बॉलीवूड

मुंबई येथे असलेल्या हिंदी चित्रपट सृष्टीला अनौपचारिकपणे **बॉलिवुड** असे म्हणतात. बऱ्याचदा बॉलिवुड ही संज्ञा संपूर्ण भारतीय चित्रपटसृष्टीसाठी वापरली जाते, परंतु प्रत्यक्षात बॉलिवुड हा भारतीय चित्रपटसृष्टीचा एक हिस्सा आहे. बॉलीवूड भारतातील सगळ्यात मोठी चित्रपटसृष्टी असून, ती जगातील मोठ्या चित्रपटसृष्टींपैकी आहे, त्यामुळे त्याला स्वप्न नागरी असेही म्हणतात.

बॉलीवूडला औपचारिकपणे हिंदी सिनेमा म्हणून संबोधले जाते, परंतु या हिंदी चित्रपटांत काव्यात्मक उर्दू शब्दांचा वारंवार वापर सामान्य आहे. संवाद आणि गाण्यांमध्येही भारतीय इंग्रजीचा वाढता वापर आहे. इंग्रजी शब्द आणि वाक्प्रचार किंवा अगदी संपूर्ण वाक्यांसह संवाद दर्शविणारे चित्रपट दुर्लभ नाहीत.

## नावाची व्युत्पत्ती 
बॉलिवुड हे नाव मुंबईचे इंग्रजी नाव *बॉम्बे* आणि अमेरिकेतील हॉलिवूड या शहराच्या नावांचे मिश्रण आहे. हॉलिवूड अमेरिकेतील चित्रपटव्यवसायाचे केंद्र समजले जाते.

हॉलीवूड हे एक ठिकाण असले तरी बॉलीवूड नावाचे कोणतेही ठिकाण नाही. हा उद्योग हॉलीवूडचा गरीब चुलत भाऊ आहे असे म्हणत जरी काहीजण या नावाची निंदा करत असत.

"बॉलीवूड" या शब्दाचा उगम १९७० च्या दशकात झाला. या शब्दाचे श्रेय घेण्यासाठी गीतकार, चित्रपट निर्माते आणि अभ्यासक अमित खन्ना, आणि पत्रकार बेविंदा कोलाको यांच्यासह अनेक वेगवेगळ्या लोकांनी दावा केला आहे.

"बॉलीवूड" हे नामकरण "टॉलीवूड"वरून आल्याचाही समज आहे. टॉलीवूड हे नाव १९३२पासून पश्चिम बंगालच्या सिनेमाचा संदर्भ देण्यासाठी वापरले जात होते. बंगाली चित्रपट उद्योग कोलकाताजवळील टॉलीगंज येथे केंद्रित असल्याने असे असावे. "बॉलीवूड" हे नाव नंतर उदयास आले असावे असाही समज आहे. याला कारण मुंबईमधील चित्रपट उद्योग भारतीय चित्रपट उद्योगाचे केंद्र म्हणून टॉलीगंज येथील चित्रपटसृष्टीनंतर पुढे आला.

## इतिहास 
[thumb|right|200px|[आलम आरा या सर्वप्रथम भारतीय बोलपटाचे जाहिरातचित्र]]
[thumb|200px|[Nargis and Raj Kapoor in *Awaara* (1951), also directed and produced by Kapoor. It was nominated for the Grand Prize of the 1951 Cannes Film Festival.|दुवा=Special:FilePath/Awaara.jpg]]
[thumb|200px|[Guru Dutt in *Pyaasa* (1957), for which he was the director, producer and leading actor. It is one of Time magazine's "All-TIME" 100 best movies.]]

१३ मे १९१३ रोजी  दादासाहेब फाळके यांचा *राजा हरिश्चंद्र* हा भारतात निर्मित झालेला सर्वप्रथम चित्रपट होता. १९३० च्या सुमारास येथे दरवर्षी २००पेक्षा अधिक चित्रपटांची निर्मिती होऊ लागली होती. १९३१मध्ये प्रदर्शित झालेला आलम आरा हा अरदेशर इरानीचा चित्रपट सफल झाला. यानंतर बॉलिवुड तसेच इतर भाषांतील बोलपट प्रदर्शित होऊ लागले.

१९३० आणि ४०ची दशके भारतात मोठ्या घडामोडींचा काळ होता. जागतिक मंदीची झळ भारतातही बसत होती तसेच दुसरे महायुद्धही याच काळात झाली. याच दरम्यान भारतीय स्वातंत्र्यसंग्राम आणि त्यानंतरची फाळणी आणि त्यातील हिंसाचार भारतीय समाजाला बसलेले मोठे झटके होते. या काळातील बव्हंश बॉलीवूट चित्रपट यांकडे दुर्लक्ष करणारे पळवादी चित्रपट होते. तरीही काही चित्रपट निर्माते आणि दिग्दर्शकांनी सामाजिक प्रश्नांना हात घातला तर काहींनी स्वातंत्र्यलढा आपल्या चित्रपटांचे नेपथ्य म्हणून वापरले. 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. 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, and K. Asif's *Mughal-e-Azam* (1960). V. Shantaram's *Do Aankhen Barah Haath* (1957) is believed to have inspired the Hollywood film *The Dirty Dozen* (1967). *Madhumati* (1958), directed by Bimal Roy and written by Ritwik Ghatak, popularized the theme of reincarnation in Western popular culture. and Bimal Roy's *Two Acres of Land* (1953). Their critical acclaim, as well as the latter's commercial success, paved the way for Indian neorealism and the *Indian New Wave*. 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. Guru Dutt, while overlooked in his own lifetime, had belatedly generated international recognition much later in the 1980s. 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 #73 on the list. 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, 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.
   
### आधुनिक काळ 
In the late 1960s and early 1970s, romance movies and action films starred actors like Rajesh Khanna and Dharmendra, and actresses like Sharmila Tagore, Mumtaz, Leena Chandavarkar and Helen. In the mid-1970s, romantic confections made way for gritty, violent films about gangsters (see Indian mafia) and bandits. अमिताभ बच्चन, 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.
   
Some Hindi filmmakers such as Shyam Benegal continued to produce realistic Parallel Cinema throughout the 1970s, alongside Mani Kaul, Kumar Shahani, Ketan Mehta, Govind Nihalani and Vijaya Mehta. 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. urban films reflecting social problems in the city of मुंबई. This led to a resurgence of Parallel Cinema by the end of the decade. Some of the largest production houses, among them Yash Raj Films and Dharma Productions were the producers of new modern films.), 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.

## बाॅलिवुडचे हिंदी चरित्रपट (कंसात चरित्र नायकाचे नाव)
* शहीद उधमसिंग (२०००)
* गांधी : माय फादर (हिरालाल गांधी) - २००७
* गुरू (धीरुभाई अंबानी) - २००७
* ज़िला गोरखपूर (मुख्यमंत्री योगी आदित्यनाथ) - २०१८
* गौर हरी दास्तान (गौर हरी दास) (दिग्दर्शक - अनंत महादेवन, २०१५)
* झॉंसी की रानी (१९५५)
* द डर्टी पिक्चर (सिल्क स्मिता) - २०११
* दंगल (गीता फोगट) - २०१६
* एम.एस. धोनी : द अन्‌टोल्ड स्टोरी (हिंदी, २०१६)
* नीरजा (नीरजा भानोत) - २०१६
* पवन सिंग तोमार (२०१२)
* पूर्णा (मालावत पूर्णा) (दिग्दर्शक - राहुल बोस, २०१७)
* बॅंडिट क्वीन (फूलनदेवी) - १९९४
* डाॅ. बाबासाहेब आंबेडकर (दिग्दर्शक - जब्बार पटेल, २०००)
* बुधिया सिंग :बाॅर्न टु रन (हिंदी, २०१६)
* ब्लॅक फ्रायडे (शहीद आझमी) - २००४
* भाग मिल्खा भाग (मिल्खासिंग)  - २०१३
* मणिकर्णिका -  (झाशीची राणी) - २०१७
* मांझी द माऊंटन मॅन (दशरथ मांझी) - २०१५
* द मेकिंग आॅफ महात्मा (महात्मा गांधी) - (दिग्दर्शक - श्याम बेनेगल, १९९६)
* मेरी कोम (२०१४)
* मैं और चार्लस (चार्लस शोभराज) - २०१५
* रंग रसिया (राजा रविवर्मा) २००८
* शहीद (शहीद आझमी) - २०१३
* संजू (संजय दत्त) - २०१८
* सरदार (वल्लभभाई पटेल) - १९९३
* सरबजित - २

## मराठी चरित्रपट
* एक अलबेला (भगवान)
* संत एकनाथ महाराज (दिग्दर्शक - राजू फुलकर)
* तुकाराम (दिग्दर्शक - चंद्रकांत कुलकर्णी, २०१२)
* संत तुकाराम (१९३१), (**१९३६**), (२००२), (१९६५)
* डाॅ. प्रकाश बाबा आमटे (प्रकाश आमटे)
* बालगंधर्व
* लोकमान्य : एक युगपुरुष (लोकमान्य टिळक)
* वीर सावरकर (निर्माते - सुधीर फडके) 
* व्हॉट अबाऊट सावरकर? (दिग्दर्शक - रूपेश केतकर आणि नितीन गावडे, २०१५)  
* हरिश्चंद्राची फॅक्टरी (दादासाहेब फाळके)
* संत ज्ञानेश्वर

## Influences 
Gokulsing and Dissanayake identify six major influences that have shaped the conventions of Indian popular cinema:

* 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*.
* 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. The film incorporated an Indian-themed play based on the ancient Sanskrit drama *The Little Clay Cart* 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, fueling a renaissance of the genre.

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, and is considered to be a "homage to Hindi commercial cinema". which in turn inspired the Bollywood film *Karz* (1980), which in turn influenced another Hollywood film *Chances Are* (1989). The 1975 film *Chhoti Si Baat* is believed to have inspired *Hitch* (2005), which in turn inspired the Bollywood film *Partner* (2007).

The influence of Bollywood *filmi* music can also be seen in popular music elsewhere in the world. For example, Devo's 1988 hit song "Disco Dancer" was inspired by the song "I am a Disco Dancer" from the Bollywood film *Disco Dancer* (1982). 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). 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). Both songs were originally composed by Kalyanji Anandji, sung by Asha Bhosle, and featured the dancer Helen. 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, among others. Many Asian Underground artists, particularly those among the overseas Indian diaspora, have also been inspired by Bollywood music.

## Genre conventions 
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. Indeed, a film's music is often released before the movie itself and helps increase the audience.

Indian audiences expect full value for their money, with a good entertainer generally referred to as *paisa* *vasool*, (literally, "money's worth"). Songs and dances, love triangles, comedy and dare-devil thrills are all mixed up in a three-hour-long extravaganza with an intermission. Such movies are called *masala* films, after the Hindi word for a spice mixture. Like *masalas*, these movies are a mixture of many things such as action, comedy, romance etc. Most films have *heroes* who are able to fight off villains all by themselves.
[thumb|right|Melodrama and romance are common ingredients to Bollywood films. Pictured *[Achhut Kanya* (1936)]]
Bollywood plots have tended to be melodramatic. They frequently employ formulaic ingredients such as star-crossed lovers and angry parents, love triangles, family ties, sacrifice, corrupt politicians, kidnappers, conniving villains, 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.

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." Plots now tend to feature Westernised urbanites dating and dancing in clubs rather than centering on pre-arranged marriages. Though these changes can widely be seen in contemporary Bollywood, traditional conservative ways of Indian culture continue to exist in India outside the industry and an element of resistance by some to western-based influences.

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

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

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

## ध्वनिमुद्रण
सहसा बॉलिवूड चित्रपटांचे ध्वनीमुद्रण चित्रीकरणासह होत नाही. चित्रीकरण संपल्यावर स्टु़डियोमध्ये अभिनेते व इतर ध्वनिकलाकार चित्रांसोबत संवाद/आवाचांचे मुद्रीकरण करतात. Process known as "looping in the sound" or ADR—with the foley and sound effects added later. This creates several problems, since the sound in these films usually occurs a frame or two earlier or later than the mouth movements or gestures. Characters may shift from one language to the other to express a certain atmosphere (for example, English in a business setting and Hindi in an informal one).

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

Music directors often prefer working with certain lyricists, to the point that the lyricist and composer are seen as a team. This phenomenon is not unlike the pairings of American composers and songwriters that created old-time Broadway musicals (*e.g.,* Richard Rodgers and Oscar Hammerstein II, or Alan Jay Lerner and Frederick Loewe). Song lyrics are usually about love. Bollywood song lyrics, especially in the old movies, frequently use Arabo-Persic Urdu vocabulary. Another source for love lyrics is the long Hindu tradition of poetry about the mythological amours of Krishna, Radha, and the gopis. Many lyrics compare the singer to a devotee and the object of his or her passion to Krishna or Radha.

## Finances 
Bollywood films are multi-million dollar productions, with the most expensive productions costing up to 100 crores rupees (roughly USD 20 million). 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 ऑस्ट्रेलिया, Canada, न्यू झीलंड, 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. 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.

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

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

For an interesting comparison of Hollywood and Bollywood financial figures, see chart. It shows tickets sold in 2002 and total revenue estimates. Bollywood sold 3.6 billion tickets and had total revenues (theatre tickets, DVDs, television etc.) of 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. 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.

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.

Bollywood is also used to advertise other products. Product placement, as used in Hollywood, is widely practiced in Bollywood.

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. 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. 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.

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

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

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

## Film education 
* Film and Television Institute of India
* Satyajit Ray Film and Television Institute
* Asian Academy of Film & Television

## Popularity and appeal 
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.

### 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 युरोप and North America where Indian films largely cater to the expatriate Indian market yearning to keep in touch with their homeland, in West Africa, as in many other parts of the world, such movies rose in popularity despite the lack of a significant Indian audience, where movies are about an alien culture, based on a religion wholly different, and, for the most part, a language that is unintelligble to the viewers. One such explanation for this lied 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."

Bollywood is also popular among Somalis and the Somali diaspora, where the emerging Islamic Courts Union found a bete noire. Chad and Ethiopia have also shown an interest in the movies.

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. *Dil Jo Bhi Kahey* (2005) was shot almost entirely in Mauritius, which has a large ethnically Indian population.

Ominously, however, the popularity of old Bollywood versus a new, changing Bollywood seems to be diminishing the popularity on the continent. The changing style of Bollywood has begun to question such an acceptance. The new era features more sexually explicit and violent films. Nigerian viewers, for example, commented that older films of the 1950s and 1960s had culture to the newer, more westernized picturizations. 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, such as Bangladesh, Nepal, Pakistan and श्रीलंका.

Many Pakistanis watch Bollywood films, as they understand Hindi (due to its linguistic similarity to उर्दू भाषा). Pakistan banned the legal import of Bollywood movies in 1965. However, a thriving trade in pirated DVDs and illegal cable broadcasts ensured the continued popularity of Bollywood releases in Pakistan. Exceptions were made for a few films, such as the 2006 colorized re-release of the classic *Mughal-e-Azam* or the 2006 film *Taj Mahal*. Early in 2008, the Pakistani government eased the ban and allowed the import of even more movies; 16 were screened in 2008. Continued easing followed in 2009 and 2010. The new policy is controversial in Pakistan. It is opposed by ardent nationalists and representatives of Pakistan's small film industry; it is embraced by cinema owners, who are booking large profits after years of poor receipts.

Bollywood movies are also popular in Afghanistan due to the country's proximity with the Indian subcontinent and certain other cultural perspectives present in the movies. 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*. Hindi films have also been popular in numerous Arab countries, including Palestine, Jordan, Egypt and the Gulf countries.
Imported Indian films are usually subशीर्षकd 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. Bollywood films are also popular across Southeast Asia (particularly the Malay Archipelago) and Central Asia (particularly in Uzbekistan and Tajikistan).

Some Hindi movies also became big successes in the People's Republic of China during the 1940s and 1950s. The most popular Hindi films in China were *Dr. Kotnis Ki Amar Kahani* (1946), *Awaara* (1951) and *Two Acres of Land* (1953). Raj Kapoor was a famous movie star in China, and the song "Awara Hoon" ("I am a Tramp") was popular in the country. Since then, Hindi films significantly declined in popularity in China, until the Academy Award nominated *Lagaan* (2001) became the first Indian film to have a nation-wide release there in decades. 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). Several older Hindi films also have a cult following in Japan, particularly the films directed by the late Guru Dutt.

### युरोप 
बॉलीवूडचे सिनेमे रशियामधे विशेषतः प्रसिद्ध आहेत. Bollywood films have been dubbed into Russian, and shown in prominent theatres such as Mosfilm and Lenfilm.

सुरिनाममधील भारतीय दूत अशोक शर्मा, जे आपल्या कारकिर्दीत तीन वेळेस स्वतंत्र राज्यांच्या राष्ट्रसंघात कार्यरत होते, म्हणतात :

The film *Mera Naam Joker* (1970), sought to cater to such an appeal and the popularity of Raj Kapoor in Russia, when it recruited Russian actress Kseniya Ryabinkina for the movie. In the contemporary era, Lucky: No Time for Love was shot entirely in Russia. After the collapse of the Soviet film distribution system, Hollywood occupied the void created in the Russian film market. This made things difficult for Bollywood as it was losing market share to Hollywood. However, Russian newspapers report that there is a renewed interest in Bollywood among young Russians.

The awareness of Hindi cinema is also substantial in the United Kingdom, 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 फ्रांस, जर्मनी, the Netherlands, and the Scandinavian countries. Various Bollywood movies are dubbed in German and shown on the German television channel RTL II on a regular basis. A considerable number of Hindi movies has been shot in Western Europe as well, particularly in Switzerland, starting with *Dilwale Dulhania le Jayenge*.

### उत्तर अमेरिका 
गेल्या काही वर्षांत उत्तर अमेरिकेमध्ये बॉलिवूड चित्रपटांच लोकप्रियता वाढलेली आहे. मुख्यत्वे शिकागो, डॅलस सारख्या मोठ्या शहरांतील दक्षिण आशियाई लोकांमध्ये हे अधिक दिसून येते.

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. This was followed by *Heyy Babyy* (2007) *Chak De! India* (2007) and *Singh Is Kinng* (2008) which turned out to be box office successes. Australian actress Tania Zaetta, who co-starred in *Salaam Namaste*, among other Bollywood films, expressed her keenness to expand her career in Bollywood.

### South America 
Bollywood movies are not influential in South America, though Bollywood culture and dance is recognised. In 2006, *Dhoom 2* became the first Bollywood film to be shot in Rio de Janeiro, Brazil.

## 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). This has led to criticism towards the film industry.

In past times, this could be done with impunity. Copyright enforcement was lax in India and few actors or directors ever saw an official contract. 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. 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. 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. 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. Some on the other hand do comply with copyright law, with Orion Pictures recently securing the rights to remake the Hollywood film *Wedding Crashers*.

## संदर्भ 
वर्ग:चित्रपट
वर्ग:चित्रपटसृष्टी
वर्ग:बॉलीवूड