In most people's impression, Indian movies are the real "embodiment of the school": the characters put love and hate hanging on their faces, fearing that the audience can not see. A strong Indian movie style is even more difficult to say: fancy clothes, hand dancing, magic music to brainwash, a few hours can not stop.
(Even "Baahubali", which represents a higher level of Indian cinema in terms of technology and concept, can't get rid of the song-and-dance sequence of "dancing at the drop of a hat."
In the late 19th century, with the introduction of cinema technology to Asia, Indian cinema began to develop, which is basically the same as that of China. As early as 1896, a number of short and silent films appeared in India. At the same time that China's first movie, Dingjunshan, was causing thousands of people in the city of Beijing, the people of India were gradually adapting to the art form.
Underneath the tide, hidden are the problems of Indian cinema:
Firstly, there is the problem of multi-ethnicity and multi-language in India, and the inter-regional split is more serious, which also leads to the serious split of the Indian film market as a whole. Although Bollywood is well known in the international community, but the movies it produces are mainly in Hindi and Urdu, and can only satisfy the audience who speak these two languages. There are also several cities in India that have developed a film industry, with Kolkata, which is famous for its Bengali-language films, and Madras, which is famous for its Tamil-language films.
The second is the homogeneity of the Indian film form. Films such as The Wanderer and Caravan, described above, which reflected the state of society in their time, were mostly filled with songs and dances, not to mention mythological films derived from writings such as the Mahabharata and the Ramayana.
It is important to note that it is not a bad thing that song-and-dance films have become a staple of Indian cinema. Behind this singularity, there is a unique social reason:
Most Indian moviegoers have a low level of literacy, and the majority of moviegoers are farmers and small traders, who have limited aesthetic ability. For the producers, the mythological story is a certain degree of broad-based folk "big IP", naturally favored.
In India, going to the movies is a kind of group behavior, and there are often dozens or even hundreds of friends and relatives who go to the cinema together in great numbers, comparable to the domestic mob and square dance. People go into the movie theater mostly to kill time, rather than seeking spiritual **** Ming. As a result, they also love to watch less information-dense song-and-dance movies.
Entering the 21st century, with the increasing development of globalization, Indian film and Europe and the United States and even the East of the exchange of collision is gradually more, which also makes many Indian directors can have space to play. In addition to "Ashoka", "King Baahubali" and other mythological song and dance films that are as open as ever, there are also familiar comedies such as "Three Stooges in Bollywood" and dramas such as "Wrestling? Dad", and even the last two years of thriller and suspense film "mistakenly killed to hide the sky" and so on. Indian movies have gradually revealed the "blossoming" trend.
(Three Stooges in Bollywood)
It can be said that the development of Indian cinema in recent years has been supported by the country's practitioners of active cultural exchanges, increasing innovation and exploration, as well as tolerance and acceptance of an open mind. As one Indian director said about his country's movies: "Indian cinema is both a nightclub and a temple, a circus and a concert hall, a pizza and poetry workshop."