Essay on film industry in bombay - …

In India, posters negotiate thematics of melodramatic conflict and action, romance and the family. Generic elements are compositionally arranged to reflect the multi-genre look of popular Bombay cinema. Simrat Brar, a well-known poster designer in the industry, today recognizes that the film poster needs to cater to some forms of categorization. Most films have four to five different posters, each negotiating a different thematic of the film. For (Ashutosh Gowarikar: 2001), Brar created three versions based on the different thematic elements of the film.

From Bombay to Bollywood analyzes the transformation of the national film industry in Bombay into a transnational and multi-media cultural enterprise, which has come to be known as Bollywood. Combining ethnographic, institutional, and textual analyses, Aswin Punathambekar explores how relations between state institutions, the Indian diaspora, circuits of capital, and new media technologies and industries have reconfigured the Bombay-based industry’s geographic reach. Providing in-depth accounts of the workings of media companies and media professionals, Punathambekar has produced a timely analysis of how a media industry in the postcolonial world has come to claim the global as its scale of operations.

Free example essay on Bollywood film industry

Back then, neither the pioneer movie maker who later was sobriquet as the father of Indian cinema nor the exhibitors realized that this film would be the beginning of a revolutionary mass media entertainment which would embrace lakhs in sway for the subsequent 100 years.
Film industry during the 50's
Many bombay films deal with the arrival in the city of new migrants,and their encounters with the real pressures of daily life,.
After independence from British rule, the desire to domesticate cosmopolitan Bombay within a marathi social and linguistic framework was strongly expressed in the 1950s
Some popular songs from the bombay film industry speak of the contradictory aspects of the city.
n the film CID (1956) the hero’s buddy sings, ‘Ai dil hai mushkil jeena yahan; zara hatke zara bachke,ye hai bambai meri jaan….
A slightly more disillusioned voice sings in guest house (1959):’jiska juta usika sar,dil hai chota bada shabar, are vah re vah teri Bambai…
Introduction:
Many Bombay films deal with the arrival in city of new migrants, and their encounters with the real pressures of daily life.

Some popular songs from the Bombay film industry speak of the contradictory aspects of the city.
Bombay as the city of dreams –the world of cinema and culture
This movie was released in only a handful of cinema halls with good infrastructure; with an offer to release in more cinemas if they improved their infrastructure – sound system, seating and air conditioning.

Limited release also helped the producers keep control over piracy.

Further configuration is required

The genre promised instant attraction and had great entertainment value.
When did the Bombay film industry make its first film appearance?

Harishchandra Sakharam Bhatwadekar shot a scene of a wrestling match in Bombay’s Hanging Gardens and it became India’s first movie in 1986.

1. This essay is an initial attempt, part of ongoing research that tries to understand the material life of the Bombay film poster. The research is supported by the India Foundation for the Arts (IFA), Bangalore and the Fundacao Oriente.

(such as the now defunct Bombay ..

In the 1970s when Amitabh Bachchan was the reigning superstar of the Bombay film industry, the posters often only used either his singular image or made him the dominant icon. (Yash Chopra: 1975) had several posters for its release. The story of two brothers, one a policeman, the other an outlaw was established clearly in the posters through costume, posture and demeanour. In one of the versions, Amitabh Bachchan was placed in the foreground standing in a defiant position looking directly at the spectator. Shashi Kapoor’s face with his police inspector’s cap was placed in the background. Bachchan’s blue coloured dock worker shirt was recast as a red shirt in the poster. This was intended to make a connection with the red colour that is worn by coolies at railway stations while at the same time present the superstar in a colour that was more visually striking than the royal blue he actually wore in the film. (Manmohan Desai: 1981) has a poster that shows Bachchan in the centre of the frame, his red attire highlighted along with his badge number-786 (the numerical total that stands for ). Here the poster relies on pre-existent knowledge available from his earlier films (The number 786 was used in , the film that catapulted Bachchan to stardom). Thus stars are presented through techniques that create a larger than life image enabling forms of identification within a wide film public.

The Indian film industry is built on the dreams of ..

In the 1970s when Amitabh Bachchan was the reigning superstar of the Bombay film industry, the posters often only used either his singular image or made him the dominant icon. (Yash Chopra: 1975) had several posters for its release. The story of two brothers, one a policeman, the other an outlaw was established clearly in the posters through costume, posture and demeanour. In one of the versions, Amitabh Bachchan was placed in the foreground standing in a defiant position looking directly at the spectator. Shashi Kapoor’s face with his police inspector’s cap was placed in the background. Bachchan’s blue coloured dock worker shirt was recast as a red shirt in the poster. This was intended to make a connection with the red colour that is worn by coolies at railway stations while at the same time present the superstar in a colour that was more visually striking than the royal blue he actually wore in the film.

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