Revision 300664 of "બોલીવુડ" on guwiki

{{ભાષાંતર}}
{{about|Indian film industry|the similarly named tree species|Litsea reticulata|and|Litsea bindoniana}}
{{South Asian cinema}}

''''બોલિવૂડ'''' એ [[મુંબઇ]] ([[મહારાષ્ટ્ર]]) સ્થિત હિન્દીભાષી ફિલ્મોદ્યોગ માટે વપરાતો અનૌપચારીક શબ્દ છે.  બોલિવૂડ એ ઘણીવાર સમગ્ર [[ભારતીય સિનેમા]] માટે પણ વપરાય છે, જે અસંગત છે, કારણકે સમગ્ર ભારતમાં ઘણી પ્રાદેશિક ભાષાઓમાં ફિલ્મો બને છે.  બોલિવૂડ એ ભારતનું તેમજ વિશ્વનું એક મોટુ ફિલ્મ નિર્માણ કેન્દ્ર છે.<ref>{{cite news|url=http://www.time.com/time/magazine/article/0,9171,985129,00.html?internalid=atm100|title=Hooray for Bollywood!|author=[[Richard Corliss]]|publisher=''[[Time (magazine)|Time Magazine]]''|date=16 September 1996}}</ref> Bollywood is the largest film producer in India and one of the largest centers of film production in the world.<ref>{{cite book|author=Pippa de Bruyn; Niloufer Venkatraman; Keith Bain|title=Frommer's India|year=2006|publisher=Frommer's|isbn=0471794341|page=579}}</ref><ref>{{cite book|author=Wasko, Janet|title=How Hollywood works|year=2003|publisher=SAGE|isbn=0761968148|page=185}}</ref><ref>{{cite book|author=K. Jha; Subhash|title=The Essential Guide to Bollywood|year=2005|publisher=Roli Books|isbn=8174363785|page=1970}}</ref>

Bollywood is formally referred to as '''Hindi cinema''',<ref name="britannica">{{cite book|author=Gulzar; Nihalani, Govind; Chatterji, Saibal|title=Encyclopaedia of Hindi Cinema|year=2003|publisher= Encyclopaedia Britannica (India) Pvt Ltd.|isbn=8179910660|pages=10–18}}</ref> though frequent use of poetic [[Urdu]] words is fairly common. There has been a growing presence of [[Indian English]] in dialogue and songs as well. It is common to see films that feature dialogue with [[English language|English]] words phrases, or even whole sentences.<ref>{{cite news|title=English is recast in Indian films|url=http://www.guardian.co.uk/education/2008/oct/17/bollywood-english|author=Ramesh, Randeep|publisher=The Guardian|date=24 October 2008|accessdate=2008-11-18 | location=London}}</ref>

===નિર્માણ===
The name "Bollywood" is derived from [[Mumbai|'''B'''ombay]] (the former name for Mumbai) and [[Hollywood, Los Angeles, California|H'''ollywood''']], the center of the [[Cinema of the United States|American film industry]].<ref name="portmanteau">{{cite news|author=Rajghatta, Chidanand|title=Bollywood in Hollywood|date=6 July 2008|accessdate=2009-02-20|url=http://timesofindia.indiatimes.com/Columnists/C_Rajghatta_Bollywood_in_Hollywood/articleshow/3201937.cms|publisher=[[The Times of India]]}}</ref> However, unlike Hollywood, Bollywood does not exist as a physical place. Though some deplore the name, arguing that it makes the industry look like a poor cousin to Hollywood,<ref name="portmanteau"/><ref>{{cite book|author=Crusie, Jennifer;Yeffeth, Glenn|title=Flirting with Pride & Prejudice|year=2005|publisher=BenBella Books, Inc.|isbn=1932100725|page=92}}</ref> it has its own entry in the ''[[Oxford English Dictionary]]''.

The term "Bollywood" has origins in the 1970s, when India overtook America as the world's largest film producer. Credit for the term has been claimed by several different people, including the lyricist, filmmaker and scholar Amit Khanna,<ref>{{cite web|title=Amit Khanna: The Man who saw ‘Bollywood’|author=Subhash K Jha|date=8 April 2005|publisher=[[Sify]]|url=http://sify.com/movies/bollywood/fullstory.php?id=13713296|accessdate=2009-05-31}}</ref> and the journalist Bevinda Collaco.<ref>{{cite web|title=On the Bollywood beat|author=Anand|publisher=[[The Hindu]]|date=7 March 2004|url=http://www.hindu.com/lr/2004/03/07/stories/2004030700390600.htm|accessdate=2009-05-31}}</ref>

The naming scheme for "Bollywood" was inspired by "Tollywood", the name that was used to refer to the [[cinema of West Bengal]]. Dating back to 1932, "Tollywood" was the earliest [[Hollywood-inspired names|Hollywood-inspired name]], referring to the [[Bengali cinema|Bengali film industry]] based in [[Tollygunge]], which rhymed with "Hollywood" and was the center of the [[cinema of India]] at the time. The name "Bollywood" later arose as the Bombay-based film industry overtook the one in Tollygunge as the center of the Indian film industry.<ref name=Sarkar>{{Cite journal|doi=10.1177/0921374007088054|first=Bhaskar|last=Sarkar|title=The Melodramas of Globalization|journal=Cultural Dynamics|year=2008|volume=20|pages=31–51 [34]|quote=Madhava Prasad traces the origin of the term to a 1932 article in the ''[[American Cinematographer]]'' by Wilford E. Deming, an American engineer who apparently helped produce the first Indian sound picture. At this point, the Calcutta suburb of Tollygunje was the main center of film production in India. Deming refers to the area as Tollywood, since it already boasted two studios with ‘several more projected’ (Prasad, 2003) ‘Tolly’, rhyming with ‘Holly’, got hinged to ‘wood’ in the Anglophone Indian imagination, and came to denote the Calcutta studios and, by extension, the local film industry. Prasad surmises: ‘Once Tollywood was made possible by the fortuitous availability of a half-rhyme, it was easy to clone new Hollywood babies by simply replacing the first letter’ (Prasad, 2003).|postscript=<!--None-->}}</ref>

==ઇતિહાસ==
[[Image:Alam Ara poster, 1931.jpg|thumb|right|200px|Film poster for first Indian sound film, [[Ardeshir Irani]]'s ''[[Alam Ara]]'' (1931)]]
[[Image:Awaara.jpg|thumb|200px|[[Nargis]] and [[Raj Kapoor]] in ''[[Awaara]]'' (1951), also directed and produced by Kapoor. It was nominated for the [[Palme d'Or|Grand Prize]] of the [[1951 Cannes Film Festival]].]]
<!--[[Image:GuruDutt.jpg|thumb|200px|[[Guru Dutt]] in ''[[Pyaasa]]'' (1957), for which he was the director, producer and leading actor. It is one of [[Time magazine's "All-TIME" 100 best movies]]. {{deletable image-caption|Sunday, October 24, 2010|date=October 2010}}]]-->

''[[Raja Harishchandra]]'' (1913), by [[Dadasaheb Phalke]], was the first silent feature film made in India. By the 1930s, the industry was producing over 200 films per annum.<ref name="britannica2">{{cite book|author=Gulzar; Nihalani, Govind; Chatterji, Saibal|title=Encyclopaedia of Hindi Cinema|year=2003|publisher= Encyclopaedia Britannica (India) Pvt Ltd.|isbn=8179910660|pages=136–137}}</ref> The first Indian sound film, [[Ardeshir Irani]]'s ''[[Alam Ara]]'' (1931), was a major commercial success. There was clearly a huge market for talkies and musicals; Bollywood and all the regional film industries quickly switched to sound filming.

The 1930s and 1940s were tumultuous times: India was buffeted by the [[Great Depression]], World War II, the [[Indian independence movement]], and the violence of the [[Partition of India|Partition]]. Most Bollywood films were unabashedly [[escapism|escapist]], but there were also a number of filmmakers who tackled tough social issues, or used the struggle for Indian independence as a backdrop for their plots.<ref name="britannica2"/>

In 1937, [[Ardeshir Irani]], of ''[[Alam Ara]]'' fame, made the first colour film in Hindi, ''[[Kisan Kanya (1937 film)|Kisan Kanya]]''. The next year, he made another colour film, ''[[Mother India]]''. However, colour did not become a popular feature until the late 1950s. At this time, lavish romantic musicals and melodramas were the staple fare at the cinema.

===સુવર્ણ કાળ===
Following [[Indian independence movement|India's independence]], the period from the late 1940s to the 1960s are regarded by film historians as the "Golden Age" of Hindi cinema.<ref>{{Cite book|title=Indian Popular Cinema: A Narrative of Cultural Change|last=K. Moti Gokulsing|first=K. Gokulsing, Wimal Dissanayake|publisher=Trentham Books|year=2004|isbn=1858563291|page=17|postscript=<!--None-->}}</ref><ref>{{Cite journal|title=Gender, Nation, and Globalization in Monsoon Wedding and Dilwale Dulhania Le Jayenge|first=Jenny|last=Sharpe|journal=Meridians: feminism, race, transnationalism|volume=6|issue=1|year=2005|pages=58–81 [60 & 75]|postscript=<!--None-->}}</ref><ref>{{Cite journal|first=Sharmistha|last=Gooptu|title=Reviewed work(s): ''The Cinemas of India'' (1896-2000) by Yves Thoraval|journal=[[Economic and Political Weekly]]|volume=37|issue=29|date=July 2002|pages=3023–4|postscript=<!--None-->}}</ref> Some of the most critically-acclaimed Hindi films of all time were produced during this period. Examples include the [[Guru Dutt]] films ''[[Pyaasa]]'' (1957) and ''[[Kaagaz Ke Phool]]'' (1959) and the [[Raj Kapoor]] films ''[[Awaara]]'' (1951) and ''[[Shree 420]]'' (1955). These films expressed social themes mainly dealing with working-class urban life in India; ''Awaara'' presented the city as both a nightmare and a dream, while ''Pyaasa'' critiqued the unreality of city life.<ref name=Gokulsing-18>{{Cite book|title=Indian Popular Cinema: A Narrative of Cultural Change|last=K. Moti Gokulsing|first=K. Gokulsing, Wimal Dissanayake|publisher=Trentham Books|year=2004|isbn=1858563291|page=18|postscript=<!--None-->}}</ref> Some of the most famous [[epic film]]s of Hindi cinema were also produced at the time, including [[Mehboob Khan]]'s ''[[Mother India]]'' (1957), which was nominated for the [[Academy Award for Best Foreign Language Film]],<ref>{{imdb title|id=0050188|title=Mother India}}</ref> and [[K. Asif]]'s ''[[Mughal-e-Azam]]'' (1960).<ref>{{cite web|title=Film Festival - Bombay Melody|publisher=[[University of California, Los Angeles]]|date=17 March 2004|url=http://www.international.ucla.edu/calendar/showevent.asp?eventid=1618|accessdate=2009-05-20}}</ref> ''[[Madhumati]]'' (1958), directed by [[Bimal Roy]] and written by [[Ritwik Ghatak]], popularized the theme of [[reincarnation]] in [[Reincarnation in popular western culture|Western popular culture]].<ref name=Doniger-35/> Other acclaimed mainstream Hindi filmmakers at the time included [[Kamal Amrohi]] and [[Vijay Bhatt]]. Successful actors at the time included [[Dev Anand]], [[Dilip Kumar]], Raj Kapoor and Guru Dutt, while successful actresses included [[Nargis]], [[Meena Kumari]], [[Nutan]], [[Madhubala]], [[Waheeda Rehman]] and  [[Mala Sinha]].<ref name="actorsuntil90"/>

While commercial Hindi cinema was thriving, the 1950s also saw the emergence of a new [[Parallel Cinema]] movement.<ref name=Gokulsing-18/> Though the movement was mainly led by [[Bengali cinema]], it also began gaining prominence in Hindi cinema. Early examples of Hindi films in this movement include [[Chetan Anand (producer & director)|Chetan Anand]]'s ''[[Neecha Nagar]]'' (1946)<ref name=Hindu>[http://www.hindu.com/fr/2007/06/15/stories/2007061551020100.htm Maker of innovative, meaningful movies]. ''[[The Hindu]]'', 15 June 2007</ref> and Bimal Roy's ''[[Two Acres of Land]]'' (1953). Their critical acclaim, as well as the latter's commercial success, paved the way for Indian [[Neorealism (art)|neorealism]]<ref name=filmreference>{{cite web|url=http://www.filmreference.com/Films-De-Dr/Do-Bigha-Zamin.html |title=Do Bigha Zamin at filmreference |publisher=Filmreference.com |date=1980-08-03 |accessdate=2010-11-12}}</ref> and the ''Indian New Wave''.<ref>{{cite web|title=Do Bigha Zamin: Seeds of the Indian New Wave|author=Srikanth Srinivasan|publisher=Dear Cinema|date=4 August 2008|url=http://dearcinema.com/review-do-bigha-zamin-bimal-roy|accessdate=2009-04-13}} {{Dead link|date=October 2010|bot=H3llBot}}</ref> Some of the internationally-acclaimed Hindi filmmakers involved in the movement included [[Mani Kaul]], [[Kumar Shahani]], [[Ketan Mehta]], [[Govind Nihalani]], [[Shyam Benegal]] and [[Vijaya Mehta]].<ref name=Gokulsing-18/>

Ever since the [[Social realism|social realist]] film ''Neecha Nagar'' won the [[Palme d'Or|Grand Prize]] at the [[1946 Cannes Film Festival|first Cannes Film Festival]],<ref name=Hindu/> Hindi films were frequently in competition for the [[Palme d'Or]] at the [[Cannes Film Festival]] throughout the 1950s and early 1960s, with some of them winning major prizes at the festival.<ref name=passionforcinema>{{cite web|title=India and Cannes: A Reluctant Courtship|publisher=Passion For Cinema|year=2008|url=http://passionforcinema.com/india-and-cannes-a-reluctant-courtship|accessdate=2009-05-20}}</ref> [[Guru Dutt]], while overlooked in his own lifetime, had belatedly generated international recognition much later in the 1980s.<ref name=passionforcinema/><ref>{{Cite book|title=Indian Popular Cinema: A Narrative of Cultural Change|last=K. Moti Gokulsing|first=K. Gokulsing, Wimal Dissanayake|publisher=Trentham Books|year=2004|isbn=1858563291|pages=18–9|postscript=<!--None-->}}</ref> Dutt is now regarded as one of the greatest [[Asian cinema|Asian filmmakers]] of all time, alongside the more famous Indian Bengali filmmaker [[Satyajit Ray]]. The 2002 ''[[Sight & Sound]]'' critics' and directors' poll of greatest filmmakers ranked Dutt at #73 on the list.<ref name=Lee>{{cite web|title=A Slanted Canon|author=Kevin Lee|publisher=Asian American Film Commentary|date=2002-09-05|url=http://www.asianamericanfilm.com/archives/000026.html|accessdate=2009-04-24}}</ref> Some of his films are now included among the [[Films considered the greatest ever|greatest films of all time]], with ''[[Pyaasa]]'' (1957) being featured in [[Time magazine's "All-TIME" 100 best movies]] list,<ref name=Time>{{cite news|url=http://www.time.com/time/2005/100movies/the_complete_list.html|title=[[Time magazine's "All-TIME" 100 best movies|All-Time 100 Best Movies]]|year=2005|accessdate=2008-05-19|work=[[Time (magazine)|Time]]|publisher=Time, Inc.}}</ref> and with both ''Pyaasa'' and ''[[Kaagaz Ke Phool]]'' (1959) tied at #160 in the 2002 ''Sight & Sound'' critics' and directors' poll of all-time greatest films. Several other Hindi films from this era were also ranked in the ''Sight & Sound'' poll, including [[Raj Kapoor]]'s ''[[Awaara]]'' (1951), [[Vijay Bhatt]]'s ''[[Baiju Bawra (1952 film)|Baiju Bawra]]'' (1952), [[Mehboob Khan]]'s ''[[Mother India]]'' (1957) and [[K. Asif]]'s ''[[Mughal-e-Azam]]'' (1960) all tied at #346 on the list.<ref name=Cinemacom>{{cite web|title=2002 Sight & Sound Top Films Survey of 253 International Critics & Film Directors|publisher=Cinemacom|year=2002|url=http://www.cinemacom.com/2002-sight-sound.html|accessdate=2009-04-19}}</ref>

===અર્વાચીન સિનેમા===
In the late 1960s and early 1970s, romance movies and action films starred actors like [[Rajesh Khanna]] and [[Dharmendra]], and actresses like [[Sharmila Tagore]], [[Mumtaz (actress)|Mumtaz]], [[Leena Chandavarkar]] and [[Helen (actress)|Helen]]. In the mid-1970s, romantic confections made way for gritty, violent films about gangsters (see [[Indian mafia]]) and bandits. [[Amitabh Bachchan]], the star known for his "angry young man" roles, rode the crest of this trend with actors like [[Mithun Chakraborty]] and [[Anil Kapoor]], which lasted into the early 1990s. Actresses from this era included [[Hema Malini]], [[Jaya Bachchan]] and [[Rekha]].<ref name="actorsuntil90">{{cite web|title=The Present|author=Ahmed, Rauf|publisher=[[Rediff.com]]|url=http://www.rediff.com/millenni/rauf2.htm|accessdate=2008-06-30 |archiveurl = http://web.archive.org/web/20080529044434/http://www.rediff.com/millenni/rauf2.htm <!-- Bot retrieved archive --> |archivedate = 2008-05-29}}</ref>

Some Hindi filmmakers such as [[Shyam Benegal]] continued to produce realistic [[Parallel Cinema]] throughout the 1970s,<ref name=Rajadhyaksa96-685>Rajadhyaksa, 685</ref> alongside [[Mani Kaul]], [[Kumar Shahani]], [[Ketan Mehta]], [[Govind Nihalani]] and [[Vijaya Mehta]].<ref name=Gokulsing-18/> However, the 'art film' bent of the Film Finance Corporation came under criticism during a Committee on Public Undertakings investigation in 1976, which accused the body of not doing enough to encourage commercial cinema. The 1970s thus saw the rise of commercial cinema in the form of enduring films such as ''[[Sholay]]'' (1975), which solidified Amitabh Bachchan's position as a lead actor. The devotional classic ''[[Jai Santoshi Ma]]'' was also released in 1975.<ref name=Rajadhyaksa96-688>Rajadhyaksa, 688</ref> Another important film from 1975 was ''[[Deewar (1975 film)|Deewar]]'', directed by [[Yash Chopra]] and written by [[Salim-Javed]]. A [[crime film]] pitting "a policeman against his brother, a gang leader based on real-life smuggler [[Haji Mastan]]", portrayed by Amitabh Bachchan, it was described as being “absolutely key to Indian cinema” by [[Danny Boyle]].<ref name=Kumar/> The most internationally-acclaimed Hindi film 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 Foreign Language Film]].

During the late 1980s and early 1990s, the pendulum swung back toward family-centric romantic musicals with the success of such films as ''[[Qayamat Se Qayamat Tak]]'' (1988), ''[[Maine Pyar Kiya]]'' (1989), ''[[Hum Aapke Hain Kaun]]'' (1994) and ''[[Dilwale Dulhania Le Jayenge]]'' (1995), making stars out of a new generation of actors (such as [[Aamir Khan]], [[Salman Khan]] and [[Shahrukh Khan]]) and actresses (such as [[Sridevi]], [[Madhuri Dixit]], [[Juhi Chawla]] and [[Kajol]]).<ref name="actorsuntil90"/> In that point of time, action and comedy films were also successful, with actors like [[Govinda (actor)|Govinda]] and [[Akshay Kumar]] and actresses such as [[Raveena Tandon]] and [[Karisma Kapoor]] appearing in films of this genre. Furthermore, this decade marked the entry of new performers in [[Art films|arthouse]] and independent films, some of which succeeded commercially, the most influential example being ''[[Satya (film)|Satya]]'' (1998), directed by [[Ram Gopal Varma]] and written by [[Anurag Kashyap (director)|Anurag Kashyap]]. The critical and commercial success of ''Satya'' led to the emergence of a distinct genre known as ''[[Mumbai noir]]'',<ref name=Nayar>{{cite news| title = Bollywood on the table| author = Aruti Nayar| work = The Tribune| date = 2007-12-16| accessdate = 2008-06-19| url = http://www.tribuneindia.com/2007/20071216/spectrum/main11.htm}}</ref> urban films reflecting social problems in the city of [[Mumbai]].<ref name=Jungen>{{cite web|title=Urban Movies: The Diversity of Indian Cinema|author=Christian Jungen|publisher=[[FIPRESCI]]|date=4 April 2009|url=http://www.fipresci.org/festivals/archive/2009/fribourg/indian_cinema_chjungen.htm|accessdate=2009-05-11}}</ref> This led to a resurgence of [[Parallel Cinema]] by the end of the decade.<ref name=Nayar/> These films often featured actors like [[Nana Patekar]], [[Manoj Bajpai]], [[Manisha Koirala]], [[Tabu (actress)|Tabu]] and [[Urmila Matondkar]], whose performances were usually critically approved.

The 2000s saw a growth in Bollywood's popularity in the world. This led the nation's filmmaking to new heights in terms of quality, cinematography and innovative story lines as well as technical advances in areas such as special effects, animation, etc.<ref name="Us popularity">Anita N. Wadhwani. [http://www.america.gov/st/washfile-english/2006/August/20060809124617nainawhdaw0.8614466.html "Bollywood Mania" Rising in United States]. US State Department. (9 August 2006. retrieved on 29 July 2010.</ref> Some of the largest production houses, among them [[Yash Raj Films]] and [[Dharma Productions]] were the producers of new modern films.<ref name="Us popularity"/> The opening up of the overseas market, more Bollywood releases abroad and the explosion of multiplexes in big cities, led to wider box office successes in India and abroad, including ''[[Lagaan]]'' (2001), ''[[Devdas (2002 film)|Devdas]]'' (2002), ''[[Koi... Mil Gaya]]'' (2003), ''[[Kal Ho Naa Ho]]'' (2003), ''[[Veer-Zaara]]'' (2004), ''[[Rang De Basanti]]'' (2006), ''[[Lage Raho Munnabhai]]'' (2006), ''[[Krrish]]'' (2006), ''[[Dhoom 2]]'' (2006), ''[[Om Shanti Om]]'' (2007), ''[[Chak De India]]'' (2007), ''[[Rab Ne Bana Di Jodi]]'' (2008), ''[[Ghajini (2008 film)|Ghajini]]''(2008), ''[[3 Idiots]]'' (2009), ''[[My Name is Khan]]'' (2010), ''[[Raajneeti]]'' (2010) & ''[[Dabangg]]'' (2010) delivering a new generation of popular actors ([[Hrithik Roshan]], [[Abhishek Bachchan]], [[Ranbir Kapoor]]) and actresses ([[Aishwarya Rai]], [[Preity Zinta]], [[Rani Mukerji]], [[Kareena Kapoor]] and [[Priyanka Chopra]]<ref>{{cite news|title=Who is the next Bollywood queen?|url=http://timesofindia.indiatimes.com/India_Buzz/Who_is_the_next_Bollywood_queen/articleshow/3085603.cms|author=Tridevi, Tanvi|date=31 May 2008|accessdate=2009-04-02|work=[[The Times of India]]}}</ref><ref>{{cite web|publisher=BoxOfficeIndia.Com|title=Top Actress|url=http://boxofficeindia.com/cpages.php?pageName=top_actress|accessdate=2008-01-08}}</ref>), and keeping the popularity of actors of the previous decade. Among the mainstream films, ''Lagaan'' won the Audience Award at the [[Locarno International Film Festival]] and was nominated for Best Foreign Language Film at the [[74th Academy Awards]], while ''Devdas'' and ''Rang De Basanti'' were both nominated for the [[BAFTA Award for Best Film|BAFTA Award for Best Foreign Language Film]].

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

==બૉલિવૂડનો પ્રભાવ==
Gokulsing and Dissanayake identify six major influences that have shaped the conventions of Indian popular cinema:<ref name=Gokulsing>{{Cite book|title=Indian Popular Cinema: A Narrative of Cultural Change|last=Gokulsing|first=K. Moti|coauthors= Dissanayake, Wimal|publisher=Trentham Books|year=2004|isbn=1858563291|pages=98–99|postscript=<!--None-->}}</ref>

*The ancient '''[[Indian epic poetry|Indian epics]]''' of ''[[Mahabharata]]'' and ''[[Ramayana]]'' which have exerted a profound influence on the thought and imagination of Indian popular cinema, particularly in its narratives. Examples of this influence include the techniques of a [[side story]], [[back-story]] and [[story within a story]]. Indian popular films often have plots which branch off into sub-plots; such narrative dispersals can clearly be seen in the 1993 films ''[[Khalnayak]]'' and ''[[Gardish]]''.<ref name=Gokulsing/>
*Ancient '''[[Sanskrit drama]]''', with its highly stylized nature and emphasis on spectacle, where [[Classical Indian music|music]], [[Classical Indian dance|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 Shastra|natya]]'', derived from the root word ''nrit'' (dance), characterizing them as specacular dance-dramas which has continued Indian cinema.<ref name=Gokulsing/> The theory of ''[[Rasa (aesthetics)|rasa]]'' dating back to ancient Sanskrit drama is believed to be one of the most fundamental features that differentiate Indian cinema, particularly Hindi cinema, from that of the Western world.<ref>{{Cite journal|title=Bollywood, Rasa and Indian Cinema: Misconceptions, Meanings and Millionaire|author=Matthew Jones|journal=Visual Anthropology|volume=23|issue=1|date=January 2010|pages=33–43|doi=10.1080/08949460903368895|postscript=<!--None-->}}</ref>
*The traditional folk '''[[theatre of India]]''', which became popular from around the 10th century with the decline of Sanskrit theatre. These regional traditions include the [[Yatra]] of [[Bengal]], the [[Ramlila]] of [[Uttar Pradesh]], and the [[Terukkuttu]] of [[Tamil Nadu]].<ref name=Gokulsing/>
*The '''[[Parsi]] theatre''', which "blended [[Neorealism (art)|realism]] and [[fantasy]], music and dance, narrative and spectacle, earthy dialogue and ingenuity of stage presentation, integrating them into a dramatic discourse of [[melodrama]]. The Parsi plays contained crude humour, melodious songs and music, sensationalism and dazzling stagecraft."<ref name=Gokulsing/>
*'''[[Cinema of the United States|Hollywood]]''', where [[musical film|musicals]] were popular from the 1920s to the 1950s, though Indian filmmakers departed from their Hollywood counterparts in several ways. "For example, the Hollywood musicals had as their plot the world of entertainment itself. Indian filmmakers, while enhancing the elements of fantasy so pervasive in Indian popular films, used song and music as a natural mode of articulation in a given situation in their films. There is a strong Indian tradition of narrating mythology, history, fairy stories and so on through song and dance." In addition, "whereas Hollywood filmmakers strove to conceal the constructed nature of their work so that the realistic narrative was wholly dominant, Indian filmmakers made no attempt to conceal the fact that what was shown on the screen was a creation, an illusion, a fiction. However, they demonstrated how this creation intersected with people's day to day lives in complex and interesting ways."<ref name=Gokulsing/>
*Western '''musical television''', particularly [[MTV]], which has had an increasing influence since the 1990s, as can be seen in the pace, camera angles, dance sequences and music of 2000s Indian films. An early example of this approach was in [[Mani Ratnam]]'s ''[[Bombay (film)|Bombay]]'' (1995).<ref name=Gokulsing/>

==બૉલિવૂડનો પ્રભાવ==
In the 2000s, Bollywood began influencing [[musical film]]s in the [[Western world]], and played a particularly instrumental role in the revival of the American musical film genre. [[Baz Luhrmann]] stated that his musical film ''[[Moulin Rouge!]]'' (2001) was directly inspired by Bollywood musicals.<ref>{{cite web|url=http://movies.about.com/library/weekly/aa030902a.htm|title=Baz Luhrmann Talks Awards and "Moulin Rouge"}}</ref> The film incorporated an Indian-themed play based on the ancient [[Sanskrit drama]] ''[[Mṛcchakatika|The Little Clay Cart]]'' and a Bollywood-style dance sequence with a song from the film ''[[China Gate (1998 film)|China Gate]]''. The critical and financial success of ''Moulin Rouge!'' renewed interest in the then-moribund Western musical genre, and subsequently films such as ''[[Chicago (2002 film)|Chicago]], [[The Producers (2005 film)|The Producers]], [[Rent (film)|Rent]]'', ''[[Dreamgirls (film)|Dreamgirls]]'', ''[[Hairspray (2007 film)|Hairspray]]'', ''[[Sweeney Todd: The Demon Barber of Fleet Street (2007 film)|Sweeney Todd]]'', ''[[Across the Universe (film)|Across the Universe]]'', ''[[The Phantom of the Opera (2004 film)|The Phantom of the Opera]]'', ''[[Enchanted (film)|Enchanted]]'' and ''[[Mamma Mia! (film)|Mamma Mia!]]''  were produced, fueling a renaissance of the genre.<ref>{{cite web|title=Guide Picks - Top Movie Musicals on Video/DVD|publisher=[[About.com]]|url=http://movies.about.com/library/weekly/aatpmusicals.htm|accessdate=2009-05-15}}</ref><ref>{{cite web|title=Hollywood/Bollywood|publisher=[[Public Broadcasting Service]]|url=http://www.pbs.org/independentlens/cosmopolitan/bollywood.html|accessdate=2010-02-12}}</ref>

[[A. R. Rahman]], an Indian film composer, wrote the music for [[Andrew Lloyd Webber]]'s ''[[Bombay Dreams]]'', and a musical version of ''[[Hum Aapke Hain Koun]]'' has played in London's West End. The Bollywood musical ''[[Lagaan]]'' (2001) was nominated for the [[Academy Award for Best Foreign Language Film]], and two other Bollywood films ''[[Devdas (2002 film)|Devdas]]'' (2002) and ''[[Rang De Basanti]]'' (2006) were nominated for the [[BAFTA Award for Best Film|BAFTA Award for Best Foreign Language Film]]. [[Danny Boyle]]'s ''[[Slumdog Millionaire]]'' (2008), which has won four [[66th Golden Globe Awards|Golden Globes]] and [[81st Academy Awards nominees and winners|eight Academy Awards]], was also directly inspired by Bollywood films,<ref name=Kumar>{{cite web|author=Amitava Kumar|title=Slumdog Millionaire's Bollywood Ancestors|publisher=''[[Vanity Fair (magazine)|Vanity Fair]]''|date=23 December 2008|url=http://www.vanityfair.com/online/oscars/2008/12/slumdog-millionaires-bollywood-ancestors.html|accessdate=2008-01-04}}</ref><ref name=Age>{{cite news|title=Slumdog draws crowds, but not all like what they see|publisher=[[The Age]]|date=25 January 2009|url=http://www.theage.com.au/world/slumdog-draws-crowds-but-not-all-like-what-they-see-20090124-7p33.html|accessdate=2008-01-24|location=Melbourne}}</ref> and is considered to be a "homage to Hindi commercial cinema".<ref name=Hindu>{{cite web|title='Slumdog Millionaire' has an Indian co-director|publisher=[[The Hindu]]|date=11 January 2009|url=http://www.hindu.com/thehindu/holnus/009200901110925.htm|accessdate=2009-01-23}}</ref> The theme of [[reincarnation]] was also popularized in [[Reincarnation in popular western culture|Western popular culture]] through Bollywood films, with ''[[Madhumati]]'' (1958) inspiring the Hollywood film ''[[The Reincarnation of Peter Proud]]'' (1975),<ref name=Doniger-35>{{Cite book|last=Doniger|first=Wendy|title=The woman who pretended to be who she was: myths of self-imitation|chapter=Chapter 6: Reincarnation|pages=112–136 [135]|publisher=[[Oxford University Press]]|year=2005|isbn=0195160169|postscript=<!--None-->}}</ref> which in turn inspired the Bollywood film ''[[Karz (film)|Karz]]'' (1980), which in turn influenced another Hollywood film ''[[Chances Are (film)|Chances Are]]'' (1989).<ref name=Doniger>{{Cite book|last=Doniger|first=Wendy|title=The woman who pretended to be who she was: myths of self-imitation|chapter=Chapter 6: Reincarnation|pages=112–136 [128–31 & 135]|publisher=[[Oxford University Press]]|year=2005|isbn=0195160169|postscript=<!--None-->}}</ref> The 1975 film ''[[Chhoti Si Baat]]'' is believed to have inspired ''[[Hitch (film)|Hitch]]'' (2005), which in turn inspired the Bollywood film ''[[Partner (2007 film)|Partner]]'' (2007).<ref>{{cite web|title=Exploits of a date doc|publisher=[[The Hindu]]|date=15 April 2005|url=http://www.hindu.com/fr/2005/04/15/stories/2005041503170200.htm|accessdate=2009-03-15}}</ref>

The influence of Bollywood ''[[filmi]]'' music can also be seen in [[popular music]] elsewhere in the world. For example, [[Devo]]'s 1988 hit song "Disco Dancer" was inspired by the song "I am a Disco Dancer" from the Bollywood film ''[[Disco Dancer]]'' (1982).<ref>{{YouTube|id=T-BGltttqaE|title=DEVO - disco dancer with commentary}}</ref> The 2002 song "[[Addictive (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).<ref name=VH1>{{cite web|title=Truth Hurts|publisher=[[VH1]]|date=2002-09-19|url=http://www.vh1.com/artists/news/1457672/09192002/truth_hurts.jhtml|accessdate=2009-05-18}}</ref> [[The Black Eyed Peas]]' [[Grammy Award]] winning 2005 song "[[Don't Phunk with My Heart]]" was inspired by two 1970s Bollywood songs: "Ye Mera Dil Yaar Ka Diwana" from ''[[Don (1978 film)|Don]]'' (1978)<ref name=Innes>{{cite web|title=In honor of A R Rahman - examples of Indian music in America|date=28 February 2009|author=Erikka Innes|publisher=SF Indie Music Examiner|url=http://www.examiner.com/x-2629-SF-Indie-Music-Examiner~y2009m2d28-In-honor-of-A-R-Rahman---examples-of-Indian-music-in-America|accessdate=2009-03-01}}</ref> and "Ae Nujawan Hai Sub" from ''[[Apradh]]'' (1972).<ref name=Apradh>{{YouTube|id=fWsSXjIDL3Q|title=ae naujawan hai sub kuchh yahan - Apradh 1972}}</ref> Both songs were originally composed by [[Kalyanji Anandji]], sung by [[Asha Bhosle]], and featured the dancer [[Helen (actress)|Helen]].<ref name=Denselow>{{cite news|author=Robin Denselow|title=Kalyanji Anandji, The Bollywood Brothers|publisher=The Guardian|date=2 May 2008|url=http://www.guardian.co.uk/music/2008/may/02/worldmusic1|accessdate=2009-03-01 | location=London}}</ref> 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 Burman's Bollywood'', which was nominated for "Best Contemporary World Music Album" at the 2006 Grammy Awards. ''Filmi'' music composed by [[A. R. Rahman]] (who would later win two [[Academy Award]]s for the [[Slumdog Millionaire (soundtrack)|''Slumdog Millionaire'' soundtrack]]) has frequently been sampled by musicians elsewhere in the world, including the [[Singapore]]an artist [[Kelly Poon]], the [[Music of Uzbekistan|Uzbek artist]] Iroda Dilroz, the [[France|French]] rap group [[La Caution]], the American artist [[Ciara]], and the [[Germany|German]] band [[Löwenherz]],<ref name=Lowenherz>{{YouTube|id=afpx7qJB_ag|title=Löwenherz - Bis in die Ewigkeit}}</ref> among others. Many [[Asian Underground]] artists, particularly those among the [[Non-resident Indian and Person of Indian Origin|overseas Indian diaspora]], have also been inspired by Bollywood music.

==પ્રણાલીગત પ્રકાર==
{{see also|Masala (film genre)|Parallel Cinema}}

Bollywood films are mostly [[Musical film|musicals]], and are expected to contain catchy music in the form of song-and-dance numbers woven into the script. A film's success often depends on the quality of such musical numbers.<ref>Kalita, S. Mitra (2005). Suburban Sahibs: Three Immigrant Families And Their Passage from India to America. [[Rutgers University Press]], p. 134. ISBN 0-8135-3318-X</ref> Indeed, a film's music is often released before the movie itself and helps increase the audience.

Indian audiences expect full value for their money, with a good entertainer generally referred to as ''[[paisa]]'' ''vasool'', (literally, "money's worth").<ref>{{cite web|author=Gangadhar, V.|title=Moving with the times|date=April 13, 2007|publisher=[[The Hindu]]|url=http://www.hindu.com/fr/2007/04/13/stories/2007041300860100.htm|accessdate=2009-12-09}}</ref> Songs and dances, love triangles, [[comedy]] and dare-devil thrills are all mixed up in a three-hour-long extravaganza with an intermission. Such movies are called ''[[Masala (film genre)|masala]]'' films, after the Hindi word for a spice mixture. Like ''masalas'', these movies are a mixture of many things such as action, comedy, romance etc. Most films have ''heroes'' who are able to fight off villains all by themselves.
[[Image:Achhut Kanya.jpg|thumb|right|Melodrama and romance are common ingredients to Bollywood films. Pictured ''[[Achhut Kanya]]'' (1936)]]
Bollywood plots have tended to be [[melodramatic]]. They frequently employ formulaic ingredients such as star-crossed lovers and angry parents, love triangles, family ties, sacrifice, corrupt politicians, kidnappers, conniving villains, [[Hooker with a heart of gold|courtesans with hearts of gold]], long-lost relatives and siblings separated by fate, dramatic reversals of fortune, and convenient coincidences.

There have always been Indian films with more artistic aims and more sophisticated stories, both inside and outside the Bollywood tradition (see [[Parallel Cinema]]). They often lost out at the box office to movies with more mass appeal. Bollywood conventions are changing, however. A large Indian diaspora in English speaking countries, and increased [[Western culture|Western]] influence at home, have nudged Bollywood films closer to Hollywood models.<ref name="Migration">{{cite book|author=Gupta, Suman; Omoniyi, Tope|url=http://books.google.com/?id=nr2724-bOfMC&pg=PA202&lpg=PA202&dq=bollywood+western+blue+eyes+resistance|year=2001|title=The Cultures of Economic Migration: International Perspectives|page=202|publisher=Ashgate Publishing Ltd|isbn=9780754670704}}</ref>

Film critic Lata Khubchandani writes,"..our earliest films...had liberal doses of sex and kissing scenes in them. Strangely, it was after Independence the censor board came into being and so did all the strictures."<ref>Free Reeling, PLAY, Sunday Mid-day, 11 March 2007, Mumbai. MH/MR/WEST/66/2006-08 {{cite web|url=http://www.mid-day.com/smd/play/2007/march/153266.htm|title=Memories of another day|publisher=mid-day.com|first=Lata|last=Khubchandani}}</ref> Plots now tend to feature Westernised urbanites dating and dancing in clubs rather than centering on pre-arranged marriages. Though these changes can widely be seen in contemporary Bollywood, traditional conservative ways of Indian culture continue to exist in India outside the industry and an element of resistance by some to western-based influences.<ref name="Migration"/> Despite this, Bollywood continues to play a major role in fashion in India.<ref name="Migration"/> Indeed some studies into fashion in India have revealed that some people are unaware that the changing nature of fashion in Bollywood films which are presented to them are often influenced by globalisation and many consider the clothes worn by Bollywood actors as authentically Indian.<ref name="Migration"/>

==કલાકારો અને બીજા સભ્યો==
:''for further details see [[Indian movie actors]], [[Indian movie actresses]], [[Indian film directors]], [[Indian film music directors]] and [[Indian playback singers]]''
Bollywood employs people from all parts of India. It attracts thousands of aspiring actors and actresses, all hoping for a break in the industry. Models and beauty contestants, television actors, theatre actors and even common people come to Mumbai with the hope and dream of becoming a star. Just as in Hollywood, very few succeed. Since many Bollywood films are shot abroad, many foreign extras are employed too.<ref>{{cite web|title=Where East meets West|url=http://www.tribuneindia.com/2007/20070630/saturday/main1.htm|date=30 June 2007|accessdate=2008-08-09|author=A. Chatterji, Shoma|publisher=[[The Tribune]]}}</ref>

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

Only a very few non-Indian actors are able to make a mark in Bollywood, though many have tried from time to time. There have been some exceptions, one recent example is the hit film ''[[Rang De Basanti]]'', where the lead actress is [[Alice Patten]], an Englishwoman. ''[[Kisna]]'', ''[[Lagaan]]'', and ''[[The Rising: Ballad of Mangal Pandey]]'' also featured foreign actors.

Bollywood can be very clannish, and the relatives of film-industry insiders have an edge in getting coveted roles in films or being part of a film's crew. Industry connections are no guarantee of a long career: competition is fierce and if film industry scions do not succeed at the box office, their careers will falter. Some of the biggest stars, such as [[Dharmendra]], [[Amitabh Bachchan]], and [[Shahrukh Khan]] have succeeded despite total lack of show business connections. For film clans, see [[List of Bollywood film clans]].

==ધ્વનિ/અવાજ==
Sound in Bollywood films is rarely recorded on location (otherwise known as sync sound). Therefore, the sound is usually created (or recreated) entirely in the studio,<ref name="dubbing">{{cite news|url=http://movies.indiatimes.com/News-Gossip/Did-you-Know-/Lagaan-used-synchronized-sound/articleshow/3987370.cms|title=Lagaan used synchronized sound|date=January 16, 2009|publisher=[[Indiatimes]]|accessdate=2009-12-29}}</ref> with the actors reciting their lines as their images appear on-screen in the studio in the process known as "looping in the sound" or [[Dubbing (filmmaking)|ADR]]—with the [[Voice Foley|foley]] and sound effects added later. This creates several problems, since the sound in these films usually occurs a frame or two earlier or later than the mouth movements or gestures.<ref name="dubbing"/> The actors have to act twice: once on-location, once in the studio—and the emotional level on set is often very difficult to recreate. Commercial Indian films, not just the Hindi-language variety, are known for their lack of ambient sound, so there is a silence underlying everything instead of the background sound and noises usually employed in films to create aurally perceivable depth and environment.

The ubiquity of ADR in Bollywood cinema became prevalent in the early 1960s with the arrival of the [[Arri|Arriflex 3]] camera, which required a blimp (cover) in order to shield the sound of the camera, for which it was notorious, from on-location filming. Commercial Indian filmmakers, known for their speed, never bothered to blimp the camera, and its excessive noise required that everything had to be recreated in the studio. Eventually, this became the standard for Indian films.

The trend was bucked in 2001, after a 30-year hiatus of synchronized sound, with the film ''[[Lagaan]]'', in which producer-star [[Aamir Khan]] insisted that the sound be done on location.<ref name="dubbing"/> This opened up a heated debate on the use and economic feasibility of on-location sound, and several Bollywood films have employed on-location sound since then.

==બૉલિવૂડ ગાયન અને નૃત્ય==
{{see|Hindi dance songs|Filmi}}

[[Image:Bolywood.jpg|thumb|right|Bollywood dances usually follow ''[[filmi]]'' songs]]

Bollywood film music is called [[filmi]] music (from Hindi, meaning "of films"). Songs from Bollywood movies are generally pre-recorded by professional playback singers, with the actors then [[lip sync]]hing the words to the song on-screen, often while dancing. While most actors, especially today, are excellent dancers, few are also singers. One notable exception was [[Kishore Kumar]], who starred in several major films in the 1950s while also having a stellar career as a playback singer. [[Kundan Lal Saigal|K. L. Saigal]], Suraiyya, and [[Noor Jehan]] were also known as both singers and actors. Some actors in the last thirty years have sung one or more songs themselves; for a list, see [[Singing actors and actresses in Indian cinema]].

Playback singers are prominently featured in the opening credits and have their own [[Fan (aficionado)|fans]] who will go to an otherwise lackluster movie just to hear their favourites. Going by the quality as well as the quantity of the songs they rendered, most notable singers of Bollywood are [[Lata Mangeshkar]], [[Asha Bhosle]], [[Geeta Dutt]], [[Shamshad Begum]] and [[Alka Yagnik]] among female playback singers; and K. L. Saigal, Talat Mahmood, [[Mukesh (singer)|Mukesh]], [[Mohammed Rafi]], [[Manna Dey]], [[Hemant Kumar]], [[Kishore Kumar]], [[Kumar Sanu]], [[S.P.Balasubramanyam]], [[Udit Narayan]] and [[Sonu Nigam]] among male playback singers. Mohammed Rafi is often considered arguably the finest of the singers that have lent their voice to Bollywood songs, followed by Lata Mangeshkar, who, through the course of a career spanning over six decades, has recorded thousands of songs for Indian movies. The [[composer]]s of film music, known as music directors, are also well-known. Their songs can make or break a film and usually do. [[Remix]]ing of film songs with modern beats and rhythms is a common occurrence today, and producers may even release remixed versions of some of their films' songs along with the films' regular [[soundtrack]] albums.

The dancing in Bollywood films, especially older ones, is primarily modelled on Indian dance: classical dance styles, dances of historic northern Indian courtesans ([[tawaif]]), or [[folk dance]]s. In modern films, Indian dance elements often blend with Western dance styles (as seen on [[MTV]] or in Broadway musicals), though it is usual to see Western pop ''and'' pure classical dance numbers side by side in the same film. The hero or heroine will often perform with a troupe of supporting dancers. Many song-and-dance routines in Indian films feature unrealistically instantaneous shifts of location or changes of costume between verses of a song. If the hero and heroine dance and sing a duet, it is often staged in beautiful natural surroundings or architecturally grand settings. This staging is referred to as a "picturisation".

Songs typically comment on the action taking place in the movie, in several ways. Sometimes, a song is worked into the plot, so that a character has a reason to sing. Other times, a song is an externalisation of a character's thoughts, or presages an event that has not occurred yet in the plot of the movie. In this case, the event is often two characters falling in love. The songs are also often referred to as a "dream sequence", and anything can happen that would not normally happen in the real world.

Previously song and dance scenes often used to be shot in [[Kashmir]], but due to political unrest in Kashmir since the end of the 1980s,<ref>[http://news.bbc.co.uk/2/hi/south_asia/2935951.stm BBC News: Kashmir beckons Bollywood] (10 April 2003).</ref> those scenes have since then often been shot in Western Europe, particularly in [[Switzerland]]<ref>[http://www.museum-gestaltung.ch/Htmls/Ausstellungen/Archiv/2002/Bollywood/E_Bollywood.html BOLLYWOOD - The Indian Cinema and Switzerland (2002)].</ref> and [[Austria]].<ref>[http://www.hindu.com/2008/02/14/stories/2008021459770700.htm The Hindu: Bollywood boosts Austria’s tourism potential]. (2008).</ref>

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

For the last few decades Bollywood producers have been releasing the film's soundtrack, as tapes or CDs, before the main movie release, hoping that the music will pull audiences into the cinema later. Often the soundtrack is more popular than the movie. In the last few years some producers have also been releasing music videos, usually featuring a song from the film. However, some promotional videos feature a song which is not included in the movie.

==સંવાદો અને ગીતો==
{{Main|Bollywood songs}}
The film script or lines of dialogue (called "dialogues" in Indian English) and the song lyrics are often written by different people.

Dialogues are usually written in an unadorned Hindi<ref name="britannica"/> or [[Hindustani language|Hindustani]] that would be understood by the largest possible audience. Some movies, however, have used regional dialects to evoke a village setting, or old-fashioned courtly [[Urdu]] in [[Mughal era]] historical films. Contemporary mainstream movies also make great use of English. Some movie scripts are first written in [[Roman alphabet]].<ref>{{cite web|author=Us Salam, Ziya|title=Assault of the mixed doubles|date=August 12, 2007|publisher=[[The Hindu]]|url=http://www.hindu.com/mag/2007/08/12/stories/2007081250070400.htm|accessdate=2009-12-09}}</ref> Characters may shift from one language to the other to express a certain atmosphere (for example, English in a business setting and Hindi in an informal one).

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

Music directors often prefer working with certain lyricists, to the point that the lyricist and composer are seen as a team. This phenomenon is like the pairings of American composers and songwriters that created old-time Broadway musicals (''e.g.,'' [[Richard Rodgers]] and [[Oscar Hammerstein II]], or [[Alan Jay Lerner]] and [[Frederick Loewe]]). Song lyrics are usually about love. Bollywood song lyrics, especially in the old movies, frequently use Arabo-Persic Urdu vocabulary. Another source for love lyrics is the long [[Hindu]] tradition of poetry about the mythological amours of [[Krishna]], [[Radha]], and the [[gopi]]s. Many lyrics compare the singer to a devotee and the object of his or her passion to Krishna or Radha.

==નાણાં સ્ત્રોત==
Bollywood films are multi-million dollar productions, with the most expensive productions costing up to 100 [[crore]]s [[Indian rupee|rupees]] (roughly [[USD]] 20 million). [[Set (drama)|Sets]], costumes, [[special effects]], and [[cinematography]] were less than world-class up until the mid-to-late 1990s, although with some notable exceptions. As Western films and television gain wider distribution in India itself, there is an increasing pressure for Bollywood films to attain the same production levels, particularly in areas such as action and special effects. Recent Bollywood films have employed international technicians to improve in these areas, such as ''[[Krrish]]'' (2006) which has action choreographed by [[Hong Kong]] based [[Tony Ching Siu-Tung|Tony Ching]]. The increasing accessibility to professional action and special effects, coupled with rising film budgets, has seen an explosion in the action and sci-fi genres.

Sequences shot overseas have proved a real [[box office]] draw, so Mumbai film crews are increasingly filming in [[Australia]], [[Canada]], [[New Zealand]], the [[United Kingdom]], the [[United States]], [[continental Europe]] and elsewhere. Nowadays, Indian producers are winning more and more funding for big-budget films shot within India as well, such as ''[[Lagaan]]'', ''[[Devdas (2002 film)|Devdas]]'' and other recent films.

Funding for Bollywood films often comes from private distributors and a few large [[Movie studio|studios]]. Indian banks and financial institutions were forbidden from lending money to movie studios. However, this ban has now been lifted.<ref>{{cite web|url=http://www.rediff.com/entertai/2001/mar/31sush.htm|title=Rediff: 'I & B Ministry will help film industry'}}</ref> As finances are not regulated, some funding also comes from illegitimate sources, such as the [[Mumbai underworld]]. The Mumbai underworld has been known to be involved in the production of several films, and are notorious for their patronisation of several prominent film personalities; On occasion, they have been known to use money and muscle power to get their way in cinematic deals. In January 2000, Mumbai mafia hitmen shot [[Rakesh Roshan]], a film director and father of star [[Hrithik Roshan]]. In 2001, the [[Central Bureau of Investigation]] seized all prints of the movie ''[[Chori Chori Chupke Chupke]]'' after the movie was found to be funded by members of the [[Mumbai underworld]].<ref>{{cite web|author=Singh, Vijay|title=Bharat Shah sentenced, but won't have to spend time in prison|date=1 October 2003|url=http://www.rediff.com/news/2003/oct/01shah.htm|publisher=[[Rediff.com]]|accessdate=2008-02-14}}</ref>

Another problem facing Bollywood is widespread [[copyright infringement]] of its films. Often, bootleg [[DVD#DVD Video|DVD]] copies of movies are available before the prints are officially released in [[movie theater|cinemas]]. Manufacturing of bootleg DVD, VCD, and VHS copies of the latest movie titles is a well established 'small scale industry' in parts of [[South Asia]] and [[South East Asia]]. The Federation of Indian Chambers of Commerce and Industry (FICCI) estimates that the Bollywood industry loses $100 million annually in loss of revenue from pirated home videos and DVDs. Besides catering to the homegrown market, demand for these copies is large amongst some sections of the [[Indian diaspora]], too. (In fact, bootleg copies are the only way people in Pakistan can watch Bollywood movies, since the Government of Pakistan has banned their sale, distribution and telecast). Films are frequently broadcast without compensation by countless small cable TV companies in India and other parts of South Asia. Small convenience stores run by members of the Indian diaspora in the U.S. and the UK regularly stock tapes and DVDs of dubious provenance, while consumer copying adds to the problem. The availability of illegal copies of movies on the Internet also contributes to the piracy problem.

Satellite TV, television and imported foreign films are making huge inroads into the domestic Indian entertainment market. In the past, most Bollywood films could make money; now fewer tend to do so. However, most Bollywood producers make money, recouping their investments from many sources of revenue, including selling ancillary rights. There are also increasing returns from theatres in Western countries like the United Kingdom, Canada, and the United States, where Bollywood is slowly getting noticed. As more Indians migrate to these countries, they form a growing market for upscale Indian films.

For an interesting comparison of Hollywood and Bollywood financial figures, see [http://www.businessweek.com//magazine/content/02_48/art02_48/a48tab37.gif chart]. It shows tickets sold in 2002 and total revenue estimates. Bollywood sold 3.6 billion tickets and had total revenues (theatre tickets, DVDs, television etc.) of [[United States dollar|US$]]1.3 billion, whereas Hollywood films sold 2.6 billion tickets and generated total revenues (again from all formats) of US$51 billion.

==જાહેરાત==
Many Indian artists used to make a living by hand-painting movie billboards and posters (The well-known artist [[M F Husain|M.F. Hussain]] used to paint film posters early in his career). This was because human labour was found to be cheaper than printing and distributing publicity material.<ref name="paint">{{cite news|url=http://timesofindia.indiatimes.com/articleshow/1027777.cms|title=A different canvas|publisher=[[The Times of India]]|date=21 February 2005|accessdate=2008-11-21|author=Ramanan, Manju}}</ref> Now, a majority of the huge and ubiquitous billboards in India's major cities are created with computer-printed vinyl. The old hand-painted posters, once regarded as ephemera, are becoming increasingly collectible as [[folk art]].<ref name="paint"/>

Releasing the film music, or music videos, before the actual release of the film can also be considered a form of advertising. A popular tune is believed to help pull audiences into the theaters.<ref>{{cite book|author=Skelton, Tracey;Allen, Tim|title=Culture and Global Change|year=1999|publisher=Routledge|isbn=0415139171|page=269}}</ref>

Bollywood publicists have begun to use the Internet as a venue for advertising. Most of the better-funded film releases now have their own websites, where browsers can view trailers, stills, and information about the story, cast, and crew.<ref>{{cite news|url=http://timesofindia.indiatimes.com/articleshow/36007765.cms|title=Bollywood wakes up to the power of Web|publisher=[[The Times of India]]|date=31 January 2003|accessdate=2008-11-21|author=Ferrao, Dominic}}</ref>

Bollywood is also used to advertise other products. [[Product placement]], as used in Hollywood, is widely practiced in Bollywood.<ref>{{cite web|url=http://www.indiantelevision.com/special/y2k3/valuecreation5.htm|title=Indian Television: Leo Entertainment capitalises on film placements}}</ref>

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

==પૂરસ્કારો==
The [[Filmfare Awards]] ceremony is one of the most prominent film events given for Hindi films in India.<ref>{{cite news|url=http://movies.indiatimes.com/articleshow/msid-1367349,prtpage-1.cms |title=Filmfare Awards gets new sponsor |publisher=Movies.indiatimes.com |date= |accessdate=2010-11-12}}</ref> The Indian screen magazine ''[[Filmfare]]'' started the first Filmfare Awards in 1954, and awards were given to the best films of 1953. The ceremony was referred to as the ''Clare Awards'' after the magazine's editor. Modelled after the poll-based merit format of the [[Academy of Motion Picture Arts and Sciences]], individuals may submit their votes in separate categories. A dual voting system was developed in 1956.<ref>{{cite web|url=http://www.dnnworld.com/filmfare.php |title=Diaspora News & Network Ltd |publisher=Dnnworld.com |date=2005-03-04 |accessdate=2010-11-12}}</ref> Like the Oscars, the Filmfare awards are frequently accused of bias towards commercial success rather than artistic merit.

As the Filmfare, the [[National Film Awards]] were introduced in 1954. Since 1973, the Indian government has sponsored the National Film Awards, awarded by the government run [[Directorate of Film Festivals]] (DFF). The DFF screens not only Bollywood films, but films from all the other regional movie industries and independent/art films. These awards are handed out at an annual ceremony presided over by the President of India. Under this system, in contrast to the National Film Awards, which are decided by a panel appointed by Indian Government, the Filmfare Awards are voted for by both the public and a committee of experts.<ref>[http://www.bollywoodsoundtracks.com/html/filmfareawards.htm Filmfare Awards Complete Winners List - BollywoodSoundtracks.com<!-- Bot generated title -->]</ref>

Additional ceremonies held within India are:
* [[Stardust Awards]]
* [[Star Screen Awards]]

Ceremonies held overseas are:
* [[Bollywood Movie Awards]] - [[Long Island]], New York, United States
* [[Global Indian Film Awards]] - (different country each year)
* [[IIFA Awards]] - (different country each year)
* [[Zee Cine Awards]]- (different country each year)

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

==ફિલ્મ શિક્ષણ==
*[[Film and Television Institute of India]]
*[[Satyajit Ray Film and Television Institute]]
*[[Asian Academy of Film & Television]]

==લોકપ્રિયતા અને આકર્ષણ==
{{See also| List of highest-grossing Bollywood films}}
Besides being popular among the India diaspora, such far off locations as Nigeria to Egypt to Senegal and to Russia generations of non-Indian fans have grown up with Bollywood during the years, bearing witness to the cross-cultural appeal of Indian movies.<ref name="samar"/> Over the last years of the twentieth century and beyond, Bollywood progressed in its popularity as it entered the consciousness of Western audiences and producers.<ref name="Us popularity"/><ref name=businessweek>[http://www.businessweek.com/magazine/content/02_48/b3810013.htm Can new money create a world-class film industry in India?]. Business Week.</ref>

===આફ્રિકા===
Historically, Hindi films have been distributed to some parts of Africa, largely by [[Lebanon|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 people|Hausa]] fashions, songs have also been copied by Hausa singers and stories have influenced the writings of Nigerian novelists. Stickers of Indian films and stars decorate taxis and buses in Northern Nigeria, while posters of Indian films adorn the walls of tailor shops and mechanics' garages in the country. Unlike in [[Europe]] and [[North America]] where Indian films largely cater to the expatriate Indian market yearning to keep in touch with their homeland, in [[West Africa]], as in many other parts of the world, such movies rose in popularity despite the lack of a significant Indian audience, where movies are about an alien culture, based on a religion wholly different, and, for the most part, a language that is unintelligble to the viewers. One such explanation for this 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 seen to have "no shame". In Indian movies women were modestly dressed, men and women rarely kiss, and there is no [[nudity]], thus Indian movies are said to "have culture" that Hollywood films lack. The latter choice was a failure because "they don't base themselves on the problems of the people," where the former is based [[socialist]] values and on the reality of developing countries emerging from years of colonialism. Indian movies also allowed for a new youth culture to follow without such ideological baggage as "becoming western."<ref name="samar">{{cite web|last=Larkin |first=Brian |url=http://www.samarmagazine.org/archive/article.php?id=21 |title=Bollywood Comes To Nigeria |publisher=Samarmagazine.org |date=2002-08-31 |accessdate=2010-11-12}}</ref>

Bollywood is also popular among [[Somali people|Somalis]] and the Somali diaspora, where the emerging [[Islamic Courts Union]] found a [[wiktionary:Bete noire|bete noire]].<ref>{{cite news|url=http://news.bbc.co.uk/2/hi/africa/4435366.stm|title=Cinema clashes end in Mogadishu | work=BBC News | date=2005-11-14 | accessdate=2009-12-31}}</ref> [[Chad]] and [[Ethiopia]] have also shown an interest in the movies.<ref>{{cite web|url=http://washingtonbureau.typepad.com/nairobi/2008/08/you-from-indian.html |title=McClatchy blog: Somewhere in Africa |publisher=Washingtonbureau.typepad.com |date=2008-08-06 |accessdate=2010-11-12}}</ref>

Several Bollywood personalities have avenued to the continent for both shooting movies and off-camera projects. The film ''[[Padmashree Laloo Prasad Yadav]]'' (2005) was one of many movies shot in South Africa.<ref>{{cite web|author=Balchand, K.|title=Lalu Prasad, at home|date=September 26, 2004|publisher=[[The Hindu]]|url=http://www.hindu.com/2004/09/26/stories/2004092600682000.htm|accessdate=2009-12-09}}</ref> ''[[Dil Jo Bhi Kahey]]'' (2005) was shot almost entirely in [[Mauritius]], which has a large ethnically Indian population.

Ominously, however, the popularity of old Bollywood versus a new, changing Bollywood seems to be diminishing the popularity on the continent. The changing style of Bollywood has begun to question such an acceptance. The new era features more sexually explicit and violent films. Nigerian viewers, for example, commented that older films of the 1950s and 1960s had culture to the newer, more westernized picturizations.<ref name="samar"/> The old days of India avidly "advocating decolonization&nbsp;... and India's policy was wholly influenced by his missionary zeal to end racial domination and discrimination in the African territories" were replaced by newer realities.<ref>{{cite web|url=http://www.salon.com/tech/htww/2007/06/13/bollywood_in_africa/ |title=Bollywood in Africa - Is it getting too Western? - How the World Works |publisher=Salon.com |date=2007-06-13 |accessdate=2010-11-12}}</ref> The emergence of [[Nollywood]], Africa's local movie industry has also contributed to the declining popularity of Bollywood films. A greater [[globalization|globalised]] world worked in tandem with the sexualisation of Indian films so as to become more like American films, thus negating the preferred values of an old Bollywood and diminishing Indian [[soft power]].

===એશિયા===
Bollywood films are widely watched in [[South Asia]]n countries, such as [[Bangladesh]], [[Nepal]], [[Pakistan]] and [[Sri Lanka]].

Many Pakistanis watch Bollywood films, as they understand Hindi (due to its linguistic similarity to [[Urdu]]).<ref name="Pakistan">{{cite web| url=http://www.newindpress.com/NewsItems.asp?ID=IEE20051004061008&Page=E&Title=Startrek&Topic=0| title=Despite official ban, Hindi movies are a craze in Pakistan| accessdate=2008-02-05}}</ref> Pakistan banned the legal import of Bollywood movies in 1965. However, a thriving trade in pirated DVDs<ref>{{cite web| url=http://www.expressindia.com/news/fullstory.php?newsid=67664|title=Bollywood stumbles in Pak with Taj Mahal|accessdate=2008-11-21|publisher=[[The Indian Express]]|date=14 May 2006}}</ref> and illegal cable broadcasts ensured the continued popularity of Bollywood releases in Pakistan. Exceptions were made for a few films, such as the 2006 colorized re-release of the classic ''[[Mughal-e-Azam]]'' or the 2006 film ''[[Taj Mahal]]''. Early in 2008, the Pakistani government eased the ban and allowed the import of even more movies; 16 were screened in 2008.<ref>{{cite web| url=http://www.thaindian.com/newsportal/politics/will-it-be-curtains-for-indian-films-in-pakistan_100137752.html|title=Will it be curtains for Indian films in Pakistan?|accessdate=2010-02-23|publisher=[[ThaIndian]]|date=9 January 2009}}</ref> Continued easing followed in 2009 and 2010. The new policy is controversial in Pakistan. It is opposed by ardent nationalists and representatives of Pakistan's small film industry; it is embraced by cinema owners, who are booking large profits after years of poor receipts.<ref>{{cite web|url=http://www.outlookindia.com/article.aspx?264316|title=The Mirror is Watching\accessdate=2009-02-23|publisher=[[Outlook India]]|date=1 March 2010}}</ref>

Bollywood movies are also popular in [[Afghanistan]] due to the country's proximity with the Indian subcontinent and certain other cultural perspectives present in the movies.<ref>India, more so than Pakistan seems to share a similar style of music and musical instruments with Afghanistan. [http://www.thehindubusinessline.com/2005/05/09/stories/2005050900561400.htm The Hindu Business Line: It's Bollywood all the way in Afghanistan]</ref> A number of Bollywood movies were filmed inside Afghanistan while some dealt with the country, including ''[[Dharmatma]]'', ''[[Kabul Express]]'', ''[[Khuda Gawah]]'' and ''[[Escape From Taliban]]''.<ref>{{cite news|url=http://archives.cnn.com/2002/WORLD/asiapcf/central/08/29/kabul.tv/index.html|title=CNN World: Kabul TV bans 'explicit' Indian films, soaps | date=2002-08-29 | accessdate=2010-04-26}}</ref><ref>{{cite news|url=http://news.bbc.co.uk/1/hi/entertainment/film/1679115.stm|title=BBC: Bollywood eyes Afghan market | date=2001-11-27 | accessdate=2009-12-31 | work=BBC News}}</ref> Hindi films have also been popular in numerous [[Arab world|Arab countries]], including Palestine, Jordan, Egypt and the [[Persian Gulf States|Gulf countries]].<ref>{{cite news|url=http://timesofindia.indiatimes.com/articleshow/2121632.cms|title=Bollywood films gaining popularity in Gulf countries|date=8 October 2006|accessdate=2008-11-21|publisher=[[The Times of India]]|author=PTI}}</ref>
Imported Indian films are usually subtitled in Arabic upon the film's release. Since the early 2000s, Bollywood has progressed in [[Israel]]. Special channels dedicated to Indian films have been displayed on cable television.<ref>{{cite web|url=http://www.tribuneindia.com/2004/20041116/world.htm|title=Indian films swamp Israel|date=16 November 2004|accessdate=2008-11-21|publisher=[[The Tribune]]|author=PTI}}</ref> Bollywood films are also popular across [[Southeast Asia]] (particularly the [[Malay Archipelago]])<ref>{{cite web|author=Yogendra Singh|title=Bollywood in Southeast Asia|publisher=[[Institute of Peace and Conflict Studies]]|date=19 November 2008|url=http://www.ipcs.org/article_details.php?articleNo=2734|accessdate=2009-05-18}}</ref> and [[Central Asia]] (particularly in [[Uzbekistan]]<ref>{{cite news|date=24 October 1998|title=Bollywood stirs Uzbek passions|title=Indian films are known for their all singing all dancing formula|author=Louise Hidalgo|url=http://news.bbc.co.uk/1/hi/world/south_asia/200689.stm|accessdate=2009-05-18 | work=BBC News}}</ref> and [[Tajikistan]]).<ref>{{cite news|date=Wednesday, 23 June 2004|title=Bollywood bowls Tajiks over|publisher=BBC News|author=Monica Whitlock & Rahim Rahimian|url=http://news.bbc.co.uk/1/hi/world/south_asia/3834295.stm|accessdate=2009-05-18}}</ref>

Some Hindi movies also became big successes in the [[People's Republic of China]] during the 1940s and 1950s. The most popular Hindi films in [[China]] were ''[[Dr. Kotnis Ki Amar Kahani]]'' (1946), ''[[Awaara]]'' (1951) and ''[[Two Acres of Land]]'' (1953). [[Raj Kapoor]] was a famous [[movie star]] in China, and the song "Awara Hoon" ("I am a Tramp") was popular in the country. Since then, Hindi films significantly declined in popularity in China, until the [[Academy Award]] nominated ''[[Lagaan]]'' (2001) became the first Indian film to have a nation-wide release there in decades.<ref>{{cite web|title=Lagaan revives memories of Raj Kapoor in China|author=Anil K. Joseph|publisher=[[Press Trust of India]]|date=20 November 2002|url=http://www.expressindia.com/news/fullstory.php?newsid=16983|accessdate=2009-01-30}}</ref> The [[Cinema of China|Chinese]] filmmaker [[He Ping]] was impressed by ''Lagaan'', especially its soundtrack, and thus hired the film's music composer [[A. R. Rahman]] to score the soundtrack for his film ''[[Warriors of Heaven and Earth]]'' (2003).<ref>{{cite web|title=Rahman's 'Lagaan' cast a spell on me|publisher=[[Sify]]|date=13 February 2004|url=http://sify.com/peopleandplaces/fullstory.php?id=13388284|accessdate=2009-02-24}}</ref> Several older Hindi films also have a cult following in [[Japan]], particularly the films directed by the late [[Guru Dutt]].<ref>{{cite web|title=Asian Film Series No.9 GURU DUTT Retorospective|publisher=[[Japan Foundation]]|year=2001|url=http://www.jpf.go.jp/e/culture/new/old/0101/01_03.html|accessdate=2009-05-13}}</ref>

===યુરોપ===
The awareness of Hindi cinema is substantial in the United Kingdom,<ref>{{cite web|url=http://www.businessweek.com/magazine/content/02_48/b3810013.htm|title=Can new money create a world-class film industry in India?}}</ref> where they frequently enter the UK top ten. Many films, such as ''[[Kabhi Khushi Kabhie Gham]]'' (2001) have been set in London. Bollywood is also appreciated in [[France]], [[Germany]], the [[Netherlands]],<ref>Francis C. Assisi.  [http://www.planetbollywood.com/displayArticle.php?id=051806123941 Bollywood Culture Binds Global Indian Diaspora]</ref> and the [[Scandinavia]]n countries. Various Bollywood movies are dubbed in German and shown on the German television channel [[RTL II]] on a regular basis.<ref>{{cite web|url=http://www.tribuneindia.com/2004/20041205/spectrum/main3.htm|title=Bollywood in Germany|publisher=[[The Tribune]]|date=5 December 2004|author=Lehmann, Ana|accessdate=2008-11-21}}</ref> 

Bollywood films are particularly popular in the former [[Soviet Union]]. Bollywood films have been [[Dubbing (filmmaking)|dubbed]] into Russian, and shown in prominent theatres such as [[Mosfilm]] and [[Lenfilm]].

Ashok Sharma, Indian Ambassador to [[Suriname]], who has served three times in the [[Commonwealth of Independent States]] region during his diplomatic career said:
{{quote|The popularity of Bollywood in the CIS dates back to the Soviet days when the films from Hollywood and other Western countries were banned in the Soviet Union. As there was no means of other cheap entertainment, the films from Bollywood provided the Soviets a cheap source of entertainment as they were supposed to be non-controversial and non-political. In addition, the Soviet Union was recovering from the onslaught of the Second World War. The films from India, which were also recovering from the disaster of partition and the struggle for freedom from colonial rule, were found to be a good source of providing hope with entertainment to the struggling masses. The aspirations and needs of the people of both countries matched to a great extent. These films were dubbed in Russian and shown in theatres throughout the Soviet Union. The films from Bollywood also strengthened family values, which was a big factor for their popularity with the government authorities in the Soviet Union.<ref>{{cite web|url=http://www.chillibreeze.com/articles/Indian-films.asp|title=Promoting Bollywood Abroad Will Help to Promote India|last=Ashreena|first=Tanya}}</ref>}}

The film ''[[Mera Naam Joker]]'' (1970), sought to cater to such an appeal and the popularity of [[Raj Kapoor]] in Russia, when it recruited Russian actress [[Kseniya Ryabinkina]] for the movie. In the contemporary era, [[Lucky: No Time for Love]] was shot entirely in Russia. After the collapse of the Soviet film distribution system, Hollywood occupied the void created in the Russian film market. This made things difficult for Bollywood as it was losing market share to Hollywood. However, Russian newspapers report that there is a renewed interest in Bollywood among young Russians.<ref>[http://www.russiatoday.ru/features/news/11895 RussiaToday : Features : Bollywood challenges Hollywood in Russia]{{dead link|date=November 2010}}</ref>

===ઉત્તર અમેરિકા===
Bollywood has experienced a marked growth in revenue in North American markets, and is particularly popular amongst the [[desi|South Asian communities]] in large cities as Chicago, Toronto and New York City.<ref name="Us popularity"/> [[Yash Raj Films]], one of India's largest production houses and distributors, reported in September 2005 that Bollywood films in the United States earn around $100 million a year through theater screenings, video sales and the sale of movie soundtracks.<ref name="Us popularity"/> In other words, films from India do more business in the United States than films from any other non-English speaking country.<ref name="Us popularity"/> Numerous films in the mid-1990s and onwards have been largely, or entirely, shot in New York, Los Angeles, Vancouver and Toronto. Bollywood's immersion in the traditional Hollywood domain was further tied with such films as ''[[The Guru (2002 film)|The Guru]]'' (2002) and ''[[Marigold: An Adventure in India]]'' (2007) trying to popularise the Bollywood-theme for Hollywood.

===Oceania===
Bollywood is not as successful in the Oceanic countries and Pacific Islands such as [[New Guinea]]. However, it ranks second to Hollywood in countries such as [[Fiji]], with its large Indian minority, Australia and New Zealand.<ref name="Oceania">{{cite news|url=http://economictimes.indiatimes.com/News/News_By_Industry/ET_Cetera/Bollywood_clubs_popular_among_Australians/articleshow/2372640.cms|title=Bollywood clubs popular among Australians|publisher=[[The Times of India]]|date=15 September 2007|accessdate=2007-11-12|author=IANS|archiveurl=http://web.archive.org/web/20080212095151/http://economictimes.indiatimes.com/News/News_By_Industry/ET_Cetera/Bollywood_clubs_popular_among_Australians/articleshow/2372640.cms|archivedate=12 February 2008}}</ref>

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.<ref name="Oceania"/> Since 1997 the country has provided a backdrop for an increasing number of Bollywood films.<ref name="Oceania"/> Indian filmmakers have been attracted to Australia's diverse locations and landscapes, and initially used it as the setting for song-and-dance sequences, which demonstrated the contrast between the values.<ref name="Oceania"/> However, nowadays, Australian locations are becoming more important to the plot of Bollywood films.<ref name="Oceania"/> Hindi films shot in Australia usually incorporate aspects of Australian lifestyle. The [[Yash Raj Films|Yash Raj Film]] ''[[Salaam Namaste]]'' (2005) became the first Indian film to be shot entirely in Australia and was the most successful Bollywood film of 2005 in the country.<ref>{{cite news|author=Phillips, Mark|url=http://www.theage.com.au/news/Film/Bollywood-on-Bourke-Street/2005/05/12/1115843307939.html|title=Bollywood on Bourke Street|publisher=[[The Age]]|date=13 May 2005|accessdate=2008-08-18|location=Melbourne}}</ref> This was followed by ''[[Heyy Babyy]]'' (2007) ''[[Chak De! India]]'' (2007) and ''[[Singh Is Kinng]]'' (2008) which turned out to be box office successes.<ref name="Oceania"/> Following the release of ''Salaam Namaste'', on a visit to India the then Prime Minister [[John Howard]] also sought, having seen the film, to have more Indian movies shooting in the country to boost tourism, where the Bollywood and cricket nexus, was further tightened with [[Steve Waugh]]'s appointment as tourism ambassador to India.<ref>{{cite web|url=http://www.bonza.rmit.edu.au/essays/2006/Mithila%20Gupta/CollectionofAnnotatedRef.html|title=Australian PM says Salaam Namaste to Bollywood|publisher=bonza.rmit.edu.au|date=7 March 2006|accessdate=2008-11-17}}</ref> Australian actress [[Tania Zaetta]], who co-starred in ''Salaam Namaste'', among other Bollywood films, expressed her keenness to expand her career in Bollywood.<ref>{{cite news|url=http://www.smh.com.au/news/people/tania-zaettas-bollywood-career-in-doubt/2008/05/23/1211183051898.html|title=Tania Zaetta's Bollywood career in doubt|publisher=[[The Sydney Morning Herald]]|date=23 May 2008|accessdate=2008-11-17|author=Ramachandran, Arjun}}</ref>

===દક્ષિણ અમેરિકા===
Bollywood movies are not influential in South America, though Bollywood culture and dance is recognised. In 2006, ''[[Dhoom 2]]'' became the first Bollywood film to be shot in [[Rio de Janeiro]], [[Brazil]].<ref>{{cite web|url=http://www.rediff.com/movies/2006/sep/15sfa.htm|title=Will Hrithik's Dhoom 2 prove lucky for Brazil?|date=15 September 2006|author=Firdaus Ashraf, Syed|publisher=[[Rediff.com]]|accessdate=2008-03-05}}</ref>

==ઉઠાંતરી==
Constrained by rushed production schedules and small budgets, some Bollywood writers and musicians have been known to resort to [[plagiarism]]. Ideas, plot lines, tunes or riffs have been copied from other [[Cinema of India|Indian film industries]] or foreign films (including [[Cinema of the United States|Hollywood]] and other [[Asian cinema|Asian films]]) without acknowledgement of the original source. This has led to criticism towards the film industry.<ref name="Times plagiarism">{{cite news|url=http://timesofindia.indiatimes.com/cms.dll/html/uncomp/articleshow?msid=46715385|title=Plagiarism issue jolts Bollywood.|publisher=The Times Of India|accessdate=2007-10-17|first1=Meenakshi|last1=Shedde|date=2003-05-18}}</ref> 

In past times, this could be done with impunity. [[Copyright]] enforcement was lax in India and few actors or directors ever saw an official contract.<ref name="Ayres">{{cite book|author=Ayres, Alyssa; Oldenburg, Philip|url=http://books.google.com/?id=gi7w-vTfELsC&pg=PA174&dq=bollywood+plagiarism#PPA174,M1|title=India briefing: takeoff at last|publisher=M.E. Sharpe|year=2005|page=174|isbn=9780765615930}}</ref> The Hindi film industry was not widely known to non-Indian audiences (excluding the [[Soviet Union|Soviet]] states), who would not even be aware that their material was being copied. Audiences may also not have been aware of the plagiarism since many audiences in India were unfamiliar with foreign films and music. While copyright enforcement in India is still somewhat lenient, Bollywood and other film industries are much more aware of each other now and Indian audiences are more familiar with foreign movies and music. Organizations like the India EU Film Initiative seek to foster a community between film makers and industry professional between India and the EU.<ref name="Times plagiarism"/>

One of the common justifications of plagiarism in Bollywood is that producers often play a safer option by remaking popular Hollywood films in an Indian context. Screenwriters generally produce original scripts, but due to financial uncertainty and insecurity over the success of a film many were rejected.<ref name="Times plagiarism"/> Screenwriters themselves have been criticised for lack of creativity which happened due to tight schedules and restricted funds in the industry to employ better screenwriters.<ref name="Cloning">{{cite web|url=http://www.hindu.com/thehindu/mag/2003/08/03/stories/2003080300090400.htm|title=Cloning Hollywood|date=3 August 2003|publisher=[[The Hindu]]|accessdate=2009-04-14}}</ref> Certain filmmakers see plagiarism in Bollywood as an integral part of globalisation where American and western cultures are firmly embedding themselves into Indian culture, which is manifested, amongst other mediums, in Bollywood films.<ref name="Cloning"/> [[Vikram Bhatt]], director of films such as ''[[Raaz (2002 film)|Raaz]]'', a remake of ''[[What Lies Beneath]]'', and ''[[Kasoor]]'', a remake of ''[[Jagged Edge (film)|Jagged Edge]]'', has spoken about the strong influence of American culture and desire to produce box office hits based along the same lines in Bollywood.  He said, "Financially, I would be more secure knowing that a particular piece of work has already done well at the box office. Copying is endemic everywhere in India. Our TV shows are adaptations of American programmes. We want their films, their cars, their planes, their diet cokes and also their attitude. The American way of life is creeping into our culture."<ref name="Cloning"/> [[Mahesh Bhatt]] has said, "If you hide the source, you're a genius. There's no such thing as originality in the creative sphere".<ref name="Cloning"/>

There have been very few cases of film copyright violations taken to court because of serious delays in the legal process, and due to the long time they take to decide a case.<ref name="Times plagiarism"/> There have been some notable cases of conflict though. The makers of ''[[Partner (2007 film)|Partner]]'' (2007) and ''[[Zinda (film)|Zinda]]'' (2005) have been targeted by the owners and distributors of the original films, ''[[Hitch (film)|Hitch]]'' and ''[[Oldboy]]''.<ref>{{cite news| url =http://economictimes.indiatimes.com/Partner_may_face_30_mn_Hitch/articleshow/2264000.cms/| title=Partner may face $30&nbsp;mn Hitch | work=The Times Of India}}</ref><ref>{{cite web|url=http://www.hindu.com/fr/2006/01/20/stories/2006012002530300.htm|title=Copycat filmmaker lacks creativity|publisher=[[The Hindu]]|date=20 January 2006|accessdate=2009-02-13}}</ref> American Studio [[Twentieth Century Fox]] brought the Mumbai-based B.R. Films to court over its forthcoming ''Banda Yeh Bindaas Hai'', allegedly an illegal remake of its 1992 film ''[[My Cousin Vinny]]''. B.R. Films eventually settled out of court by paying the studio at a cost of about $200,000, paving the way for the film's release.<ref>{{cite news|url=http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/film/bollywood/article6742092.ece |title=Plagiarism case could stop Bollywood borrowing from Hollywood |publisher=Entertainment.timesonline.co.uk |date= 2009-08-07|accessdate=2010-11-12 |location=London |first=Rhys |last=Blakely}}</ref> Some on the other hand do comply with copyright law, with [[Orion Pictures]] recently securing the rights to remake the Hollywood film ''[[Wedding Crashers]]''.<ref>[http://www.bollywoodhungama.com/news/2008/05/03/11326/index.html Orion Pictures produce official remake to Wedding Crashers], [[Bollywood Hungama]]</ref>

==આ પણ જુઓ==
* [[બોલીવુડ ફિલ્મોની યાદી]]
* [[સૌથી વધુ કમાણી કરનાર બોલિવૂડ-ફિલ્મોની યાદી]]
* [[ભારત નો સિનેમા]]
* [[વિશ્વ નો સિનેમા]]
* [[બોલીવુડ ગીતો]]
* [[હિન્દી નૃત્ય ગાયન]]
* [[બોલીવુડ ફિલ્મ સમૂહોની યાદી]]
* [[ફિલ્મી સર્ટિફિકેશન ઓફ સેન્ટ્રલ બોર્ડ]]
* [[ફિલ્મ સિટી]]

==સંદર્ભો==
{{reflist|2}}

==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)
* Bose, Mihir, ''Bollywood. A History'', New Delhi, Roli Books, 2008. (ISBN 978-81-7436-653-5)
* Ganti, Tejaswini. ''Bollywood'', Routledge, New York and London, 2004.
* Bernard 'Bollywood' Gibson. ''Passing the Envelope'', 1994.
* Jolly, Gurbir, Zenia Wadhwani, and Deborah Barretto, 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 Cinema''. (ISBN 0-9537032-2-3)
* Kabir, Nasreen Munni. ''Bollywood'', Channel 4 Books, 2001.
* Mehta, Suketu. ''Maximum City'', Knopf, 2004.
* Mishra, Vijay. ''Bollywood Cinema: Temples of Desire''. (ISBN 0-415-93015-4)
* Pendakur, Manjunath. ''Indian Popular Cinema: Industry, Ideology, and Consciousness''. (ISBN 1-57273-500-5)
* Prasad, Madhava. ''Ideology of the Hindi Film: A Historical Construction'', Oxford University Press, 2000. (ISBN 0-19-565295-9)
* Raheja, Dinesh and Kothari, Jitendra. ''Indian Cinema: 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'', Oxford University Press, ISBN 0-19-811257-2.
* Rajadhyaksha, Ashish and Willemen, Paul. ''Encyclopedia of Indian Cinema'', Oxford University Press, revised and expanded, 1999.

==External links==
{{commons category|Cinema of India}}
{{commons category|Bollywood}}
{{Contains Indic text}}
* [http://www.imdb.com/search/title?languages=hi&title_type=feature&num_votes=10000,&sort=user_rating,desc IMDB - A database of top Hindi movies]
* [http://www.vam.ac.uk/vastatic/microsites/1153_cinema_india/1153_intro.htm Cinema India] by [[Victoria and Albert Museum]]
* [http://ngm.nationalgeographic.com/ngm/0502/feature3 National Geographic Magazine: Welcome to Bollywood]
*[http://www.bbc.co.uk/asiannetwork/bollywood/fiftyfilms/index.shtml Bollywood Fifty Films] - by [[BBC Asian Network]]
* [http://www.life.com/image/first/in-gallery/42772/sexy-bollywood-stars Sexy Bollywood Stars] - slideshow by ''[[Life magazine]]''

{{Bollywood}}
{{CinemaofIndia}}
{{Worldcinema}}
{{Hindi topics}}
{{Life in India}}

[[શ્રેણી:બોલીવુડ]]
[[Category:Cinema of India]]
[[Category:Hindustani]]
[[Category:Film-related locations]]

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