User talk:Jevika Kapoor

What do kangroos eat ?
Kangaroos are herbivores, primarily eating grass and other vegetation, feeding in the early morning and late afternoon/evening towards sunset. Besides grass, they eat young shoots and tender leaves of native shrubs. They enjoy grains as well, but being herbivorous, they do not eat any other animals.

Kangaroos are grazing animals, and they will regurgitate their food to chew like cattle chew their cud.

Tree kangaroos eat leaves, and sometimes fruit.

If living in captivity, kangaroos have access to a greater variety of vegetation and grains such as corn. Whilst kangaroos do need water, they can go for some time without direct water, as long as they have enough access to green plants, from which they obtain most of their moisture needs. Without sufficient water, they must move to better grazing grounds.

Smaller varieties of kangaroos such as the musky-rat kangaroo are omnivores, eating fruits, seeds, fungi insect larvae and small invertebrates such as grasshoppers and beetles. Any of various herbivorous marsupials of the family Macropodidae of Australia and adjacent islands, having short forelimbs, large hind limbs adapted for leaping, and a long tapered tail.

[Guugu Yimidhirr (Aboriginal language of northeast Australia) gaǌurru.] WORD HISTORY  A widely held belief has it that the word kangaroo comes from an Australian Aboriginal word meaning "I don't know." This is in fact untrue. The word was first recorded in 1770 by Captain James Cook, when he landed to make repairs along the northeast coast of Australia. In 1820, one Captain Phillip K. King recorded a different word for the animal, written "mee-nuah." As a result, it was assumed that Captain Cook had been mistaken, and the myth grew up that what he had heard was a word meaning "I don't know" (presumably as the answer to a question in English that had not been understood). Recent linguistic fieldwork, however, has confirmed the existence of a word gangurru in the northeast Aboriginal language of Guugu Yimidhirr, referring to a species of kangaroo. What Captain King heard may have been their word minha, meaning "edible animal."

What do dolphins eat ?
Dolphins feed on small fishes such as tuna regularly.They sometimes eat squids,octopus legs and shrimps.

Dolphins eat a variety of foods: fish, mackeral, herring, and cod. While others eat squid, you can learn more at the website shown in Related links, below.

Dolphins eat a variety of different foods. Some of them eat fish, such as mackerel, herring and cod, while others eat squid. Large dolphins, such as Orcas may eat other marine mammals, such as sea lions or sea turtles. How much a dolphin eats depends alot on what type of fish or ssquid they eat. Some fish, such as mackerel or herring, have alot of fat in them. This means that a Dolphin will get alot of energy from eating these fish. However, squid does not have much fat, so a Dolphin has to eat more squid to get the same kind of energy it would get from fish. On average, however, a 250 kg dolphin will typically eat between 10 kg and 22.5 kg of fish every day.Dolphins hunt using a couple of different methods. Some types of Dolphins will work together to surround a school of fish, and then take turns swimming through, while eating all the fish they can. This is called herding.Other types of dolphins strike fish with their tails, in order to stun the fish, so they can eat it. This is called whacking.Sometimes, a dolphin will send a very loud CLICK! throught the water at the fish. The loud noise will shock the fish, and leave it in a stupor. This is called stunning.Dolphins will sometimes herd a school of fish into shallow water, to make it hard for the fish to escape. This is called coralling.Lastly, some dolphins will pick up a sponge, and use it to push through the mud on the bottom of shallow parts of the ocean, looking for food. This is called foraging. The most commonly eaten food by dolphins are different species of small fish, though also squid and sometimes crustaceans are eaten. The orca or killer whale has the biggest diversity in it's menu: it eats dolphins, whales, porpoises, seals, sea lions, fish, squid, sea birds, penguins, rays and occasionally sharks. fish Fish and squid are dolphins main food, but the false killer whale and the orca also feed on other marine mammals such as sea lions. Note: There are comments associated with this question. See the discussion page to add to the conversation.

What do monkeys eat ?
''Some of the approximately 160 species of monkeys are primarily leaf eaters, but most are omnivores that eat a variety of foods including leaves, flowers, bird eggs, and small animals.

Monkeys eat many things, mainly fruit and vegetables. See the "Related Links" section below for more information on their diet.

Monkeys also eat bugs. Note: There are comments associated with this question. See the discussion page to add to the conversation.

What do sea turtles eat ?
''Green sea turtles eat seagrass and algae. They mainly will eat fish and adapt a more herbivorous diet as they age.

Hawksbill sea turtles have jaws shaped to help them get food out of crevices in reefs. They eat squid, sponges, tunicates, and shrimp.

Loggerhead sea turtles and the riddley sea turtles have more powerful jaws designed to crush. They eat crabs, mollusks, shrimp, and jellyfish.

Leatherback sea turtles eat soft bodied animals such as jellyfish and tunicates.

How many animals does earth have?
The answer to your question is unknown to everybody, even the most highly qualified scientists. The reason for this is that there are still some animal species that are unknown. Of course, we can estimate but we will never know for sure, there can always be one more type of animal. Also, Earth is very vague. It would be very hard to calculate the number of anything on Earth, sense there is so much. If you absolutely need and answer, Google how many know species of animals there are, that may help.

What do seahorses eat?
Seahorses eat small shrimp and plankton.

(THEY DO NOT EAT SMALL FISH) Please be more specific. Sea horses eat little shrimp Seahorses eat brine shrimp, tiny fish and plankton

You're right little shrimp is much more specific than small shrimp. Good correcting on this one.

What is cow milk made of ?
The composition of one serving of milk (whole dairy milk w/ 3.25% fat) includes:

Overall Composition:

Water: 215.50 g Energy: 146 kcal Carbohydrate: 11.03 g Fat: 7.93 g Protein: 7.86 g Minerals (Ash): 1.68 g

Vitamins

Vitamin A: 68 µg Thiamin (Vitamin B1): 0.107 mg Riboflavin (Vitamin B2): 0.447 mg Niacin (Vitamin B3): 0.261 mg Pantothenic Acid (Vitamin B5): 0.883 mg Pyridoxene (Vitamin B6): 0.088 mg Cobalamin (Vitamin B12): 1.07 µg Vitamin C: 0.0 mg Vitamin D: 98 IU Vitamin E: 0.15 mg Folate: 12 µg Vitamin K: 0.5 µg

Minerals (Ash):

Calcium: 276 mg Copper: 0.027 mg Iron: 0.07 mg Magnesium: 24 mg Manganese: 0.007 mg Phosphorus: 222 mg Potassium: 349 mg Selenium: 9.0 µg Sodium: 98 mg Zinc: 0.98 mg

What Is A Food Chain ?
A food chain is a linear series of links starting with one specific species that eats no other species in the web, and ending with a specific species that eaten by no other species in the web. That's different from a food web.

For more information, please access the related link listed below.

One example of a food chain is the animals living in, around, and near a freshwater lake. Osprey (Fish eagles) feed on Northern pike (fish), which in turn feed on Perch (fish) which eat Bleak (a type of Carp, which is a fish) that feed on Freshwater Shrimps. The primary producers of this food chain are most likely autotrophic phytoplankton, which use the sun's energy to produce their own food.

A: A food chain is basically a diagram of who eats whom. An example of a food chain is: The sun gives energy to the green plant (this is called the producer) ie: grass, the grass is then eaten by the rabbit (which is known as a primary consumer) and then the rabbit (called the secondary consumer) is then eaten by the fox (called the carnivore).

A: The Sun will be the start of any food chain then will come the producer then the primary consumer, then the secondary consumer, then will come the carnivore at the top of the food chain

A: If there are six in the food chain it will go like this: the Sun will start the food chain, the producer will come next, then will come the primary consumer, next will come the secondary consumer, after that will come the tertiary consumer and finally the carnivore at the top of the food chain.

Did japan invent some of the United States most advanced technology?
No, they didn't "invent" most of the advanced technology. Like Germany, France, Russia, China, etc. they created their share of machines and systems, but mostly they have been primarily improvements, or redesigned machines, etc. Several countries are trying to claim credit for INVENTING the airplane; Russia & the US claim they were the first to invent the helicopter, someone's debating on which country first invented the TV...etc. So, this kind of arguing will probably continue for the next hundred years.

Where do monkeys live?
In South America and Africa. Monkeys mostly live in rain forests, such as the Amazon

Hollywood
The cinema of the United States, often generally referred to as Hollywood, has had a profound effect on cinema across the world since the early 20th century. Its history is sometimes separated into four main periods: the silent film era, classical Hollywood cinema, New Hollywood, and the contemporary period. While the French Lumière Brothers are generally credited with the birth of modern cinema, it is indisputably American cinema that soon became the most dominant force in an emerging industry. Since the 1920s, the American film industry has grossed more money every year than that of any other country.[citation needed]

In 1878, Eadweard Muybridge demonstrated the power of photography to capture motion. In 1894, the world's first commercial motion picture exhibition was given in New York City, using Thomas Edison's Kinetoscope. The United States was in the forefront of sound film development in the following decades. Since the early 20th century, the U.S. film industry has largely been based in and around Hollywood, Los Angeles, California. Picture City, FL was also a planned site for a movie picture production center in the 1920s, but due to the 1928 Okeechobee hurricane, the idea collapsed and Picture City returned to its original name of Hobe Sound. Director D. W. Griffith was central to the development of film grammar. Orson Welles's Citizen Kane (1941) is frequently cited in critics' polls as the greatest film of all time.[1] American screen actors like John Wayne and Marilyn Monroe have become iconic figures, while producer/entrepreneur Walt Disney was a leader in both animated film and movie merchandising. The major film studios of Hollywood are the primary source of the most commercially successful movies in the world, such as Gone with the Wind (1939), Star Wars (1977), Titanic (1997), and Avatar (2009). Today, American film studios collectively generate several hundred movies every year, making the United States the third most prolific producer of films in the world.[2]

Contents 1 History 1.1 Origins 1.2 Rise of Hollywood 1.3 Golden Age of Hollywood 1.4 Decline of the studio system 1.5 New Hollywood and post-classical cinema 1.6 Rise of the home video market 1.7 Modern cinema 2 Hollywood and politics 3 Spread to world markets 4 See also 5 Footnotes 6 Notes 7 References 8 External links History

Origins

The second recorded instance of photographs capturing and reproducing motion was a series of photographs of a running horse by Eadweard Muybridge, which he captured in Palo Alto, California, using a set of still cameras placed in a row. Muybridge's accomplishment led inventors everywhere to attempt to make similar devices that would capture such motion. In the United States, Thomas Edison was among the first to produce such a device, the kinetoscope, whose heavy-handed patent enforcement caused early filmmakers to look for alternatives.

In the earliest days of the American film industry, New York played a role. The Kaufman Astoria Studios in Queens, built during the silent film era, was used by the Marx Brothers and W.C. Fields. Chelsea, Manhattan was also frequently used. Mary Pickford, an Academy Award winning actress, shot some of her early films in this area. Other major centers of film production also included Chicago, Florida, Texas, California, and Cuba.

The film patents wars of the early 20th century led to the spread of film companies across the U.S. Many worked with equipment for which they did not own the rights, and thus filming in New York could be dangerous; it was close to Edison's Company headquarters, and to agents the company set out to seize cameras. By 1912, most major film companies had set up production facilities in Southern California near or in Los Angeles because of the location's proximity to Mexico, as well as the region's favorable year-round weather.[3]

Rise of Hollywood

[show]Cinema of the United States

In early 1910, director D.W. Griffith was sent by the Biograph Company to the west coast with his acting troupe, consisting of actors Blanche Sweet, Lillian Gish, Mary Pickford, Lionel Barrymore, and others. They started filming on a vacant lot near Georgia Street in downtown Los Angeles. While there, the company decided to explore new territories, traveling several miles north to Hollywood, a little village that was friendly and enjoyed the movie company filming there. Griffith then filmed the first movie ever shot in Hollywood, In Old California, a Biograph melodrama about California in the 19th century, when it belonged to Mexico. Biograph stayed there for months and made several films before returning to New York. After hearing about Biograph's success in Hollywood, in 1913 many movie-makers headed west to avoid the fees imposed by Thomas Edison, who owned patents on the movie-making process.[4] In Los Angeles, the studios and Hollywood grew. Before World War I, movies were made in several U.S. cities, but filmmakers gravitated to southern California as the industry developed. They were attracted by the mild climate and reliable sunlight, which made it possible to film movies outdoors year-round, and by the varied scenery that was available. There are several starting points for cinema (particularly American cinema), but it was Griffith's controversial 1915 epic Birth of a Nation that pioneered the worldwide filming vocabulary that still dominates celluloid to this day.

In the early 20th century, when the medium was new, many Jewish immigrants found employment in the U.S. film industry. They were able to make their mark in a brand-new business: the exhibition of short films in storefront theaters called nickelodeons, after their admission price of a nickel (five cents). Within a few years, ambitious men like Samuel Goldwyn, William Fox, Carl Laemmle, Adolph Zukor, Louis B. Mayer, and the Warner Brothers (Harry, Albert, Samuel, and Jack) had switched to the production side of the business. Soon they were the heads of a new kind of enterprise: the movie studio. (It is worth noting that the US had at least one female director, producer and studio head in these early years, Alice Guy-Blaché.) They also set the stage for the industry's internationalism; the industry is often accused of Amero-centric provincialism.

Other moviemakers arrived from Europe after World War I: directors like Ernst Lubitsch, Alfred Hitchcock, Fritz Lang, and Jean Renoir; and actors like Rudolph Valentino, Marlene Dietrich, Ronald Colman, and Charles Boyer. They joined a homegrown supply of actors — lured west from the New York City stage after the introduction of sound films — to form one of the 20th century's most remarkable growth industries. At motion pictures' height of popularity in the mid-1940s, the studios were cranking out a total of about 400 movies a year, seen by an audience of 90 million Americans per week [1].

The Hollywood Sign has been a famous landmark representing southern California film industry. Sound also became widely used in Hollywood in the late 1920s [2]. After The Jazz Singer, the first film with synchronized voices, was successfully released as a Vitaphone talkie in 1927, Hollywood film companies would respond to Warner Bros. and begin to use Vitaphone sound — which Warner Bros. owned until 1928 – in future films. By May 1928, Electrical Research Product Incorporated (ERPI), a subsidiary of the Western Electric company, gained a monopoly over film sound distribution [3]. A side effect of the "talkies" was that many actors who had made their careers in silent films suddenly found themselves out of work, as they often had bad voices or could not remember their lines. Meanwhile, in 1922, US politician Will H. Hays left politics and formed the movie studio boss organization known as the Motion Pictures Distributors Association of America (MPDAA) [4]. The organization became the Motion Picture Association of America after Hays retired in 1945.

In the early times of talkies, American studios found that their sound productions were rejected in foreign-language markets and even among speakers of other dialects of English. The synchronization technology was still too primitive for dubbing. One of the solutions was creating parallel foreign-language versions of Hollywood films. Around 1930, the American companies opened a studio in Joinville-le-Pont, France, where the same sets and wardrobe and even mass scenes were used for different time-sharing crews. Also, foreign unemployed actors, playwrights and winners of photogenia contests were chosen and brought to Hollywood, where they shot parallel versions of the English-language films. These parallel versions had a lower budget, were shot at night and were directed by second-line American directors who did not speak the foreign language. The Spanish-language crews included people like Luis Buñuel, Enrique Jardiel Poncela, Xavier Cugat and Edgar Neville. The productions were not very successful in their intended markets, due to the following reasons:

The lower budgets were apparent. Many theater actors had no previous experience in cinema. The original movies were often second-rate themselves, since studios expected that the top productions would sell by themselves. The mix of foreign accents (Castilian, Mexican, and Chilean for example in the Spanish case) was odd for the audiences. Some markets lacked sound-equipped theaters. In spite of this, some productions like the Spanish version of Dracula compare favorably with the original. By the mid-1930s, synchronization had advanced enough for dubbing to become usual.

Golden Age of Hollywood

Golden Age of Hollywood. 1st row, l-r: Greta Garbo, Humphrey Bogart, Lauren Bacall, Clark Gable, Katharine Hepburn, Fred Astaire, Ginger Rogers, Marlon Brando, Marx Brothers, Joan Crawford. 2nd row, l-r: John Wayne, James Stewart, Buster Keaton, Claudette Colbert, Gene Kelly, Burt Lancaster, Judy Garland, Gregory Peck, Elizabeth Taylor, Kirk Douglas. 3rd row, l-r: Bette Davis, Audrey Hepburn, Jean Harlow, Alfred Hitchcock, John Ford, Howard Hawks and Lauren Bacall, Grace Kelly, Laurence Olivier, Marlene Dietrich, James Cagney. 4th row, l-r: Ava Gardner, Cary Grant, Ingrid Bergman, Henry Fonda, Marilyn Monroe, James Dean, Orson Welles, Mae West, William Holden, Sophia Loren. 5th row, l-r: Vivien Leigh, Joan Fontaine and Gary Cooper, Spencer Tracy, Barbara Stanwyck, Lillian Gish, Tyrone Power, Shirley Temple, Janet Leigh and Charlton Heston, Rita Hayworth, Mary Pickford. During the Golden Age of Hollywood, which lasted from the end of the silent era in American cinema in the late 1920s to the early 1960s, thousands of movies were issued from the Hollywood studios. The start of the Golden Age was arguably when The Jazz Singer was released in 1927, ending the silent era and increasing box-office profits for films as sound was introduced to feature films. Most Hollywood pictures adhered closely to a formula – Western, slapstick comedy, musical, animated cartoon, biographical film (biographical picture) – and the same creative teams often worked on films made by the same studio. For example, Cedric Gibbons and Herbert Stothart always worked on MGM films, Alfred Newman worked at 20th Century Fox for twenty years, Cecil B. De Mille's films were almost all made at Paramount, and director Henry King's films were mostly made for 20th Century Fox.

At the same time, one could usually guess which studio made which film, largely because of the actors who appeared in it; MGM, for example, claimed it had contracted "more stars than there are in heaven." Each studio had its own style and characteristic touches which made it possible to know this – a trait that does not exist today. For example, To Have and Have Not (1944) is famous not only for the first pairing of actors Humphrey Bogart (1899–1957) and Lauren Bacall (1924–) but also for being written by two future winners of the Nobel Prize in Literature: Ernest Hemingway (1899–1961), the author of the novel on which the script was nominally based, and William Faulkner (1897–1962), who worked on the screen adaptation.

After The Jazz Singer was released in 1927, Warner Bros. gained huge success and were able to acquire their own string of movie theaters, after purchasing Stanley Theaters and First National Productions in 1928. MGM had also owned the Loews string of theaters since forming in 1924, and the Fox Film Corporation owned the Fox Theatre strings as well. Also, RKO (a 1928 merger between Keith-Orpheum Theaters and the Radio Corporation of America[5]) responded to the Western Electric/ERPI monopoly over sound in films, and developed their own method, known as Photophone, to put sound in films [5]. Paramount, which already acquired Balaban and Katz in 1926, would answer to the success of Warner Bros. and RKO, and buy a number of theaters in the late 1920s as well, and would hold a monopoly on theaters in Detroit, Michigan.[6] By the 1930s, all of America's theaters were owned by the Big Five studios – MGM, Paramount Pictures, RKO, Warner Bros., and 20th Century Fox. [6].

Movie-making was still a business however, and motion picture companies made money by operating under the studio system. The major studios kept thousands of people on salary — actors, producers, directors, writers, stunt men, craftspersons, and technicians. They owned or leased Movie Ranches in rural Southern California for location shooting of westerns and other large scale genre films. And they owned hundreds of theaters in cities and towns across the nation, theaters that showed their films and that were always in need of fresh material.

In 1930, MPDAA President Will Hays created the Hays (Production) Code, which followed censorship guidelines and went into effect after government threats of censorship expanded by 1930 [7]. However, the code was never enforced until 1934, after the Catholic watchdog organization The Legion of Decency – appalled by some of the provocative films and lurid advertising of the era later classified Pre-Code Hollywood- threatened a boycott of motion pictures if it didn't go into effect [8]. Those films that didn't obtain a seal of approval from the Production Code Administration had to pay a $25,000.00 fine and could not profit in the theaters, as the MPDAA owned every theater in the country through the Big Five studios.

Throughout the 1930s, as well as most of the golden age, MGM dominated the film screen and had the top stars in Hollywood, and was also credited for creating the Hollywood star system altogether [9]. Some MGM stars included "King of Hollywood" Clark Gable, Lionel Barrymore, Jean Harlow, Norma Shearer, Greta Garbo, Joan Crawford, Jeanette MacDonald and husband Gene Raymond, Spencer Tracy, Judy Garland, and Gene Kelly [10]. But MGM did not stand alone. Another great achievement of US cinema during this era came through Walt Disney's animation company. In 1937, Disney created the most successful film of its time, Snow White and the Seven Dwarfs [11]. This distinction was promptly topped in 1939 when Selznick International created what is still, when adjusted for inflation, the most successful film of all time, Gone with the Wind [12].

Many film historians have remarked upon the many great works of cinema that emerged from this period of highly regimented film-making. One reason this was possible is that, with so many movies being made, not every one had to be a big hit. A studio could gamble on a medium-budget feature with a good script and relatively unknown actors: Citizen Kane, directed by Orson Welles (1915–1985) and often regarded as the greatest film of all time, fits that description. In other cases, strong-willed directors like Howard Hawks (1896–1977), Alfred Hitchcock (1899–1980) and Frank Capra (1897–1991) battled the studios in order to achieve their artistic visions. The apogee of the studio system may have been the year 1939, which saw the release of such classics as The Wizard of Oz, Gone with the Wind, Stagecoach, Mr. Smith Goes to Washington, Wuthering Heights, Only Angels Have Wings, Ninotchka, and Midnight. Among the other films from the Golden Age period that are now considered to be classics: Casablanca, It's a Wonderful Life, It Happened One Night, the original King Kong, Mutiny on the Bounty, Top Hat, City Lights, Red River, The Lady from Shanghai, Rear Window, On the Waterfront, Rebel Without a Cause, Some Like It Hot and The Manchurian Candidate.

Decline of the studio system

The studio system and the Golden Age of Hollywood succumbed to two forces that developed in the late 1940s:

a federal antitrust action that separated the production of films from their exhibition; and the advent of television. In 1938, Walt Disney's Snow White and the Seven Dwarfs was released during a run of lackluster films from the major studios, and quickly became the highest-grossing film released to that point. Embarrassingly for the studios, it was an independently produced animated film that did not feature any studio-employed stars.[7] This stoked already widespread frustration at the practice of block-booking, in which studios would only sell an entire year's schedule of films at a time to theaters and use the lock-in to cover for releases of mediocre quality. Assistant Attorney General Thurman Arnold—a noted "trust buster" of the Roosevelt administration — took this opportunity to initiate proceedings against the eight largest Hollywood studios in July 1938 for violations of the Sherman Anti-Trust Act.[8][9] The federal suit resulted in five of the eight studios (the "Big Five": Warner Bros., MGM, Fox, RKO and Paramount) reaching a compromise with Arnold in October 1940 and signing a consent decree agreeing to, within three years:

Eliminate the block-booking of short film subjects, in an arrangement known as "one shot", or "full force" block-booking. Eliminate the block-booking of any more than five features in their theaters. No longer engage in blind buying (or the buying of films by theater districts without seeing films beforehand) and instead have trade-showing, in which all 31 theater districts in US would see films every two weeks before showing movies in theaters. Set up an administration board in each theater district to enforce these requirements.[8] The "Little Three" (Universal Studios, United Artists, and Columbia Pictures), who did not own any theaters, refused to participate in the consent decree.[8][9] A number of independent film producers were also unhappy with the compromise and formed a union known as the Society of Independent Motion Picture Producers and sued Paramount for the monopoly they still had over the Detroit Theaters — as Paramount was also gaining dominance through actors like Bob Hope, Paulette Goddard, Veronica Lake, Betty Hutton, crooner Bing Crosby, Alan Ladd, and longtime actor for studio Gary Cooper too- by 1942. The Big Five studios didn't meet the requirements of the Consent of Decree during WWII, without major consequence, but after the war ended they joined Paramount as defendants in the Hollywood anti-trust case, as did the Little Three studios [13]. The Supreme Court eventually ruled that the major studios ownership of theaters and film distribution was a violation of the Sherman Antitrust Act. As a result, the studios began to release actors and technical staff from their contracts with the studios. This changed the paradigm of film making by the major Hollywood studios, as each could have an entirely different cast and creative team.

The decision resulted in the gradual loss of the characteristics which made MGM, Paramount, Universal, Columbia, RKO, and Fox films immediately identifiable. Certain movie people, such as Cecil B. DeMille, either remained contract artists till the end of their careers or used the same creative teams on their films, so that a DeMille film still looked like one whether it was made in 1932 or 1956. Also, the number of movies being produced annually dropped as the average budget soared, marking a major change in strategy for the industry. Studios now aimed to produce entertainment that could not be offered by television: spectacular, larger-than-life productions. Studios also began to sell portions of their theatrical film libraries to other companies to sell to television. By 1949, all major film studios had given up ownership of their theaters.

Television was also instrumental in the decline of Hollywood's Golden Age as it broke the movie industry's hegemony in American entertainment. Despite this, the film industry was also able to gain some leverage for future films as longtime government censorship faded in the 1950s. After the Paramount anti-trust case ended, Hollywood movie studios no longer owned theaters, and thus made it so foreign films could be released in American theaters without censorship. This was complemented with the 1952 Miracle Decision in the Joseph Burstyn Inc. v Wilson case, in which the Supreme Court of the United States reversed its earlier position, from 1915's Mutual Film Corporation v. Industrial Commission of Ohio case, and stated that motion pictures were a form of art and were entitled to the protection of the First amendment; US laws could no longer censor films. By 1968, with film studios becoming increasingly defiant to its censorship function, the Motion Picture Association of America (MPAA) had replaced the Hays Code–which was now greatly violated after the government threat of censorship that justified the origin of the code had ended—with the film rating system.

New Hollywood and post-classical cinema

Post-classical cinema is the changing methods of storytelling in the New Hollywood. It has been argued that new approaches to drama and characterization played upon audience expectations acquired in the classical period: chronology may be scrambled, storylines may feature "twist endings", and lines between the antagonist and protagonist may be blurred. The roots of post-classical storytelling may be seen in film noir, in Rebel Without a Cause (1955), and in Hitchcock's storyline-shattering Psycho.

New Hollywood is the emergence of a new generation of film school-trained directors who had absorbed the techniques developed in Europe in the 1960s; The 1967 film Bonnie and Clyde marked the beginning of American cinema rebounding as well, as a new generation of films would afterwards gain success at the box offices as well [14]. Filmmakers like Francis Ford Coppola, George Lucas, Martin Scorsese, Roman Polanski, and William Friedkin came to produce fare that paid homage to the history of film, and developed upon existing genres and techniques. In the early 1970s, their films were often both critically acclaimed and commercially successful. While the early New Hollywood films like Bonnie and Clyde and Easy Rider had been relatively low-budget affairs with amoral heroes and increased sexuality and violence, the enormous success enjoyed by Friedkin with The Exorcist, Spielberg with Jaws, Coppola with The Godfather and Apocalypse Now, Scorsese with Taxi Driver and Lucas with American Graffiti, and Star Wars, respectively helped to give rise to the modern "blockbuster", and induced studios to focus ever more heavily on trying to produce enormous hits.[10]

The increasing indulgence of these young directors did not help.[citation needed] Often,[when?] they’d go overschedule, and overbudget, thus bankrupting themselves or the studio.[citation needed] The three most famous examples of this are Francis Coppola’s Apocalypse Now and One From The Heart and particularly Michael Cimino’s Heaven’s Gate, which single-handedly bankrupted United Artists. However, Coppola’s Apocalypse Now eventually made its money back and gained widespread recognition as a masterpiece.[11]

Rise of the home video market

The 1980s and 1990s saw another significant development. The full acceptance of home video by studios opened a vast new business to exploit. Films such as Showgirls, The Secret of NIMH and The Shawshank Redemption, which performed poorly in their theatrical run, were now able to find success in the video market. It also saw the first generation of film makers with access to video tapes emerge. Directors such as Quentin Tarantino and Paul Thomas Anderson had been able to view thousands of films and produced films with vast numbers of references and connections to previous works. This, along with the explosion of independent film and ever-decreasing costs for filmmaking, changed the landscape of American movie-making once again, and led a renaissance of filmmaking among Hollywood's lower and middle-classes—those without access to studio financial resources. With the rise of the DVD in the 21st century, DVDs have quickly become even more profitable to studios and have led to an explosion of packaging extra scenes, extended versions, and commentary tracks with the films.

Modern cinema

Some of Hollywood's blockbuster action heroes from the 1980s and 1990s: From left: (top row) Sylvester Stallone, Arnold Schwarzenegger, Bruce Willis, Steven Seagal (bottom row) Dolph Lundgren, Jean-Claude Van Damme, Wesley Snipes, Jackie Chan. The drive to produce a spectacle on the movie screen has largely shaped American cinema ever since. Spectacular epics which took advantage of new widescreen processes had been increasingly popular from the 1950s onwards. Since then, American films have become increasingly divided into two categories: Blockbusters and independent films. Studios have focused on relying on a handful of extremely expensive releases every year in order to remain profitable. Such blockbusters emphasize spectacle, star power, and high production value, all of which entail an enormous budget. Blockbusters typically rely upon star power and massive advertising to attract a huge audience. A successful blockbuster will attract an audience large enough to offset production costs and reap considerable profits. Such productions carry a substantial risk of failure, and most studios release blockbusters that both over- and underperform in a year. Classic blockbusters from this period include E.T., Back to the Future, Beverly Hills Cop, Top Gun, Wall Street, Rain Man, Pulp Fiction, Titanic, The Matrix, The Green Mile, The Sixth Sense, Star Wars Episode I: The Phantom Menace, Gangs of New York and The Bourne Identity.[12]

Film industry (1995–2010)[13] All values in billions Year	Tickets	Revenue 1995	1.22	$5.29 1996	1.26	$5.59 1997	1.42	$6.51 1998	1.44	$6.77 1999	1.44	$7.30 2000	1.39	$7.48 2001	1.44	$8.13 2002	1.58	$9.19 2003	1.55	$9.35 2004	1.49	$9.27 2005	1.40	$8.95 2006	1.41	$9.25 2007	1.40	$9.63 2008	1.39	$9.95 2009	1.42	$10.65 2010[N 1]	1.37	$10.89 Studios supplement these movies with independent productions, made with small budgets and often independently of the studio corporation. Movies made in this manner typically emphasize high professional quality in terms of acting, directing, screenwriting, and other elements associated with production, and also upon creativity and innovation. These movies usually rely upon critical praise or niche marketing to garner an audience. Because of an independent film's low budgets, a successful independent film can have a high profit-to-cost ratio, while a failure will incur minimal losses, allowing for studios to sponsor dozens of such productions in addition to their high-stakes releases.

American independent cinema was revitalized in the late 1980s and early 1990s when another new generation of moviemakers, including Spike Lee, Steven Soderbergh, Kevin Smith, and Quentin Tarantino made movies like, respectively: Do the Right Thing; Sex, Lies, and Videotape; Clerks; and Reservoir Dogs. In terms of directing, screenwriting, editing, and other elements, these movies were innovative and often irreverent, playing with and contradicting the conventions of Hollywood movies. Furthermore, their considerable financial successes and crossover into popular culture reestablished the commercial viability of independent film. Since then, the independent film industry has become more clearly defined and more influential in American cinema. Many of the major studios have capitalised on this by developing subsidiaries to produce similar films; for example Fox Searchlight Pictures.

To a lesser degree in the early 21st century, film types that were previously considered to have only a minor presence in the mainstream movie market began to arise as more potent American box office draws. These include foreign-language films such as Crouching Tiger, Hidden Dragon and Hero and documentary films such as Super Size Me, March of the Penguins, and Michael Moore's Bowling for Columbine and Fahrenheit 9/11.

Hollywood and politics

In the 1930s the Democrats and the Republicans saw money in Hollywood. President Franklin Roosevelt saw a huge partnership with Hollywood. He used the first real potential of Hollywood’s stars in a national campaign. Melvyn Douglas toured Washington in 1939 and met the key New Dealers. Endorsements letters from leading actors were signed, radio appearances and printed advertising were made. Movie stars were used to draw a large audience into the political view of the party. By the 1960s, John F. Kennedy was a new, young face for Washington, and his strong friendship with Frank Sinatra exemplified this new era of glamor. The last moguls of Hollywood were gone and younger, newer executives and producers began generating more liberal ideas.

Celebrities and money attracted politicians into the high-class, glittering Hollywood life-style. As Ronald Brownstein wrote in his book “The Power and the Glitter”, television in the 1970s and 1980s was an enormously important new media in politics and Hollywood helped in that media with actors making speeches on their political beliefs, like Jane Fonda against the Vietnam War.[14] This era saw former actor Ronald Reagan became Governor of California and subsequently become President of the United States. It continued with Arnold Schwarzenegger as California’s Governor in 2003. Today Washington’s interest is in Hollywood donations. On February 20, 2007, for example, Barack Obama had a $2300-a-plate Hollywood gala, being hosted by David Geffen, Jeffrey Katzenberg and Steven Spielberg at the Beverly Hilton.[15] Hollywood is a huge donator for presidential campaigns and this money attracts politicians. Not only is Hollywood influencing Washington with its glamour and money but Washington also influences Hollywood.[16]

Hollywood has frequently been accused of helping to promote US imperialism with films such as Zero Dark Thirty and The Fifth Estate (film)

Spread to world markets

In 1912, American film companies were largely immersed in the competition for the domestic market. It was difficult to satisfy the huge demand for films created by the nickelodeon boom. Motion Picture Patents Company members such as Edison Studios, also sought to limit competition from French, Italian and other imported films. It was expected that a great deal of money was to be made in exporting films. Vitagraph Studios was the first American company to open its own distribution offices in Europe, establishing a branch in London in 1906, and a second branch in Paris shortly after. Other American companies were moving into foreign markets as well, and American distribution abroad continued to expand until the mid-1920s. Originally, a majority of companies sold their films indirectly; however, since they were inexperienced in overseas trading, they simply sold the foreign rights to their films to foreign distribution firms or export agents. Gradually, London became a center for the international circulation of U.S. films. Many British companies made a profit by acting as the agents for this business, and by doing so, they weakened British production by turning over a large share of the UK market to American films. By 1911, approximately 60 to 70 percent of films imported into Great Britain were American. The United States was also doing well in Germany, Australia and New Zealand.[17]

See also

Pre-Code Hollywood List of cinema of the world Cinema of North America American Film Institute Movie ranches National Film Registry List of films in the public domain in the United States Footnotes

^ Ticket sales and revenue for 2010 are annualized based on existing data for the year as of June 2010. Notes

^ Village Voice: 100 Best Films of the 20th century (2001). Filmsite.org; Sight and Sound Top Ten Poll 2002. BFI. Retrieved June 19, 2007. ^ "Nigeria's Nollywood eclipsing Hollywood in Africa". The Independent. May 15, 2010. Retrieved 2010-11-24. ^ Jacobs, Lewis; Rise of the American film, The; Harcourt Brace, New York, 1930; p. 85 ^ Pederson, Charles E. (September 2007). Thomas Edison. Abdo Publishing Company. p. 77. ISBN 1-59928-845-1. ^ Thumbnail History of RKO Radio Pictures ^ The Paramount Theater Monoply ^ Aberdeen, J A (September 6, 2005). "Part 1: The Hollywood Slump of 1938". Hollywood Renegades Archive. Retrieved 2008-05-06 ^ a b c "Consent Decree". Time Magazine. November 11, 1940. Retrieved 2008-05-06 ^ a b Aberdeen, J A (September 6, 2005). "Part 3: The Consent Decree of 1940". Hollywood Renegades Archive. Retrieved 2008-05-06 ^ Belton, John (November 10, 2008). American cinema/American culture. McGraw-Hill. p. 384. ISBN 978-0-07-338615-7. ^ Sight & Sound. Modern Times Sight & Sound British Film Institute, Dec. 2002. Web. October 16, 2010 ^ Belton, John (November 10, 2008). American cinema/American culture. McGraw-Hill. p. 420. ISBN 978-0-07-338615-7. ^ "US Movie Market Summary 1995 to 2010". The Numbers. Retrieved 2010-07-15. ^ Brownstein, Ronald (1990). The power and the glitter : the Hollywood-Washington connection. Pantheon Books. ISBN 0-394-56938-5 ^ Halbfinger, David M. (February 6, 2007). "Politicians Are Doing Hollywood Star Turns". The New York Times. Retrieved 2008-02-05. ^ Valantin, Jean-Michel (2003). Hollywood, le Pentagone et Washington : les trois acteurs d'une stratégie globale. Autrement. ISBN 2-7467-0379-3 ^ Thompson, Kristin (2010). Film History: An Introduction. Madison, Wisconsin: McGraw-Hill. ISBN 978-0-07-338613-3. References

Gabler, Neal (1988). An Empire of Their Own: How the Jews Invented Hollywood. Crown. ISBN 0-385-26557-3. External links

History of Hollywood's Aerial Cinematography Photo exhibit of filmmaking in Florida, presented by the State Archives of Florida Rottentomatoes.com – A large collection of movie reviews and previews from hundreds of critics Early American Cinema – Articles on early cinema and celebrities Hollywood actress news updates – Actress pics, reviews of movies.. shotsofsilver.com – Exploration of the pathos and humor of movies and the Arts [show] v t e Cinema of the United States [show] v t e United States of America [show] v t e World cinema

This entry is from Wikipedia, the leading user-contributed encyclopedia. It may not have been reviewed by professional editors (see full disclaimer)

Donate to Wikimedia

Unanswered QuestionsNew AnswersQ&A CategoriesCouponsGuidesSign In|Sign Up Home Search Settings Top Contributors Help Center Home Featured Videos: Top

Play Russian Parallel Cinema Part 1/3

Play The Classic Cars of the Big Screen

Play The Classic Cars of the Big Screen

Play The Ballad of Bering Strait View more Entertainment & Arts videos

Disney's Wreck-It Ralph The Movie for Gamers of All Ages! Available on HD Digital Today. www.disneymoviedownloads.com/ Hollywood MoviesWatch Hollywood Movies Movie Online. No Registration or Download Neededwww.viewster.com/ What's Hot Movies	Western Anime & Animation	Romance Free Downloadable Videos U must own the most viewed end-time Bible prophecy videos today.

Bollywood
Indian movie making industry that began in Bombay (now Mumbai) in the 1930s and developed into an enormous film empire. Bombay Talkies, launched in 1934 by Himansu Rai, spearheaded the growth of Indian cinema. Throughout the years, several classic genres emerged from Bollywood: the historical epic, notably Mughal-e-azam (1960; The Great Mughal); the curry western, such as Sholay (1975; The Embers); the courtesan film, such as Pakeezah (1972; Pure Heart), which highlights stunning cinematography and sensual dance choreography; and the mythological movie, represented by Jai Santoshi Maa (1975; Hail Santoshi Maa). Star actors, rather than the films themselves, have accounted for most box-office success. Standard features of Bollywood films include formulaic story lines, expertly choreographed fight scenes, spectacular song-and-dance routines, emotion-charged melodrama, and larger-than-life heroes. At the beginning of the 21st century, Bollywood produced as many as 1,000 feature films annually, and international audiences began to develop among Asians in the U.K. and the U.S.

This article is about the film industry of Hindi films. For the entire film culture of India, see Cinema of India. For the similarly named tree species, see Litsea reticulata and Litsea bindoniana. South Asian cinema Cinema of India Assamese cinema Badaga cinema Bengali cinema (West Bengal) Bhojpuri cinema Gujarati cinema Hindi cinema Kannada cinema Konkani cinema Kosli cinema Malayalam cinema Marathi cinema Oriya cinema Punjabi cinema Tamil cinema (Tamil Nadu) Telugu cinema Tulu cinema Cinema of Bangladesh Bengali cinema (Bangladesh) Cinema of Nepal Cinema of Sri Lanka Tamil cinema (Sri Lanka) Cinema of Pakistan Karachi cinema Lahore cinema Pashto cinema Pothwari cinema Sindhi cinema Bollywood is the informal term popularly used for the Hindi-language film industry based in Mumbai (formerly known as Bombay), Maharashtra, India. The term is often incorrectly used to refer to the whole of Indian cinema; however, it is only a part of the total Indian film industry, which includes other production centres producing films in multiple languages.[1] Bollywood is the largest film producer in India and one of the largest centres of film production in the world.[2][3][4] Bollywood is formally referred to as Hindi cinema.[5] 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 words (also known as Hinglish), phrases, or even whole sentences.[6] Contents 1 Etymology 2 History 2.1 Golden Age 2.2 Modern cinema 3 Influences for Bollywood 4 Influence of Bollywood 5 Genre conventions 6 Cast and crew 7 Sound 8 Bollywood song and dance 9 Dialogues and lyrics 10 Finances 11 Advertising 12 Awards 13 Film education 14 Popularity and appeal 14.1 Africa 14.2 Asia 14.3 Europe 14.4 North America 14.5 Oceania 14.6 South America 15 Plagiarism 16 See also 17 References 18 Further reading 19 External links Etymology

The name "Bollywood" is a portmanteau derived from Bombay (the former name for Mumbai) and Hollywood, the center of the American film industry.[7] 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,[7][8] it has its own entry in the Oxford English Dictionary. 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 name, referring to the Bengali film industry based in Tollygunge, Calcutta, whose name is reminiscent of "Hollywood" and was the center of the cinema of India at the time.[9] It was this "chance juxtaposition of two pairs of rhyming syllables," Holly and Tolly, that led to the portmanteau name "Tollywood" being coined. The name "Tollywood" went on to be used as a nickname for the Bengali film industry by the popular Kolkata-based Junior Statesman youth magazine, establishing a precedent for other film industries to use similar-sounding names, eventually leading to the term "Bollywood" being coined.[10] However, more popularly, Tollywood is now used to refer to the Telugu Film Industry in Andhra Pradesh. The term "Bollywood" itself 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,[11] and the journalist Bevinda Collaco.[12] History

Film poster for first Indian sound film, Ardeshir Irani's Alam Ara (1931) 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.[13] The first Indian sound film, Ardeshir Irani's Alam Ara (1931), was a major commercial success.[14] 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. Most Bollywood films were unabashedly 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.[13] In 1937, Ardeshir Irani, of Alam Ara fame, made the first colour film in Hindi, Kisan Kanya. The next year, he made another colour film, a version of 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. Golden Age

Following India's independence, the period from the late 1940s to the 1960s is regarded by film historians as the "Golden Age" of Hindi cinema.[15][16][17] 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.[18] Some of the most famous epic films 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,[19] and K. Asif's Mughal-e-Azam (1960).[20] Madhumati (1958), directed by Bimal Roy and written by Ritwik Ghatak, popularised the theme of reincarnation in Western popular culture.[21] 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, Vyjayanthimala, Meena Kumari, Nutan, Madhubala, Waheeda Rehman and Mala Sinha.[22] While commercial Hindi cinema was thriving, the 1950s also saw the emergence of a new Parallel Cinema movement.[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's Neecha Nagar (1946)[23] and Bimal Roy's Do Bigha Zamin (1953). Their critical acclaim, as well as the latter's commercial success, paved the way for Indian neorealism[24] and the Indian New Wave.[25] 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.[18] Ever since the social realist film Neecha Nagar won the Grand Prize at the first Cannes Film Festival,[23] 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.[26] Guru Dutt, while overlooked in his own lifetime, had belatedly generated international recognition much later in the 1980s.[26][27] Dutt is now regarded as one of the greatest 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 No. 73 on the list.[28] Some of his films are now included among the greatest films of all time, with Pyaasa (1957) being featured in Time magazine's "All-TIME" 100 best movies list,[29] 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), Mehboob Khan's Mother India (1957) and K. Asif's Mughal-e-Azam (1960) all tied at #346 on the list.[30] Modern cinema

In the late 1960s and early 1970s, romance movies and action films starred actors like Rajesh Khanna, Dharmendra, Sanjeev Kumar and Shashi Kapoor and actresses like Sharmila Tagore, Mumtaz and Asha Parekh. 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.[22] Some Hindi filmmakers such as Shyam Benegal continued to produce realistic Parallel Cinema throughout the 1970s,[31] alongside Mani Kaul, Kumar Shahani, Ketan Mehta, Govind Nihalani and Vijaya Mehta.[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.[32] Another important film from 1975 was 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.[33] 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).[22] In that point of time, action and comedy films were also successful, with actors like Govinda and actresses such as Raveena Tandon and Karisma Kapoor appearing in popular comedy films, and stunt actor Akshay Kumar gaining popularity for performing dangerous stunts in action films.[34][35] Furthermore, this decade marked the entry of new performers in arthouse and independent films, some of which succeeded commercially, the most influential example being Satya (1998), directed by Ram Gopal Varma and written by Anurag Kashyap. The critical and commercial success of Satya led to the emergence of a distinct genre known as Mumbai noir,[36] urban films reflecting social problems in the city of Mumbai.[37] This led to a resurgence of Parallel Cinema by the end of the decade.[36] These films often featured actors like Nana Patekar, Manoj Bajpai, Manisha Koirala, Tabu and Urmila Matondkar, whose performances were usually critically acclaimed. 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, and so on.[38] Some of the largest production houses, among them Yash Raj Films and Dharma Productions were the producers of new modern films.[38] 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), 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), 3 Idiots (2009), My Name is Khan (2010),Dabangg (2010) and The Dirty Picture delivering a new generation of popular actors (Hrithik Roshan, Abhishek Bachchan) and actresses (Aishwarya Rai, Preity Zinta, Rani Mukerji, Kareena Kapoor, Priyanka Chopra and Vidya Balan[39][40]), 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 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. Influences for Bollywood

Gokulsing and Dissanayake identify six major influences that have shaped the conventions of Indian popular cinema:[41] The ancient 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.[41] Ancient Sanskrit drama, with its highly stylised nature and emphasis on spectacle, where music, dance and gesture combined "to create a vibrant artistic unit with dance and mime being central to the dramatic experience." Sanskrit dramas were known as natya, derived from the root word nrit (dance), characterising them as specacular dance-dramas which has continued Indian cinema.[41] The theory of 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.[42] 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.[41] The Parsi theatre, which "blended 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."[41] Hollywood, where 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."[41] 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 (1995).[41] Influence of Bollywood

In the 2000s, Bollywood began influencing musical films 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.[43] The film incorporated an Indian-themed play based on the ancient Sanskrit drama Mṛcchakatika and a Bollywood-style dance sequence with a song from the 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, The Producers, Rent, Dreamgirls, Hairspray, Sweeney Todd, Across the Universe, The Phantom of the Opera, Enchanted and Mamma Mia! were produced, fuelling a renaissance of the genre.[44][45] 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) and Rang De Basanti (2006) were nominated for the BAFTA Award for Best Foreign Language Film. Danny Boyle's Slumdog Millionaire (2008), which has won four Golden Globes and eight Academy Awards, was also directly inspired by Bollywood films,[33][46] and is considered to be a "homage to Hindi commercial cinema".[23] The theme of reincarnation was also popularised in Western popular culture through Bollywood films, with Madhumati (1958) inspiring the Hollywood film The Reincarnation of Peter Proud (1975),[21] which in turn inspired the Bollywood film Karz (1980), which in turn influenced another Hollywood film Chances Are (1989).[47] The 1975 film Chhoti Si Baat is believed to have inspired Hitch (2005), which in turn inspired the Bollywood film Partner (2007).[48] The influence of Bollywood filmi music can also be seen in popular music elsewhere in the world. In 1978, technopop pioneers Haruomi Hosono and Ryuichi Sakamoto of the Yellow Magic Orchestra produced an electronic album Cochin Moon based on an experimental fusion between electronic music and Bollywood-inspired Indian music.[49] Devo's 1988 hit song "Disco Dancer" was inspired by the song "I am a Disco Dancer" from the Bollywood film Disco Dancer (1982).[50] The 2002 song "Addictive", sung by Truth Hurts and produced by DJ Quik and Dr. Dre, was lifted from Lata Mangeshkar's "Thoda Resham Lagta Hai" from Jyoti (1981).[51] 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) and "Ae Nujawan Hai Sub" from Apradh (1972).[52] Both songs were originally composed by Kalyanji Anandji, sung by Asha Bhosle, and featured the dancer Helen.[53] 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 Awards for the Slumdog Millionaire soundtrack) has frequently been sampled by musicians elsewhere in the world, including the Singaporean artist Kelly Poon, the Uzbek artist Iroda Dilroz, the French rap group La Caution, the American artist Ciara, and the German band Löwenherz,[54] among others. Many Asian Underground artists, particularly those among the overseas Indian diaspora, have also been inspired by Bollywood music. Genre conventions

See also: Masala (film genre) and Parallel Cinema Bollywood films are mostly 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.[55] Indeed, a film's music is often released before the movie 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").[56] Songs and dances, love triangles, comedy and dare-devil thrills are all mixed up in a three-hour extravaganza with an intermission. They are called 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 and so on. Most films have heroes who are able to fight off villains all by themselves.

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, 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 influence at home, have nudged Bollywood films closer to Hollywood models.[57] 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."[58] Plots now tend to feature Westernised urbanites dating and dancing in clubs rather than centring 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.[57] Despite this, Bollywood continues to play a major role in fashion in India.[57] Some studies into fashion in India have revealed that some people are unaware that the changing nature of fashion in Bollywood films are often influenced by globalisation; many consider the clothes worn by Bollywood actors as authentically Indian.[57] Cast and crew

for further details see Indian movie actors, Indian movie actresses, Indian film directors, Indian film music directors and Indian playback singers

Amitabh Bachchan is widely regarded as one of the greatest and most influential actors in the history of Indian cinema. 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.[59] 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, of which 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. Of late, Emma Brown Garett, an Australian born actress, has starred in a few Indian films. 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. However, 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 a lack of any show business connections. For film clans, see List of Hindi film clans. Sound

Sound in Bollywood films was once rarely recorded on location (otherwise known as sync sound). Therefore, the sound was usually created (or re-created) entirely in the studio,[60] 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 ADR—with the foley and sound effects added later. This created several problems, since the sound in these films usually occurs a frame or two earlier or later than the mouth movements or gestures.[60] The actors had to act twice: once on-location, once in the studio—and the emotional level on set is often very difficult to re-create. 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 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 re-created in the studio. Eventually, this became the standard for Indian films. The trend was bucked in 2001, after a 30-year hiatus of synchronised sound, with the film Lagaan, in which producer-star Aamir Khan insisted that the sound be done on location.[60] 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. Bollywood song and dance

Further information: Hindi dance songs, Filmi, and Music of Bollywood

Priyanka Chopra performing at the 18th Annual Colors Screen Awards (2012) 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 synching 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. 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 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, Mohammed Rafi, Manna Dey, Hemant Kumar, Kishore Kumar, Kumar Sanu, Udit Narayan and Sonu Nigam among male playback singers. Kishore Kumar and Mohammed Rafi are 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 composers of film music, known as music directors, are also well-known. Their songs can make or break a film and usually do. Remixing 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 dances. 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.

Brazilian model and actress Nathalia Kaur in the 2012 film Department 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,[61] those scenes have since then often been shot in Western Europe, particularly in Switzerland and Austria.[62][63] Bollywood films have always used what are now called "item numbers". 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 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. Dialogues and lyrics

Main article: Music of Bollywood 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 that would be understood by the largest possible audience.[5] Some movies, however, have used regional dialects to evoke a village setting, or old-fashioned, courtly, Persian-influenced Urdu in Mughal era historical films. Jyotika Virdi, in her book The cinematic imagiNation [sic], wrote about the presence of Urdu in Hindi films: "Urdu is often used in film titles, screenplay, lyrics, the language of love, war, and martyrdom." However, she further discussed its decline over the years: "The extent of Urdu used in commercial Hindi cinema has not been stable... the decline of Urdu is mirrored in Hindi films... It is true that many Urdu words have survived and have become part of Hindi cinema's popular vocabulary. But that is as far as it goes."[64] Contemporary mainstream movies also make great use of English. According to Bollywood Audiences Editorial, "English has begun to challenge the ideological work done by Urdu."[65] Some movie scripts are first written in Latin script.[66] 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. Song lyrics are often about love. Bollywood song lyrics, especially in the old movies, frequently use the poetic vocabulary of court Urdu, with many Persian loanwords.[67] Another source for love lyrics is the long Hindu tradition of poetry about the amours of Krishna, Radha, and the gopis, as referenced in films such as Jhanak Jhanak Payal Baje and Lagaan. Music directors often prefer working with certain lyricists, to the point that the lyricist and composer are seen as a team. This phenomenon is compared to the pairings of American composers and songwriters that created old-time Broadway musicals. Finances

Bollywood films are multi-million dollar productions, with the most expensive productions costing up to 100 crores rupees (roughly USD 20 million). The latest Science fiction movie Ra.One was made at an immense budget of 135 crores (roughly USD 27 million), making it the most expensive movie ever produced in Bollywood.[68] 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. 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 and other recent films. Funding for Bollywood films often comes from private distributors and a few large studios. Indian banks and financial institutions were forbidden from lending money to movie studios. However, this ban has now been lifted.[69] 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.[70] Another problem facing Bollywood is widespread copyright infringement of its films. Often, bootleg DVD copies of movies are available before the prints are officially released in cinemas. Manufacturing of bootleg DVD, VCD, and VHS copies of the latest movie titles is a well established 'small scale industry' in parts of South Asia and South East Asia. The Federation of Indian Chambers of Commerce and Industry (FICCI) estimates that the Bollywood industry loses $100 million annually in loss of revenue from 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 US and the UK regularly stock tapes and DVDs of dubious provenance, while consumer copying adds to the problem. The availability of illegal copies of movies on the Internet also contributes to the 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 a comparison of Hollywood and Bollywood financial figures, see 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 and so on.) of US$1.3 billion, whereas Hollywood films sold 2.6 billion tickets and generated total revenues (again from all formats) of US$51 billion. Advertising

Many Indian artists used to make a living by hand-painting movie billboards and posters (The well-known artist M.F. Hussain used to paint film posters early in his career). This was because human labour was found to be cheaper than printing and distributing publicity material.[71] 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.[71] 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 theatres.[72] 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.[73] Bollywood is also used to advertise other products. Product placement, as used in Hollywood, is widely practised in Bollywood.[74] 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. Awards

The Filmfare Awards ceremony is one of the most prominent film events given for Hindi films in India.[75] 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.[76] 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.[77] Additional ceremonies held within India are: Screen Awards Stardust Awards The Global Indian Film and Television Honours Ceremonies held overseas are: Bollywood Movie Awards – Long Island, New York, United States Global Indian Film Awards – (different country each year) International Indian Film Academy Awards (IIFA) – (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. Film education

Film and Television Institute of India Satyajit Ray Film and Television Institute Asian Academy of Film & Television Popularity and appeal

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.[78] 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,[38][79] with Western actors now actively seeking roles in Bollywood movies.[80] Africa

Historically, Hindi films have been distributed to some parts of Africa, largely by Lebanese businessmen. Mother India (1957), for example, continued to be played in Nigeria decades after its release. Indian movies have also gained ground so as to alter the style of Hausa fashions, songs have also been copied by Hausa singers and stories have 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 unintelligible to the viewers. One such explanation for this lies in the similarities between the two cultures. Other similarities include wearing turbans; the presence of animals in markets; porters carrying large bundles, chewing sugar cane; youths riding Bajaj motor scooters; wedding celebrations, and so forth. With the strict Muslim culture, Indian movies were said to show "respect" toward women, where Hollywood movies were 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."[78] Bollywood is also popular among Somalis and the Somali diaspora, where the emerging Islamic Courts Union found a bête noire.[81] Chad and Ethiopia have also shown an interest in the movies.[82] 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.[83] 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 westernised picturizations.[78] The old days of India avidly "advocating decolonization ... 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.[84] The emergence of Nollywood, Africa's local movie industry has also contributed to the declining popularity of Bollywood films. A greater 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. Asia

Bollywood films are widely watched in South Asian countries, including Bangladesh, Nepal, Pakistan and Sri Lanka. Many Pakistanis watch Bollywood films, as they understand Hindi (due to its linguistic similarity to Urdu).[85] Pakistan banned the legal import of Bollywood movies in 1965. However, trade in pirated DVDs[86] and illegal cable broadcasts ensured the continued popularity of Bollywood releases in Pakistan. Exceptions were made for a few films, such as the 2006 colorised 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.[87] Continued easing followed in 2009 and 2010. The new policy is opposed by nationalists and representatives of Pakistan's small film industry but is embraced by cinema owners, who are making profits after years of low receipts.[88] Bollywood movies are popular in Afghanistan due to the country's proximity to the Indian subcontinent and cultural perspectives present in the movies.[89] 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.[90][91] Hindi films have been popular in Arab countries, including Palestine, Jordan, Egypt and the Gulf countries.[92] 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.[93] Bollywood films are popular in Southeast Asia (particularly in Maritime Southeast Asia)[94] and Central Asia (particularly in Uzbekistan[95] and Tajikistan).[96] Bollywood films are widely appreciated in East Asian countries such as China, Japan, South Korea and etc. Some Hindi movies had success in the China and South korea, Japan in the 1940s and 1950s and are popular till today. The most popular Hindi films in that country were Dr. Kotnis Ki Amar Kahani (1946), Awaara (1951) and Do Bigha Zamin (1953). Raj Kapoor was a famous movie star in China, and the song "Awara Hoon" ("I am a Tramp") was popular in the country. Since then, Hindi 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.[97] The 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).[98] Several older Hindi films have a cult following in Japan, particularly the films directed by Guru Dutt.[99] However, the 2009 film 3 idiots would became the most popular Bollywood film in East Asia. It grossed over $3 million in South Korea. The film had the longest showing period at cinemas in Taiwan, for more than two months from December 2010, breaking the record of Avatar, with over TWD $10 million grossed. It was the first aired Indian film in Hong Kong, where it grossed HKD $22 million since its showing from 1 September 2011, as of January 2012,[100] and the equivalent of over US $3 million as of 4 March 2012.[101] In China, where it is known as San Geshagua ("Three Idiots"),[102] the film grossed $1.15 million in four days in December 2011,[103] eventually crossing the $2 million mark within 18 days, and nearly $3 million within a month as of 5 January 2012.[104] Alongside the original Hindi version, a Chinese-dubbed version was also released, with the popular actress Tang Wei (best known for Lust, Caution) voicing Kareena Kapoor's role. Indian films are the most popular foreign films in Tajikistan, and Hindi-Urdu departments are very large in the country.[105] Europe

"Bollywood Steps" show from Bristol The awareness of Hindi cinema is substantial in the United Kingdom,[106] 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,[107] and the Scandinavian countries. Various Bollywood movies are dubbed in German and shown on the German television channel RTL II on a regular basis.[108] Bollywood films are particularly popular in the former Soviet Union. Bollywood films have been 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: 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.[109] 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 (2005) 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.[110] North America

Bollywood has experienced a marked growth in revenue in North American markets, and is particularly popular amongst the South Asian communities in large cities as Chicago, Toronto and New York City.[38] 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 theatre screenings, video sales and the sale of movie soundtracks.[38] In other words, films from India do more business in the United States than films from any other non-English speaking country.[38] 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) 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.[111] 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.[111] Since 1997 the country has provided a backdrop for an increasing number of Bollywood films.[111] 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.[111] However, nowadays, Australian locations are becoming more important to the plot of Bollywood films.[111] Hindi films shot in Australia usually incorporate aspects of Australian lifestyle. The 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.[112] This was followed by Heyy Babyy (2007) Chak De! India (2007) and Singh Is Kinng (2008) which turned out to be box office successes.[111] 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.[113] Australian actress Tania Zaetta, who co-starred in Salaam Namaste, among other Bollywood films, expressed her keenness to expand her career in Bollywood.[114] South America

Bollywood movies are not influential in many countries of South America, though Bollywood culture and dance is recognised. However, due to significant South Asian diasporic communities in Suriname[115] and Guyana, Hindi language movies are popular.[116] In 2006, Dhoom 2 became the first Bollywood film to be shot in Rio de Janeiro, Brazil.[117] In January 2012, it was announced that UTV Motion Pictures would be releasing movies in Peru, starting with Guzaarish.[118] Plagiarism

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 Indian film industries or foreign films (including Hollywood and other Asian films) without acknowledgement of the original source. This has led to criticism towards the film industry.[119] Before the 1990s, this could be done with impunity. Copyright enforcement was lax in India and few actors or directors ever saw an official contract.[120] The Hindi film industry was not widely known to non-Indian audiences (excluding the 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.[119] 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.[119] One of the common justifications of plagiarism in Bollywood in the media 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.[119] 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.[121] 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.[121] Vikram Bhatt, director of films such as Raaz, a remake of What Lies Beneath, and Kasoor, a remake of 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."[121] Mahesh Bhatt has said, "If you hide the source, you're a genius. There's no such thing as originality in the creative sphere".[121] 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.[119] There have been some notable cases of conflict though. The makers of Partner (2007) and Zinda (2005) have been targeted by the owners and distributors of the original films, Hitch and Oldboy.[122][123] 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.[124] Some on the other hand do comply with copyright law, with Orion Pictures in 2008 securing the rights to remake the Hollywood film Wedding Crashers.[125] See also

Bollywood portal India portal Central Board of Film Certification Film City Kohinoor Film Company List of Bollywood films List of cinema of the world List of Hollywood-inspired nicknames References

^ Richard Corliss (16 September 1996). "Hooray for Bollywood!". Time. ^ Pippa de Bruyn; Niloufer Venkatraman; Keith Bain (2006). Frommer's India. Frommer's. p. 579. ISBN 0-471-79434-1. ^ Wasko, Janet (2003). How Hollywood works. SAGE. p. 185. ISBN 0-7619-6814-8. ^ K. Jha; Subhash (2005). The Essential Guide to Bollywood. Roli Books. p. 1970. ISBN 81-7436-378-5. ^ a b Gulzar; Nihalani, Govind; Chatterji, Saibal (2003). Encyclopaedia of Hindi Cinema. Encyclopaedia Britannica (India) Pvt Ltd.. pp. 10–18. ISBN 81-7991-066-0. ^ Ramesh, Randeep (24 October 2008). "English is recast in Indian films". The Guardian (London). Retrieved 2008-11-18. ^ a b Rajghatta, Chidanand (6 July 2008). "Bollywood in Hollywood". The Times of India. Retrieved 2009-02-20. ^ Crusie, Jennifer; Yeffeth, Glenn (2005). Flirting with Pride & Prejudice. BenBella Books, Inc.. p. 92. ISBN 1-932100-72-5. ^ Sarkar, Bhaskar (2008). "The Melodramas of Globalization". Cultural Dynamics 20: 31–51 [34]. doi:10.1177/0921374007088054. "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 Tollygunge 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)."

Where do elephants live?
African and Asian elephant habitat includes grasslands, marshes, forests, deserts, and mountains. Herds wander continuously in search of food and water. They may travel 5,000 to 10,000 kilometers (3,100 to 6,200 miles) in one year within their home range, which may be over 1500 sq km (600 sq mi). Mostly in Africa and India