}
• Government Film and Television Institute, Bangalore{{Cite web |title=GFTI |url=http://www.filminstitutebangalore.com/ |access-date=21 August 2014 |website=www.filminstitutebangalore.com}}
• K. R. Narayanan National Institute of Visual Science and Arts (KRNNIVSA), Kottayam, Kerala{{Cite web |last=KRNNIVSA |title=Govt Film Institute in Kerala |url=http://www.krnnivsa.edu.in/ |access-date=21 August 2014 |website=www.krnnivsa.edu.in}}
• L. V. Prasad Film and TV Academy, Chennai{{Cite web |last=L.V.Prasad Film & TV Academy |title=prasadacademy.com |url=http://www.prasadacademy.com |access-date=25 April 2014 |publisher=prasadacademy.com}}
• M.G.R. Government Film and Television Training Institute, Chennai
• Matrikas Film School{{Cite web |title=matrikasfilmschool.com |url=http://www.matrikasfilmschool.com |access-date=25 April 2014 |publisher=matrikasfilmschool.com}}
• National Institute of Design, Ahmedabad{{Cite web |title=National Institute of Design – Film and Video Communication |url=http://www.nid.edu/education/postgraduate-diploma-programme-in-design/film-video-communication/p-overview |url-status=dead |archive-url=https://web.archive.org/web/20121118144536/http://www.nid.edu/education/postgraduate-diploma-programme-in-design/film-video-communication/p-overview |archive-date=18 November 2012 |access-date=25 April 2014 |publisher=Nid.edu}}
• Palme Deor Media College, Tambaram west, Chennai and Arulananda Nagar, Thanjavur{{Cite web |title=Welcome To Palmedeor Film & Media College |url=http://www.palmedeor.in |website=www.palmedeor.in}}

{{citation needed|date=October 2022}}

• Satyajit Ray Film and Television Institute, Calcutta
• School of Media and Cultural Studies, Tata Institute of Social Sciences, Mumbai{{Cite web |title=School of Media and Cultural Studies – TISS |url=http://smcs.tiss.edu/ |url-status=dead |archive-url=https://web.archive.org/web/20130218200049/http://www.smcs.tiss.edu/ |archive-date=18 February 2013}}
• Srishti School of Art, Design, and Technology, Bangalore, Karnataka{{citation needed|date=October 2022}}
• Whistling Woods International
• National School of Drama, Delhi

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• List of Indian movies by language
• List of Indian winners and nominees of the Academy Awards
• List of Indian winners and nominees of the Golden Globe Awards
• List of Indian winners and nominees at the Cannes Film Festival
• International Film Festival of India
• List of Indian animated movies
• Lists of Indian actors
• List of Indian film actresses

{{Reflist|group=details}}

{{Reflist}}

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• Celli, Carlo. (2013) "The Promises of India" National Identity in Global Cinema: How Movies Explain the World. Palgrave MacMillan, 61–70. {{ISBN|978-1137379023}}.
• {{Cite book |last1=Suresh Chabria |url={{google books|plainurl=y|id=CORkAAAAMAAJ}} |title=Light of Asia: Indian Silent Cinema, 1912–1934 |last2=Paolo Cherchi Usai |publisher=Wiley Eastern |year=1994 |isbn=978-81-224-0680-1}}

• {{Cite book |last=Stanley A. Wolpert |title=Encyclopedia of India |year=2006 |isbn=978-0-684-31350-4}}
• {{Cite book |last=Desai |first=Jigna |title=Beyond Bollywood: The Cultural Politics of South Asian Diasporic Film |publisher=Psychology Press |year=2004 |isbn=978-0-415-96684-9}}
• {{Cite book |last1=K. Moti Gokulsing |title=Indian Popular Cinema: A Narrative of Cultural Change |last2=Wimal Dissanyake |publisher=Trentham Books Limited |year=2004 |isbn=978-1-85856-329-9}}
• Gulzar, Govin Nihalanni, & Saibel Chatterjee. Encyclopaedia of Hindi Cinema New Delhi: Encyclopædia Britannica, 2003. {{ISBN|81-7991-066-0}}.
• Khanna, Amit (2003), "The Business of Hindi Films", Encyclopaedia of Hindi Cinema: historical record, the business and its future, narrative forms, analysis of the medium, milestones, biographies, Encyclopædia Britannica (India) Private Limited, {{ISBN|978-81-7991-066-5}}.

• {{Cite book |last1=Gopal |first1=Sangita |title=Global Bollywood: Travels of Hindi Song and Dance |last2=Moorti |first2=Sujata |publisher=University of Minnesota Press |year=2008 |isbn=978-0-8166-4578-7}}
• Narweker, Sanjit, ed. Directory of Indian Film-Makers and Films. Flicks Books, 1994. {{ISBN|0-948911-40-9}}
• {{Cite book |last=Stanley A. Wolpert |title=Encyclopedia of India |year=2006 |isbn=978-0-684-31351-1}}
• {{Cite book |last=Nowell-Smith |first=Geoffrey |url=https://archive.org/details/oxfordhistoryofw00geof |title=The Oxford History of World Cinema |publisher=Oxford University Press, US |year=1996 |isbn=978-0-19-811257-0}}
• {{Cite book |title=Le cinéma indien |date=1983 |publisher=Centre national d'art et de culture Georges Pompidou |isbn=9782864250371 |editor-last=Passek |editor-first=Jean-Loup |editor-link=Jean-Loup Passek |location=Paris |oclc=10696565}}
• {{Cite book |last1=Rajadhyaksha |first1=Ashish |title=Encyclopedia of Indian Cinema |last2=Willemen |first2=Paul |publisher=Routledge |year=1999 |isbn=978-1-57958-146-6}}
• {{Cite book |last=Stanley A. Wolpert |title=Encyclopedia of India |year=2006 |isbn=978-0-684-31351-1}}
• {{Cite book |last=Velayutham |first=Selvaraj |title=Tamil Cinema: The Cultural Politics of India's Other Film Industry |publisher=Psychology Press |year=2008 |isbn=978-0-415-39680-6}}
• Watson, James L. (2009), Globalization, Encyclopædia Britannica.
• {{Cite book |url=https://archive.org/stream/reportoftheindia030105mbp#page/n5/mode/2up |title=Report of the Indian Cinematograph Committee 1927–1928 |publisher=Superintendent, The Government Press, Madras |year=1928}}
• {{Cite book |last1=Dwyer |first1=Rachel |title=Cinema India: The Visual Culture of Hindi Film |last2=Patel |first2=Divia |year=2002 |publisher=Rutgers University Press |isbn=978-0-8135-3175-5}}
• Culture and Representation: The Emerging Field of Media Semiotics/J A H Khatri/[https://web.archive.org/web/20131019131146/http://www.rubypressco.com/ Ruby Press & Co.]/{{ISBN|978-93-82395-12-6}}/ 2013.

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