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Gujarati theatre refers to theatre performed in the Gujarati language, including its dialects. Gujarati theatre is produced mainly in Gujarat and Maharashtra, in cities like Mumbai, Ahmedabad and Baroda, and else where Gujarati diaspora exists, especially North America. Rustam Sohrab, performed by Parsee Natak Mandali on 29 October 1853 in Mumbai, marked the beginning of Gujarati theatre. The region of Gujarat has a long tradition of folk-theatre, Bhavai, which originated in the 14th-century. Thereafter, in early 16th century, a new element was introduced by Portuguese missionaries, who performed Yesu Mashiha Ka Tamasha, based on the life of Jesus Christ, using the Tamasha folk tradition of Maharashtra, which they imbibed during their work in Goa or Maharashtra.[1] Sanskrit drama was performed in royal courts and temples of Gujarat, it did not influence the local theatre tradition for the masses. During British Raj, British officials invited foreign operas and theatre groups to entertain them, this in turn inspired local Parsis to start their own travelling theatre groups, largely performed in Gujarati. The first play published in Gujarati was Laxmi Natak by Dalpatram in 1850, it was inspired by ancient Greek comedy Plutus by Aristophanes.
Bhojpuri cinema, Bhojiwood or Bhollywood refers to films produced in the Bhojpuri language in the western Bihar, eastern Uttar Pradesh , Jharkhand and Madhesh in southern Nepal. The first Bhojpuri talkie film, Ganga Maiyya Tohe Piyari Chadhaibo, was released in 1963 by Vishwanath Shahabadi. The 80s saw the release of many notable as well as run-of-the-mill Bhojpuri films like Bitia Bhail Sayan, Chandwa ke take Chakor, Hamar Bhauji, Ganga Kinare Mora Gaon and Sampoorna Tirth Yatra. Bhojpuri cinema has grown in recent years. The Bhojpuri film industry is now a ₹2000 crore industry.Bhojpuri movies are seen across various parts of Europe and Asia where second and third generation migrants still speak the language, as well as in Guyana, Trinidad and Tobago, Suriname, Fiji, Mauritius, and South Africa, which has a large Bhojpuri population
In the 1960s, the first president of India, Rajendra Prasad, who hailed from Bihar, met Bollywood actor Nazir Hussain and asked him to make a movie in Bhojpuri, which eventually led to the release of the first Bhojpuri film in 1963. Bhojpuri cinema's history begins with the well-received film Ganga Maiyya Tohe Piyari Chadhaibo ("Mother Ganges, I will offer you a yellow sari"), which was produced by Biswanath Prasad Shahabadi under the banner of Nirmal Pictures and directed by Kundan Kumar.[6] Throughout the following decades, films were produced in fits and starts. Bidesiya ("Foreigner", 1963, directed by S. N. Tripathi) and Ganga ("Ganges", 1965, directed by Kundan Kumar) were profitable and popular, but in general Bhojpuri films were not commonly produced in the 1960s and 1970s.
In the 1980s, enough Bhojpuri films were produced to tentatively make up an industry. Films such as Mai ("Mom", 1989, directed by Rajkumar Sharma) and Hamar Bhauji ("My Brother's Wife", 1983, directed by Kalpataru) continued to have at least sporadic success at the box office. Nadiya Ke Paar is a 1982 Hindi-Bhojpuri blockbuster directed by Govind Moonis and starring Sachin, Sadhana Singh, Inder Thakur, Mitali, Savita Bajaj, Sheela David, Leela Mishra and Soni Rathod. However, this trend faded out by the end of the decade. By 1990, the nascent industry seemed to be completely finished.
The industry took off again in 2001 with the Silver Jubilee hit Saiyyan Hamar ("My Sweetheart", directed by Mohan Prasad), which shot its hero, Ravi Kissan, to superstardom. This was quickly followed by several other remarkably successful films, including Panditji Batai Na Biyah Kab Hoi ("Priest, tell me when I will marry", 2005, directed by Mohan Prasad) and Sasura Bada Paisa Wala ("My father-in-law, the rich guy", 2005). In a measure of the Bhojpuri film industry's rise, both of these did much better business in the states of Bihar and Uttar Pradesh than mainstream Bollywood hits at the time. Both films, made on extremely tight budgets, earned back more than ten times their production costs.Sasura Bada Paisa Wala introduced Manoj Tiwari, formerly a well-loved folk singer, to the wider audiences of Bhojpuri cinema. In 2008, he and Ravi Kissan were the leading actors of Bhojpuri films, and their fees increase with their fame. The extremely rapid success of their films has led to dramatic increases in Bhojpuri cinema's visibility, and the industry now supports an awards show and a trade magazine, Bhojpuri City, which chronicles the production and release of what are now over 100 films per year.
Many of the major stars of mainstream Bollywood cinema, including Amitabh Bachchan, have recently worked in Bhojpuri films. Mithun Chakraborty's Bhojpuri debut Bhole Shankar, released in 2008, is considered the biggest Bhojpuri hit of all time. Also in 2008, a 21-minute diploma Bhojpuri film by Siddharth Sinha, Udedh Bun (Unravel) was selected for world premiere at the Berlin International Film Festival. Later it won the National Film Award for Best Short fiction Film.
Bhojpuri poet Manoj Bhawuk has written a history of Bhojpuri cinema. Bhawuk is widely known as "Encyclopedia of Bhojpuri Cinema".
In February 2011, a three-day film and cultural festival in Patna marking 50 years of Bhojpuri cinema, opened Ganga Maiyya Tohe Piyari Chadhaibo the first Bhojpuri film.The first bhojpuri Reality Film "Dhokha" is under production under banner Om Kaushik Films is about to be nominated and screened in different International Film Festivals under direction Of Rashmi Raj Kaushik Vicky and Renu Chaudhary
Paper no 15 assignment
Name: Kajal Keraliya
Roll no.: 18
Topic: Various Regional Cinemas functioning in India
Paper no 15 : Mass Commuication and Media Study : An Introduction
M.A: Sem-4
Enrolment no.:2069108420180030
Year: 2017-19
E-mail: Www.kajalk1@gmail.com
Submitted to: Smt. S.B. Gardi Department Of English Maharaja Krishnakumarsinhji Bhavnagar University
Regional Cinema
Ø What is Cinema
Cinema, or motion picture, is the art of moving images; a visual medium that tells stories and exposes reality. Created in the dusk of the 19th century, cinema is the world’s most recent art form. It is also, by far, the world’s most complex, collaborative, and costly artistic expression. Cinema is an extremely popular source of entertainment worldwide. Numerous movies are produced each year and people watch these in large numbers. Cinema impacts our life both positively and negatively. Just as everything else in this world, cinema also has positive as well as negative impact on our life. While some movies can change our thinking for good others can invoke a feeling or pain or fear. Initially theatres were the only way to get access to the cinema but with the popularity of television and cable TV, watching movies became easier. With the advent of internet and mobile phones, we now get access to the cinema on our mobile screens and can watch them just about anywhere and anytime. Everyone today is more or less connected to the cinema. When we see certain incidences shown in movies that we can relate to we naturally let them influence our mind-set and thought process. We even idealize certain characters and scenarios from the movies. We want our personality and life to be just like the life of the movie character we idealize. Some people get so hooked on to these characters that they become an integral part of their life. Thus, we can conclude that cinema has a great influence on the lives of the people and society. It is rightly said that we are more or less carved out from the type of movies we see, songs we hear and the books we read.
Hindi Cinema
The Hindi language film industry of Mumbai also known as Bollywood is the largest and most popular branch of Indian cinema. After early Indian experiments in silent film, in 1934 Bombay Talkies, launched by Himansu Rai, spearheaded the growth of Indian cinema. Over the years, several classic genres emerged from Bollywood: the historical epic, notably Mughal-e-Azam (1960); the curry western, such as Sholay (1975); the courtesan film, such as Pakeezah (1972), which highlights stunning cinematography and sensual dance choreography; and the mythological movie, represented by Jai Santoshi Maa (1975).
Stars, rather than plots, were often the driving force behind the films. Beginning in 1936, when Ashok Kumar and Devika Rani emerged as the first major star pair, the Indian public developed an insatiable appetite for news about their screen heroes. This interest continued with male actors such as Raj Kapoor, Dilip Kumar, and Dev Anand in the 1950s and ’60s, Rajesh Khanna in the ’70s, Amitabh Bachchan in the ’80s, and Shah Rukh Khan in the ’90s. Popular female icons included Madhubala in the 1950s, Mumtaz in the ’60s, Zeenat Aman in the ’70s, Hema Malini in the ’80s, and Madhuri Dixit and Kajol in the ’90s.
At the turn of the 21st century, the Indian film industry—of which Bollywood remained the largest component—was producing as many as 1,000 feature films annually in all of India’s major languages and in a variety of cities, and international audiences began to develop among South Asians in the United Kingdom and in the United States. Standard features of Bollywood films continued to be formulaic story lines, expertly choreographed fight scenes, spectacular song-and-dance routines, emotion-charged melodrama, and larger-than-life heroes.
The Hindi cinema rise with the content of caste and cultural issues in films like such as Achhut Kanya (1936) and Sujata (1959). Achhut Kanya deals with the social position of Dalit girls and is considered a reformist period-piece. The movie stars Ashok Kumar and Devika Rani in the lead roles. Film was one of the successful in Bombay Talkies. Sujata is a Bimal Roy film based on the caste system in India. Likewise the growth of Hindi cinema rise through the international visibility start with Raj Kapoor’s Awara and later in Shakti Samantha’s Aradhana starring by Rajesh Khanna and Sharmila Tagore. The golden age of cinema with the movie of “Sholay” starts. The rise of Amitabh Bachchan start with this movie along with this, Janjir is one of the best movies which put Amitabh into the category of “Big B” and also “Sadi Ka Mahanayak”. Instead of that the middle era got highlight because of the movie which was highly considered by the audience is Dilwale Dulhania Lejayenge. It is registered its commercial presence in the Western world. In the year 1995, the Hindi cinema industry showing its sustainable growth and also the commercial rise in the world. Moreover the salary of lead stars also growing and the actors are working simultaneously in 3-4 films in one year. To help film industry financially, the industrial Development Bank of India came forwd. Later on another growth take place which was related to the film industry is the magazines. The Magazines also make very good financial attempts. And such magazins are Filmfare, Stardust, Cineblitz, etc., became popular.
Gujarati Cinema
In the year 1852, a Parsi theatre group performed a Shakespearean play in Gujarati language in the city of Surat. In 1853, Parsee Natak Mandali the first theatre group of Gujarati theatre was founded by Framjee Gustadjee Dalal, which staged the first Parsi-Gujarati play, Rustam Sohrab based on the tale of Rostam and Sohrab part of the 10th-century Persian epic Shahnameh by Ferdowsi on 29 October 1853, at the Grant Road Theatre in Mumbai, this marked the begin of Gujarati theatre. The group also performed a farce Dhanji Gharak at the same venue. In its early days, Gujarati theatre largely adopted the entertainment-led style and themes of Parsi theatre, and the plays which were presented in a mix of Gujarati with Urdu and English languages. From being performed without a stage as in the case of Bhavai, raised platforms were added, then backgrounds, which gradually led to the proscenium theatre. Dalpatram formed a theatre group to reform the vulgar element in the bhavai performance of the time, and also the faulty Gujarati language used by Parsi theatre across Mumbai theatre circuit.
Gradually as the numbers of plays being written and performed in Gujarati increased things changed, and finally a theatre group to steer away from the tradition of Parsi theatre and the Bhavai and incorporated elements of Indian and Western dramaturgy was Arya Subodh Natak Mandali was formed in 1878, in Morbi by Mulji and Vaghji Oza, and their first production, Bharthari continued to be staged in Gujarat and Saurashtra region for many years. In the 1880s, as many as seven theatre groups came up, including Deshi Natak Samaj started by Dahyabhai Dholashaji, which lasted from 1889 to 1980.
In late 19th-century, theatre gained strength and travelling theatre companies became popular, performing plays based on a limited repertoire of mythological and religious plays. On the other hand, commercial theatre stuck to entertainment-oriented comedies, which delayed the arrival of experimental amateur theatre movement. That happened only in the 1920s and 1930s, with the rise of playwrights like C. C. Mehta (1901-1991), who wrote plays with a social context and Ranchhodlal Udayaram Dave (1837- 1923), playwright and producer. They are regarded as the father of modern Gujarati theatre. Mehta's most important play, Aag Garhi (Fire Engine), about an ailing fireman, marked the rise of amateur theatre movement in Gujarati theatre. Mehta went to write over 25 plays, numerous one act plays and radio plays; then in 1970, he himself translated his most known work, Aag Garhi as Iron Road. Sarjanhar was another important play of the period, inspired by Gandhian ideologies, it dealt with untouchability and was staged by popular actors of the time Sukhlal and Harilal
By the 1920s, theatre had become an integral part of the festive calendar. Elaborate sets and costumes became the high point of the period, and important actors of the era were Bapulal Nayak and Jaishankar Bhojak 'Sundari' (1889-1975), who worked both in old-style as well as the emerging experimental theatre, and became a legend like Bal Gandharva in Marathi theatre. In 1937, Ranbhoomi Parishad, was formed in Ahmedabad which tried to present major dramatists of the period on common platform for the first time.
K. M. Munshi wrote notable social satires and foreign plays were getting translated as well, including Ibsen's A Doll's House was translated into Gujarati as Dhinagli by Pranjivan Pathak in 1923, though realism in acting which the production demanded was yet to arrive. However, the rise Mehta and Munshi as playwrights unfortunately fell in an era of overall decline of theatre, initiated by the birth of talkies in Indian cinema in the 1930s by the 1950s, the old school professional theatre has all but disappeared, and the itinerant Parsi theatre vanished completely.
Bhojpuri Cinema
Bhojpuri cinema, Bhojiwood or Bhollywood refers to films produced in the Bhojpuri language in the western Bihar, eastern Uttar Pradesh , Jharkhand and Madhesh in southern Nepal. The first Bhojpuri talkie film, Ganga Maiyya Tohe Piyari Chadhaibo, was released in 1963 by Vishwanath Shahabadi. The 80s saw the release of many notable as well as run-of-the-mill Bhojpuri films like Bitia Bhail Sayan, Chandwa ke take Chakor, Hamar Bhauji, Ganga Kinare Mora Gaon and Sampoorna Tirth Yatra. Bhojpuri cinema has grown in recent years. The Bhojpuri film industry is now a ₹2000 crore industry.Bhojpuri movies are seen across various parts of Europe and Asia where second and third generation migrants still speak the language, as well as in Guyana, Trinidad and Tobago, Suriname, Fiji, Mauritius, and South Africa, which has a large Bhojpuri population
In the 1960s, the first president of India, Rajendra Prasad, who hailed from Bihar, met Bollywood actor Nazir Hussain and asked him to make a movie in Bhojpuri, which eventually led to the release of the first Bhojpuri film in 1963. Bhojpuri cinema's history begins with the well-received film Ganga Maiyya Tohe Piyari Chadhaibo ("Mother Ganges, I will offer you a yellow sari"), which was produced by Biswanath Prasad Shahabadi under the banner of Nirmal Pictures and directed by Kundan Kumar.[6] Throughout the following decades, films were produced in fits and starts. Bidesiya ("Foreigner", 1963, directed by S. N. Tripathi) and Ganga ("Ganges", 1965, directed by Kundan Kumar) were profitable and popular, but in general Bhojpuri films were not commonly produced in the 1960s and 1970s.
In the 1980s, enough Bhojpuri films were produced to tentatively make up an industry. Films such as Mai ("Mom", 1989, directed by Rajkumar Sharma) and Hamar Bhauji ("My Brother's Wife", 1983, directed by Kalpataru) continued to have at least sporadic success at the box office. Nadiya Ke Paar is a 1982 Hindi-Bhojpuri blockbuster directed by Govind Moonis and starring Sachin, Sadhana Singh, Inder Thakur, Mitali, Savita Bajaj, Sheela David, Leela Mishra and Soni Rathod. However, this trend faded out by the end of the decade. By 1990, the nascent industry seemed to be completely finished.
The industry took off again in 2001 with the Silver Jubilee hit Saiyyan Hamar ("My Sweetheart", directed by Mohan Prasad), which shot its hero, Ravi Kissan, to superstardom. This was quickly followed by several other remarkably successful films, including Panditji Batai Na Biyah Kab Hoi ("Priest, tell me when I will marry", 2005, directed by Mohan Prasad) and Sasura Bada Paisa Wala ("My father-in-law, the rich guy", 2005). In a measure of the Bhojpuri film industry's rise, both of these did much better business in the states of Bihar and Uttar Pradesh than mainstream Bollywood hits at the time. Both films, made on extremely tight budgets, earned back more than ten times their production costs.Sasura Bada Paisa Wala introduced Manoj Tiwari, formerly a well-loved folk singer, to the wider audiences of Bhojpuri cinema. In 2008, he and Ravi Kissan were the leading actors of Bhojpuri films, and their fees increase with their fame. The extremely rapid success of their films has led to dramatic increases in Bhojpuri cinema's visibility, and the industry now supports an awards show and a trade magazine, Bhojpuri City, which chronicles the production and release of what are now over 100 films per year.
Many of the major stars of mainstream Bollywood cinema, including Amitabh Bachchan, have recently worked in Bhojpuri films. Mithun Chakraborty's Bhojpuri debut Bhole Shankar, released in 2008, is considered the biggest Bhojpuri hit of all time. Also in 2008, a 21-minute diploma Bhojpuri film by Siddharth Sinha, Udedh Bun (Unravel) was selected for world premiere at the Berlin International Film Festival. Later it won the National Film Award for Best Short fiction Film.
Bhojpuri poet Manoj Bhawuk has written a history of Bhojpuri cinema. Bhawuk is widely known as "Encyclopedia of Bhojpuri Cinema".
In February 2011, a three-day film and cultural festival in Patna marking 50 years of Bhojpuri cinema, opened Ganga Maiyya Tohe Piyari Chadhaibo the first Bhojpuri film.The first bhojpuri Reality Film "Dhokha" is under production under banner Om Kaushik Films is about to be nominated and screened in different International Film Festivals under direction Of Rashmi Raj Kaushik Vicky and Renu Chaudhary
Bengali Cinema
The Bengali language cinematic tradition has had reputable filmmakers such as Satyajit Ray, Ritwik Ghatak and Mrinal Sen among its most acclaimed. Recent Bengali films that have captured national attention include Rituparno Ghosh's Choker Bali, starring Aishwarya Rai. Bengali filmmaking also includes Bangla science fiction films and films that focus on social issues. In 1993, the Bengali industry's net output was 57 films. The history of cinema in Bengal dates back to the 1890s, when the first "bioscopes" were shown in theatres in Kolkata. The 'Parallel Cinema' movement began in the Bengali film industry in the 1950s.
Conclusion
As time pass the definition of cinema change but the importance of it day by day increase. Now it is become the part of human being. Now the definition of cinema is not only the motion picture but it has something more than that. It is because it is not shows the event or fiction but with that the culture, tradition, rituals, rules, class, beliefs also came along with that. So the motion picture not remains as a motion picture only but it is connect or involve people in it. Cinema has the capability to change or reform society and it has the capability to spoil the society. Now cinema becomes the heart of people. The importance of regional cinema is because of this that it shows the culture and tradition. Even more it is trying to show the mass mentality, thinking process, imagination power and what not.
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