FL18TELUGUD-RAMANAIDU

In first person: D. Ramanaidu

‘Telugu industry a force to reckon with’

I WANTED to be a farmer, and for a while I did just that, apart from running a rice mill and even operating a few buses. Not content with the work bac

FL18TELUGUDEVADAS

In search of new narratives

As differentiation between genres began to get blurred in the early 1970s, the star and his relation to the fan became the sole aesthetic preoccupatio

VENKATESH CHAKRAVARTHY

In first person: Arghyakamal Mitra

‘We just keep up with the West’

Technically, I definitely feel that Indian cinema has taken a great leap. Whatever developments have been taking place globally, India has somehow kep

In first person: K. Viswanath

‘Change cannot be at the cost of values’

EVERY time a mediaperson meets me, his/her first question is: “What makes your films so everlasting?” My reply is almost always the same: chemistry is

fl18tamayirathiloruvanjpg

A way of life

Tamil cinema inherited interesting and different characteristics from the art form it evolved from, the “company drama”: a strong aural tradition and

Theodore Baskaran

Market and the medium

While apologists for corporatisation argue that it will clean up film-making, critics feel that this is not necessarily the case and that the cottage

Interview: Vipin Vijay

‘Aesthetic struggle alone matters’

Vipin Vijay is a postgraduate in film-making from the Satyajit Ray Film and Television Institute, Kolkata. He has made several award-winning short fil

More stories from Cinema

For City Editor: Attn:Mr. K.Ramachandran. 110 years of World Cinema another initiative from Sathyam Cinemas where we would be featuring some of the oldest movies made in the world. I am also sending images of posters that were made in that era.
Like the movie made by Lumiere was made only for a minute. We would really appreciate it if you could carry the press release on 'page 2' as it would be a great oppurtunity for avid film watchers to see how films started a century ago. Photo:Handout_E_Mail

Narrating actuality

The language of documentary in India has moved from capturing “reality” to presenting “authenticity” and from being an instrument of propaganda at the

Madhusree Dutta

TO GO WITH Entertainment-India-cinema,FEATURE by Indranil Mukherjee
Indian patrons enjoy the matinee show at Prabhat Touring Talkies travelling cinema at Shikhar Shingnapur some 350 kms south of Mumbai on March 23, 2010. The nearest permanent cinema -- a single-screen affair -- is in Satara, some 70 kilometres or two hours' drive away on a winding road with an irregular bus service. But for two weeks every year between October and April places like these can see Hindi-language Bollywood blockbusters, south Indian action flicks, love stories and even dubbed Hollywood releases, these are the travelling cinema companies that have brought low-cost entertainment to Indian villages since the days of silent movies and black-and-white. AFP PHOTO/Indranil MUKHERJEE

Show time

The year 1913 marks an important new development in the creation of a permanent home for film in specialised cinema theatres, which is every bit as mo

Stephen Putnam Hughes

Kochi, Kerala, 01/07/2013: Malayalam filim director Adoor Gopalakrishnan in Kochi on Monday.
Photo: Vipin Chandran

‘Indian cinema began with Ray’

Indian life is different, and if a film is able to reflect that, it is “Indian” cinema. We do not belong to either the fork-and-knife people of the We

From Stone Age...

It is the unacknowledged contribution of countries like India that liberated themselves from colonial rule to create discourse for the postmodern and

MS Subbulakshmi with G.N. Balasubramaniam in 'Sakuntalai' (1940).

Singing cinema

Cinema music exists only because there is cinema and has been and is constantly in a state of transition.