Saturday 2 April 2016

Comparison between "Ghashiram Kotwal" by Vijay Tendulkar and "the White Tiger" by Aravind Adiga.


Comparison between Ghashiram Kotwal by Vijay Tendulkar and the White Tiger by Aravind Adiga.



Introduction:

Ghashiram Kotwal is written by Vijay Tendulkar. It is play. The White Tiger is novel written by Aravind Adiga. According to my point, this assignment only depicted the similarities.



Introduction of writer:

White Tiger- Aravind Adiga


Ghashiram Kotwal- Vijay Tendulkar

Aravind Adiga was born in Madras in 1974.
Vijay Tendulkar was born in 1928 and began his career as a journalist.
He is journalist. A former Indian correspondent for Time magazine, his articles have also appeared in publications such as the Financial Times, the Independent and the Sunday Times.
He took up a job as a sub-editor of a Marathi Weekly.
He lives in Mumbai.
He is Marathi writer and lives in Mumbai.



Response to the texts by both writers:


By Aravind Adiga about the text:
By Vijay Tendulkar about the text:





This novel is not against the India. It is for to reform India.

“This is not a historical play. It is a story, in prose, verse, music and dance set in a historical era. Ghashirams are creations of socio-political forces which know no barriers of time and place. Although based on a historical legend, I have no intention of commentary on the morals, or lack of them, of the Peshwa, Nana Phadnavis or Ghashiram. The moral of this story, if there is any, may be looked for elsewhere.”





Aim:

Balram Halwai
Ghashiram Kotwal
“These poor bastards had come from the darkness to Delhi to find some light”

“Fortune. I came here to find my fortune.”

Aim of both is same. They both are coming to city to find their fortune or light. They wants their fortune, it is not matter for them with moral or immoral way. It is not make affect to Balram or to Ghashiram that through which way they find their fortune, whether it is right or wrong.



Character:

If someone depicted India and character or naming of India especially the Hindu name, they put “ram” and “Shankar” behind their name. It is one way of “signing Indian name”. Both writers depicted this point very well with the name of protagonist. For example- Balram Halwai and Ghashiram Savaldas. Balram Halwai and Ghashiram Savaldas both are coming from village to achieve their livelihood. Balram Halwai and Ghashiram both are not believe in family value rather in Individual. Balram leave his home and also claim that family is responsible for downfall of the progress of man. While on the other side Ghashiram himself deconstruct the idea of good family through selling his own daughter to Nana. Balram as a slave try to imitate the master. Ghashiram also tries to imitate Nana and his way of behaving. The position of both is same while they are coming to city. Both are in search of job but frequently they are insulted and failure into the process. They both need to confess that they are not thief viz,

Balram: “I’m a good driver, sir. I don’t smoke, I don’t drink, I                        don’t steal.”

“I don’t gossip about my master, I don’t steal, I don’t blaspheme.”(Pg-60) 

Ghashiram: “God stopped the slaughter. But I’m not a thief.”
                      “But I didn’t steal. I swear to God I didn’t. I’m                              not a thief.” (Pg-19)

Thinking process of both is same. Ghashiram and Balram are thinking same while they are more nearer to their destiny means to get position; it is not matter whether it is right or wrong way.
Ghashiram- There is no one to stop me now, to mock me, to make me bend, to cheat me.

                      "Now I am a devil."

Balram- “I am so darkened in my concern.”


They both know that there was no way to change the system. So, ultimately they themselves become the system. Ghashiram become the Kotwal and Balram become the entrepreneur. No doubt that both are choose wrong way to getting position like Balram killed his master and getting the position while Ghashiram sell his daughter to Nana and getting the position. So it is real proving that they both are becoming devil as well as darkened by their mind. Both their motto behind getting position is good. Ghashiram wants to make Poona city great. He wants to do good for Poona people. While Balram also claimed that-

“I am not like my master.” I’m thinking of real estate next. You see, I’m always a man who sees “tomorrow” when others see “today”. After three or four years in real estate, I think I might sell everything, take the money, and start a school-for poor children in Bangalore.”

So, in a way both are futuristic. 



Satire on Police system:

Both the text satirizes on police system. Ghashiram and Balram is becoming victim of that system.

The White Tiger-

“There is no end to things in India. Yo’ll have to keep paying and paying the fuckers. But I complain about the police the way the rich complain; not the way the poor complain. The difference is everything.”

Ghashiram Kotwal-

"Sutradhar. If the police let you!
Friend, the thief is dependent on the police.
If not- they’ll soften your bones.
Sometimes they break your bones.
Sometimes they crack your bones.
Sometimes you lose your life.
The thief earns what he thieves.
It’s easy income for the police.
 It’s a partnership.
 The thief is a simple thief.
The police are official thieves.
If a thief wants to live
To the police he’s got to give.
You need protection money
And on top of that
Their mercy might end any time
And so will you
You’ll get kicks and blows,
You’ll see the cell.
No one will know your address, Baba.
That’s how the play will end one day.
No one will weep.
No one will remember you, Baba,
What’s the use?
One petty thief less in a world of big thieves."

So, the system of police depicted in both the text similarly. They are the real thieves.  They are the catcher of briber but what happen if they taking the bribe. So, writer tries to satirize on the working system of police.


Satire on God:

Both texts make satire on Indian Gods and Goddesses. They try to depicted Gods and Goddesses more logically. They try to see God and Goddesses in more modern way rather the old and respect way of looking towards Gods and Goddesses. They tries to compare their way of living life with Gods and Goddesses way of living life and also makes point that there wasn’t any wrong deeds because it was also done by Gods and Goddesses.

 For example-

Ghashiram Kotwal-

“Nana (voice of lust). Child, what do you want?
She turns around, startled.
All your dreams this Nana will fulfill.
He puts a hand, on her shoulder. She pulls back.
Oh, don’t be shy. This is our house. This is a private hall. No one will see. No one in Poona today has the audacity to watch the great Nana Phadnavis!
Girl. He will see.
Nana. He will see? Who?
Girl. (pointing to Ganapati). He
Nana. That idol of holiness? That all holy Ganapati? The maker of Good? Look, he has two wives. One on this side, one on that side. If you sit on our lap, he won’t say anything.”

(The devotional song going on with lavani dance)

Nana is dancing with girl with full of lust. This dance writer compared with the dace of Radha and Krisha. So, he makes point here that Radha and Krisha also dance with the same intention. It is just like- “Krishna-leela”.

“The beat becomes stronger and faster. In the end, Nana throws his silver-knobbed walking stick to Ghashiram and disappears with the girl. Ghashiram catches it, biting his lips, bends it. Nana and the girl reappear and dance like Radha and Krishna. Seven or eight women of different ages, all Nana’s wives, make a dancing circle around them.”

The White Tiger-

“At the end of the market is a tall, whitewashed, conelike tower, with black intertwining snakes painted on all its sides- the temple. Inside, you will find an image of a saffron-colored creature, half man half monkey: this is Hanuman, everyone’s favorite god in the Darkness. Do you know about Hanuman, sir? He was the faithful servant of the god Rama, and we worship him in our temples because he is a shining example of how to serve your masters with absolute fidelity, love, and devotion.”

“The picture of a woman in a white sari with gold sovereigns dripping down to her feet, which is the goddess Lakshmi, of the Hindus. It is an ancient and venerated custom of people in my country to start a story by praying to a Higher Power. I guess, your Excellency, that I too should start off by kissing some god’s arse. Which god’s arse, though? There are so many choices. See, the Muslims have one god. The Christians have three gods. And we Hindus have 36,000,000 gods. Making a grand total of 36,000,004 divine arses for me to choose from. The Lord Buddha? An enlightened man. An enlightened god. (Oops! Thirty-six million and five-!)


Satire on Caste System:

If someone talking about India and not considered caste then there is lack of knowledge about India. India is also known for various castes and also the system or process of it. Both writers also depicted caste system in their works.

 For Example-

Ghashiram Kotwal- 

In this play there is very big satire on Brahmans and also their way of pretending.

"We the Poona Brahmans bow and prance.
We the pious Brahmans bow and prance.
Brahman. Now, son of a bitch, what do you want?
Sutradhar. I need a fourth genie. Will you come? In the bottle? No, no not in a bottle! In Bavannakhani? Where the girls are? Dancing? Singling?
Brahman. What! How did you know? Just you wait! I’ll slap your face. I’ll get you!
Sutradhar. “The Brahmans have lost themselves in Bavannakhani and the Brahman women are at home; they stay at home; oh yes, they stay at home. The Brahmans have lost themselves in the cemetery, in Kirtan; the Brahman women are sentenced to solitary confinement.”

Brahmans are at the top. They are allowed to speak slang with saying that they are pious Brahmans. They are used to go in Bavannakhani daily and their wives are waiting at home. They are also having the power to judge and make fun on them and also punished lower caste people. There very interestingly both writers make point that in India any one can identified with their name or through their surname.

For example-

Nana(very pleased). Wah! Wah! What words! What ready wit! What sweetness in his speech! Rise. You look as if you came from the North.
Ghashiram. Ji! (Stands.)
Nana. Your name?
Ghashiram. Ghashiram Savaldas. (Takes off his wig with the long tuft of hair in the style of Poona Brahmans.)
Nana. It seems you are a Brahman from Kanauj.

The White Tiger-

In the old days there were one thousand castes and destinies in India. These days, there are just two castes: Men with Big Bellies, and Men with Small Bellies. And only two destinies: eat-or eaten up.

“The stork turned to me and asked me directly. Are you from a top caste or bottom caste, boy? I didn’t know what he wanted me to say, so I flipped both answers-I could probably have made a good case either way-and then said, “Bottom”, sir.
Do you drink? No, sir. In my caste, we never drink. Halwai… Mr. Ashok said with a grin. Are you a sweet-maker? Can you cook for us while you’re not driving?”


Satire on Power:


Both the text also depicted the power in more satirically way. It is all about the power. Ghashiram and Balram both want position and for that they are ready to do anything. Balram want position and for that he killed his master- Mr.Ashoka. Ghashiram Kotwal also wants position and for that he sells his own daughter to Nana. So, it is all about the power. At the very beginning they both are insulted and also become the victim of power. It is leads them towards the great desire of power. Balram also makes the point that those who are getting the position or power somehow they choosing the same path, what he choose.


Looking towards women:

In both the texts women are become the object of male. Men are looking towards women as an object. Women are only to satisfy the needs of men. In Ghashiram Kotwal, Gauri become the Object of Nana.

“The abhanga changes to a lavani-a change from a religious song to a love ballad. Nana in lavani state of mind. Nana ogles the women.
“Nana (voice of lust). Child, what do you want?
She turns around, startled.
All your dreams this Nana will fulfill.
He puts a hand, on her shoulder. She pulls back.
Oh, don’t be shy. This is our house. This is a private hall. No one will see. No one in Poona today has the audacity to watch the great Nana Phadnavis!
Girl. He will see.
Nana. He will see? Who?
Girl. (pointing to Ganapati). He
Nana. That idol of holiness? That all holy Ganapati? The maker of Good? Look, he has two wives. One on this side, one on that side. If you sit on our lap, he won’t say anything.”
Girl. You are like my father!
Nana. Only in age. But our devotion is- only to this graceful image… don’t lose any more time. Youth will not come again; the bloom will not last. (He comes close and tries to put an arm around her.) My dear, you are like a daughter to us-someone else’s.”

Newspapers and Magazines are the reflection of the society and it is also provides the need of human being. So reading magazines with the cover page of a woman is also shows the scopophilia desire of men.

For example- 
    
"This is the absolutely best thing to read in the car. He gave me a magazine with a catchy cover-a woman in her underwear was lying on a bed, cowering from the shadow of a man. Murder Weekly rupees 4.50 exclusive true story: A good body never goes to waste. Murder. Rape. Revenge."


Use of Symbols:

Some symbols very interestingly used by both writers.

For example-

       Ghashiram Kotwal
        The White Tiger

Pearl Necklace- wearing by Nana. It shows the richness.



Chandelier- It shows the power and also the richness.



Palanquin- It shows the power and richness. It is used by Nana.




The Honda City car- The car used by Mr.Ashoka. It also the representation of richness.



Use of Indian accents and also some common 

symbols:

In both these texts there is use of some common symbols like dog and the river Ganga. Both writers depicted these kinds of symbols in the texts.

 For example-

Ganga- Ganga used to throw the things which are useless or worthless. So river is not just the river but it is something else.

In Ghashiram Kotwal,

After giving his daughter to Nana, he wants her back but Nana denied and wants more days.

"Ghashiram. It will not do, Majesty. This is too much. The waters, have come up to my chin. Better that we stop before the water rises over my head. Otherwise I will be humiliated all over Poona. What will people say about me? Your Majesty goes around in a palanquin. Ghashiram walks on the street among the people. That won’t do. I cannot do any more. Now that’s all. I was carried away by my love of Your Majesty. If the Peshwa hears about this, my hundred years will be over. Whatever has happened has happened, has flowed into the Ganga. My daughter will not come again to Your Highness’ house."

In the White Tiger,

“This was the real god of Benaras-this black mud of the Ganga into which everything died, and decomposed, and was reborn from, and died into again.”

So, it is only used for to through something which was now in no use.

Indian Accents-

Both writers uses some Indian accents like in Ghashiram Kotwal,

“Ghashiram cries: Look, look at this tamasha.
Brahman: Thank you. Thank you, huzur (in Indian English accent).”

In White Tiger,

“Oh, thank God. There was one of Gandhi too. It was in the corner. With a big smile- and a Namaste-handed him the red bag.
I’m closing my eyes, folding my hands in a reverent Namaste, and praying to the gods to shine light on my dark story.”


Conclusion:

There are various similarities lies there which I depicted here. Accept this many more differences also there. First difference is that Ghashiram Kotwal is play while The White Tiger is novel.
There are various differences between both the characters but the main difference is that the end of both characters like-

Ghashiram Kotwal-

 Ghashiram Savaldas at the end leads towards his tragic fall. So at the end writer gave poetic justice to the story and that is “Karma will catch”.

The White Tiger-

 Balram Halwai lives freely but he has fear that there isn’t any trust on police that when they turn back any catch his (Balram) deeds.

For example- “A man in a uniform may one day point a finger at me and say, Time's up, Munna.”

But the point of this assignment is – the comparison between Ghashiram Kotwal and The White Tiger. That’s why here only those points are depicted which are similar.


 Note: This assignment is prepare from the origional texts and from classnotes.

    

Monday 28 March 2016

My presentation-Sem -4


Batch -2014-16
Class: Ma Sem-4
Paper No.: 13-The New Literature
Topic: The Interpretation of Harry's dreams viewed from the dream interpretation theory by Sigmund Freud and how is it goes parallel in the psychology of Harry's real life.
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Interpretation of dream by freud in harry’s dream from sonal baraiya




Batch -2014-16
Class: Ma Sem-4
Paper No.: 14-The African Literature
Topic: Conflict between Covilization and Barbarians
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Conflict between Civilization and Barbarians from sonal baraiya



Batch -2014-16
Class: Ma Sem-4
Paper No.: 15 Mass Communication and Media Studies
Topic: Film Review and Film Criticism
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Thursday 17 March 2016

Various Regional Cinemas functioning in India

“Cinema”



Topic: Various Regional Cinemas functioning in India


Prepared by: Sonal Baraiya

Class: M.A.Sem-4

Paper No.: 15- Mass Communication and Media Studies

Submitted to: Smt.S.B.Gardi, Maharaja Krishnkumarsinhji  

                       Bhavnagar University, Department of English. 


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Introduction:

What is Cinema?
Why is there need of cinema?
What is the importance of Cinema?
Is it the tool for entertainment? Or not?
What is the necessity of regional cinema?

These are some of the questions leads towards cinema. Look more about the Cinema.

What is Cinema? –

“Cinema, or motion picture, is the art of moving images; a visual medium that tells stories and exposes reality.”

More than that it is reflects the way of living life. It is show the reflection of our own self. Do doubt sometimes it came with more exaggeration. But still it has something real or facts in it and because of that people love to watch it. It is not only entertaining but also reforming when it is needed. It is through light on the dark reality also. In a more specific way if we try to conclude it then it is “the modifying form of literature”. It is one of the parts of society. Whatever happening in an around that can be shown in movie with more refined way. As it is the part of society, it’s came with not only event or incidence but also with tradition, culture, language, and what not which are surrounded with us. So the regional films have its own importance because it is come with various verities.



India is having one of the largest film industries in the world. Indian film industries produce thousands of movies every year. Indian film industries included different mass industries like Hindi films, regional movies and art cinema. The film industries divided according to the region because India is the country of languages. Various languages are spoken in India. Many of the larger languages supported their own film industry. There is various different regional film industries in India are Bengali, Tamil, Telugu, Kannada, Malayalam, Punjabi, Bhojpuri, Gujarati, etc. The Hindi/Urdu film industry known as Bollywood lies in Mumbai. Same as Neologims have been coined for the Tamil film industry Kollywood and the Telugu film industry. Tollywood is based on the Bengali film industry. Tollywood is known for its very famous and notable director Satyajit Ray, an internationally renowned filmmaker and a winner of many awards. In this, Bollywood remain as one of the greatest film industries and produced thousands of films.




The introduction of cinema starts with the first moving picture Lumiere in London (1895), which was screening in Bombay, in the year 1896. Cinema is known as motion picture. The first experiment with   the picture to motion picture done by a scholar on India’s language and culture is Dadasaheb Phalke. He did tremendous work with cinema. First he brought Sanskrit epics and produced a silent film Raja Harish Chandra (1913) in Marathi. The film is more like “Bhavai” because the female role played by male characters which was one of the characteristics of it. Dadasaheb is known as the father of Indian cinema and his first film got very good commercial success. He wasn’t only the producer but was also the director, writer, cameraman, editor, make-up artist and art director. The film was screening in London in the year 1914.

In the twentieth century cinema as a medium gained increasing movements across the popularity among the people and also in its many economic sections. Tickets are according to the pocket of audience.  It is in very low price so it can be affordable to common man. It is one of the affordable entertainment medium which dragged people to the cinema hall and the price was 4 paisa or an Anna. With the commerce, the content also make important. The content based on the social life and culture. It also brought the idea or content all across the world. The important point here is that the precious time was this because in this time the international audience and marketing take place into Indian cinema. Commercial films included Masala elements like songs, dance, and romance with slangs. Commercial Hindi cinema further grew throughout the 1980s and the 1990s.

There were six major influences that brought sudden changes in Indian cinema:

1.    Ancient Indian epics:




The first was the ancient Indian epics of Mahabharata and Ramayana. It is change the thoughts and imagination of Indian cinema. It is highly impact on the way of living life of people. It is highly impact on the narrative style.

2.    Ancient Sanskrit drama:

The second influence was the impact of ancient Sanskrit drama, with its highly stylized nature and emphasis on spectacle, where the combination of three music, dance and gesture “create a vibrant artistic unit with dance and mime being central to the dramatic experience.”

3.    The traditional Falk Theatre of India:

The third influence was the traditional Falk theatre of India, which start from the decaline of Sanskrit theatre and around the 10th century it become popular. These regional traditions include the Yatra of Bengal, the Ramlila of Uttar Pradesh, and the Terukkuttu of Tamil Nadu.

4.    Parsi Theatre:

The fourth influence was 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.

5.    Influence of Hollywood:

The influence of Hollywood cinema is more. Especially the impacts of close-up, camera angle, musical aspects, lighting and what not.



Regional Cinema:




Cinema is goes from the both side; particular to general and general to particular. It is goes regional to global cinema industry and also global to particular means regional cinema industry. Let’s have a look on regional cinema.


Hindi Cinema:


The Hindi cinema covers the large area in Indian cinema. The Hindi language film industry of Mumbai also known as Bollywood is one of the great and powerful cinema industry in India. The Hindi cinema rise with the content of caste and cultural issues in films like such as Achhut Kanya (1936) and Sujata (1959). Achhut Kanya deals with the social position of Dalit girls and is considered a reformist period-piece. The movie stars Ashok Kumar and Devika Rani in the lead roles. Film was one of the successful in Bombay Talkies. Sujata is a Bimal Roy film based on the caste system in India. Likewise the growth of Hindi cinema rise through the international visibility start with Raj Kapoor’s Awara and later in Shakti Samantha’s Aradhana starring by Rajesh Khanna and Sharmila Tagore. The golden age of cinema with the movie of “Sholay” starts. The rise of Amitabh Bachchan start with this movie along with this, Janjir is one of the best movies which put Amitabh into the category of “Big B” and also “Sadi Ka Mahanayak”.




Instead of that the middle era got highlight because of the movie which was highly considered by the audience is Dilwale Dulhania Lejayenge. It is registered its commercial presence in the Western world. In the year 1995, the Hindi cinema industry showing its sustainable growth and also the commercial rise in the world. Moreover the salary of lead stars also growing and the actors are working simultaneously in 3-4 films in one year. To help film industry financially, the industrial Development Bank of India came forward. Later on another growth take place which was related to the film industry is the magazines. The Magazines also make very good financial attempts. And such magazins are Filmfare, Stardust, Cineblitz, etc., became popular.




Gujarati Cinema

Gujarati cinema or Gujarati film industry referred as Dhollywood or Gollywood. It is one of the known regional and vernacular film industry in Indian cinema. The first film in Gujarati cinema was Narsinh Mehta, released on 7 April 1932. The Gujarati Cinema can be divided into three phase such as:

Silent films era (1913-1931)
Early talkies (1932-1947)
Post-independence (1946-1970)
Rise and decline (1970-2000)
Revival (2001-present)

Silent films era (1913-1931)


The silent film Bilwamangal (Bhakta Surdas, 1919) was directed by Parsi Gujarati, Rustomji Dotiwala. The silent film Narsinh Mehta (1920) produced by Oriental featured Gujarati song, “Vaishnav Jan To” which was sung by audience and musicians in cinema halls with relevant scenes on screen. Another film which was remark of Gujarati culture is garba presented the film Kach-Devyani (1920) was directed by S.N.Patankar. Kohinoor produced its first film Sati Parvati (1920) depicting Gujarati culture. Bhakta Vidur (1921) produced by Kohinoor and directed by Kanjibhai Rathod was implicitly political film. It was the first film banned in India by British authorities. Manilal Joshi was an experimental Gujarati director. He directed Abhimanyu (1922) produced by Star Film Company and later Prithivi Vallabh based on the novel by Gujarati author K.M.Munshi of same name.

Early talkies (1932-1947)

The first full length Gujarati talkie Narsinh Mehta was released on 9 April 1932 marking the beginning of Gujarati Cinema. It was followed by Sati Savitri (1932) based on epic story of Savitri and Satyavan. In 1935, Ghar Jamai directed by Homi Master was a comedy film.

Post-independence (1946-1970)

Vishnukumar M. Vyas directed Ranakdevi (1946). Meerabai released in the year 1946. Punatar also directed Gunsundari (1948) starring Nirupa Roy. Kariyavar (1948) directed by Chaturbhai Doshi. He also directed Vevishal (1949), an adaptation of the novel of same name by Jhaverchand Meghani. Leeludi Dharti (1968) directed by Vallabh Choksi and based on the novel of same name by Chunilal Madia. Leeludi Dharti was the first colour film of Gujarati cinema. The problems of modernization are the underlying concern of several films. The films like Gada no Bel had a strong realism and reformism.




Malela Jeev (1956) was directed by Manhar Raskapur. It was based on novel by Pannalal Patel and was scripted by novelist himself. Director Raskapur and producer-actor Champshibhai Nagda produced several films including Jogidas Khuman (1948), Kahyagaro Kanth (1950), Kanyadan (1951), Mulu Manek (1955), Malela Jeev (1956), Kadu Makrani (1960), Mehndi Rang Lagyo (1960), Jogidas Kuman (1962), Akhand Saubhagyavati (19630 and Kalapi (1966).



Rise and Decline (1970-2000)




This era can be considered as the era of rise and decline of Gujarati cinema. Feroze A. Sarkar directed Janamdeep (1973) adapted from the novel of same name by Ishwar Petlikar. Kanti Madia adapted Vinodini Neelkanth’s short story Dariyav Dil in the film Kashi no Dikro (1979). Dinesh Raval directed several films including Mena Gujari (1975), Amar Devidas (1981) and Sant Rohidas (1982). Actor-director Krishna Kant directed about dozen Gujarati films including Kulyadhu (1977), Gharsansar (1978) and Jog Sanjog (1980). Mehul Kumar directed several hits including Janam Janam na Sathi (1977), Ma Vina Suno Sansar (1982), Dholamaru (1983) and Meru Malan (1985). Jesal Toral (1971) directed by Ravindra Dave was one of the biggest hits of Gujarati cinema. Sonbai ni Chundadi (1976) directed by Girish Manukant was the first Gujarati cinemascope film. Mansai na Deeva (1984), directed by Govind Saraiya, was based on the novel of same name by Jhaverchand Meghani.





In 1998, Desh Re Joya Dada Pardesh Joya directed by Govindbhai Patel became very successful and went on to become super-hit. The film grossed more than 10 crore. Vipul Amrutlal Shah produced Dariya Chhoru in 1999. Upendra Trivedi was one of the most successful Gujarati actor and producer. He also produced Jher To Pidhan Jaani Jaani (1972) based on epic novel of the same name by Manubhai Pancholi ‘Darshak’. He also produced, acted and directed Manvi ni Bhavai (1993) based on the novel of Pannalal Patel.The film become super-hit and went to win the national award. The retirenment of Upendra Trivadi the decline of Gujarati cinema started.

Revival (2001-present)




It is the rising of Gujarati cinema. The movies are coming through various innovative and modern ideas. Maiyar Ma Manadu Nathi Lagtu (2001) directed by Jashwant Gangani, starring Hiten Kumar, was commercially successful. Vikram Thakore starred in several films like Ek Var Piyu Ne Malva Aavie (2006), Radha Tara Vina Gamtu Nathi (2007), Vaagi Kalje Katari Tara Premni (2010), Premi Zukya Nathi Ne Zukshe Nahi (2011) and Rasiya Tari Radha Rokani Rannma (2014).




Kevi Rite Jaish (2012) and Bey Yaar (2014), both directed by Abhishek Jain, became commercially and critically successful drawing urban audience. Kevi Rite Jaish and Bey Yaar were released worldwide and become successful and appriated by the audience also. The Good Road (2013), directed by Gyan Correa, won the Best Gujarati Film at the 60th National Film Awards and was later became the first Gujarati film selected to represent India at the Oscars. The film won the Best Feature Film Jury Award at the Indian Film Festival, Houston in October 2013. Other films like Gujjubhai, The Great (2015) and Chhello Divas (2015) were commercially successful.



Bhojpuri Cinema

Bhojpuri Cinema presented the film in the language of Bhojpuri in the eastern Utter Pradesh, western Bihar and Madhesh in Southern Nepal. It is known as Bhollywood. The first Bhojpuri talkie film was Ganga Maiyya Tohe Piyari Chadhaibo, was released in 1961 by Vishwanath Shahabadi. In the 80’s, there were many notable films such as:

Bitia Bhail Sayan

Chandwa Ke Take Chakor

Hamar Bhauji

Ganga Kinare More Gaon and Sampoorna Tirth Yatra




Though it is the smaller one industry it is came with rapid changes and interesting filmography. The industry now supports an awards show and a trade magazine, Bhojpuri City.



Cinema of Assam



Assam cinema referred as the Assamese language. The Assamese language film industry traces its origins works of revolutionary visionary Rupkonwar Jyotiprasad Agarwala. He was great poet, playwright, composer and also freedom fighter. The first Assamese film is Joymati in1935. The second picture Indramalati was filmed between 1937 and 1938 finally released in 1939. The beginning of the 21st century has seen Bollywood-style Assamese movies hitting the screen.



Bengali Cinema

The first talkie film in Bengali was Dena Paona in the year 1931. The Bengali language cinematic tradition referred as Tollygunge. It has highly renowned filmmakers like Satyajit Ray, Ritwik Ghatak and Mrinal Sen.




Recent Bengali films that have capture national attention include Rituparno Ghosh’s Choker Bali, starring Aishwarya Rai. The Bengali films capture the science-fiction and also focus on social issues. The first Bengali Feature film, Billwamangal, was produced in 1919, under the banner of Madan Theatre. Bilat Ferat was the IBFC’s first production in 1921. The Madan Theatres production of Jamai shashthi was first Bengali talkie.



Tamil Cinema



Kalidas (1931) is Tamil cinema’s first talkie. Sivaji Ganesan became India’s first ever actor to receive an international award when he won the Best Actor” award at the Afro-Asian film festival in 1960 and was awarded the title of Chevalier in the Legion of Honor by the French Government in 1995. Tamil cinema influenced by Dravidian politics which was also reflected in the films also.




Rajnikanth is referred to as Superstar and also considered as the divine perspective in the heart of Tamil people. He earning 26 crore for his role in Sivaji (2007), he became the highest paid actor in Asia after Jackie Chan. The music and songs are one of the best parts of the Tamil film.



Telugu Cinema

In a cinema city the contribution of Telugu is a lot. The highest numbers of theatres are located in the Indian states of Andhra Pradesh and Telangana which referred films in the Telugu language. It has the highest theatre across the India. It is also produced the largest number of films. Ramoji Film City, which holds the Guinness World Record for the world’s largest film production facility, is located in Hyderabad, India. The world’s IMAX 3D screen lies located there.




Vuppaladadiyam Nagayya, was the multilingual actor in South India to be honored with the Padma Shri. N.T.Rama Rao was one of the most commercially successful Telugu actors of his time. Chiranjeevi, was listed among “The Men who Changed the Face of the Indian Cinema” by IBN-live India.



Tulu Cinema

Tulu film industry is one of the parts of Indian cinema. It is very less in producing the movie throughout the year. It produces 2 to 3 films annually. The first film being Enna Thangadi released in theatres across the Tulu Nadu region and on DVD. The critically acclaimed Tulu Film Suddha, won the award for the best Indian Film at the Osian film festival held at New Delhi in the year 2006. Oriyardori Asal released in 2011 is the most successful Tulu film till date.



Conclusion:





As time pass the definition of cinema change but the importance of it day by day increase. Now it is become the part of human being. Now the definition of cinema is not only the motion picture but it has something more than that. It is because it is not shows the event or fiction but with that the culture, tradition, rituals, rules, class, beliefs also came along with that. So the motion picture not remains as a motion picture only but it is connect or involve people in it. Cinema has the capability to change or reform society and it has the capability to spoil the society. Now cinema becomes the heart of people. The importance of regional cinema is because of this that it shows the culture and tradition. Even more it is trying to show the mass mentality, thinking process, imagination power and what not.



Works Cited

n.d. <Wikipedia contributors. "Cinema of India." Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 7 Mar. 2016. Web. 17 Mar. 2016.>.