Bollywood

This article is about the Hindi lm industry. For the magazine, establishing a precedent for other lm indus-
entire lm culture of India, see Cinema of India. For the tries to use similar-sounding names, eventually leading to
tree species, see Bollywood (tree). the coining of Bollywood.[16] However, Tollywood is
now used popularly to refer to the Telugu Film Indus-
try in Telangana & Andhra Pradesh. The term Bolly-
Bollywood is the sobriquet for India's Hindi lan-
guage lm industry, based in the city of Mumbai, wood itself has origins in the 1970s, when India over-
Maharashtra.[3] It is more formally referred to as Hindi took America as the worlds largest lm producer. Credit
cinema.[4] The term Bollywood is often used by non- for the term has been claimed by several dierent peo-
Indians as a synecdoche to refer to the whole of Indian ple, including
[17]
the lyricist, lmmaker and scholar Amit
cinema; however, Bollywood proper is only a part of Khanna, and the journalist Bevinda Collaco.[18]
the larger Indian lm industry, which includes other pro-
duction centres producing lms in many other Indian
languages.[5][6] 2 History
Bollywood is one of the largest lm producers in India,
representing 43% of the net box oce revenue, while Raja Harishchandra (1913), by Dadasaheb Phalke, is
Tamil and Telugu cinema represent 36%, and the rest known as the rst silent feature lm made in India. By
of the regional cinema constitutes 21% as of 2014.[7] the 1930s, the industry was producing over 200 lms per
Bollywood is also one of the largest centers of lm pro- annum.[22] The rst Indian sound lm, Ardeshir Irani's
duction in the world.[8][9][10] Furthermore, Bollywood is Alam Ara (1931), was a major commercial success.[23]
one of the biggest lm industries in the world in terms There was clearly a huge market for talkies and musicals;
of the number of people employed and the number of Bollywood and all the regional lm industries quickly
lms produced.[11] According to Matusitz, J., & Payano, switched to sound lming.
P., In 2011, over 3.5 billion tickets were sold across the The 1930s and 1940s were tumultuous times: India
globe which in comparison is 900,000 tickets more than was bueted by the Great Depression, World War II,
Hollywood.[12] Bollywood produced 252 lms in 2014 the Indian independence movement, and the violence of
out of a total of 1969 lms produced in Indian cinema. the Partition. Most Bollywood lms were unabashedly
escapist, but there were also a number of lmmakers who
tackled tough social issues, or used the struggle for Indian
independence as a backdrop for their plots.[22]
1 Etymology
In 1937, Ardeshir Irani, of Alam Ara fame, made the
rst colour lm in Hindi, Kisan Kanya. The next year,
The name Bollywood is a portmanteau derived from
he made another colour lm, a version of Mother India.
Bombay, India, (the former name for Mumbai) and Hol-
However, colour did not become a popular feature until
lywood, California, the center of the American lm in-
the late 1950s. At this time, lavish romantic musicals and
dustry.[13] Bollywood does not exist as a physical place.
melodramas were the staple fare at the cinema.
Some deplore the name, arguing that it makes the indus-
try look like a poor cousin to Hollywood.[13][14]
The naming scheme for Bollywood was inspired by 2.1 Golden Age
Tollywood, the name that was used to refer to the
cinema of West Bengal. Dating back to 1932, Tolly- Following Indias independence, the period from the late
wood was the earliest Hollywood-inspired name, refer- 1940s to the 1960s is regarded by lm historians as the
ring to the Bengali lm industry based in Tollygunge, Golden Age of Hindi cinema.[24][25][26] Some of the
Calcutta, whose name is reminiscent of Hollywood and most critically acclaimed Hindi lms of all time were pro-
was the centre of the cinema of India at the time.[15] It was duced during this period. Examples include the Guru
this chance juxtaposition of two pairs of rhyming sylla- Dutt lms Pyaasa (1957) and Kaagaz Ke Phool (1959)
bles, Holly and Tolly, that led to the portmanteau name and the Raj Kapoor lms Awaara (1951), Shree 420
Tollywood being coined. The name Tollywood went (1955) and Dilip Kumar's Aan (1952). These lms ex-
on to be used as a nickname for the Bengali lm indus- pressed social themes mainly dealing with working-class
try by the popular Kolkata-based Junior Statesman youth urban life in India; Awaara presented the city as both

1
2 2 HISTORY

in Hindi cinema. Early examples of Hindi lms in

this movement include Chetan Anand's Neecha Nagar
(1946)[32] and Bimal Roys Do Bigha Zamin (1953).
Their critical acclaim, as well as the latters commer-
cial success, paved the way for Indian neorealism[33]
and the Indian New Wave.[34] Some of the internation-
ally acclaimed Hindi lmmakers involved in the move-
ment included Mani Kaul, Kumar Shahani, Ketan Mehta,
Govind Nihalani, Shyam Benegal and Vijaya Mehta.[27]
Ever since the social realist lm Neecha Nagar won the
Grand Prize at the rst Cannes Film Festival,[32] Hindi
lms were frequently in competition for the Palme d'Or at
the Cannes Film Festival throughout the 1950s and early
1960s, with some of them winning major prizes at the
festival.[35] Guru Dutt, while overlooked in his own life-
time, had belatedly generated international recognition
much later in the 1980s.[35][36] Dutt is now regarded as
one of the greatest Asian lmmakers of all time, along-
side the more famous Indian Bengali lmmaker Satyajit
Ray. The 2002 Sight & Sound critics and directors poll
of greatest lmmakers ranked Dutt at No. 73 on the
list.[37] Some of his lms are now included among the
greatest lms of all time, with Pyaasa (1957) being fea-
tured in Time magazines All-TIME 100 best movies
list,[38] and with both Pyaasa and Kaagaz Ke Phool (1959)
tied at No. 160 in the 2002 Sight & Sound critics and
directors poll of all-time greatest lms. Several other
Hindi lms from this era were also ranked in the Sight &
Sound poll, including Raj Kapoor's Awaara (1951), Vijay
Bhatt's Baiju Bawra (1952), Mehboob Khan's Mother In-
dia (1957) and K. Asif's Mughal-e-Azam (1960) all tied
at No. 346 on the list.[39]

2.2 Modern cinema

Dadasaheb Phalke is considered the father of Indian cinema in-
cluding Bollywood.[19][20][21] In the late 1960s and early 1970s, romance movies
and action lms starred actors like Shammi Kapoor,
Jeetendra, Rajesh Khanna, Dharmendra, Sanjeev Kumar
a nightmare and a dream, while Pyaasa critiqued the and Shashi Kapoor and actresses like Sharmila Tagore,
unreality of city life.[27] Some of the most famous epic Mumtaz, Saira Banu and Asha Parekh. In the mid-1970s,
lms of Hindi cinema were also produced at the time, romantic confections made way for gritty, violent lms
including Mehboob Khan's Mother India (1957), which about gangsters (see Indian maa) and bandits. Amitabh
was nominated for the Academy Award for Best For- Bachchan, the star known for his angry young man
eign Language Film,[28] and K. Asif's Mughal-e-Azam roles, rode the crest of this trend with actors like Mithun
(1960).[29] Madhumati (1958), directed by Bimal Roy Chakraborty, Naseeruddin Shah, Jackie Shro, Sanjay
and written by Ritwik Ghatak, popularised the theme of Dutt, Anil Kapoor and Sunny Deol, which lasted into
reincarnation in Western popular culture.[30] Other ac- the early 1990s. Actresses from this era included Hema
claimed mainstream Hindi lmmakers at the time in- Malini, Jaya Bachchan, Raakhee, Shabana Azmi, Zeenat
cluded Kamal Amrohi and Vijay Bhatt. Successful ac- Aman, Parveen Babi, Rekha, Dimple Kapadia, Smita
tors at the time included Dev Anand, Dilip Kumar, Raj Patil, Jaya Prada and Padmini Kolhapure.[31]
Kapoor and Guru Dutt, while successful actresses in- Some Hindi lmmakers such as Shyam Benegal contin-
cluded Nargis, Vyjayanthimala, Meena Kumari, Nutan, ued to produce realistic Parallel Cinema throughout the
Madhubala, Waheeda Rehman and Mala Sinha.[31] 1970s,[40] alongside Mani Kaul, Kumar Shahani, Ketan
While commercial Hindi cinema was thriving, the 1950s Mehta, Govind Nihalani and Vijaya Mehta.[27] However,
also saw the emergence of a new Parallel Cinema the 'art lm' bent of the Film Finance Corporation came
movement.[27] Though the movement was mainly led under criticism during a Committee on Public Undertak-
by Bengali cinema, it also began gaining prominence ings investigation in 1976, which accused the body of

not doing enough to encourage commercial cinema. The
1970s thus saw the rise of commercial cinema in the form
of enduring lms such as Sholay (1975), which consoli-
dated Amitabh Bachchan's position as a lead actor. The
devotional classic Jai Santoshi Ma was also released in
1975.[41] Another important lm from 1975 was Deewar,
directed by Yash Chopra and written by Salim-Javed. A
crime lm pitting a policeman against his brother, a gang
leader based on real-life smuggler Haji Mastan", por-
trayed by Amitabh Bachchan; it was described as being
absolutely key to Indian cinema by Danny Boyle.[42]
The most internationally acclaimed Hindi lm of the
1980s was Mira Nair's Salaam Bombay! (1988), which
won the Camera d'Or at the 1988 Cannes Film Festival
and was nominated for the Academy Award for Best For-
eign Language Film.
During the late 1980s and 1990s, the pendulum swung
back toward family-centric romantic musicals with the
success of such lms as Qayamat Se Qayamat Tak (1988),
Maine Pyar Kiya (1989), Chandni (1989), Hum Aapke
Hain Kaun (1994), Dilwale Dulhania Le Jayenge (1995),
Raja Hindustani (1996), Dil To Pagal Hai (1997), Pyaar
To Hona Hi Tha (1998) and Kuch Kuch Hota Hai (1998).
A new generation of popular actors emerged such as
Aamir Khan, Ajay Devgan, Akshay Kumar, Salman
Khan and Shahrukh Khan and actresses such as Madhuri
Dixit, Sridevi, Juhi Chawla, Meenakshi Seshadri, Kajol
and Karisma Kapoor.[31] In that point of time, action lms
and comedy lms were also successful, with actors like
Govinda, Sunny Deol, Sunil Shetty, Akshay Kumar and
Ajay Devgan with Akshay Kumar gaining popularity for
performing dangerous stunts in action lms in his well-
known Khiladi (lm series) and other action lms.[43][44]
Actresses during this time included Raveena Tandon,
Twinkle Khanna, Sonali Bendre, Sushmita Sen, Mahima
Chaudhary and Shilpa Shetty. Furthermore, this decade
marked the entry of new performers in arthouse and
independent lms, some of which succeeded commer-
cially, the most inuential example being Satya (1998),
directed by Ram Gopal Varma and written by Anurag
Kashyap. The critical and commercial success of Satya
led to the emergence of a distinct genre known as Mumbai
noir,[45] urban lms reecting social problems in the city
of Mumbai.[46] This led to a resurgence of Parallel Cin-
ema by the end of the decade.[45] These lms often fea-
tured actors like Nana Patekar and Manoj Bajpai, and
actresses like Manisha Koirala, Tabu, Pooja Bhatt and
Urmila Matondkar, whose performances were usually
critically acclaimed.
Gokulsing and Dissanayake identify six major inu-
The 2000s saw a growth in Bollywoods recognition
ences that have shaped the conventions of Indian popular
across the world due to a growing and prospering NRI
cinema:[49]
community. A fast growth in the Indian economy and
a demand for quality entertainment in this era, led the
nations lm-making to new heights in terms of produc-
tion values, cinematography and innovative story lines as
well as technical advances in areas such as special ef-
fects and animation. [47]
Some of the largest production
3
houses, among them Yash Raj Films and Dharma Produc-
tions were the producers of new modern lms.[47] Some
popular lms of the decade were Kaho Naa... Pyaar
Hai (2000), Gadar: Ek Prem Katha (2001), Lagaan
(2001), Koi... Mil Gaya (2003), Munna Bhai M.B.B.S.
(2003), Veer-Zaara (2004), Dhoom (2004), Rang De
Basanti (2006), Lage Raho Munna Bhai (2006), Dhoom
2 (2006), Krrish (2006), and Jab We Met (2007) among
others. This decade also saw the rise of popular actors
and movie stars like Hrithik Roshan, Abhishek Bachchan,
Vivek Oberoi, Shahid Kapoor and John Abraham, as
well as actresses like Aishwarya Rai, Rani Mukerji,
Preity Zinta, Ameesha Patel, Lara Dutta, Bipasha Basu,
Kareena Kapoor, Priyanka Chopra and Katrina Kaif.
In the 2010s, the industry saw the trend of estab-
lished movie stars like Salman Khan, Akshay Kumar
and Shahrukh Khan making big-budget masala entertain-
ers like Dabangg (2010), Ek Tha Tiger (2012), Rowdy
Rathore (2012), Chennai Express (2013), Kick (2014),
Happy New Year (2014) and Rustom (2016), opposite
much younger actresses. These lms were often not
the subject of critical acclaim, but were nonetheless ma-
jor commercial successes. While most stars from the
2000s continued their successful careers into the next
decade, the 2010s also saw the rise of a new generation
of popular actors like Ranbir Kapoor, Ranveer Singh,
Varun Dhawan, Sidharth Malhotra, Sushant Singh Ra-
jput, Arjun Kapoor, Aditya Roy Kapur and Tiger Shro,
as well as actresses like Vidya Balan, Kangana Ranaut,
Deepika Padukone, Sonam Kapoor, Anushka Sharma,
Sonakshi Sinha, Jacqueline Fernandez, Shraddha Kapoor
and Alia Bhatt, with Balan and Ranaut gaining wide
recognition for female-centric lms such as Kahaani
(2012) and Queen (2014).
Hindi lms can achieve distribution across at least 22 of
Indias 29 states.[48] The Hindi lm industry has preferred
lms that appeal to all segments of the audience (see the
discussion in Ganti, 2004, cited in references), and has re-
sisted making lms that target narrower audiences. It was
believed that aiming for a broad spectrum would max-
imise box oce receipts. However, lmmakers may be
moving towards accepting some box-oce segmentation,
between lms that appeal to rural Indians, and lms that
appeal to urban and international audiences.
3 Inuences for Bollywood
The ancient Indian epics of Mahabharata and
Ramayana which have exerted a profound inuence
on the thought and imagination of Indian popular
cinema, particularly in its narratives. Examples of
this inuence include the techniques of a side story,
4 4 INFLUENCE OF BOLLYWOOD

back-story and story within a story. Indian popu- 4 Inuence of Bollywood

lar lms often have plots which branch o into sub-
plots; such narrative dispersals can clearly be seen in Perhaps the biggest inuence of Bollywood has been on
the 1993 lms Khalnayak and Gardish.[49] nationalism in India itself, where along with rest of In-
dian cinema, it has become part and parcel of the 'Indian
Ancient Sanskrit drama, with its highly stylised story'.[51] In the words of the economist and Bollywood
nature and emphasis on spectacle, where music, biographer Lord Meghnad Desai,[51]
dance and gesture combined to create a vibrant
artistic unit with dance and mime being central Cinema actually has been the most vibrant
to the dramatic experience. Sanskrit dramas were medium for telling India its own story, the story
known as natya, derived from the root word nrit of its struggle for independence, its constant
(dance), characterising them as spectacular dance- struggle to achieve national integration and to
dramas which has continued Indian cinema.[49] The emerge as a global presence.
theory of rasa dating back to ancient Sanskrit drama
is believed to be one of the most fundamental fea-
tures that dierentiate Indian cinema, particularly In the 2000s, Bollywood began inuencing musical lms
Hindi cinema, from that of the Western world.[50] in the Western world, and played a particularly instru-
mental role in the revival of the American musical lm
genre. Baz Luhrmann stated that his musical lm Moulin
The traditional folk theatre of India, which became
Rouge! (2001) was directly inspired by Bollywood
popular from around the 10th century with the de-
musicals.[52] The lm incorporated an Indian-themed
cline of Sanskrit theatre. These regional traditions
play based on the ancient Sanskrit drama Mcchakatika
include the Yatra of Bengal, the Ramlila of Uttar
[49] and a Bollywood-style dance sequence with a song from
Pradesh, and the Terukkuttu of Tamil Nadu.
the lm China Gate. The critical and nancial success
of Moulin Rouge! renewed interest in the then-moribund
The Parsi theatre, which blended realism and Western musical genre, and subsequently lms such as
fantasy, music and dance, narrative and spectacle, Chicago, The Producers, Rent, Dreamgirls, Hairspray,
earthy dialogue and ingenuity of stage presenta- Sweeney Todd, Across the Universe, The Phantom of the
tion, integrating them into a dramatic discourse of Opera, Enchanted and Mamma Mia! were produced, fu-
melodrama. The Parsi plays contained crude hu- elling a renaissance of the genre.[53][54]
mour, melodious songs and music, sensationalism
and dazzling stagecraft.[49] A. R. Rahman, an Indian lm composer, wrote the music
for Andrew Lloyd Webber's Bombay Dreams, and a mu-
Hollywood, where musicals were popular from the sical version of Hum Aapke Hain Koun has played in Lon-
1920s to the 1950s, though Indian lmmakers de- dons West End. The Bollywood musical Lagaan (2001)
parted from their Hollywood counterparts in several was nominated for the Academy Award for Best Foreign
ways. For example, the Hollywood musicals had Language Film, and two other Bollywood lms Devdas
as their plot the world of entertainment itself. In- (2002) and Rang De Basanti (2006) were nominated for
dian lmmakers, while enhancing the elements of the BAFTA Award for Best Film Not in the English Lan-
fantasy so pervasive in Indian popular lms, used guage. Danny Boyle's Slumdog Millionaire (2008), which
song and music as a natural mode of articulation in a has won four Golden Globes and eight Academy Awards,
[42][55]
given situation in their lms. There is a strong Indian was also directly inspired by Bollywood lms, and
tradition of narrating mythology, history, fairy sto- is considered to be a homage to Hindi commercial
[56]
ries and so on through song and dance. In addition, cinema. The theme of reincarnation was also pop-
whereas Hollywood lmmakers strove to conceal ularised in Western popular culture through Bollywood
the constructed nature of their work so that the re- lms, with Madhumati (1958) inspiring the Hollywood
alistic narrative was wholly dominant, Indian lm- lm The Reincarnation of Peter Proud (1975),[30] which
makers made no attempt to conceal the fact that in turn inspired the Bollywood lm Karz (1980), which
inuenced another Hollywood lm Chances Are
what was shown on the screen was a creation, an illu- in turn [57]
sion, a ction. However, they demonstrated how this (1989). The 1975 lm Chhoti Si Baat is believed to
creation intersected with peoples day to day lives in have inspired Hitch (2005), which in turn inspired the
complex and interesting ways. [49] Bollywood lm Partner (2007).[58]
The inuence of Bollywood lmi music can also be
Western musical television, particularly MTV, seen in popular music elsewhere in the world. In
which has had an increasing inuence since the 1978, technopop pioneers Haruomi Hosono and Ryuichi
1990s, as can be seen in the pace, camera angles, Sakamoto of the Yellow Magic Orchestra produced an
dance sequences and music of 2000s Indian lms. electronic album Cochin Moon based on an experimental
An early example of this approach was in Mani Rat- fusion between electronic music and Bollywood-inspired
nam's Bombay (1995).[49] Indian music.[59] Devo's 1988 hit song Disco Dancer
 5

was inspired by the song I am a Disco Dancer from the

Bollywood lm Disco Dancer (1982).[60] The 2002 song
"Addictive", sung by Truth Hurts and produced by DJ
Quik and Dr. Dre, was lifted from Lata Mangeshkar's
Thoda Resham Lagta Hai from Jyoti (1981).[61] The
Black Eyed Peas' Grammy Award winning 2005 song
"Don't Phunk with My Heart" was inspired by two
1970s Bollywood songs: Ye Mera Dil Yaar Ka Di-
wana from Don (1978) and Ae Nujawan Hai Sub
from Apradh (1972).[62] Both songs were originally com-
posed by Kalyanji Anandji, sung by Asha Bhosle, and
featured the dancer Helen.[63] Also in 2005, the Kronos
Quartet re-recorded several R. D. Burman compositions,
with Asha Bhosle as the singer, into an album You've
Stolen My Heart: Songs from R.D. Burmans Bollywood,
which was nominated for Best Contemporary World
Music Album at the 2006 Grammy Awards. Filmi mu- Melodrama and romance are common ingredients to Bollywood
sic composed by A. R. Rahman (who would later win lms. Pictured Achhut Kanya (1936)
two Academy Awards for the Slumdog Millionaire sound-
track) has frequently been sampled by musicians else-
where in the world, including the Singaporean artist Kelly There have always been Indian lms with more artistic
Poon, the Uzbek artist Iroda Dilroz, the French rap group aims and more sophisticated stories, both inside and out-
La Caution, the American artist Ciara, and the German side the Bollywood tradition (see Parallel Cinema). They
band Lwenherz,[64] among others. Many Asian Under- often lost out at the box oce to movies with more mass
ground artists, particularly those among the overseas In- appeal. Bollywood conventions are changing, however.
dian diaspora, have also been inspired by Bollywood mu- A large Indian diaspora in English-speaking countries,
sic. and increased Western inuence at home, have nudged
Bollywood lms closer to Hollywood models.[67]
Film critic Lata Khubchandani writes, our earliest lms
... had liberal doses of sex and kissing scenes in them.
5 Genre conventions Strangely, it was after Independence the censor board
came into being and so did all the strictures.[68] Plots
See also: Masala lm and Parallel Cinema now tend to feature Westernised urbanites dating and
dancing in clubs rather than centring on pre-arranged
Bollywood lms are mostly musicals and are expected marriages. Though these changes can widely be seen in
to contain catchy music in the form of song-and-dance contemporary Bollywood, traditional conservative ways
numbers woven into the script. A lms success often de- of Indian culture continue to exist in India outside the in-
pends on the quality of such musical numbers.[65] Indeed, dustry and an element of resistance by some to western-
a lms music is often released before the movie and helps based inuences.[67] Despite this, Bollywood continues
increase the audience. to play a major role in fashion in India.[67] Some stud-
ies into fashion in India have revealed that some people
Indian audiences expect full value for their money, with are unaware that the changing nature of fashion in Bol-
a good entertainer generally referred to as paisa vasool, lywood lms are often inuenced by globalisation; many
(literally, moneys worth).[66] Songs and dances, love consider the clothes worn by Bollywood actors as authen-
triangles, comedy and dare-devil thrills are all mixed up tically Indian.[67]
in a three-hour extravaganza with an intermission. They
are called Masala lms, after the Hindi word for a spice
mixture. Like masalas, these movies are a mixture of
many things such as action, comedy, romance and so on. 6 Cast and crew
Most lms have heroes who are able to ght o villains
all by themselves. Further information: Indian movie actors, Indian movie
Bollywood plots have tended to be melodramatic. They actresses, Indian lm directors, Indian lm music
frequently employ formulaic ingredients such as star- directors, List of Bollywood actors, and Indian playback
crossed lovers and angry parents, love triangles, family singers
ties, sacrice, corrupt politicians, kidnappers, conniving
villains, courtesans with hearts of gold, long-lost relatives Bollywood employs people from all parts of India. It at-
and siblings separated by fate, dramatic reversals of for- tracts thousands of aspiring actors and actresses, all hop-
tune, and convenient coincidences. ing for a break in the industry. Models and beauty contes-
6 8
Amitabh Bachchan is widely regarded as the greatest and most
inuential actors in the history of Indian cinema.[69][70][71][72][73]
tants, television actors, theatre actors and even common
people come to Mumbai with the hope and dream of be-
coming a star. Just as in Hollywood, very few succeed.
Since many Bollywood lms are shot abroad, many for-
eign extras are employed too.[74]
Madhuri Dixit, often regarded as the best actress of the Indian
cinema for her critical and commercial success during the 80s
and 90s.
Very few non-Indian actors are able to make a mark in
Bollywood, though many have tried from time to time. 8 Makeup
There have been some exceptions, of which one recent
example is the hit lm Rang De Basanti, where the lead In 1955 the Bollywood group Cine Costume Make-Up
actress is Alice Patten, an Englishwoman. Kisna, Lagaan, Artist & Hair Dressers Association (CCMAA) created a
and The Rising: Ballad of Mangal Pandey also featured rule that did not allow women to obtain memberships as
MAKEUP
foreign actors. Of late, Emma Brown Garett, an Aus-
tralian born actress, has starred in a few Indian lms.
Bollywood can be very clannish, and the relatives of lm-
industry insiders have an edge in getting coveted roles
in lms or being part of a lms crew. However, indus-
try connections are no guarantee of a long career: com-
petition is erce and if lm industry scions do not suc-
ceed at the box oce, their careers will falter. Some
of the biggest stars, such as Amitabh Bachchan, Rajesh
Khanna, Dharmendra, Madhuri Dixit, Shah Rukh Khan
and Akshay Kumar have succeeded despite a lack of any
show business connections. For lm clans, see List of
Hindi lm clans.
7 Sound
Sound in Bollywood lms was once rarely recorded on
location (otherwise known as sync sound). Therefore,
the sound was usually created (or re-created) entirely
in the studio,[75] with the actors reciting their lines as
their images appear on-screen in the studio in the pro-
cess known as looping in the sound or ADRwith the
foley and sound eects added later. This created sev-
eral problems, since the sound in these lms usually oc-
curs a frame or two earlier or later than the mouth move-
ments or gestures.[75] The actors had to act twice: once
on-location, once in the studioand the emotional level
on set is often very dicult to re-create. Commercial In-
dian lms, not just the Hindi-language variety, are known
for their lack of ambient sound, so there is a silence un-
derlying everything instead of the background sound and
noises usually employed in lms to create aurally perceiv-
able depth and environment.
The ubiquity of ADR in Bollywood cinema became
prevalent in the early 1960s with the arrival of the Arriex
3 camera, which required a blimp (cover) to shield the
sound of the camera, for which it was notorious, from on-
location lming. Commercial Indian lmmakers, known
for their speed, never bothered to blimp the camera, and
its excessive noise required that everything had to be re-
created in the studio. Eventually, this became the stan-
dard for Indian lms.
The trend was bucked in 2001, after a 30-year hiatus
of synchronised sound, with the lm Lagaan, in which
the sound was done on the location.[75] This opened up
a heated debate on the use and economic feasibility of
on-location sound, and several Bollywood lms have em-
ployed on-location sound since then.
 7

makeup artists.[76] However, in 2014 the Supreme Court alization, there has also been a change in the type of music
of India ruled that this rule was in violation of the In- that Bollywood lms entail; the lyrics of the songs have in-
dian constitutional guarantees granted under Article 14 creasingly been a mix of Hindi and English languages, as
(right to equality), 19(1)(g) (freedom to carry out any pro- opposed to the strict Hindi prior to Globalization. Also,
fession) and Article 21 (right to liberty).[76] The judges with the inspiration of global trends, such as Salsa, Pop
of the Supreme Court of India stated that the ban on and Hip Hop, there has been a modication of the type
women makeup artist members had no rationale nexus of music heard in Bollywood lms.[3]
to the cause sought to be achieved and was unaccept- Playback singers are prominently featured in the opening
able, impermissible and inconsistent with the constitu-
credits and have their own fans who will go to an other-
tional rights guaranteed to the citizens.[76] The Court also wise lackluster movie just to hear their favourites. Going
found illegal the rule which mandated that for any artist,
by the quality as well as the quantity of the songs they
female or male, to work in the industry, they must have rendered, most notable singers of Bollywood are Lata
domicile status of ve years in the state where they in-
Mangeshkar, Asha Bhosle, Geeta Dutt, Shamshad Be-
tend to work.[76] In 2015 it was announced that Charu gum, Kavita Krishnamurthy, Sadhana Sargam and Alka
Khurana had become the rst woman to be registered Yagnik among female playback singers; and K. L. Sai-
by the Cine Costume Make-Up Artist & Hair Dressers gal, Talat Mahmood, Mukesh, Mohammed Ra, Manna
Association.[77] Dey, Hemant Kumar, Kishore Kumar, Kumar Sanu, Udit
Narayan and Sonu Nigam among male playback singers.
Kishore Kumar and Mohammed Ra are often consid-
9 Bollywood song and dance ered arguably the nest of the singers that have lent their
voice to Bollywood songs, followed by Lata Mangeshkar,
who, through the course of a career spanning over six
decades, has recorded thousands of songs for Indian
movies. The composers of lm music, known as music
directors, are also well-known. Their songs can make or
break a lm and usually do. Remixing of lm songs with
modern beats and rhythms is a common occurrence to-
day, and producers may even release remixed versions of
some of their lms songs along with the lms regular
soundtrack albums.
The dancing in Bollywood lms, especially older ones,
is primarily modelled on Indian dance: classical dance
styles, dances of historic northern Indian courtesans
(tawaif), or folk dances. In modern lms, Indian dance
A group of Bollywood singers at the Indian Singers Rights Asso- elements often blend with Western dance styles (as seen
ciation (ISRA) meet in 2013. on MTV or in Broadway musicals), though it is usual to
see Western pop and pure classical dance numbers side
Further information: Hindi dance songs, Filmi, and by side in the same lm. The hero or heroine will of-
Music of Bollywood ten perform with a troupe of supporting dancers. Many
song-and-dance routines in Indian lms feature unrealis-
Bollywood lm music is called lmi music (from Hindi, tically instantaneous shifts of location or changes of cos-
meaning of lms). Songs from Bollywood movies are tume between verses of a song. If the hero and heroine
generally pre-recorded by professional playback singers, dance and sing a duet, it is often staged in beautiful nat-
with the actors then lip synching the words to the song ural surroundings or architecturally grand settings. This
on-screen, often while dancing. While most actors, espe- staging is referred to as a picturisation.
cially today, are excellent dancers, few are also singers.Songs typically comment on the action taking place in
One notable exception was Kishore Kumar, who starred the movie, in several ways. Sometimes, a song is worked
in several major lms in the 1950s while also having a into the plot, so that a character has a reason to sing.
stellar career as a playback singer. K. L. Saigal, Suraiyya,
Other times, a song is an externalisation of a characters
and Noor Jehan were also known as both singers and ac- thoughts, or presages an event that has not occurred yet
tors. Some actors in the last thirty years have sung one or
in the plot of the movie. In this case, the event is often
more songs themselves; for a list, see Singing actors and two characters falling in love. The songs are also often re-
actresses in Indian cinema. ferred to as a dream sequence, and anything can happen
Songs are what make and break the movie; they deter- that would not normally happen in the real world.
mine if it is going to be a op or a hit: Few lms with- Previously song and dance scenes often used to be shot in
out successful musical tracks, and even fewer without any Kashmir, but due to political unrest in Kashmir since the
songs and dances, succeed [3] With the increase of glob-
8 11 FINANCES

end of the 1980s,[78] those scenes have since then often movies, frequently use the poetic vocabulary of court
been shot in Western Europe, particularly in Switzerland Urdu, with many Persian loanwords.[91] Another source
and Austria.[79][80] for love lyrics is the long Hindu tradition of poetry about
Renowned contemporary Bollywood dancers in- the amours of Krishna, Radha, and the gopis, as refer-
clude Madhuri Dixit, Hrithik Roshan, Aishwarya Rai enced in lms such as Jhanak Jhanak Payal Baje and
Bachchan, Sridevi, Meenakshi Seshadri, Malaika Arora Lagaan.
Khan, Shahid Kapoor and Tiger Shro.[81] Older Bolly- Music directors often prefer working with certain lyri-
wood dancers are people such as Helen,[82] known for her cists, to the point that the lyricist and composer are seen
cabaret numbers, Madhubala, Vyjanthimala, Padmini, as a team. This phenomenon is compared to the pairings
Hema Malini, Mumtaz, Cuckoo Moray,[83] Parveen of American composers and songwriters that created old-
Babi[84] , Waheeda Rahman,[85] Meena Kumari,[86] and time Broadway musicals.
Shammi Kapoor.[87]
For the last few decades Bollywood producers have been
releasing the lms soundtrack, as tapes or CDs, before
the main movie release, hoping that the music will pull
11 Finances
audiences into the cinema later. Often the soundtrack is
more popular than the movie. In the last few years some Bollywood lms are multi-million dollar productions,
producers have also been releasing music videos, usually with the most expensive productions costing up to 1 bil-
featuring a song from the lm. However, some promo- lion rupees (roughly USD 20 million). The latest Science
tional videos feature a song which is not included in the ction movie Ra.One was made at an immense budget
movie. of 1.35 billion (roughly USD 27 million), making it the
most expensive movie ever produced in Bollywood.[92]
Sets, costumes, special eects, and cinematography were
10 Dialogues and lyrics less than world-class up until the mid-to-late 1990s, al-
though with some notable exceptions. As Western lms
and television gain wider distribution in India itself, there
Main article: Music of Bollywood is an increasing pressure for Bollywood lms to attain the
same production levels, particularly in areas such as ac-
The lm script or lines of dialogue (called dialogues in tion and special eects. Recent Bollywood lms have
Indian English) and the song lyrics are often written by employed international technicians to improve in these
dierent people. areas, such as Krrish (2006) which has action chore-
Dialogues are usually written in an unadorned Hindi that ographed by Hong Kong based Tony Ching. The increas-
would be understood by the largest possible audience.[4] ing accessibility to professional action and special eects,
Some movies, however, have used regional dialects to coupled with rising lm budgets, has seen an explosion in
evoke a village setting, or old-fashioned, courtly, formal the action and sci- genres.
Urdu in medieval era historical lms. Jyotika Virdi, in Sequences shot overseas have proved a real box oce
her book The cinematic imagiNation [sic], wrote about the draw, so Mumbai lm crews are increasingly lming
presence of Urdu in Hindi lms: Urdu is often used in in Australia, Canada, New Zealand, the United King-
lm titles, screenplay, lyrics, the language of love, war, dom, the United States, continental Europe and else-
and martyrdom. However, she further discussed its de- where. Nowadays, Indian producers are winning more
cline over the years: The extent of Urdu used in com- and more funding for big-budget lms shot within India
mercial Hindi cinema has not been stable ... the de- as well, such as Lagaan, Devdas and other recent lms.
cline of Urdu is mirrored in Hindi lms ... It is true that Funding for Bollywood lms often comes from private
many Urdu words have survived and have become part of distributors and a few large studios. Indian banks and -
Hindi cinemas popular vocabulary. But that is as far as nancial institutions were forbidden from lending money to
it goes.[88] Contemporary mainstream movies also make movie studios. However, this ban has now been lifted.[93]
great use of English. According to Bollywood Audiences As nances are not regulated, some funding also comes
Editorial, English has begun to challenge the ideologi- from illegitimate sources, such as the Mumbai under-
cal work done by Urdu.[89] Some movie scripts are rst world. The Mumbai underworld has been known to be
written in Latin script.[90] Characters may shift from one involved in the production of several lms, and are noto-
language to the other to express a certain atmosphere (for rious for patronising several prominent lm personalities.
example, English in a business setting and Hindi in an On occasion, they have been known to use money and
informal one). muscle power to get their way in cinematic deals. In Jan-
Cinematic language, whether in dialogues or lyrics, is uary 2000, Mumbai maa hitmen shot Rakesh Roshan, a
often melodramatic and invokes God, family, mother, lm director and father of star Hrithik Roshan. In 2001,
duty, and self-sacrice liberally. Song lyrics are often the Central Bureau of Investigation seized all prints of
about love. Bollywood song lyrics, especially in the old the movie Chori Chori Chupke Chupke after the movie

was found to be funded by members of the Mumbai un- computer-printed vinyl. The old hand-painted posters,
derworld.[94] once regarded as ephemera, are becoming increasingly
Another problem facing Bollywood is widespread collectible as folk art.
copyright infringement of its lms. Often, bootleg DVD
copies of movies are available before the prints are
ocially released in cinemas. Manufacturing of bootleg
DVD, VCD, and VHS copies of the latest movie titles
is a well established 'small scale industry' in parts of
South Asia and South East Asia. The Federation of
Indian Chambers of Commerce and Industry (FICCI)
estimates that the Bollywood industry loses $100 million
annually in loss of revenue from unlicensed home videos
and DVDs. Besides catering to the homegrown market,
demand for these copies is large amongst some sections
of the Indian diaspora, too. (In fact, bootleg copies are
the only way people in Pakistan can watch Bollywood
movies, since the Government of Pakistan has banned
their sale, distribution and telecast). Films are frequently
broadcast without compensation by countless small cable
TV companies in India and other parts of South Asia.
Small convenience stores run by members of the Indian
diaspora in the US and the UK regularly stock tapes and
DVDs of dubious provenance, while consumer copying
adds to the problem. The availability of illegal copies of
movies on the Internet also contributes to the industrys
losses.
Satellite TV, television and imported foreign lms are
making huge inroads into the domestic Indian entertain-
ment market. In the past, most Bollywood lms could
make money; now fewer tend to do so. However, most
Bollywood producers make money, recouping their in-
vestments from many sources of revenue, including sell-
ing ancillary rights. There are also increasing returns
from theatres in Western countries like the United King-
dom, Canada, and the United States, where Bollywood is
slowly getting noticed. As more Indians migrate to these
countries, they form a growing market for upscale Indian
lms.
For a comparison of Hollywood and Bollywood nancial
gures, see chart. It shows tickets sold in 2002 and to-
tal revenue estimates. Bollywood sold 3.6 billion tickets
and had total revenues (theatre tickets, DVDs, television
and so on.) of US$1.3 billion, whereas Hollywood lms
sold 2.6 billion tickets and generated total revenues (again
from all formats) of US$51 billion.
12 Advertising
Many Indian artists used to make a living by hand-
painting movie billboards and posters (The well-known
artist M.F. Hussain used to paint lm posters early in
his career). This was because human labour was found
to be cheaper than printing and distributing publicity
material.[95] Now, a majority of the huge and ubiqui-
tous billboards in Indias major cities are created with
9
[95][96][97][98]
Releasing the lm music, or music videos, before the ac-
tual release of the lm can also be considered a form of
advertising. A popular tune is believed to help pull audi-
ences into the theatres.[99]
Bollywood publicists have begun to use the Internet as
a venue for advertising. Most of the better-funded lm
releases now have their own websites, where browsers can
view trailers, stills, and information about the story, cast,
and crew.[100]
Bollywood is also used to advertise other products.
Product placement, as used in Hollywood, is widely prac-
tised in Bollywood.[101]
Bollywood movie stars appear in print and television ad-
vertisements for other products, such as watches or soap
(see Celebrity endorsement). Advertisers say that a star
endorsement boosts sales.
13 International shoots
With the increasing prominence of international setting
such as Switzerland, London, Paris, New York, Singapore
and so on, it does not entail that the people and cultures
residing in these exotic settings are represented. Contrary
to these spaces and geographies being lmed as they are,
they are actually Indianized by adding Bollywood actors
and Hindi speaking extras to them. While immersing in
Bollywood lms, viewers get to see their local experiences
duplicated in dierent locations around the world.
Rao states that Media representation can depict Indias
shifting relation with the world economy, but must re-
tain its 'Indianness in moments of dynamic hybridity,[3]
where Indianness refers to the cultural identity and po-
litical aliation. With Bollywoods popularity among di-
asporic audiences, Indianness poses a problem, but at
the same time, it gives back to its homeland audience, a
sense of uniqueness from other immigrant groups.[102]
14 Awards
The Filmfare Awards ceremony is one of the most promi-
nent lm events given for Hindi lms in India.[103] The
Indian screen magazine Filmfare started the rst Film-
fare Awards in 1954, and awards were given to the best
lms of 1953. The ceremony was referred to as the Clare
Awards after the magazines editor. Modelled after the
poll-based merit format of the Academy of Motion Pic-
ture Arts and Sciences, individuals may submit their votes
in separate categories. A dual voting system was devel-
oped in 1956.[104] The Filmfare awards are frequently
accused of bias towards commercial success rather than
10
artistic merit.
The National Film Awards were introduced in 1954.
Since 1973, the Indian government has sponsored the
National Film Awards, awarded by the government run
Directorate of Film Festivals (DFF). The DFF screens
not only Bollywood lms, but lms from all the other re-
gional movie industries and independent/art lms. These
awards are handed out at an annual ceremony presided
over by the President of India. Under this system, in con-
trast to the National Film Awards, which are decided by
a panel appointed by Indian Government, the Filmfare
Awards are voted for by both the public and a committee
of experts.[105]
Notable private awards ceremonies for Hindi lms, held
within India are:
Filmfare Awards since 1954
Screen Awards since 1995
Stardust Awards since 2003
Notable private awards ceremonies for Hindi lms, held
overseas are:
International Indian Film Academy Awards (dif-
ferent country each year) since 2000
Zee Cine Awards- (dierent country each year) seen to have no shame. In Indian movies women were
since 1998
Most of these award ceremonies are lavishly staged spec-
tacles, featuring singing, dancing, and numerous celebri-
ties.
15 Film education
Film and Television Institute of India
Satyajit Ray Film and Television Institute
Asian Academy of Film & Television
16 Popularity and appeal
See also: List of highest-grossing Bollywood lms
Besides being popular among the India diaspora, such far
o locations as Nigeria to Egypt to Senegal and to Rus-
sia generations of non-Indian fans have grown up with
Bollywood during the years, bearing witness to the cross-
cultural appeal of Indian movies.[106] Over the last years
of the 20th century and beyond, Bollywood progressed
in its popularity as it entered the consciousness of West-
ern audiences and producers,[47][107] with Western actors
now actively seeking roles in Bollywood movies.[108]
16 POPULARITY AND APPEAL
16.1 Africa
Historically, Hindi lms have been distributed to some
parts of Africa, largely by Lebanese businessmen. Mother
India (1957), for example, continued to be played in
Nigeria decades after its release. Indian movies have also
gained ground so as to alter the style of Hausa fashions,
songs have also been copied by Hausa singers and stories
have inuenced the writings of Nigerian novelists. Stick-
ers of Indian lms and stars decorate taxis and buses in
Northern Nigeria, while posters of Indian lms adorn the
walls of tailor shops and mechanics garages in the coun-
try. Unlike in Europe and North America where Indian
lms largely cater to the expatriate Indian market yearn-
ing to keep in touch with their homeland, in West Africa,
as in many other parts of the world, such movies rose
in popularity despite the lack of a signicant Indian au-
dience, where movies are about an alien culture, based
on a religion wholly dierent, and, for the most part, a
language that is unintelligible to the viewers. One such
explanation for this lies in the similarities between the
two cultures. Other similarities include wearing turbans;
the presence of animals in markets; porters carrying large
bundles, chewing sugar cane; youths riding Bajaj motor
scooters; wedding celebrations, and so forth. With the
strict Muslim culture, Indian movies were said to show
respect toward women, where Hollywood movies were
modestly dressed, men and women rarely kiss, and there
is no nudity, thus Indian movies are said to have culture
that Hollywood lms lack. The latter choice was a fail-
ure because they don't base themselves on the problems
of the people, where the former is based socialist values
and on the reality of developing countries emerging from
years of colonialism. Indian movies also allowed for a
new youth culture to follow without such ideological bag-
gage as becoming western.[106] The rst ever movie to
be shot in Mauritius was Souten starring Rajesh Khanna
in 1983.[109]
Several Bollywood personalities have avenued to the con-
tinent for both shooting movies and o-camera projects.
The lm Padmashree Laloo Prasad Yadav (2005) was
one of many movies shot in South Africa.[110] Dil Jo
Bhi Kahey (2005) was shot almost entirely in Mauritius,
which has a large ethnically Indian population.
Ominously, however, the popularity of old Bollywood
versus a new, changing Bollywood seems to be diminish-
ing the popularity on the continent. The changing style
of Bollywood has begun to question such an acceptance.
The new era features more sexually explicit and violent
lms. Nigerian viewers, for example, commented that
older lms of the 1950s and 1960s had culture to the
newer, more westernised picturisations.[106] The old days
of India avidly advocating decolonization ... and Indias
policy was wholly inuenced by his missionary zeal to end
racial domination and discrimination in the African ter-
ritories were replaced by newer realities.[111] The emer-
16.3 Europe
gence of Nollywood, Africas local movie industry has
also contributed to the declining popularity of Bollywood
lms. A greater globalised world worked in tandem with
the sexualisation of Indian lms so as to become more
like American lms, thus negating the preferred values
of an old Bollywood and diminishing Indian soft power.
Additionally, classic Bollywood actors like Kishore Ku-
mar and Amitabh Bachchan have historically enjoyed
popularity in Egypt and Somalia.[112] In Ethiopia, Boll-
wood movies are shown alongside Hollywood produc-
tions in Piazza theatres, such as the Cinema Ethiopia in
Addis Ababa.[113] In the other countries of North Africa,
Bollywood lms are also broadcast, though local aesthet-
ics tend much more toward expressive or auteur cinema
than commercial fare.[114]
16.2 Asia
16.2.1 South Asia
Bollywood lms are widely watched in other South Asian
countries, including Afghanistan, Bangladesh, Nepal,
Pakistan and Sri Lanka.
Many Pakistanis watch Bollywood lms, as they under-
stand Hindi (due to its linguistic similarity to Urdu).[115]There are channels such as MBC Bollywood and Zee
Pakistan banned the legal import of Bollywood movies in
1965. However, trade in unlicensed DVDs[116] and ille-
gal cable broadcasts ensured the continued popularity of
Bollywood releases in Pakistan. Exceptions were made
for a few lms, such as the 2006 colorised re-release of
the classic Mughal-e-Azam or the 2006 lm Taj Mahal.
Early in 2008, the Pakistani government eased the ban
and allowed the import of even more movies; 16 were
screened in 2008.[117] Continued easing followed in 2009
and 2010. The new policy is opposed by nationalists
and representatives of Pakistans small lm industry but
is embraced by cinema owners, who are making prots
after years of low receipts.[118] Bollywood movies are so
much popular in Nepal that, Bollywood movies earn more 16.3
than Nepali movies. Actors like Salman Khan, Akshay
Kumar and Shah Rukh Khan are most popular in Nepal
and their movies sees the audience full pack all over the
Cinema halls and also are so popular in Afghanistan due
to the countrys proximity to the Indian subcontinent and
cultural perspectives present in the movies.[119] A num-
ber of Bollywood movies were lmed inside Afghanistan
while some dealt with the country, including Dharmatma,
Kabul Express, Khuda Gawah and Escape From Tal-
iban.[120][121]
16.2.2 East Asia
Bollywood lms are widely appreciated in East Asian
countries such as China, Japan, and South Korea. Some The awareness of Hindi cinema is substantial in the
Hindi movies had success in the China and South Ko- United Kingdom,[134] where they frequently enter the UK
rea, Japan in the 1940s and 1950s and are popular till top ten. Many lms, such as Kabhi Khushi Kabhie Gham
11
today. The most popular Hindi lms in that country
were Dr. Kotnis Ki Amar Kahani (1946), Awaara (1951)
and Do Bigha Zamin (1953). Raj Kapoor was a famous
movie star in China, and the song Awara Hoon (I am a
Tramp) was popular in the country. Since then, Hindi
lms signicantly declined in popularity in China, un-
til the Academy Award nominated Lagaan (2001) be-
came the rst Indian lm to have a nationwide release
there in decades.[122] The Chinese lmmaker He Ping
was impressed by Lagaan, especially its soundtrack, and
thus hired the lms music composer A. R. Rahman to
score the soundtrack for his lm Warriors of Heaven and
Earth (2003).[123] Several older Hindi lms have a cult
following in Japan, particularly the lms directed by Guru
Dutt.[124] Bollywood lms are also popular in Southeast
Asia (particularly in Maritime Southeast Asia)[125]
16.2.3 Middle East/North Africa
Hindi lms have been popular in Arab countries, includ-
ing Palestine, Jordan, Egypt and the Gulf countries.[126]
Imported Indian lms are usually subtitled in Arabic upon
the lms release. Since the early 2000s, Bollywood has
progressed in Israel. Special channels dedicated to In-
dian lms have been displayed on cable television.[127]
Aam, which show Hindi movies and serials.[128] In
Egypt, Bollywood movies used to be massively popu-
lar in the 1970s and 1980s. In 1987 however, Bolly-
wood lms were restricted to only a handful of lms by
the Egyptian Government.[129][130] Bollywood movies are
regularly screened in Dubai cinemas because of the high
demand. Recently in Turkey, Bollywood has been gain-
ing popularity as Bar! was the rst Hindi lm to have
a wide theatrical release.[131] Bollywood also has viewer-
ship in Central Asia (particularly in Uzbekistan[132] and
Tajikistan).[133]
Europe
Bollywood Steps show in London.
12
(2001) have been set in London. Bollywood is also appre-
ciated in France, Germany, the Netherlands,[135] and the
Scandinavian countries. Various Bollywood movies are
dubbed in German and shown on the German television
channel RTL II on a regular basis.[136]
Bollywood lms are particularly popular in the former
Soviet Union.[137] Bollywood lms have been dubbed
into Russian, and shown in prominent theatres such as
Moslm and Lenlm.
Ashok Sharma, Indian Ambassador to Suriname, who has
served three times in the Commonwealth of Independent
States region during his diplomatic career said:
The popularity of Bollywood in the CIS
dates back to the Soviet days when the lms
from Hollywood and other Western cinema
centers were banned in the Soviet Union. As
there was no means of other cheap entertain-
ment, the lms from Bollywood provided the
Soviets a cheap source of entertainment as
they were supposed to be non-controversial and
non-political. In addition, the Soviet Union
was recovering from the onslaught of the Sec-
ond World War. The lms from India, which
were also recovering from the disaster of parti-
tion and the struggle for freedom from colonial
rule, were found to be a good source of provid-
ing hope with entertainment to the struggling
masses. The aspirations and needs of the peo-
ple of both countries matched to a great extent.
These lms were dubbed in Russian and shown
in theatres throughout the Soviet Union. The
lms from Bollywood also strengthened family
values, which was a big factor for their pop-
ularity with the government authorities in the
Soviet Union.[138]
The lm Mera Naam Joker (1970), sought to cater to such
an appeal and the popularity of Raj Kapoor in Russia,
when it recruited Russian actress Kseniya Ryabinkina for
the movie. In the contemporary era, Lucky: No Time for
Love (2005) was shot entirely in Russia. After the col-
lapse of the Soviet lm distribution system, Hollywood
occupied the void created in the Russian lm market.[137]
This made things dicult for Bollywood as it was losing
market share to Hollywood. However, Russian newspa-
pers report that there is a renewed interest in Bollywood
among young Russians.[139]
16.4 North America
Bollywood has experienced a marked growth in revenue
in Canada and the United States, particularly popular
amongst the South Asian communities in large cities,
such as Toronto, Chicago, and New York City.[47] Yash
Raj Films, one of Indias largest production houses and
16 POPULARITY AND APPEAL
Michelle Obama joining students for a 'Bollywood Dance Clinic'
in the State Dining Room of the White House, 2013.
distributors, reported in September 2005 that Bollywood
lms in the United States earn around $100 million a year
through theatre screenings, video sales and the sale of
movie soundtracks.[47] In other words, lms from India
do more business in the United States than lms from any
other non-English speaking country.[47] Numerous lms
in the mid-1990s and onwards have been largely, or en-
tirely, shot in New York, Los Angeles, Vancouver and
Toronto. Bollywoods immersion in the traditional Hol-
lywood domain was further tied with such lms as The
Guru (2002) and Marigold: An Adventure in India (2007)
trying to popularise the Bollywood-theme for Hollywood.
16.5 Oceania
Bollywood is not as successful in the Oceanic countries
and Pacic Islands such as New Guinea. However, it
ranks second to Hollywood in countries such as Fiji, with
its large Indian minority, Australia and New Zealand.[140]
Australia is one of the countries where there is a large
South Asian Diaspora. Bollywood is popular amongst
non-Asians in the country as well.[140] Since 1997 the
country has provided a backdrop for an increasing num-
ber of Bollywood lms.[140] Indian lmmakers have been
attracted to Australias diverse locations and landscapes,
and initially used it as the setting for song-and-dance
sequences, which demonstrated the contrast between
the values.[140] However, nowadays, Australian locations
are becoming more important to the plot of Bollywood
lms.[140] Hindi lms shot in Australia usually incorpo-
rate aspects of Australian lifestyle. The Yash Raj Film
Salaam Namaste (2005) became the rst Indian lm to
be shot entirely in Australia and was the most success-
ful Bollywood lm of 2005 in the country.[141] This was
followed by Heyy Babyy (2007) Chak De! India (2007)
and Singh Is Kinng (2008) which turned out to be box of-
ce successes.[140] Following the release of Salaam Na-
maste, on a visit to India the then prime minister John
Howard also sought, having seen the lm, to have more
Indian movies shooting in the country to boost tourism,
 13

where the Bollywood and cricket nexus, was further tight- tegral part of globalisation where American and west-
ened with Steve Waugh's appointment as tourism ambas- ern cultures are rmly embedding themselves into In-
sador to India.[142] Australian actress Tania Zaetta, who dian culture, which is manifested, amongst other medi-
co-starred in Salaam Namaste, among other Bollywood ums, in Bollywood lms.[150] Vikram Bhatt, director of
lms, expressed her keenness to expand her career in lms such as Raaz, a remake of What Lies Beneath, and
Bollywood.[143] Kasoor, a remake of Jagged Edge, has spoken about the
strong inuence of American culture and desire to pro-
duce box oce hits based along the same lines in Bol-
16.6 South America lywood. He said, Financially, I would be more secure
knowing that a particular piece of work has already done
Bollywood movies are not inuential in many countries well at the box oce. Copying is endemic everywhere in
of South America, though Bollywood culture and dance India. Our TV shows are adaptations of American pro-
is recognised. However, due to signicant South Asian grammes. We want their lms, their cars, their planes,
diasporic communities in Suriname[144] and Guyana, their Diet Cokes and also their attitude. The American
Hindi-language movies are popular.[145] In 2006, Dhoom way of life is creeping into our culture.[150] Mahesh Bhatt
2 became the rst Bollywood lm to be shot in Rio de has said, If you hide the source, you're a genius. Theres
Janeiro, Brazil.[146] no such thing as originality in the creative sphere.[150]
In January 2012, it was announced that UTV Motion Pic- There have been very few cases of lm copyright viola-
tures would be releasing movies in Peru, starting with tions taken to court because of serious delays in the le-
Guzaarish.[147] gal process, and due to the long time they take to decide
a case.[148] There have been some notable cases of con-
ict though. The makers of Partner (2007) and Zinda
17 Plagiarism (2005) have been targeted by the owners and distributors
of the original lms, Hitch and Oldboy.[151][152] Ameri-
Constrained by rushed production schedules and small can Studio Twentieth Century Fox brought the Mumbai-
budgets, some Bollywood writers and musicians have based B.R. Films to court over its forthcoming Banda Yeh
been known to resort to plagiarism. Ideas, plot lines, Bindaas Hai, allegedly an illegal remake of its 1992 lm
tunes or ris have been copied from other Indian lm My Cousin Vinny. B.R. Films eventually settled out of
industries or foreign lms (including Hollywood and court by paying the studio at a cost of[153] about $200,000,
other Asian lms) without acknowledgement of the orig- paving the way for the lms release. Some on the
inal source. This has led to criticism towards the lm other hand do comply with copyright law, with Orion Pic-
industry. [148] tures in 2008 securing the rights to remake the Hollywood
lm Wedding Crashers.[154]
Before the 1990s, this could be done with impunity.
Copyright enforcement was lax in India and few actors
or directors ever saw an ocial contract.[149] The Hindi
lm industry was not widely known to non-Indian audi- 18 See also
ences (excluding the Soviet states), who would not even
be aware that their material was being copied. Audi- Central Board of Film Certication
ences may also not have been aware of the plagiarism
since many audiences in India were unfamiliar with for- Film City
[148]
eign lms and music. While copyright enforcement in List of Bollywood lms
India is still somewhat lenient, Bollywood and other lm
industries are much more aware of each other now and List of Hindi Animated Movies
Indian audiences are more familiar with foreign movies
and music. Organisations like the India EU Film Initia- Bibliography of Hindi cinema
tive seek to foster a community between lm makers and
industry professional between India and the EU.[148] List of cinema of the world

One of the common justications of plagiarism in Bol- List of Hollywood-inspired nicknames

lywood in the media is that producers often play a safer
option by remaking popular Hollywood lms in an Indian Hindi lm distribution circuits
context. Screenwriters generally produce original scripts,
Color Era in Indian Cinema
but due to nancial uncertainty and insecurity over the
success of a lm many were rejected.[148] Screenwrit-
ers themselves have been criticised for lack of creativ-
ity which happened due to tight schedules and restricted 19 References
funds in the industry to employ better screenwriters.[150]
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[150] Cloning Hollywood. The Hindu. Chennai, India. 3 Au-
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20 Further reading
Alter, Stephen. Fantasies of a Bollywood Love-
Thief: Inside the World of Indian Moviemaking.
(ISBN 0-15-603084-5)
Begum-Hossain, Momtaz. Bollywood Crafts: 20
Projects Inspired by Popular Indian Cinema, 2006.
The Guild of Mastercraftsman Publications. (ISBN
1-86108-418-8)
Mishra, Vijay. Bollywood Cinema: Temples of De-
sire. (ISBN 0-415-93015-4)
Pendakur, Manjunath. Indian Popular Cinema:
Industry, Ideology, and Consciousness. (ISBN 1-
57273-500-7)
Prasad, Madhava. Ideology of the Hindi Film: A His-
torical Construction, Oxford University Press, 2000.
(ISBN 0-19-565295-9)
Raheja, Dinesh and Kothari, Jitendra. Indian Cin-
ema: The Bollywood Saga. (ISBN 81-7436-285-1)
Raj, Aditya (2007) Bollywood Cinema and Indian
Diaspora in Media Literacy: A Reader edited by
Donaldo Macedo and Shirley Steinberg New York:
Peter Lang
Rajadhyaksa, Ashish (1996), India: Filming the
Nation, The Oxford History of World Cinema, Ox-
ford University Press, ISBN 0-19-811257-2.
Rajadhyaksha, Ashish and Willemen, Paul. Ency-
clopedia of Indian Cinema, Oxford University Press,
revised and expanded, 1999.
Jha, Subhash and Bachchan, Amitabh. The essential
guide to Bollywood. (ISBN 978-81-7436-378-7)

Bose, Mihir, Bollywood. A History, New Delhi, Roli

Books, 2008. (ISBN 978-81-7436-653-5)
21 External links
Dwyer, Rachel. Bollywoods India: Hindi Cinema
as a Guide to Contemporary India (Reaktion Books, Media related to Bollywood at Wikimedia Com-
distributed by University of Chicago Press; 2014) mons
295 pages
National Geographic Magazine: Welcome to Bolly-
Ganti, Tejaswini. Bollywood, Routledge, New York wood
and London, 2004.

Ganti, Tejaswini. Producing Bollywood: Inside the

Contemporary Hindi Film Industry (Duke University
Press; 2012) 424 pages; looks at how major changes
in lm production since the 1990s have been inu-
enced by the liberal restructuring of Indias state and
economy.

Gibson, Bernard 'Bollywood'. Passing the Envelope,

1994.

Jolly, Gurbir, Zenia Wadhwani, and Deborah Bar-

retto, eds. Once Upon a Time in Bollywood: The
Global Swing in Hindi Cinema, TSAR Publications.
2007. (ISBN 978-1-894770-40-8)

Joshi, Lalit Mohan. Bollywood: Popular Indian Cin-

ema. (ISBN 0-9537032-2-3)

Kabir, Nasreen Munni. Bollywood, Channel 4

Books, 2001.

Mehta, Suketu. Maximum City, Knopf, 2004.

 19

22 Text and image sources, contributors, and licenses

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