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COVER STORY

18-10-2013

100 years of cinema

Cinema cover

Briefing

Fan clubs

Hero worship

S. V. Srinivas Cover Story
The fan phenomenon is uniquely south Indian, and if there is one single feature that characterises all fan activity, it is the fans’ acute sense of entitlement. The fan is so invested in the image that he feels entitled to be its guardian, ensuring that the star himself does not digress from it.
Stardom

Dream merchants

Cinema
The convergence of brand culture, television and stardom has forever changed the profile of the Indian film star, generating new sites for the production of value.
In first person: Akkineni Nageswara Rao

The long journey from Gudivada

Cinema
I GUESS I am probably one of those few people who really took the plunge into performing arts in order to get out of poverty. It goes without saying ...
In conversation: Samik Bandopadhyay

Centenary and selective memory

Cinema
WHAT I find Indian is in the “regional” cinemas of India. For instance, they go into the history of that region, language or culture closely and try ...
In first person: Sabitri Chatterjee

Nostalgic about a bygone era

Cinema
I GOT into the entertainment business when I was a small child. After Partition, my parents and I moved to Kolkata, and here we lived in dire poverty, ...
Telugu

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 preoccupation, giving birth to the highly successful “mass film”in the Telugu industry. Today, with these films failing at the box office, it seems stuck in a narrative dead end.
Interview: Vipin Vijay

‘Aesthetic struggle alone matters’

Cinema
Vipin Vijay is a postgraduate in film-making from the Satyajit Ray Film and Television Institute, Kolkata. He has made several award-winning short films, documentaries and one feature film, Chitra Sutram. Among the films he has made are A Flowering Tree and Palace of the Winds (documentaries) and Video Game (a short film). He lives and works in Kerala. His films have been shown at many international festivals. In conversation with Vipin Vijay.
Interview: Adoor Gopalakrishnan

‘Indian cinema began with Ray’

Cinema
On the ‘Indian’ in Indian cinema Indian life is different, and if a film is able to reflect that, it is “Indian” cinema. We do not belong to either ...
In first person: Mammootty

Irresistible magic

Cinema
CINEMA is not just my bread. It is my breath and my very being. It is indeed a proud privilege to partake in the centenary celebrations of Indian ...
Hindi

Opiate of the masses

Whether dabbling in mythology, as in the silent era, or Nehruvian socialism, or the escapist formula fare in the 1970s and later, Hindi cinema was always an enchantress, now nudging and cajoling, now pampering and pleasing the senses.
Bharathiraja

Man behind the 1970s wave

Cinema
IT was when Tamil cinema was in dire need of a powerful shot of adrenalin that the young and energetic “Team Bharathiraja” arrived on the scene in the ...
In first person: K. Viswanath

‘Change cannot be at the cost of values’

Cinema
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 ...
In first person: D. Ramanaidu

‘Telugu industry a force to reckon with’

Cinema
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 ...
Industry

Market and the medium

Cinema
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 industry format was what sustained Bombay cinema nationally and internationally.
Interview: Kamal Hassan

‘There is no separate pedestal for the performer’

Kamal Hassan. Having been part of the film world for 54 of his 58 years, Kamal Hassan is today an epitome of versatility. His career started with a bang: he won the President’s Gold Medal for his debut role in Kalathur Kannamma, when he was just six years old. In this interview he gave Frontline at his office in Chennai, this quintessential actor comes across not only as an artist with a passion for cinema but also as a thinker with unique perspectives on the social, political and ideological issues underlying this modern art form.
Theatres

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 momentous as Phalke’s films.
Music

Singing cinema

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

Dream merchants

Cinema
The convergence of brand culture, television and stardom has forever changed the profile of the Indian film star, generating new sites for the production of value.
Interview: Vipin Vijay

‘Aesthetic struggle alone matters’

Cinema
Vipin Vijay is a postgraduate in film-making from the Satyajit Ray Film and Television Institute, Kolkata. He has made several award-winning short films, documentaries and one feature film, Chitra Sutram. Among the films he has made are A Flowering Tree and Palace of the Winds (documentaries) and Video Game (a short film). He lives and works in Kerala. His films have been shown at many international festivals. In conversation with Vipin Vijay.
Interview: Adoor Gopalakrishnan

‘Indian cinema began with Ray’

Cinema
On the ‘Indian’ in Indian cinema Indian life is different, and if a film is able to reflect that, it is “Indian” cinema. We do not belong to either ...
In first person: Mammootty

Irresistible magic

Cinema
CINEMA is not just my bread. It is my breath and my very being. It is indeed a proud privilege to partake in the centenary celebrations of Indian ...
Hindi

Opiate of the masses

Whether dabbling in mythology, as in the silent era, or Nehruvian socialism, or the escapist formula fare in the 1970s and later, Hindi cinema was always an enchantress, now nudging and cajoling, now pampering and pleasing the senses.
Bharathiraja

Man behind the 1970s wave

Cinema
IT was when Tamil cinema was in dire need of a powerful shot of adrenalin that the young and energetic “Team Bharathiraja” arrived on the scene in the ...
Malayalam

New trails of discovery

Cinema was adopted enthusiastically by the pluralistic society of Kerala, just emerging from feudalism and casteism in the early 20th century, as an ideal medium to project its dreams, desires and, later on, its disillusionments.
Bengali

RICH TRADITION

Cinema
Bengal happened to produce a highly successful set of popular conventions, most importantly a form of bourgeois melodrama that became commonly identified with the stars Uttam Kumar and Suchitra Sen. This cinema embodied an affective response to post-colonial modernisation, sometimes touching deeply on the formation of the new citizen in a vernacular context.
Kannada

From Mysore to Bangalore

Cinema
THE mainstream Hindi film is the closest we have to a “national cinema” because it addresses wide audiences within the boundaries of the nation. After ...
Documentary

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 hands of the British colonial state and subsequently the various governments of independent India to an empowering tool for individuals.
Marathi

Standing tall

Cinema
Marathi cinema, as old as Indian cinema itself, has not only arrived but is thriving.
In first person: D. Ramanaidu

‘Telugu industry a force to reckon with’

Cinema
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 ...
Industry

Market and the medium

Cinema
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 industry format was what sustained Bombay cinema nationally and internationally.
Tamil

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 the space to critique social maladies. It has evolved into a powerful medium, breaking the traditional style and format and venturing into refreshingly new themes.
Interview: Kamal Hassan

‘There is no separate pedestal for the performer’

Kamal Hassan. Having been part of the film world for 54 of his 58 years, Kamal Hassan is today an epitome of versatility. His career started with a bang: he won the President’s Gold Medal for his debut role in Kalathur Kannamma, when he was just six years old. In this interview he gave Frontline at his office in Chennai, this quintessential actor comes across not only as an artist with a passion for cinema but also as a thinker with unique perspectives on the social, political and ideological issues underlying this modern art form.
Theatres

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 momentous as Phalke’s films.
Stardom

Dream merchants

Cinema
The convergence of brand culture, television and stardom has forever changed the profile of the Indian film star, generating new sites for the production of value.
In first person: Akkineni Nageswara Rao

The long journey from Gudivada

Cinema
I GUESS I am probably one of those few people who really took the plunge into performing arts in order to get out of poverty. It goes without saying ...
In conversation: Samik Bandopadhyay

Centenary and selective memory

Cinema
WHAT I find Indian is in the “regional” cinemas of India. For instance, they go into the history of that region, language or culture closely and try ...
In first person: Sabitri Chatterjee

Nostalgic about a bygone era

Cinema
I GOT into the entertainment business when I was a small child. After Partition, my parents and I moved to Kolkata, and here we lived in dire poverty, ...
Telugu

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 preoccupation, giving birth to the highly successful “mass film”in the Telugu industry. Today, with these films failing at the box office, it seems stuck in a narrative dead end.
Interview: Vipin Vijay

‘Aesthetic struggle alone matters’

Cinema
Vipin Vijay is a postgraduate in film-making from the Satyajit Ray Film and Television Institute, Kolkata. He has made several award-winning short films, documentaries and one feature film, Chitra Sutram. Among the films he has made are A Flowering Tree and Palace of the Winds (documentaries) and Video Game (a short film). He lives and works in Kerala. His films have been shown at many international festivals. In conversation with Vipin Vijay.
Interview: Adoor Gopalakrishnan

‘Indian cinema began with Ray’

Cinema
On the ‘Indian’ in Indian cinema Indian life is different, and if a film is able to reflect that, it is “Indian” cinema. We do not belong to either ...
In first person: Mammootty

Irresistible magic

Cinema
CINEMA is not just my bread. It is my breath and my very being. It is indeed a proud privilege to partake in the centenary celebrations of Indian ...
Hindi

Opiate of the masses

Whether dabbling in mythology, as in the silent era, or Nehruvian socialism, or the escapist formula fare in the 1970s and later, Hindi cinema was always an enchantress, now nudging and cajoling, now pampering and pleasing the senses.
Bharathiraja

Man behind the 1970s wave

Cinema
IT was when Tamil cinema was in dire need of a powerful shot of adrenalin that the young and energetic “Team Bharathiraja” arrived on the scene in the ...
In first person: K. Viswanath

‘Change cannot be at the cost of values’

Cinema
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 ...
In first person: D. Ramanaidu

‘Telugu industry a force to reckon with’

Cinema
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 ...
Industry

Market and the medium

Cinema
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 industry format was what sustained Bombay cinema nationally and internationally.
Interview: Kamal Hassan

‘There is no separate pedestal for the performer’

Kamal Hassan. Having been part of the film world for 54 of his 58 years, Kamal Hassan is today an epitome of versatility. His career started with a bang: he won the President’s Gold Medal for his debut role in Kalathur Kannamma, when he was just six years old. In this interview he gave Frontline at his office in Chennai, this quintessential actor comes across not only as an artist with a passion for cinema but also as a thinker with unique perspectives on the social, political and ideological issues underlying this modern art form.
Theatres

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 momentous as Phalke’s films.
Music

Singing cinema

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

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