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{{Infobox cinema market
[[File:India film clapperboard (variant).svg|thumbnail]]
| name                = Hindi cinema <br> (Bollywood)
'''Bollywood''', an Indian Hollywood, refers to the [[Hindi]] language [[movie]] [[industry]] in [[India]].<ref>{{Cite web|url=https://in.bookmyshow.com/movies/hindi|title=Hindi Movies(Bollywood) Releases in 2018|website=BookMyShow}}</ref>
| image                = File:Indiafilm.svg
| image_size          =
| alt                  =
| caption              =
| screens              =
| screens_per_capita  =
| distributors        =
[[AA Films]]<br>
[[Fox Star Studios]]<br>
[[Eros International]]<br />
[[Reliance Entertainment|Reliance Big Pictures]]<br />
[[UTV Motion Pictures]]<br />
[[Yash Raj Films]]<br />
[[Dharma Productions]]<br />
[[Red Chillies Entertainment]]<br />
[[Tips Music Films]]<br />
[[Viacom 18 Motion Pictures]]<br />
[[Excel Entertainment]]<br />
[[Zee Studios]]
<ref>{{cite magazine|title=Bollywood Distributors|url=https://variety.com/2009/film/global/bollywood-distributors-1118008359/|magazine=[[Variety (magazine)|Variety]]|accessdate=13 August 2018|date=2009-09-10}}</ref><ref>{{cite web|title=Leading Distributors 1995-2018|url=https://www.the-numbers.com/market/distributors|publisher=The Numbers|accessdate=13 August 2018}}</ref>
| produced_year        = 2017
| produced_ref        = <ref name="filmfed"/>
| produced_total      = 364
| produced_fictional  =
| produced_animated    =
| produced_documentary =
| admissions_year      =
| admissions_ref      =
| admissions_total    =
| admissions_per_capita =
| admissions_national  =
| box_office_year      = 2016
| box_office_ref      = <ref>{{Cite news|url=http://www.thehindu.com/news/cities/mumbai/Bollywood-revenues-may-cross-Rs-19300-cr-by-FY17/article13982597.ece|title=Bollywood revenues may cross Rs 19,300 cr by FY17|work=[[The Hindu]]|date=5 January 2016|accessdate=8 April 2016}}</ref>
| box_office_total    = {{INR|15,500 [[crore]]|link=yes}} ({{US$|{{To USD|155|IND|year=2016}} billion|long=no|link=yes}})<!-- ${{Format price| }} -->
| box_office_national  = [[India]]: {{INR|3,500 crore}} ({{US$|565 million|long=no}}) (2014)<ref name="deloitte1">{{cite web|title=The Digital March Media & Entertainment in South India|url=http://www2.deloitte.com/content/dam/Deloitte/in/Documents/technology-media-telecommunications/in-tmt-economic-contribution-of-motion-picture-and-television-industry-noexp.pdf|publisher=Deloitte|accessdate=21 April 2014}}</ref><!-- ${{Format price| }} -->
}}
'''Hindi cinema''', often known as '''Bollywood''' and formerly as ''Bombay cinema'',<ref>{{cite book|last=Mazumdar|first=Ranjani|title=Bombay Cinema: An Archive of the City|publisher=[[University of Minnesota Press]]|isbn=9781452913025|url=https://books.google.com/books?id=xenNBrRKOGoC}}</ref> is the [[India]]n [[Hindi]]-language film industry based in [[Mumbai]] (formerly Bombay). The term is a [[portmanteau]] of "Bombay" and "[[Cinema of the United States|Hollywood]]". The industry is related to [[South Indian film industry|Cinema of South India]] and other Indian film industries, making up [[Indian Cinema]]—the world's largest by number of feature films produced.<ref name="filmfed"/><ref>{{cite web|url=http://expressindia.indianexpress.com/news/fullstory.php?newsid=88966|title='The word B'wood is derogatory'|work=The Indian Express|accessdate=11 November 2016}}</ref><ref>{{cite news|url=http://www.time.com/time/magazine/article/0,9171,985129,00.html|title=Hooray for Bollywood!|author=[[Richard Corliss]]|work=[[Time (magazine)|Time]]|date=16 September 1996}}</ref>


In 2017, Indian cinema produced 1,986 feature films, with Bollywood as its largest filmmaker, producing 364 Hindi films the same year.<ref name="filmfed">{{cite web |title=Indian Feature Films Certified During The Year 2017 |url=http://www.filmfed.org/IFF2017.html |website=[[Film Federation of India]] |date=31 March 2017 |access-date=25 November 2017 |archive-url=https://web.archive.org/web/20181124213649/http://filmfed.org/IFF2017.HTML |archive-date=24 November 2018 |url-status=dead }}</ref> Bollywood represents 43 percent of Indian net box-office revenue; [[Tamil cinema|Tamil]] and [[Telugu cinema]] represent 36 percent, and the remaining regional cinema constituted 21 percent in 2014.<ref name="deloitte1"/> Bollywood is one of the largest centres of film production in the world.<ref>{{cite book|author1=Pippa de Bruyn|author2=Niloufer Venkatraman|author3=Keith Bain|title=Frommer's India|year=2006|publisher=Frommer's|isbn=978-0-471-79434-9|page=[https://archive.org/details/frommersindia0000debr/page/579 579]|url=https://archive.org/details/frommersindia0000debr/page/579}}</ref><ref>{{cite book|author=Wasko, Janet|title=How Hollywood works|year=2003|publisher=SAGE|isbn=978-0-7619-6814-6|page=185}}</ref><ref>{{cite book|author1=K. Jha|author2=Subhash|title=The Essential Guide to Bollywood|year=2005|publisher=Roli Books|isbn=978-81-7436-378-7|page=[https://archive.org/details/essentialguideto00jhas/page/1970 1970]|url=https://archive.org/details/essentialguideto00jhas/page/1970}}</ref> In 2001 ticket sales, Indian cinema (including Bollywood) reportedly sold an estimated 3.6 billion tickets worldwide, compared to [[Cinema of the United States|Hollywood]]'s 2.6 billion tickets sold.<ref>{{cite journal|title=Bollywood: Can new money create a world-class film industry in India?|journal=[[Business Week]]|date=2 December 2002|url=https://people.well.com/user/willard/Kripalani-%20Bollywood%20Investments%20BizWeek12-02-2002.txt}}</ref><ref>{{cite web|last=Lorenzen|first=Mark|title=Go West: The Growth of Bollywood|url=http://openarchive.cbs.dk/bitstream/handle/10398/7796/CreativeEncounters%20Working%20Papers%2026.pdf?sequence=1|website=Creativity at Work|publisher=[[Copenhagen Business School]]|date=April 2009|access-date=18 December 2017|archive-url=https://web.archive.org/web/20180130091219/http://openarchive.cbs.dk/bitstream/handle/10398/7796/CreativeEncounters%20Working%20Papers%2026.pdf?sequence=1|archive-date=30 January 2018|url-status=dead}}</ref><ref>{{cite journal | last1 = Matusitz | first1 = Jonathan | last2 = Payano | first2 = Pam | year = 2011 | title = The Bollywood in Indian and American Perceptions: A Comparative Analysis | journal = India Quarterly: A Journal of International Affairs | volume = 67 | issue = 1| pages = 65–77 | doi = 10.1177/097492841006700105 }}</ref> Bollywood films tend to use vernacular [[Hindustani language|Hindustani]], mutually intelligible by people who self-identify as speaking either [[Hindi]] or [[Urdu]],<ref name="scienceandmediamuseum">{{cite web|title=Decoding the Bollywood poster|url=https://blog.scienceandmediamuseum.org.uk/decoding-the-bollywood-poster/|website=[[National Science and Media Museum]]|date=28 February 2013}}</ref><ref name="Akhtar"/><ref name="film-world"/> and modern Bollywood movies<ref>Comedy Bollywood Movies, [http://movienx.com/watch-online-movies/ "Bollywood Movies"], ''MovieNx'', 12 December 2019</ref> increasingly incorporate elements of [[Hinglish]].<ref name="scienceandmediamuseum"/>
The word is often used to describe Indian [[cinema]] as a whole, but more precisely it means [[Hindi]] language movies only. The term ''Bollywood'' combines [[Bombay]] (where most Hindi movies are made) and [[Hollywood]] (where most [[United States|American]] movies are made).


The most popular commercial genre in Bollywood since the 1970s has been the [[masala film]], which freely mixes different genres including [[Action film|action]], [[Comedy film|comedy]], [[Romance film|romance]], [[Drama film|drama]] and [[melodrama]] along with [[Music of Bollywood|musical numbers]].<ref name="Ganti2004"/><ref>Nelmes, Jill. [https://books.google.com/books?id=jcCADouuE_UC&printsec=frontcover# ''An introduction to film studies'']. p. 367.</ref><ref name="Hussain"/><ref name="Chaudhuri"/> Masala films generally fall under the [[musical film]] genre, of which Indian cinema has been the largest producer since the 1960s when it exceeded the [[Cinema of United States|American film industry]]'s total musical output after musical films declined in the West; the first Indian musical talkie was ''[[Alam Ara]]'' (1931), several years after the first Hollywood musical talkie ''[[The Jazz Singer]]'' (1927). Alongside commercial masala films, a distinctive genre of [[art film]]s known as [[parallel cinema]] has also existed, presenting realistic content and avoidance of musical numbers. In more recent years, the distinction between commercial masala and parallel cinema has been gradually blurring, with an increasing number of mainstream films adopting the conventions which were once strictly associated with parallel cinema.
Bollywood makes many movies each year. Many Bollywood movies are called ''Masala'' movies. In Hindi, ''Masala'' means [[spice]]. These movies usually have higher levels of emotions, songs, revenge and differences between rich and poor in them.


==Etymology==
==Languages used in Bollywood films==
"Bollywood" is a [[portmanteau]] derived from Bombay (the former name for Mumbai) and [[Hollywood]], [[California]], the centre of the [[Cinema of the United States|American film industry]].<ref name="portmanteau">{{cite news|author=Rajghatta, Chidanand|title=Bollywood in Hollywood|date=6 July 2008|accessdate=20 February 2009|url=http://timesofindia.indiatimes.com/Columnists/C_Rajghatta_Bollywood_in_Hollywood/articleshow/3201937.cms|work=[[The Times of India]]}}</ref> Unlike Hollywood, Bollywood is not a physical place; its name is criticised by some film journalists and critics, who believe it implies that the industry is a poor cousin of Hollywood.<ref name="portmanteau"/><ref>{{cite book|author1=Crusie, Jennifer |author2=Yeffeth, Glenn |title=Flirting with Pride & Prejudice|url=https://archive.org/details/flirtingwithprid00jenn |url-access=registration |year=2005|publisher=BenBella Books, Inc.|isbn=978-1-932100-72-3|page=[https://archive.org/details/flirtingwithprid00jenn/page/92 92]}}</ref>
The movies made in Bollywood are usually in [[Hindi language|Hindi]] and [[Urdu language|Urdu]].  Some are in [[English language|English]].  Often, [[poem|poetic]] Urdu words are used; see also [[Lollywood]] (Pakistan Cinema).


According to [[OxfordDictionaries.com]], the word "Bollywood" originated during the 1970s,<ref>{{cite web|title=Bollywood|url=https://en.oxforddictionaries.com/definition/bollywood|publisher=[[OxfordDictionaries.com]]|date=10 March 2019|accessdate=10 March 2019}}</ref> when Indian cinema overtook Hollywood in film production. A number of journalists have been credited by newspapers with coining the word.<ref name="khanna">{{cite web|title=Amit Khanna: The Man who saw 'Bollywood'|author=Subhash K Jha|date=8 April 2005|publisher=[[Sify]]|url=http://sify.com/movies/bollywood/fullstory.php?id=13713296|accessdate=31 May 2009|url-status=bot: unknown|archiveurl=https://web.archive.org/web/20050409171523/http://sify.com/movies/bollywood/fullstory.php?id=13713296|archivedate=9 April 2005}}</ref> According to a 2004 article in ''[[The Hindu]]'', journalist Bevinda Collaco coined the word;<ref name="collaco">{{cite news|title=On the Bollywood beat|author=Anand|work=[[The Hindu]]|date=7 March 2004|url=http://www.hindu.com/lr/2004/03/07/stories/2004030700390600.htm|accessdate=31 May 2009|location=Chennai, India}}</ref> a ''[[The Telegraph (Kolkata)|Telegraph]]'' article the following year report that [[Amit Khanna]] was its creator.<ref>{{cite news|title=The Bollywood Man|url=https://www.telegraphindia.com/india/the-bollywood-man/cid/969174|last=Jha|first=Subhash K|newspaper=[[The Telegraph (Calcutta)]]|date=1 April 2005|accessdate=10 March 2019}}</ref>
The number of [[dialogue]]s and [[song]]s in English has increased lately. There are movies now where parts of the dialogue are in English. There is also a growing number of movies which are in English. Some movies are also made in more than one language. This is either done with [[subtitle]]s, or by using several [[soundtrack]]s.


According to Madhava Prasad, author of ''Surviving Bollywood'', the term "Bollywood" was preceded by "Tollywood", which then referred to the [[cinema of West Bengal]]. The Bengali film industry, based in [[Tollygunge]], [[Kolkata|Calcutta]], was referred to as "Tollywood" in a 1932 ''[[American Cinematographer]]'' article.<ref name=Sarkar>{{Cite journal|doi=10.1177/0921374007088054|first=Bhaskar|last=Sarkar|title=The Melodramas of Globalization|journal=Cultural Dynamics|year=2008|volume=20|pages=31–51 [34]|quote=Madhava Prasad traces the origin of the term to a 1932 article in the ''[[American Cinematographer]]'' by Wilford E. Deming, an American engineer who apparently helped produce the first Indian sound picture. At this point, the Calcutta suburb of Tollygunge was the main center of film production in India. Deming refers to the area as Tollywood, since it already boasted two studios with 'several more projected' (Prasad, 2003) 'Tolly', rhyming with 'Holly', got hinged to 'wood' in the Anglophone Indian imagination, and came to denote the Calcutta studios and, by extension, the local film industry. Prasad surmises: 'Once Tollywood was made possible by the fortuitous availability of a half-rhyme, it was easy to clone new Hollywood babies by simply replacing the first letter' (Prasad, 2003).|postscript=<!--None-->}}</ref>
== What Bollywood movies are like ==
In general, Bollywood movies are like [[musical]]s. The [[audience]] expects to hear music. There are usually song-and-[[dance]] numbers as a part of the script. Often, the success of a movie depends on the quality of these musical numbers.<ref>Kalita, S. Mitra (2005). Suburban Sahibs: Three Immigrant Families And Their Passage from India to America. Rutgers University Press, p. 134. {{ISBN|0-8135-3318-X}}</ref> Very often, the movie music is released before the movie. It helps make the audience bigger.


==History==
A good [[entertainer]] is generally referred to as ''paisa vasool''. This means ''money's worth''. Songs and dances, [[relationship|love triangles]], [[comedy]] and [[thrill]]s are all mixed up. Such movies are called ''[[masala]]'' movies, after the [[Hindustani language|Hindustani]] word for a [[spice]] mixture, ''masala''. Like ''masalas'', these movies are a mixture of many things.
{{Split section |History of Indian cinema |discuss={{TALKPAGENAME}}#Split proposed |date=April 2019}}


===Early history (1890s–1940s)===
Bollywood movies are often longer than those made in Hollywood. A normal Bollywood movie is about 3 hours long. Bollywood movies are movies made for the masses. Other Indian movies are made inside or outside of the Bollywood [[tradition]]. They sometimes try to set higher [[standard]]s. They often lose out at the [[box office]] to movies with more mass appeal.
In 1897, a film presentation by Professor Stevenson featured a stage show at [[Calcutta]]'s Star Theatre. With Stevenson's encouragement and camera, [[Hiralal Sen]], an Indian photographer, made a film of scenes from that show, ''The Flower of Persia'' (1898).<ref name="Hiralal2">{{cite web |last = McKernan |first = Luke|date = 31 December 1996|url = http://www.victorian-cinema.net/sen.htm|title = Hiralal Sen (copyright British Film Institute)|accessdate =1 November 2006}}</ref> ''The Wrestlers'' (1899) by [[H. S. Bhatavdekar]] showed a [[wrestling]] match at the Hanging Gardens in [[Bombay]].<ref>{{cite news |last1=Hutchinson |first1=Pamela |title=The birth of India's film industry: how the movies came to Mumbai |url=https://www.theguardian.com/film/2013/jul/25/birth-indias-film-industry-movies-mumbai |accessdate=20 September 2019 |work=[[The Guardian]] |date=25 July 2013}}</ref>


[[File:Phalke.jpg|thumb|upright|alt=Dadasaheb Phalke, examining a strip of film|Dadasaheb Phalke is considered the father of Indian cinema, including Bollywood.<ref>{{cite book|url=https://books.google.com/books/about/Dadasaheb_Phalke_the_father_of_Indian_ci.html?id=zTZnAAAAMAAJ |title= Dadasaheb Phalke, the father of Indian cinema|accessdate=17 November 2012|isbn=9788123743196 |last1=Vāṭave |first1=Bāpū |last2=Trust |first2=National Book |year=2004 }}</ref><ref>{{cite news|author=Sachin Sharma, TNN 28 June 2012, 03.36AM IST |url=http://articles.timesofindia.indiatimes.com/2012-06-28/vadodara/32456429_1_godhra-dadasaheb-phalke-father-of-indian-cinema |title=Godhra forgets its days spent with Dadasaheb Phalke |work=The Times of India |date=28 June 2012 |accessdate=17 November 2012}}</ref><ref>{{cite book|last=Vilanilam|first=J. V.|title=Mass Communication in India: A Sociological Perspective|year=2005|publisher=Sage Publications|location=New Delhi|isbn=978-81-7829-515-2|page=128|url=https://books.google.com/books?id=XBU6pN7toHsC&pg=PA128&q=dadasaheb%20phalke%20father%20indian%20cinema}}</ref>]]
Bollywood [[plot]]s are usually [[melodrama]]tic. They often use common ideas such as star-crossed lovers and angry parents, love triangles, family ties, [[wikt:sacrifice|sacrifice]], [[corruption|corrupt]] [[politician]]s, kidnappers, scheming [[villain]]s, [[hooker]]s with a heart of gold, long-lost relatives and [[sibling]]s separated by fate, dramatic reversals of fortune, and convenient coincidences.


[[Dadasaheb Phalke]]'s silent ''[[Raja Harishchandra]]'' (1913) is the first feature film made in India. By the 1930s, the industry was producing over 200 films per year.<ref name="britannica2">{{cite book|author1=Gulzar |author2=Nihalani, Govind |author3=Chatterji, Saibal |title=Encyclopaedia of Hindi Cinema|year=2003|publisher= Encyclopædia Britannica (India) Pvt Ltd.|isbn=978-81-7991-066-5|url=https://books.google.com/books?id=8y8vN9A14nkC|pages=136–137}}</ref> The first Indian sound film, [[Ardeshir Irani]]'s ''[[Alam Ara]]'' (1931), was commercially successful.<ref>{{cite web|url=http://www.tribuneindia.com/2006/20060326/spectrum/main1.htm |title=Talking Images, 75 Years of Cinema |work=The Tribune |accessdate=9 March 2013}}</ref> With a great demand for talkies and musicals, Bollywood and the other regional film industries quickly switched to sound films.
Bollywood songs are called Hindi film songs or filmi songs. Most of the movies have songs in them. Bollywood songs along with dances are a [[wikt:characteristic|characteristic]] part of Hindi cinema. They give these movies their popular appeal, [[culture|cultural]] value and [[context]]. Songs are sung by [[playback singer]]s which actors and actresses [[lip sync]] on screen.


The 1930s and 1940s were tumultuous times; India was buffeted by the [[Great Depression]], [[World War II]], the [[Indian independence movement]], and the violence of the [[Partition of India|Partition]]. Although most Bollywood films were unabashedly [[escapism|escapist]], a number of filmmakers tackled tough social issues or used the struggle for Indian independence as a backdrop for their films.<ref name="britannica2"/> Irani made the first [[Hindi]] colour film, ''[[Kisan Kanya]]'', in 1937. The following year, he made a colour version of ''[[Mother India (book)|Mother India]]''. However, colour did not become a popular feature until the late 1950s. At this time, lavish romantic musicals and melodramas were cinematic staples.
== Change ==
Bollywood ways of doing things are changing, however. A large Indian [[diaspora]] in English speaking countries, and increased [[Western culture|Western]] [[influence]] at home, have moved Bollywood movies closer to movies made in Hollywood. [[Kiss]]es in the movies are now allowed. Plots tend to show [[Western civilization|Westernised]] city people dating and dancing in [[disco]]s instead of [[arranged marriage]]s.


Before the 1947 partition of India, which divided the country into the [[Republic of India]] and [[Pakistan]], the Bombay film industry (now called Bollywood) was closely linked to the [[Lahore]] film industry (now the [[Lollywood]] industry of [[Pakistani cinema]]); both produced films in [[Hindustani language|Hindustani]], the ''[[lingua franca]]'' of northern and central India.<ref name="Ghosh">{{cite book|last1=Ghosh|first1=Partha S.|title=Migrants, Refugees and the Stateless in South Asia|date=2016|publisher=[[SAGE Publications]]|isbn=9789351508557|page=263|url=https://books.google.com/books?id=X242DAAAQBAJ&pg=PA263}}</ref> Another centre of Hindustani film production was the [[Cinema of West Bengal|Bengali film industry]] in [[Calcutta]], [[Bengal Presidency]] (now Kolkata, [[West Bengal]]), which produced Hindustani films and local [[Bengali language]] films.<ref>{{cite book |last1=Bose |first1=Mihir |title=From Midnight to Glorious Morning?: India Since Independence |date=2017 |publisher=[[Haus Publishing]] |isbn=9781910376706 |page=182 |url=https://books.google.com/books?id=j9ssDwAAQBAJ&pg=PT182}}</ref><ref name="Routledge">{{cite book |last1=Raju |first1=Zakir Hossain |title=Bangladesh Cinema and National Identity: In Search of the Modern? |date=2014 |publisher=[[Routledge]] |isbn=9781317601814 |page=131 |url=https://books.google.com/books?id=XXDfBQAAQBAJ&pg=PA131}}</ref>
Movie [[critic]] Lata Khubchandani writes,"''..our earliest movies...(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.''"<ref>Free Reeling, PLAY, Sunday Mid-day, March 11, 2007, Mumbai.MH/MR/WEST/66/2006-08 {{cite web|url=http://www.mid-day.com/smd/play/2007/march/153266.htm|title=Memories of another day|publisher=mid-day.com|first=Lata|last=Khubchandani}}</ref>
In 2001 five percent on Indian movies were shown in Britain.


Many actors, filmmakers and musicians from the Lahore industry migrated to the Bombay industry during the 1940s, including actors [[K. L. Saigal]], [[Prithviraj Kapoor]], [[Dilip Kumar]] and [[Dev Anand]]; playback singers [[Mohammed Rafi]], [[Noorjahan]], and [[Shamshad Begum]]. Around the same time, filmmakers and actors from the Calcutta film industry began migrating to Bombay; as a result, Bombay became the center of Hindustani film production in the Republic of India after partition. During this time period, actors such as [[V. Shantaram|Shantaram]], [[Paidi Jairaj]], and [[Motilal Rajvansh|Motilal]] have made their mark.
==Related pages==
 
* [[Jollywood]]
===Golden Age (late 1940s–1960s)===
* [[Hollywood]]
The period from the late 1940s to the early 1960s, after [[Indian independence movement|India's independence]], is regarded by film historians as the Golden Age of Hindi cinema.<ref>{{Cite book|title=Indian Popular Cinema: A Narrative of Cultural Change|last=K. Moti Gokulsing|first=K. Gokulsing, Wimal Dissanayake|publisher=Trentham Books|year=2004|isbn=978-1-85856-329-9|page=17|postscript=<!--None-->}}</ref><ref>{{Cite journal|title=Gender, Nation, and Globalization in Monsoon Wedding and Dilwale Dulhania Le Jayenge|first=Jenny|last=Sharpe|journal=Meridians: Feminism, Race, Transnationalism|volume=6|issue=1|year=2005|pages=58–81 [60 & 75]|postscript=<!--None-->|doi=10.1353/mer.2005.0032}}</ref><ref>{{Cite journal|first=Sharmistha|last=Gooptu|title=Reviewed work(s): ''The Cinemas of India'' (1896–2000) by Yves Thoraval|journal=[[Economic and Political Weekly]]|volume=37|issue=29|date=July 2002|pages=3023–4|postscript=<!--None-->}}</ref> Some of the most critically acclaimed Hindi films of all time were produced during this time. Examples include ''[[Pyaasa]]'' (1957) and ''[[Kaagaz Ke Phool]]'' (1959), directed by [[Guru Dutt]] and written by [[Abrar Alvi]]; ''[[Awaara]]'' (1951) and ''[[Shree 420]]'' (1955), directed by [[Raj Kapoor]] and written by [[Khwaja Ahmad Abbas]], and ''[[Aan]]'' (1952), directed by [[Mehboob Khan]] and starring [[Dilip Kumar]]. The films explored social themes, primarily dealing with working-class life in India (particularly urban life) in the first two examples. ''Awaara'' presented the city as both nightmare and dream, and ''Pyaasa'' critiqued the unreality of urban life.<ref name=Gokulsing-18>{{Cite book|title=Indian Popular Cinema: A Narrative of Cultural Change|last=K. Moti Gokulsing|first=K. Gokulsing, Wimal Dissanayake|publisher=Trentham Books|year=2004|isbn=978-1-85856-329-9|page=18|postscript=<!--None-->}}</ref>
 
[[Mehboob Khan]]'s ''[[Mother India]]'' (1957), a remake of his earlier ''[[Aurat (1940 film)|Aurat]]'' (1940), was the first Indian film nominated for the [[Academy Award for Best Foreign Language Film]]; it lost by a single vote.<ref name="Thaindian 1">{{cite web|first=Priyanka |last=Khanna |title=For Bollywood, Oscar is a big yawn again |publisher=Thaindian News |date=24 February 2008 |url=http://www.thaindian.com/newsportal/entertainment/for-bollywood-oscar-is-a-big-yawn-again_10020729.html |accessdate=29 July 2012 |url-status=live |archiveurl=https://web.archive.org/web/20120930012303/http://www.thaindian.com/newsportal/entertainment/for-bollywood-oscar-is-a-big-yawn-again_10020729.html |archivedate=30 September 2012 }}</ref> ''Mother India'' defined conventional Hindi cinema for decades.<ref>{{cite news|last=Sridharan |first=Tarini |url=http://www.thehindu.com/todays-paper/tp-features/tp-cinemaplus/mother-india-not-woman-india/article4131747.ece |title=Mother India, not Woman India |date=25 November 2012 |accessdate=5 March 2012 |newspaper=The Hindu |location=Chennai, India |url-status=live |archiveurl=https://web.archive.org/web/20130106095550/http://www.thehindu.com/todays-paper/tp-features/tp-cinemaplus/mother-india-not-woman-india/article4131747.ece |archivedate= 6 January 2013}}</ref><ref>{{cite video|url=https://www.youtube.com/watch?v=wChe8xWDwbo |title=Bollywood Blockbusters: ''Mother India'' (Part 1) |publisher=[[CNN-IBN]] |year=2009 |medium=Documentary |ref={{sfnRef|Bollywood Blockbusters Part 1|2009}} |url-status=live |archiveurl=https://web.archive.org/web/20150715143942/https://www.youtube.com/watch?v=wChe8xWDwbo |archivedate=15 July 2015}}</ref><ref>{{cite news|last=Kehr|first=Dave|url=https://movies.nytimes.com/movie/review?res=9C03E5DE153CF930A1575BC0A9649C8B63|title=Mother India (1957). Film in review; 'Mother India'|newspaper=[[The New York Times]]|date=23 August 2002|accessdate=7 June 2012}}</ref> It spawned a genre of [[dacoit film]]s, in turn defined by ''[[Gunga Jumna]]'' (1961).<ref name="Teo">{{cite book|last=Teo|first=Stephen|title=Eastern Westerns: Film and Genre Outside and Inside Hollywood|date=2017|publisher=[[Taylor & Francis]]|isbn=9781317592266|page=122|url=https://books.google.com/books?id=pi8lDwAAQBAJ&pg=PA122}}</ref> Written and produced by Dilip Kumar, ''Gunga Jumna'' was a dacoit [[crime drama]] about two brothers on opposite sides of the law (a theme which became common in Indian films during the 1970s).<ref name="Ganti">Tejaswini Ganti, [https://books.google.com/books?id=GTEa93azj9EC&pg=PA153 ''Bollywood: A Guidebook to Popular Hindi Cinema'', page 153]</ref> Some of the best-known [[epic film]]s of Hindi cinema were also produced at this time, such as [[K. Asif]]'s ''[[Mughal-e-Azam]]'' (1960).<ref>{{cite web|title=Film Festival – Bombay Melody |publisher=[[University of California, Los Angeles]] |date=17 March 2004 |url=http://www.international.ucla.edu/calendar/showevent.asp?eventid=1618 |accessdate=20 May 2009 |url-status=dead |archiveurl=https://web.archive.org/web/20090620171328/http://www.international.ucla.edu/calendar/showevent.asp?eventid=1618 |archivedate=20 June 2009 }}</ref> Other acclaimed mainstream Hindi filmmakers during this period included [[Kamal Amrohi]] and [[Vijay Bhatt]].
 
[[File:Nargis, Raj Kapoor and Dilip Kumar in scene from Andaz.jpg|thumb|left|alt=Two men and a woman, leaning against one of the men|[[Nargis]], [[Raj Kapoor]] and [[Dilip Kumar]] in ''[[Andaz (1949 film)|Andaz]]'' (1949). Kapoor and Kumar are among the greatest and most influential movie stars in the history of Indian cinema,<ref name="quint"/><ref name="hindu-kumar"/> and Nargis is one of its greatest actresses.<ref>{{cite web|title=Readers Choice: The Greatest Actresses of all time|publisher=Rediff.com|author=Sen, Raja|accessdate=19 September 2011|date=29 June 2011|url=http://www.rediff.com/movies/slide-show/slide-show-1-greatest-actresses-of-all-time/20110629.htm}}</ref>]]
 
The three most popular male Indian actors of the 1950s and 1960s were [[Dilip Kumar]], [[Raj Kapoor]], and [[Dev Anand]], each with a unique acting style. Kapoor adopted [[Charlie Chaplin]]'s [[The Tramp|tramp]]; Anand modeled himself on suave Hollywood stars like [[Gregory Peck]] and [[Cary Grant]], and Kumar pioneered a form of [[method acting]] which predated Hollywood method actors such as [[Marlon Brando]]. Kumar, who was described as "the ultimate method actor" by [[Satyajit Ray]], inspired future generations of Indian actors. Much like Brando's influence on [[Robert De Niro]] and [[Al Pacino]], Kumar had a similar influence on [[Amitabh Bachchan]], [[Naseeruddin Shah]], [[Shah Rukh Khan]] and [[Nawazuddin Siddiqui]].<ref name="quint">[https://www.thequint.com/entertainment/2015/12/11/before-brando-there-was-dilip-kumar Before Brando, There Was Dilip Kumar], The Quint, 11 December 2015</ref><ref name="hindu-kumar">{{cite news|title=Unmatched innings|url=http://www.thehindu.com/arts/magazine/article597902.ece|newspaper=[[The Hindu]]|date=24 January 2012|accessdate=9 January 2015|url-status=bot: unknown|archiveurl=https://web.archive.org/web/20120208164035/http://www.thehindu.com/arts/magazine/article597902.ece|archivedate=8 February 2012}}</ref> Veteran actresses such as [[Suraiya]], [[Nargis]], [[Sumitra Devi (actress)|Sumitra Devi]], [[Madhubala]], [[Meena Kumari]], [[Waheeda Rehman]], [[Nutan]], [[Sadhana Shivdasani|Sadhana]], [[Mala Sinha]] and [[Vyjayanthimala]] have had their share of influence on Hindi cinema.<ref name="actorsuntil90"/>
 
While commercial Hindi cinema was thriving, the 1950s also saw the emergence of a [[parallel cinema]] movement.<ref name=Gokulsing-18/> Although the movement (emphasising [[social realism]]) was led by Bengali cinema, it also began gaining prominence in Hindi cinema. Early examples of parallel cinema include ''[[Dharti Ke Lal]]'' (1946), directed by [[Khwaja Ahmad Abbas]] and based on the [[Bengal famine of 1943]],;<ref name="Rajadhyaksha">{{cite book|last=Rajadhyaksha|first=Ashish|title=Indian Cinema: A Very Short Introduction|date=2016|publisher=[[Oxford University Press]]|isbn=9780191034770|page=61|url=https://books.google.com/books?id=QUq1DAAAQBAJ&pg=PT61}}</ref> ''[[Neecha Nagar]]'' (1946) directed by [[Chetan Anand (director)|Chetan Anand]] and written by Khwaja Ahmad Abbas,<ref name="Hindu2007">[http://www.hindu.com/fr/2007/06/15/stories/2007061551020100.htm Maker of innovative, meaningful movies]. ''[[The Hindu]]'', 15 June 2007</ref> and Bimal Roy's ''[[Do Bigha Zamin]]'' (1953). Their critical acclaim and the latter's commercial success paved the way for Indian [[Neorealism (art)|neorealism]]<ref name=filmreference>{{cite web|url=http://www.filmreference.com/Films-De-Dr/Do-Bigha-Zamin.html |title=Do Bigha Zamin at filmreference |publisher=Filmreference.com |date=3 August 1980 |accessdate=12 November 2010}}</ref> and the Indian New Wave (synonymous with parallel cinema).<ref>{{cite web|title=Do Bigha Zamin: Seeds of the Indian New Wave |author=Srikanth Srinivasan |publisher=Dear Cinema |date=4 August 2008 |url=http://dearcinema.com/review-do-bigha-zamin-bimal-roy |accessdate=13 April 2009 |url-status=dead |archiveurl=https://web.archive.org/web/20090307010006/http://dearcinema.com/review-do-bigha-zamin-bimal-roy/ |archivedate=7 March 2009 }}</ref> Internationally acclaimed Hindi filmmakers involved in the movement included [[Mani Kaul]], [[Kumar Shahani]], [[Ketan Mehta]], [[Govind Nihalani]], [[Shyam Benegal]], and [[Vijaya Mehta]].<ref name=Gokulsing-18/>
 
[[File:RajeshKhanna.jpg|thumb|upright=0.85|alt=A smiling Rajesh Khanna|[[Rajesh Khanna]] in 2010. The first Indian actor to be called a "[[superstar]]", he starred in 15 consecutive hit films from 1969 to 1971.]]
After the social-realist film ''Neecha Nagar'' received the [[Palme d'Or]] at the inaugural [[1946 Cannes Film Festival]],<ref name="Hindu2007"/> Hindi films were frequently in competition for Cannes' top prize during the 1950s and early 1960s and some won major prizes at the festival.<ref name=passionforcinema>{{cite web|title=India and Cannes: A Reluctant Courtship |publisher=Passion For Cinema |year=2008 |url=http://passionforcinema.com/india-and-cannes-a-reluctant-courtship |accessdate=20 May 2009 |url-status=dead |archiveurl=https://web.archive.org/web/20090620032814/http://passionforcinema.com/india-and-cannes-a-reluctant-courtship/ |archivedate=20 June 2009}}</ref> [[Guru Dutt]], overlooked during his lifetime, received belated international recognition during the 1980s.<ref name=passionforcinema/><ref>{{Cite book|title=Indian Popular Cinema: A Narrative of Cultural Change|last=K. Moti Gokulsing|first=K. Gokulsing, Wimal Dissanayake|publisher=Trentham Books|year=2004|isbn=978-1-85856-329-9|pages=18–9|postscript=<!--None-->}}</ref> Film critics polled by the British magazine ''[[Sight & Sound]]'' included several of Dutt's films in a 2002 list of [[List of films considered the best|greatest films]],<ref name=Cinemacom>{{cite web|title=2002 Sight & Sound Top Films Survey of 253 International Critics & Film Directors|publisher=Cinemacom|year=2002|url=http://www.cinemacom.com/2002-sight-sound.html|accessdate=19 April 2009}}</ref> and [[Time's All-Time 100 Movies]] lists ''[[Pyaasa]]'' as one of the greatest films of all time.<ref name=Time>{{cite news|url=http://www.time.com/time/2005/100movies/the_complete_list.html|title=All-Time 100 Best Movies|accessdate=19 May 2008|work=[[Time (magazine)|Time]]|date=12 February 2005}}</ref>
 
During the late 1960s and early 1970s, the industry was dominated by musical [[romance film]]s with romantic-hero leads.<ref name="indianexpress2">{{cite news|title=Revisiting Prakash Mehra's Zanjeer: The film that made Amitabh Bachchan|url=http://indianexpress.com/article/entertainment/bollywood/revisiting-prakash-mehra-zanjeer-the-film-that-made-amitabh-bachchan-4714064/|work=[[The Indian Express]]|date=20 June 2017}}</ref>
 
===Classic Bollywood (1970s–1980s)===
{{Multiple image|image1=SalimKhan.jpg|width1=120|alt1=A bespectacled Salim Khan|image2=Akhtar for Talaash.jpg|width2=160|alt2=A serious-looking Javed Akhtar|footer=The [[Salim–Javed]] screenwriting duo, consisting of [[Salim Khan]] ''(left)'' and [[Javed Akhtar]], revolutionized Indian cinema in the 1970s<ref name="Pandolin">{{cite web|title=Salim-Javed: Writing Duo that Revolutionized Indian Cinema|url=https://pandolin.com/salim-javed-writing-duo-that-revolutionized-indian-cinema/|website=Pandolin|date=25 April 2013|access-date=29 November 2017|archive-url=https://web.archive.org/web/20171201035749/https://pandolin.com/salim-javed-writing-duo-that-revolutionized-indian-cinema/|archive-date=1 December 2017|url-status=dead}}</ref> and are considered Bollywood's greatest [[screenwriter]]s.<ref name="Chaudhuri">{{Cite book|url=https://books.google.com/books?id=Cri9CgAAQBAJ|title=Written by Salim-Javed: The Story of Hindi Cinema's Greatest Screenwriters|last=Chaudhuri|first=Diptakirti|date=2015-10-01|publisher=[[Penguin Books|Penguin UK]]|isbn=9789352140084}}</ref>}}
 
By 1970, Hindi cinema was thematically stagnant<ref name="raj">{{cite book|last=Raj|first=Ashok|title=Hero Vol.2|date=2009|publisher=[[Hay House]]|isbn=9789381398036|page=21|url=https://books.google.com/books?id=2wo9BAAAQBAJ&pg=PT21}}</ref> and dominated by musical [[romance film]]s.<ref name="indianexpress2"/> The arrival of screenwriting duo [[Salim–Javed]] ([[Salim Khan]] and [[Javed Akhtar]]) was a paradigm shift, revitalising the industry.<ref name="raj"/> They began the genre of gritty, violent, [[Mumbai underworld films|Bombay underworld crime film]]s early in the decade with films such as ''[[Zanjeer (1973 film)|Zanjeer]]'' (1973) and ''[[Deewaar]]'' (1975).<ref name="ganti">{{cite book|last=Ganti|first=Tejaswini|title=Bollywood: A Guidebook to Popular Hindi Cinema|date=2004|publisher=[[Psychology Press]]|isbn=9780415288545|page=153|url=https://books.google.com/books?id=GTEa93azj9EC&pg=PA153}}</ref><ref>{{cite book|last=Chaudhuri|first=Diptakirti|title=Written by Salim-Javed: The Story of Hindi Cinema's Greatest Screenwriters|date=2015|publisher=[[Penguin Books]]|isbn=9789352140084|page=72|url=https://books.google.com/books?id=Cri9CgAAQBAJ&pg=PT72}}</ref> Salim-Javed reinterpreted the rural themes of [[Mehboob Khan]]'s ''[[Mother India]]'' (1957) and [[Dilip Kumar]]'s ''[[Gunga Jumna]]'' (1961) in a contemporary urban context, reflecting the [[socio-economic]] and [[socio-political]] climate of 1970s India<ref name="raj" /><ref name="legends">{{cite book|last=Kumar|first=Surendra|title=Legends of Indian cinema: pen portraits|date=2003|publisher=Har-Anand Publications|page=51|url=https://books.google.com/books?id=AfJkAAAAMAAJ}}</ref> and channeling mass discontent, disillusionment<ref name="raj"/> and the unprecedented growth of [[slum]]s<ref name="Mazumdar"/> with [[anti-establishment]] themes and those involving urban poverty, corruption and crime.<ref name="Penguin Group">{{cite book|last1=Chaudhuri|first1=Diptakirti|title=Written by Salim-Javed: The Story of Hindi Cinema's Greatest Screenwriters|date=2015|publisher=[[Penguin Group]]|isbn=9789352140084|page=74|url=https://books.google.com/books?id=Cri9CgAAQBAJ&pg=PT74}}</ref><ref name="hindustantimes">{{cite news|title=Deewaar was the perfect script: Amitabh Bachchan on 42 years of the cult film|url=http://www.hindustantimes.com/bollywood/deewaar-was-the-perfect-script-amitabh-bachchan-on-42-years-of-the-cult-film/story-x2hy87zQ0ebVlsVMV59U2I.html|work=[[Hindustan Times]]|date=29 January 2017}}</ref> Their "angry young man", personified by [[Amitabh Bachchan]],<ref name="hindustantimes"/> reinterpreted Dilip Kumar's performance in ''Gunga Jumna'' in a contemporary urban context<ref name="raj"/><ref name="legends" /> and anguished urban poor.<ref name="Mazumdar">{{cite book|last=Mazumdar|first=Ranjani|title=Bombay Cinema: An Archive of the City|publisher=[[University of Minnesota Press]]|isbn=9781452913025|page=14|url=https://books.google.com/books?id=xenNBrRKOGoC&pg=PA14}}</ref>
 
By the mid-1970s, romantic confections had given way to gritty, violent crime films and [[action film]]s about gangsters (the [[Bombay underworld]]) and bandits ([[dacoits]]). Salim-Javed's writing and Amitabh Bachchan's acting popularised the trend with films such as ''Zanjeer'' and (particularly) ''Deewaar'', a crime film inspired by ''Gunga Jumna''<ref name="Ganti"/> which pitted "a policeman against his brother, a gang leader based on real-life smuggler [[Haji Mastan]]" (Bachchan); according to [[Danny Boyle]], ''Deewaar'' was "absolutely key to Indian cinema".<ref name=Kumar/> In addition to Bachchan, several other actors followed by riding the crest of the trend (which lasted into the early 1990s).<ref name="funky">{{cite book|last1=Stadtman|first1=Todd|title=Funky Bollywood: The Wild World of 1970s Indian Action Cinema|date=2015|publisher=FAB Press|isbn=9781903254776|url=https://books.google.com/books?id=T0DXoQEACAAJ}}</ref> Actresses from the era include [[Hema Malini]], [[Jaya Bachchan]], [[Rakhee Gulzar|Raakhee]], [[Shabana Azmi]], [[Zeenat Aman]], [[Parveen Babi]], [[Rekha]], [[Dimple Kapadia]], [[Smita Patil]], [[Jaya Prada]] and [[Padmini Kolhapure]].<ref name="actorsuntil90">{{cite web|title=The Present |author=Ahmed, Rauf |publisher=[[Rediff.com]] |url=http://www.rediff.com/millenni/rauf2.htm |accessdate=30 June 2008 |archiveurl=https://web.archive.org/web/20080529044434/http://www.rediff.com/millenni/rauf2.htm |archivedate=29 May 2008 |url-status=live}}</ref>
 
[[File:Amitabh.jpg|upright|thumb|left|alt=A smiling, bearded Amitabh Bachchan|[[Amitabh Bachchan]] in 2014. The most successful Indian actor in the 1970s and 1980s, he is considered one of India's greatest and most influential movie stars.<ref>{{cite news|title= Amitabh Bachchan: Meet the biggest movie star in the world|url=https://www.independent.co.uk/arts-entertainment/films/news/amitabh-bachchan-the-biggest-film-star-in-the-world-10034826.html/|newspaper=The Independent|accessdate=2015-02-09|date=9 February 2015}}</ref><ref>{{Cite news|title= Why Amitabh Bachchan is more than a superstar |url= https://www.bbc.com/news/world-asia-india-19893525 |work= BBC News |publisher= BBC |accessdate=2012-10-11|date=11 October 2012}}</ref><ref>{{cite news|last=Wajihuddin|first=Mohammed|title=Egypt's Amitabh Bachchan mania|url=http://articles.timesofindia.indiatimes.com/2005-12-02/india/27839664_1_bachchan-fan-mania-indians|accessdate=22 November 2011|newspaper=[[The Times of India]]|date=2 December 2005|archive-url=https://web.archive.org/web/20130501071157/http://articles.timesofindia.indiatimes.com/2005-12-02/india/27839664_1_bachchan-fan-mania-indians|archive-date=1 May 2013|url-status=dead}}</ref><ref>{{cite news|last=Jatras|first=Todd|title=India's Celebrity Film Stars|url=https://www.forbes.com/2001/03/09/0309bollywood.html|work=[[Forbes]]|accessdate=22 November 2011|date=9 March 2001}}</ref><ref>{{cite news |title=Bachchan Receives Lifetime Achievement Award at DIFF |url=http://www.khaleejtimes.com/displayarticle.asp?xfile=data/newsmakers/2009/November/newsmakers_November64.xml&section=newsmakers&col= |newspaper=Khaleej Times |accessdate=24 November 2011 |date=25 November 2009 |url-status=dead |archiveurl=https://web.archive.org/web/20130602182846/http://www.khaleejtimes.com/displayarticle.asp?xfile=data%2Fnewsmakers%2F2009%2FNovember%2Fnewsmakers_November64.xml&section=newsmakers&col= |archivedate=2 June 2013}}</ref>]]
The name "Bollywood" was coined during the 1970s,<ref name="khanna"/><ref name="collaco"/> when the conventions of commercial Bollywood films were defined.<ref name="Chaudhuri58">{{Cite book|url=https://books.google.com/books?id=Cri9CgAAQBAJ&pg=PT58|title=Written by Salim-Javed: The Story of Hindi Cinema's Greatest Screenwriters|last=Chaudhuri|first=Diptakirti|date=2015-10-01|publisher=[[Penguin Books|Penguin UK]]|isbn=9789352140084|page=58}}</ref> Key to this was the [[masala film]], which combines a number of genres ([[Action film|action]], [[Comedy film|comedy]], [[Romance film|romance]], [[Drama film|drama]], [[melodrama]], and [[Musical film|musical]]). The masala film was pioneered early in the decade by filmmaker [[Nasir Hussain]],<ref name="Hussain">{{cite news|title=How film-maker Nasir Husain started the trend for Bollywood masala films|url=http://www.hindustantimes.com/bollywood/how-film-maker-nasir-husain-created-the-prototype-for-bollywood-masala-films/story-ckL6zPLHJFDYoupjFBtbfN.html|work=[[Hindustan Times]]|date=30 March 2017}}</ref> and the Salim-Javed screenwriting duo,<ref name="Chaudhuri58"/> pioneering the Bollywood-[[Blockbuster (entertainment)|blockbuster]] format.<ref name="Chaudhuri58"/> ''[[Yaadon Ki Baarat]]'' (1973), directed by Hussain and written by Salim-Javed, has been identified as the first masala film and the first quintessentially Bollywood film.<ref name="Chaudhuri58"/><ref name="bhaumik">Kaushik Bhaumik, [https://thewire.in/24564/an-insightful-reading-of-our-many-indian-identities/ An Insightful Reading of Our Many Indian Identities], [[The Wire (Indian web publication)|The Wire]], 12/03/2016</ref> Salim-Javed wrote more successful masala films during the 1970s and 1980s.<ref name="Chaudhuri58"/> Masala films made Amitabh Bachchan the biggest Bollywood star of the period. A landmark of the genre was ''[[Amar Akbar Anthony]]'' (1977),<ref name="bhaumik"/><ref name="Dwyer2005">{{cite book|author=Rachel Dwyer|title=100 Bollywood films|url=https://books.google.com/books?id=4EBNAQAAIAAJ|accessdate=6 August 2013|year=2005|page=14|publisher=Lotus Collection, Roli Books|isbn=978-81-7436-433-3}}</ref> directed by [[Manmohan Desai]] and written by [[Kader Khan]], and Desai continued successfully exploiting the genre.
 
Both genres (masala and violent-crime films) are represented by the blockbuster ''[[Sholay]]'' (1975), written by Salim-Javed and starring Amitabh Bachchan. It combined the [[dacoit film]] conventions of ''Mother India'' and ''Gunga Jumna'' with [[spaghetti Western]]s, spawning the [[Dacoit Western]] (also known as the [[curry Western]]) which was popular during the 1970s.<ref name="Teo"/>
 
Some Hindi filmmakers, such as [[Shyam Benegal]], [[Mani Kaul]], [[Kumar Shahani]], [[Ketan Mehta]], [[Govind Nihalani]] and [[Vijaya Mehta]], continued to produce realistic [[parallel cinema]] throughout the 1970s.<ref name=Gokulsing-18/><ref name=Rajadhyaksa96-685>Rajadhyaksa, 685</ref> Although the [[art film]] bent of the Film Finance Corporation was criticised during a 1976 [[Committee on Public Undertakings (India)|Committee on Public Undertakings]] investigation which accused the corporation of not doing enough to encourage commercial cinema, the decade saw the rise of commercial cinema with films such as ''[[Sholay]]'' (1975) which consolidated [[Amitabh Bachchan]]'s position as a star. The devotional classic ''[[Jai Santoshi Ma]]'' was also released that year.<ref name=Rajadhyaksa96-688>Rajadhyaksa, 688</ref>
 
By 1983, the Bombay film industry was generating an estimated annual revenue of {{INR|700 [[crore]]}} ({{INR}} 7 billion,<ref>{{cite news |title=Amitabh Bachchan Hindi film industry's most expensive star, Hema Malini tops among women |url=https://www.indiatoday.in/magazine/economy/story/19830215-amitabh-bachchan-hindi-film-industrys-most-expensive-star-hema-malini-tops-among-women-770465-2013-07-31 |work=[[India Today]] |date=15 February 1983}}</ref> {{US$|{{#expr:7000/10.099 round 2}} million|long=no}}),<ref>{{cite web |title=Official exchange rate (LCU per US$, period average) |url=https://data.worldbank.org/indicator/PA.NUS.FCRF?end=1983&locations=IN&start=1982 |publisher=[[World Bank]] |year=1983 |accessdate=15 December 2018}}</ref> equivalent to {{US$|{{Inflation|US|0.69314|1983|r=2}} billion|long=no}} ({{INR|{{#expr:171*(1000/{{To USD|1000|IND}}) round 0}} crore}}, {{INR}} 111.33 billion) when adjusted for inflation. By 1986, India's annual film output had increased from 741 films produced annually to 833 films annually, making India the world's largest film producer.<ref>{{cite book |title=Films in Review |date=1986 |publisher=Then and There Media, LCC. |page=368 |url=https://books.google.com/books?id=Ah1CAQAAIAAJ |quote=And then I had forgotten that lndia leads the world in film production, with 833 motion pictures (up from 741 the previous year).}}</ref> The most internationally acclaimed Hindi film of the 1980s was [[Mira Nair]]'s ''[[Salaam Bombay!]]'' (1988), which won the [[Camera d'Or]] at the [[1988 Cannes Film Festival]] and was nominated for the [[Academy Award for Best Foreign Language Film]].
 
===New Bollywood (1990s–present)===
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| caption2 = [[Aamir Khan]], one of the "Three Khans", in 2008. He has been the most successful Indian actor since the late 2000s.<ref name="forbes-2017-1-23"/>
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[[File:Ajay Devgn, Rohit Shetty on the sets of 'Jhalak Dikhhlaa Jaa 5'.jpg|thumb|262x262px|[[Ajay Devgn]], [[Rohit Shetty]] on the sets of '[[Jhalak Dikhhla Jaa (season 5)|Jhalak Dikhhlaa Jaa 5]]'. One of the first film for which they collaborated was [[Golmaal: Fun Unlimited]] (2006). ]]
Hindi cinema experienced another period of stagnation during the late 1980s with a box-office decline due to increasing violence, a decline in musical quality, and a rise in video piracy. One of the turning points came with such films as ''[[Qayamat Se Qayamat Tak]]'' (1988), presenting a blend of youthfulness, family entertainment, [[emotional intelligence]] and strong melodies, all of which lured audiences back to the big screen.<ref name="Chintamani">{{cite book|last=Chintamani|first=Gautam|title=Qayamat Se Qayamat Tak: The Film That Revived Hindi Cinema|date=2016|publisher=[[HarperCollins]]|isbn=9789352640980|url=https://books.google.com/books/about/Qayamat_Se_Qayamat_Tak_The_Film_That_Rev.html?id=BZYOvgAACAAJ}}</ref><ref name="Ray">{{cite news|last=Ray|first=Kunal|title=Romancing the 1980s|url=http://www.thehindu.com/entertainment/movies/Romancing-the-1980s/article16898867.ece|work=[[The Hindu]]|date=18 December 2016|language=en-IN}}</ref> It brought back the template for Bollywood musical romance films which went on to define 1990s Hindi cinema.<ref name="Ray" />
 
Known since the 1990s as "New Bollywood",<ref>{{cite book|last=Sen|first=Meheli|title=Haunting Bollywood: Gender, Genre, and the Supernatural in Hindi Commercial Cinema|date=2017|publisher=[[University of Texas Press]]|isbn=9781477311585|page=189|url=https://books.google.com/books?id=ZA7BDQAAQBAJ&pg=PA189}}</ref> contemporary Bollywood is linked to [[economic liberalisation in India|economic liberalization in India]] during the early 1990s.<ref>{{cite book|last=Joshi|first=Priya|title=Bollywood's India: A Public Fantasy|date=2015|publisher=[[Columbia University Press]]|isbn=9780231539074|page=171|url=https://books.google.com/books?id=C3wyBgAAQBAJ&pg=PA171}}</ref> Early in the decade, the pendulum swung back toward family-centered romantic musicals. ''Qayamat Se Qayamat Tak'' (1988) was followed by blockbusters such as ''[[Maine Pyar Kiya]]'' (1989), ''[[Hum Aapke Hain Kaun]]'' (1994), ''[[Dilwale Dulhania Le Jayenge]]'' (1995), ''[[Raja Hindustani]]'' (1996), ''[[Dil To Pagal Hai]]'' (1997) and ''[[Kuch Kuch Hota Hai]]'' (1998), introducing a new generation of popular actors, including the [[Khans of Bollywood|three Khans]]: [[Aamir Khan]], [[Shah Rukh Khan]], and [[Salman Khan]],<ref name="desiblitz"/><ref name="forbes">{{cite web|url=https://www.forbes.com/sites/robcain/2016/03/20/are-bollywoods-three-khans-the-last-of-the-movie-kings/|title=Are Bollywood's Three Khans The Last of the Movie Kings?|first=Rob|last=Cain}}</ref> who have starred in most of the top ten [[List of highest-grossing Bollywood films|highest-grossing Bollywood films]]. [[Khans of Bollywood|The Khans]] and have had successful careers since the late 1980s and early 1990s,<ref name="desiblitz"/> and have dominated the Indian box office for three decades.<ref>[http://www.firstpost.com/entertainment/after-aamir-srk-salman-why-bollywoods-next-male-superstar-may-need-a-decade-to-rise-3049864.html After Aamir, SRK, Salman, why Bollywood's next male superstar may need a decade to rise], [[Firstpost]], 16 October 2016</ref><ref>{{Cite web|url=https://www.ndtv.com/india-news/aamir-khan-is-the-king-of-the-king-khans-moved-ahead-of-shah-rukh-salman-1723117|title=Why Aamir Khan Is The King of Khans: Foreign Media|website=NDTV.com}}</ref> Shah Rukh Khan was the most successful Indian actor for most of the 1990s and 2000s, and [[Aamir Khan]] has been the most successful Indian actor since the mid 2000s.<ref name="actorsuntil90"/><ref name="forbes-2017-1-23">{{cite web|url=https://www.forbes.com/sites/suparnadutt/2017/01/23/why-dangal-star-aamir-khan-is-the-new-king-of-bollywood/|title=Why 'Dangal' Star Aamir Khan Is The New King of Bollywood|first=Suparna Dutt|last=D'Cunha}}</ref> Action and comedy films, starring such actors as [[Akshay Kumar]] and [[Govinda]].<ref>Stacey Yount, [http://bollyspice.com/view.php/969-akshay-kumar-on-filmi-things.html Akshay Kumar on Filmi things], [[BollySpice]], 2 March 2008 {{webarchive |url=https://web.archive.org/web/20090409054822/http://bollyspice.com/view.php/969-akshay-kumar-on-filmi-things.html |date=9 April 2009 }}</ref><ref>{{cite news|title=Akshay Kumar meets Jackie Chan in Hong Kong |date=20 May 2004 |work=[[Bollywood Hungama]] |url=http://www.bollywoodhungama.com/news/2004/05/20/1112/index.html |accessdate=11 April 2011 |url-status=dead |archiveurl=https://web.archive.org/web/20110323110849/http://www.bollywoodhungama.com/news/2004/05/20/1112/index.html |archivedate=23 March 2011 }}</ref>
 
The decade marked the entrance of new performers in [[Art film|art]] and independent films, some of which were commercially successful. The most influential example was ''[[Satya (1998 film)|Satya]]'' (1998), directed by [[Ram Gopal Varma]] and written by [[Anurag Kashyap]]. Its critical and commercial success led to the emergence of a genre known as [[Mumbai]] noir:<ref name=Nayar>{{cite news| title = Bollywood on the table| author = Aruti Nayar| work = The Tribune| date = 16 December 2007| accessdate = 19 June 2008| url = http://www.tribuneindia.com/2007/20071216/spectrum/main11.htm}}</ref> urban films reflecting the city's social problems.<ref name=Jungen>{{cite web|title=Urban Movies: The Diversity of Indian Cinema |author=Christian Jungen |publisher=[[FIPRESCI]] |date=4 April 2009 |url=http://www.fipresci.org/festivals/archive/2009/fribourg/indian_cinema_chjungen.htm |accessdate=11 May 2009 |url-status=dead |archiveurl=https://web.archive.org/web/20090617225942/http://www.fipresci.org/festivals/archive/2009/fribourg/indian_cinema_chjungen.htm |archivedate=17 June 2009}}</ref> This led to a resurgence of [[parallel cinema]] by the end of the decade.<ref name=Nayar/> The films featured actors whose performances were often praised by critics.
 
[[File:Salman's Being Human show at HDIL India Couture Week 2010 (1).jpg|thumb|left|upright=1.5|alt=Salman Khan walking hand-in-hand with a group of colourfully-dressed actresses|[[Salman Khan]], one of the Three Khans, with Bollywood actresses ''(from left)'' [[Kareena Kapoor]], [[Rani Mukerji]], [[Preity Zinta]], [[Katrina Kaif]], [[Karisma Kapoor]] and [[Priyanka Chopra]] in Mumbai (2010)]]
 
The 2000s saw increased Bollywood recognition worldwide due to growing (and prospering) [[Non-resident Indian and person of Indian origin|NRI]] and [[Desi]] communities overseas. The growth of the Indian economy and a demand for quality entertainment in this era led the country's film industry to new heights in production values, cinematography and screenwriting as well as technical advances in areas such as special effects and animation.<ref name="Us popularity">Anita N. Wadhwani. [http://www.america.gov/st/washfile-english/2006/August/20060809124617nainawhdaw0.8614466.html "Bollywood Mania" Rising in United States] {{webarchive|url=https://web.archive.org/web/20121020195105/http://www.america.gov/st/washfile-english/2006/August/20060809124617nainawhdaw0.8614466.html |date=20 October 2012 }}. US State Department. (9 August 2006). Retrieved 29 July 2010.</ref> Some of the largest production houses, among them [[Yash Raj Films]] and [[Dharma Productions]] were the producers of new modern films.<ref name="Us popularity"/> Some popular films of the decade were ''[[Kaho Naa... Pyaar Hai]]'' (2000), ''[[Kabhi Khushi Kabhie Gham...]]'' (2001), ''[[Gadar: Ek Prem Katha]]'' (2001), ''[[Lagaan]]'' (2001), ''[[Koi... Mil Gaya]]'' (2003), ''[[Kal Ho Naa Ho]]'' (2003), ''[[Veer-Zaara]]'' (2004), ''[[Rang De Basanti]]'' (2006), ''[[Lage Raho Munna Bhai]]'' (2006), ''[[Dhoom 2]]'' (2006), ''[[Krrish]]'' (2006), and ''[[Jab We Met]]'' (2007), among others, showing the rise of new movie stars.
 
During the 2010s, the industry saw established stars such as making big-budget [[masala film]]s like ''[[Dabangg]]'' (2010), ''[[Singham]]'' (2011)'','' ''[[Ek Tha Tiger]]'' (2012), ''[[Son of Sardaar]]'' (2012), ''[[Rowdy Rathore]]'' (2012), ''[[Chennai Express]]'' (2013), ''[[Kick (2014 film)|Kick]]'' (2014) and ''[[Happy New Year (2014 film)|Happy New Year]]'' (2014) with much-younger actresses. Although the films were often not praised by critics, they were commercially successful. Some of the films starring Aamir Khan have been credited with redefining and modernising the masala film with a distinct brand of socially conscious cinema.<ref>{{Cite news|last=Rangan|first=Baradwaj|url=http://www.thehindu.com/todays-paper/tp-features/tp-sundaymagazine/Masala-redux/article17007881.ece|title=Masala redux|date=8 January 2017|newspaper=The Hindu|accessdate=8 January 2017|language=en-IN}}</ref><ref>{{cite news|url=http://www.asianage.com/entertainment/bollywood/021117/secret-superstar-a-moving-slice-of-life.html|title=Secret Superstar: A moving slice of life|date=2 November 2017|work=[[The Asian Age]]}}</ref>
 
Most stars from the 2000s continued successful careers into the next decade, and the 2010s saw a new generation of popular actors in different films. Among new conventions, female-centred films such as ''[[The Dirty Picture]]'' (2011), ''[[Kahaani]]'' (2012), and ''[[Queen (2014 film)|Queen]]'' (2014), ''[[Parched]]'' (2015), [[Pink (2016 film)|Pink]] (2016) started gaining wide financial success.[[File:Akshay Kumar.jpg|thumb|upright|alt=A serious-looking Akshay Kumar|[[Akshay Kumar]], one of the most successful Bollywood actors of all time, in 2013.<ref>{{cite news|url= https://boxofficeindia.com/report-details.php?articleid=5792|title= Akshay Kumar Has A Historic Year|publisher= Box Office India |date=8 January 2019 |accessdate=8 January 2019}}</ref><ref>{{cite news|url= http://boxofficeindia.com/success-count-actor.php|title=Success Count Actor All Time|publisher= Box Office India |date=15 July 2016 |accessdate=15 July 2016}}</ref><ref>{{cite news|url= http://boxofficeindia.com/hit-count-actor.php|title= Hit Count Actor All Time|date=15 July 2016 |accessdate=15 July 2016}}</ref><ref>{{cite news|url= https://boxofficeindia.com/report-details.php?articleid=6050|title= The Best Films of Rishi Kapoor - Bobby Has Historic Numbers |publisher= Box Office India |date=1 May 2020 |accessdate=1 May 2020}}</ref><ref>{{cite news|url= http://boxofficeindia.com/report-details.php?articleid=2353|title= Rustom Is Akshay Kumar Silver Jubilee HIT|date=29 September 2016 |accessdate=29 September 2016}}</ref><ref>{{cite news|url= https://boxofficeindia.com/report-details.php?articleid=5894|title= Star Rankings Jan 2020 - Salman Khan And Akshay Kumar Lead|publisher= Box Office India |date=6 February 2020 |accessdate=6 February 2020}}</ref>]]
 
=={{anchor|Influences for Bollywood}}Influences on Bollywood==
Moti Gokulsing and Wimal Dissanayake identify six major influences which have shaped Indian popular cinema:<ref name=Gokulsing>{{Cite book|title=Indian Popular Cinema: A Narrative of Cultural Change|last=Gokulsing|first=K. Moti|author2=Dissanayake, Wimal|publisher=Trentham Books|year=2004|isbn=978-1-85856-329-9|pages=98–99|postscript=<!--None-->}}</ref>
* The branching structures of ancient [[Indian epic poetry|Indian epics]], like the ''[[Mahabharata]]'' and ''[[Ramayana]]''. Indian popular films often have plots which branch off into sub-plots.
* Ancient [[Sanskrit drama]], with its stylised nature and emphasis on spectacle in which [[Classical Indian music|music]], [[Classical Indian dance|dance]] and gesture combine "to create a vibrant artistic unit with dance and mime being central to the dramatic experience." Matthew Jones of [[De Montfort University]] also identifies the Sanskrit concept of ''[[Rasa (aesthetics)|rasa]]'', or "the emotions felt by the audience as a result of the actor’s presentation", as crucial to Bollywood films.<ref>{{Cite journal|title=Bollywood, Rasa and Indian Cinema: Misconceptions, Meanings and Millionaire|author=Matthew Jones|journal=Visual Anthropology|volume=23|issue=1|date=January 2010|pages=33–43|doi=10.1080/08949460903368895|postscript=<!--None-->}}</ref>
* Traditional [[theater of India|folk theater]], which became popular around the 10th century with the decline of Sanskrit theater. Its regional traditions include the [[Jatra (theatre)|Jatra]] of [[Bengal]], the [[Ramlila]] of [[Uttar Pradesh]], and the [[Terukkuttu]] of [[Tamil Nadu]].
* [[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]]. The Parsi plays contained crude humour, melodious songs and music, sensationalism and dazzling stagecraft."
* [[Cinema of the United States|Hollywood]], where musicals were popular from the 1920s to the 1950s.
* Western musical television (particularly [[MTV]]), which has had an increasing influence since the 1990s. Its pace, camera angles, dance sequences and music may be seen in 2000s Indian films. An early example of this approach was [[Mani Ratnam]]'s ''[[Bombay (film)|Bombay]]'' (1995).
 
Sharmistha Gooptu identifies [[Indo-Persian culture|Indo-Persian]]-[[Islamic culture]] as a major influence. During the early 20th century, [[Urdu]] was the [[lingua franca]] of popular cultural performance across northern India and established in popular [[performance art]] traditions such as [[nautch]] dancing, [[Urdu poetry]], and Parsi theater. Urdu and related [[Hindi dialects]] were the most widely understood across northern India, and Hindustani became the standard language of early Indian talkies. Films based on "[[Persianate]] adventure-romances" led to a popular genre of "''[[Arabian Nights]]'' cinema".<ref>{{cite book|last=Gooptu|first=Sharmistha|title=Bengali Cinema: 'An Other Nation'|date=2010|publisher=[[Routledge]]|isbn=9781136912177|page=38|url=https://books.google.com/books?id=DcUtCgAAQBAJ&pg=PA38}}</ref>
 
Scholars Chaudhuri Diptakirti and [[Rachel Dwyer]] and screenwriter [[Javed Akhtar]] identify [[Urdu literature]] as a major influence on Hindi cinema.<ref name="Akhtar"/><ref name="Chaudhuri2015">{{cite book|last=Chaudhuri|first=Diptakirti|title=Written by Salim-Javed: The Story of Hindi Cinema's Greatest Screenwriters|date=2015|publisher=[[Penguin Books]]|isbn=9789352140084|url=https://books.google.com/books?id=Cri9CgAAQBAJ}}</ref><ref name="Dwyer">{{cite book|last=Dwyer|first=Rachel|authorlink=Rachel Dwyer|title=Filming the Gods: Religion and Indian Cinema|date=2006|publisher=[[Routledge]]|isbn=9781134380701|page=106|url=https://books.google.com/books?id=ZsKR1RKoJKUC&pg=PA106}}</ref> Most of the screenwriters and scriptwriters of classic Hindi cinema came from Urdu literary backgrounds,<ref name="Akhtar"/><ref name="Chaudhuri2015"/> from [[Khwaja Ahmad Abbas]] and [[Akhtar ul Iman]] to [[Salim–Javed]] and [[Rahi Masoom Raza]]; a handful came from other [[Indian literature|Indian literary]] traditions, such as [[Bengali literature|Bengali]] and [[Hindi literature]].<ref name="Chaudhuri2015"/> Most of Hindi cinema's classic scriptwriters wrote primarily in Urdu, including Salim-Javed, [[Gulzar]], [[Rajinder Singh Bedi]], [[Inder Raj Anand]], Rahi Masoom Raza and [[Wajahat Mirza]].<ref name="Akhtar"/> Urdu poetry and the [[ghazal]] tradition strongly influenced [[filmi]] ([[Music of Bollywood|Bollywood lyrics]]).<ref name="Akhtar"/><ref name="Dwyer"/> Javed Akhtar was also greatly influenced by [[Urdu literature|Urdu novels]] by Pakistani author [[Ibn-e-Safi]], such as the ''[[Jasoosi Dunya]]'' and [[Imran series|''Imran'' series]] of detective novels;<ref>{{cite book |last1=Chaudhuri |first1=Diptakirti |title=Written by Salim-Javed: The Story of Hindi Cinema’s Greatest Screenwriters |date=2015 |publisher=[[Penguin Books]] |isbn=9789352140084 |pages=26–27 |url=https://books.google.com/books?id=Cri9CgAAQBAJ&pg=PT26}}</ref> they inspired, for example, famous Bollywood characters such as [[Gabbar Singh (character)|Gabbar Singh]] in ''[[Sholay]]'' (1975) and Mogambo in ''[[Mr. India (1987 film)|Mr. India]]'' (1987).<ref>{{cite news |title=Urdu pulp fiction: Where Gabbar Singh and Mogambo came from |url=https://www.dnaindia.com/lifestyle/review-urdu-pulp-fiction-where-gabbar-singh-and-mogambo-came-from-1564148 |accessdate=3 June 2019 |work=[[Daily News and Analysis]] |date=10 July 2011}}</ref>
 
Todd Stadtman identifies several foreign influences on 1970s commercial Bollywood [[masala film]]s, including [[New Hollywood]], Italian [[exploitation film]]s, and [[Hong Kong martial arts cinema]].<ref name="funky"/> After the success of [[Bruce Lee]] films (such as ''[[Enter the Dragon]]'') in India,<ref>{{cite news |title=Bruce Lee storms Bombay once again with Return of the Dragon |url=https://www.indiatoday.in/magazine/society-the-arts/films/story/19790915-bruce-lee-storms-bombay-once-again-with-return-of-the-dragon-822544-2014-02-21 |work=[[India Today]] |date=15 September 1979 |accessdate=20 January 2015}}</ref> ''[[Deewaar]]'' (1975) and other Bollywood films incorporated fight scenes inspired by 1970s [[martial arts film]]s from [[Hong Kong cinema]] until the 1990s.<ref name="Heide">{{cite book|last=Heide|first=William Van der|title=Malaysian Cinema, Asian Film: Border Crossings and National Cultures|date=2002|publisher=[[Amsterdam University Press]]|isbn=9789053565803|url=https://books.google.com/books?id=k3HTdu1HuWQC&pg=PA148}}</ref> Bollywood action scenes emulated Hong Kong rather than Hollywood, emphasising acrobatics and [[Stunt performer|stunts]] and combining [[kung fu]] (as perceived by Indians) with [[Indian martial arts]] such as [[pehlwani]].<ref>{{cite book|last1=Morris|first1=Meaghan|last2=Li|first2=Siu Leung|last3=Chan|first3=Stephen Ching-kiu|title=Hong Kong Connections: Transnational Imagination in Action Cinema|date=2005|publisher=[[Hong Kong University Press]]|isbn=9781932643190|page=149|url=https://books.google.com/books?id=DdrHAQAAQBAJ&pg=PA149}}</ref>
 
==Influence of Bollywood==
===India===
Perhaps Bollywood's greatest influence has been on India's national identity, where (with the rest of Indian cinema) it has become part of the "Indian story".<ref name=desai2013>{{Cite news |url= https://www.bbc.co.uk/news/world-asia-india-22335309|title= How Bollywood mirrors Indian realities|last1= Desai|first1= Lord Meghnad|date= 4 May 2013 |work= BBC News|publisher= BBC|accessdate=15 January 2014}}</ref> In India, Bollywood is often associated with India's national identity. According to economist and Bollywood biographer [[Meghnad Desai, Baron Desai|Meghnad Desai]], "Cinema actually has been the most vibrant medium for telling [[India]] its own story, the story of its struggle for independence, its constant struggle to achieve national integration and to emerge as a global presence".<ref name=desai2013 />
 
Scholar Brigitte Schulze has written that Indian films, most notably [[Mehboob Khan]]'s ''[[Mother India]]'' (1957), played a key role in shaping the [[Republic of India]]'s national identity in the early years after [[Indian independence movement|independence]] from the [[British Raj]]; the film conveyed a sense of [[Indian nationalism]] to urban and rural citizens alike.<ref>{{cite journal |last1=Schulze |first1=Brigitte |title=The Cinematic 'Discovery of India': Mehboob's Re-Invention of the Nation in Mother India |journal=[[Social Scientist]] |date=September 2002 |volume=30 |issue=9/10 |pages=72 |doi=10.2307/3517959}}</ref> Bollywood has long influenced Indian society and culture as the biggest entertainment industry; many of the country's musical, dancing, wedding and fashion trends are Bollywood-inspired. Bollywood fashion trendsetters have included [[Madhubala]] in ''[[Mughal-e-Azam]]'' (1960) and [[Madhuri Dixit]] in ''[[Hum Aapke Hain Koun..!]]'' (1994).<ref name="desiblitz">{{cite news|title=Impact of Bollywood on Indian Culture|url=https://www.desiblitz.com/content/impact-bollywood-indian-culture|work=DESIblitz|date=15 January 2014}}</ref>
 
Bollywood has also had a [[socio-political]] impact on Indian society, reflecting [[Indian politics]].<ref>{{cite book|last=Raghavendra|first=M. K.|title=The Politics of Hindi Cinema in the New Millennium: Bollywood and the Anglophone Indian Nation|publisher=[[Oxford Scholarship Online]]|isbn=9780199450565|doi=10.1093/acprof:oso/9780199450565.001.0001|year=2014}}</ref> In classic 1970s Bollywood films, Bombay underworld crime films written by [[Salim–Javed]] and starring [[Amitabh Bachchan]] such as ''[[Zanjeer (1973 film)|Zanjeer]]'' (1973) and ''[[Deewaar]]'' (1975) reflected the [[socio-economic]] and socio-political realities of contemporary India. They channeled growing popular discontent and disillusionment and state failure to ensure welfare and well-being at a time of inflation, shortages, loss of confidence in public institutions, increasing crime<ref name="raj"/> and the unprecedented growth of [[slum]]s.<ref name="Mazumdar"/> Salim-Javed and Bachchan's films dealt with urban poverty, corruption and organised crime;<ref name="Penguin Group"/> they were perceived by audiences as [[anti-establishment]], often with an "angry young man" protagonist presented as a [[vigilante]] or [[anti-hero]]<ref name="hindustantimes"/> whose suppressed rage voiced the anguish of the urban poor.<ref name="Mazumdar"/>
 
===Overseas===
Bollywood has been a significant form of [[soft power]] for India, increasing its influence and changing overseas perceptions of India.<ref>{{cite news|title=Baahubali 2, Dangal's overseas box office success is a testimony to Indian film industry's soft power|url=http://www.firstpost.com/entertainment/baahubali-2-the-conclusion-bahubali-2-dangals-overseas-box-office-success-is-a-testimony-to-indian-film-industrys-soft-power-3500555.html|work=[[Firstpost]]|date=31 May 2017}}</ref><ref name="indianexpress">{{cite news|title=A window to India's rising soft power – Bollywood|url=http://indianexpress.com/article/lifestyle/books/a-window-to-india-rising-soft-power-bollywood-4611855/|work=[[The Indian Express]]|date=13 April 2017}}</ref> In [[Germany]], [[Stereotypes of South Asians|Indian stereotypes]] included [[bullock cart]]s, beggars, sacred cows, corrupt politicians, and catastrophes before Bollywood and the [[Information technology in India|IT industry]] transformed global perceptions of India.<ref name="dnaindia">{{cite news|title=Shah Rukh Khan as popular as Pope: German media|url=http://www.dnaindia.com/entertainment/report-shah-rukh-khan-as-popular-as-pope-german-media-1150157|work=[[Daily News and Analysis]]|date=10 February 2008}}</ref> According to author Roopa Swaminathan, "Bollywood cinema is one of the strongest global cultural ambassadors of a new India."<ref name="indianexpress"/><ref>{{cite book|last=Swaminathan|first=Roopa|title=Bollywood Boom: India's Rise as a Soft Power|date=2017|publisher=Random House Publishers|isbn=9789386495143|url=https://books.google.com/books/about/Bollywood_Boom.html?id=zDfCDgAAQBAJ}}</ref> Its role in expanding India's global influence is comparable to Hollywood's similar role with American influence.<ref name="desiblitz"/>
 
During the 2000s, Bollywood began influencing [[musical film]]s in the Western world and was instrumental role in reviving the American musical film. [[Baz Luhrmann]] said that his musical film, ''[[Moulin Rouge!]]'' (2001), was inspired by Bollywood musicals;<ref>{{Cite web|url=https://www.liveabout.com/comedy-movies-4688217|title=Comedies|website=LiveAbout}}</ref> the film incorporated a Bollywood-style dance scene with a song from the film ''[[China Gate (1998 film)|China Gate]]''. The critical and financial success of ''Moulin Rouge!'' began a renaissance of Western musical films such as ''[[Chicago (2002 film)|Chicago]]'', ''[[Rent (film)|Rent]]'', and ''[[Dreamgirls (film)|Dreamgirls]]''.<ref>{{cite web|title=Guide Picks – Top Movie Musicals on Video/DVD|publisher=[[About.com]]|url=http://movies.about.com/library/weekly/aatpmusicals.htm|accessdate=15 May 2009}}</ref>
 
Indian film composer [[A. R. Rahman]] wrote the music for [[Andrew Lloyd Webber]]'s ''[[Bombay Dreams]]'', and a musical version of ''[[Hum Aapke Hain Koun]]'' was staged in London's West End. The Bollywood [[sports film]] ''[[Lagaan]]'' (2001) was nominated for the [[Academy Award for Best Foreign Language Film]], and two other Bollywood films (2002's ''[[Devdas (2002 Hindi film)|Devdas]]'' and 2006's ''[[Rang De Basanti]]'') were nominated for the [[BAFTA Award for Best Film Not in the English Language]].
 
[[Danny Boyle]]'s ''[[Slumdog Millionaire]]'' (2008), which won four [[66th Golden Globe Awards|Golden Globes]] and [[81st Academy Awards nominees and winners|eight Academy Awards]], was inspired by Bollywood films<ref name=Kumar>{{cite web|author=Amitava Kumar|title=Slumdog Millionaire's Bollywood Ancestors|work=[[Vanity Fair (magazine)|Vanity Fair]]|date=23 December 2008|url=http://www.vanityfair.com/online/oscars/2008/12/slumdog-millionaires-bollywood-ancestors.html|accessdate=4 January 2008}}</ref><ref name=Age>{{cite news|title=Slumdog draws crowds, but not all like what they see|work=[[The Age]]|date=25 January 2009|url=http://www.theage.com.au/world/slumdog-draws-crowds-but-not-all-like-what-they-see-20090124-7p33.html|accessdate=24 January 2008|location=Melbourne}}</ref> and is considered an "homage to Hindi commercial cinema".<ref name=autogenerated1>{{cite news|title='Slumdog Millionaire' has an Indian co-director|work=[[The Hindu]]|date=11 January 2009|url=http://www.hindu.com/thehindu/holnus/009200901110925.htm|accessdate=23 January 2009|url-status=dead|archiveurl=https://web.archive.org/web/20090325234357/http://www.hindu.com/thehindu/holnus/009200901110925.htm|archivedate=25 March 2009}}</ref> It was also inspired by Mumbai-underworld crime films, such as ''[[Deewaar]]'' (1975), ''[[Satya (1998 film)|Satya]]'' (1998), ''[[Company (film)|Company]]'' (2002) and ''[[Black Friday (2007 film)|Black Friday]]'' (2007).<ref name="Kumar"/> ''Deewaar'' had a Hong Kong remake, ''[[The Brothers (1979 film)|The Brothers]]'' (1979),<ref name="scroll">{{cite web|last=Mondal|first=Sayantan|title=Amitabh Bachchan starrer 'Deewar' was remade in Telugu, Tamil, Malayalam – and Cantonese|url=https://thereel.scroll.in/828031/amitabh-bachchan-starrer-deewar-was-remade-in-telugu-tamil-malayalam-and-cantonese|website=Scroll.in|accessdate=30 January 2017|archive-url=https://web.archive.org/web/20170130121319/https://thereel.scroll.in/828031/amitabh-bachchan-starrer-deewar-was-remade-in-telugu-tamil-malayalam-and-cantonese|archive-date=30 January 2017|url-status=dead}}</ref> which inspired [[John Woo]]'s internationally acclaimed breakthrough ''[[A Better Tomorrow]]'' (1986);<ref name="scroll"/><ref name="hkcinemagic">{{cite web|title=The Brothers|url=http://www.hkcinemagic.com/en/movie.asp?id=1693|website=[[Hong Kong Cinemagic]]|accessdate=21 November 2017}}</ref> the latter was a template for [[Hong Kong action cinema]]'s [[heroic bloodshed]] genre.<ref>{{cite book |last=Morton |first=Lisa |title=The Cinema of Tsui Hark |url=https://books.google.com/books?id=Hv3yJ6MaoYsC&pg=PA62 |year=2001 |publisher=McFarland |isbn=978-0-7864-0990-7}}</ref><ref name="Diplomat">{{cite news|last=Volodzko|first=David|title=30 Years Later, This Chinese Film Still Echoes in Hollywood|url=https://thediplomat.com/2015/06/30-years-later-this-chinese-film-still-echoes-in-hollywood/|work=[[The Diplomat]]|date=13 June 2015}}</ref> "Angry young man" 1970s epics such as ''Deewaar'' and ''[[Amar Akbar Anthony]]'' (1977) also resemble the heroic-bloodshed genre of 1980s Hong Kong action cinema.<ref>{{cite book|last=Banker|first=Ashok|title=Bollywood|date=2002|publisher=[[Penguin Group]]|page=83|url=https://books.google.com/books?id=429ZAAAAMAAJ&q=deewaar+hong+kong}}</ref>
 
The influence of ''[[filmi]]'' may be seen in [[popular music]] worldwide. [[Electropop|Technopop]] pioneers [[Haruomi Hosono]] and [[Ryuichi Sakamoto]] of the [[Yellow Magic Orchestra]] produced a 1978 [[Electronic music|electronic]] album, ''Cochin Moon'', based on an [[Experimental music|experimental]] [[Fusion (music)|fusion]] of electronic music and Bollywood-inspired Indian music.<ref>{{cite web|author=Dominique Leone|date=19 July 2005|title=Hosono & Yokoo: Cochin Moon|work=[[Pitchfork (website)|Pitchfork]]|url=http://pitchfork.com/reviews/albums/4016-cochin-moon/|accessdate=26 May 2011}}</ref> [[Truth Hurts (singer)|Truth Hurts]]' 2002 song "[[Addictive (song)|Addictive]]", produced by [[DJ Quik]] and [[Dr. Dre]], was lifted{{clarify|date=April 2019|reason=What does "lifted" mean in this context?}} from [[Lata Mangeshkar]]'s "Thoda Resham Lagta Hai" in ''Jyoti'' (1981).<ref name=VH1>{{cite web|title=Truth Hurts |publisher=[[VH1]] |date=19 September 2002 |url=http://www.vh1.com/artists/news/1457672/09192002/truth_hurts.jhtml |accessdate=18 May 2009 |url-status=dead |archiveurl=https://web.archive.org/web/20090413172839/http://www.vh1.com/artists/news/1457672/09192002/truth_hurts.jhtml |archivedate=13 April 2009 }}</ref> [[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 film)|Don]]'' (1978) and "Ae Nujawan Hai Sub" from ''[[Apradh]]'' (1972).<ref name=Apradh>{{YouTube|id=fWsSXjIDL3Q|title=ae naujawan hai sub kuchh yahan – Apradh 1972}}</ref> Both songs were composed by [[Kalyanji Anandji]], sung by [[Asha Bhosle]], and featured the dancer [[Helen (actress)|Helen]].<ref name=Denselow>{{cite news|author=Robin Denselow|title=Kalyanji Anandji, The Bollywood Brothers|work=The Guardian|date=2 May 2008|url=https://www.theguardian.com/music/2008/may/02/worldmusic1|accessdate=1 March 2009 | location=London}}</ref>
 
The [[Kronos Quartet]] re-recorded several [[R. D. Burman]] compositions sung by [[Asha Bhosle]] for their 2005 album, ''[[You've Stolen My Heart (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 received two [[Academy Awards]] for the [[Slumdog Millionaire (soundtrack)|''Slumdog Millionaire'' soundtrack]]) has frequently been sampled by other musicians, including the Singaporean artist [[Kelly Poon]], the French rap group [[La Caution]] and the American artist [[Ciara]]. Many [[Asian Underground]] artists, particularly those among the [[Non-resident Indian and person of Indian origin|overseas Indian diaspora]], have also been inspired by Bollywood music.{{citation needed|date=April 2019}}
 
=={{anchor|Genre conventions}}Genres==
{{see also|Muslim social}}
[[File:Achhut Kanya.jpg|thumb|alt=A man and woman smile at each other in an old film|Melodrama and romance are common ingredients in Bollywood films, such as ''[[Achhut Kannya|Achhut Kanya]]'' (1936).]]
 
Bollywood films are primarily musicals, and are expected to have catchy song-and-dance numbers woven into the script. A film's success often depends on the quality of such musical numbers.<ref>Kalita, S. Mitra (2005). ''Suburban Sahibs: Three Immigrant Families And Their Passage from India to America''. [[Rutgers University Press]], p. 134. {{ISBN|0-8135-3318-X}}</ref> A film's music and song and dance portions are usually produced first and these are often released before the film itself, increasing its audience.<ref>{{cite book |last1=Dudrah |first1=Rajinder Kumar |title=Bollywood: Sociology Goes To the Movies |date=2006 |publisher=SAGE Publishing India |location=New Delhi |isbn=9789352803026 |url=https://books.google.com/books?id=OM9jDwAAQBAJ&newbks=1&newbks_redir=0&lpg=PP1&dq=Bollywood%3A%20Sociology%20Goes%20To%20the%20Movies&pg=PP1#v=onepage&q=Bollywood:%20Sociology%20Goes%20To%20the%20Movies&f=false |accessdate=8 March 2020}}</ref>
 
Indian audiences expect value for money, and a good film is generally referred to as ''[[paisa]] vasool'', (literally "money's worth").<ref>{{cite news|author=Gangadhar, V.|title=Moving with the times|date=13 April 2007|work=[[The Hindu]]|url=http://www.hindu.com/fr/2007/04/13/stories/2007041300860100.htm|accessdate=9 December 2009|location=Chennai, India}}</ref> Songs, dances, love triangles, comedy and dare-devil thrills are combined in a three-hour show (with an intermission). These are called ''[[masala film]]s'', after the Hindi word for a spice mixture. Like ''masalas'', they are a mixture of action, comedy and romance; most have heroes who can fight off villains single-handedly. Bollywood plots have tended to be [[melodramatic]], frequently using formulaic ingredients such as star-crossed lovers, angry parents, love triangles, family ties, sacrifice, political corruption, kidnapping, villains, [[Hooker with a heart of gold|kind-hearted courtesans]], long-lost relatives and siblings, reversals of fortune and [[serendipity]].
 
[[Parallel cinema]] films, in and outside Bollywood, tended to be less popular at the box office. A large Indian diaspora in English-speaking countries and increased [[Western culture|Western]] influence in India have nudged Bollywood films closer to Hollywood.<ref name="Migration">{{cite book |author1=Gupta, Suman |author2=Omoniyi, Tope |url=https://books.google.com/?id=nr2724-bOfMC&pg=PA202 |year=2001|title=The Cultures of Economic Migration: International Perspectives|page=202|publisher=Ashgate Publishing Ltd|isbn=978-0-7546-7070-4}}</ref>
 
According to film critic Lata Khubchandani, "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."<ref>{{cite web|url=http://ia.rediff.com/movies/1999/jun/21hem.htm |archive-url=https://web.archive.org/web/20180613111621/http://ia.rediff.com/movies/1999/jun/21hem.htm |url-status=dead |archive-date=2018-06-13 |title=Memories of another day |publisher=mid-day.com |first=Lata |last=Khubchandani }}</ref> Although Bollywood plots feature Westernised urbanites dating and dancing in clubs rather than pre-arranged marriages, traditional Indian culture continues to exist outside the industry and is an element of resistance by some to Western influences.<ref name="Migration"/> Bollywood plays a major role, however, in [[fashion in India|Indian fashion]].<ref name="Migration"/> Studies have indicated that some people, unaware that changing fashion in Bollywood films is often influenced by globalisation, consider the clothes worn by Bollywood actors as authentically Indian.<ref name="Migration"/>
 
=={{anchor|Cast and crew}}Casts and crews==
 
{{See also|List of Indian film actors|List of Indian film actresses|List of Indian film directors|List of Indian film music directors|List of Bollywood actors|List of Indian playback singers|List of Hindi film families}}
 
Bollywood employs people from throughout India. It attracts thousands of aspiring actors and actresses hoping for a break in the industry. Models and beauty contestants, television actors, stage actors and ordinary people come to Mumbai with the hope of becoming a star. As in Hollywood, very few succeed. Since many Bollywood films are shot abroad, many foreign extras are employed.<ref>{{cite web|title=Where East meets West|url=http://www.tribuneindia.com/2007/20070630/saturday/main1.htm|date=30 June 2007|accessdate=9 August 2008|author=A. Chatterji, Shoma|work=[[The Tribune (Chandigarh)|The Tribune]]}}</ref>
 
Very few non-Indian actors are able to make a mark in Bollywood, although many have tried. There have been exceptions, however, and the hit film ''[[Rang De Basanti]]'' starred the English [[Alice Patten]]. ''[[Kisna]]'', ''[[Lagaan]]'', and ''[[The Rising: Ballad of Mangal Pandey]]'' also featured foreign actors, and Australian-born actress [[Emma Brown Garett]] has starred in a few Indian films.<ref>{{cite web |title=Autralian actress Emma Brown chooses Bollywood over Hollywood |url=https://www.businessghana.com/site/news/general/117193/Autralian-actress-Emma-Brown-chooses-Bollywood-over-Hollywood |accessdate=8 March 2020}}</ref>
Bollywood can be insular, and relatives of film-industry figures have an edge in obtaining coveted roles in films or being part of a film crew. However, industry connections are no guarantee of a long career: competition is fierce, and film-industry scions will falter if they do not succeed at the box office. Stars such as [[Dilip Kumar]], [[Dharmendra]], [[Amitabh Bachchan]], [[Rajesh Khanna]], [[Anil Kapoor]], [[Sridevi]], [[Madhuri Dixit]], [[Aishwarya Rai]] and [[Shah Rukh Khan]] lacked show-business connections.
 
==Dialogues and lyrics==
{{See also|Bombay Hindi|Tapori (word)}}
Film scripts (known as dialogues in [[Indian English]]) and their song lyrics are often written by different people. Scripts are usually written in an unadorned [[Hindustani language|Hindustani]], which would be understood by the largest possible audience.<ref name="britannica">{{cite book|author1=Gulzar |author2=Nihalani, Govind |author3=Chatterji, Saibal |title=Encyclopaedia of Hindi Cinema|year=2003|publisher= Encyclopædia Britannica (India) Pvt Ltd.|isbn=978-81-7991-066-5|url=https://books.google.com/books?id=8y8vN9A14nkC|pages=10–18, 63}}</ref> Bollywood films tend to use a [[colloquial]] register of Hindustani, mutually intelligible by [[Hindi]] and [[Urdu]] speakers.<ref name="scienceandmediamuseum"/> Most of the classic scriptwriters of what is known as Hindi cinema, including [[Salim–Javed]], [[Gulzar]], [[Rajinder Singh Bedi]], [[Inder Raj Anand]], [[Rahi Masoom Raza]] and [[Wajahat Mirza]], primarily wrote in Urdu. Salim-Javed wrote in [[Urdu script]], which was then transcribed by an assistant into [[Devanagari]] script so Hindi readers could read the Urdu dialogues.<ref name="Akhtar">{{cite book|last1=Aḵẖtar|first1=Jāvīd|authorlink1=Javed Akhtar|last2=Kabir|first2=Nasreen Munni|title=Talking Films: Conversations on Hindi Cinema with Javed Akhtar|date=2002|publisher=[[Oxford University Press]]|isbn=9780195664621|page=49|url=https://books.google.com/books?id=_JILAQAAMAAJ|quote=JA: I write dialogue in Urdu, but the action and descriptions are in English. Then an assistant transcribes the Urdu dialogue into [[Devnagari]] because most people read Hindi. But I write in Urdu. Not only me, I think most of the writers working in this so-called Hindi cinema write in Urdu: [[Gulzar]], or [[Rajinder Singh Bedi]] or [[Inder Raj Anand]] or [[Rahi Masoom Raza]] or [[Wajahat Mirza|Vahajat Mirza]], who wrote dialogue for films like ''[[Mughal-e-Azam]]'' and ''[[Gunga Jumna]]'' and ''[[Mother India]]''. So most dialogue-writers and most song-writers are from the Urdu discipline, even today.}}</ref> During the 1970s, the Urdu writers and screenwriters [[Krishan Chander]] and [[Ismat Chughtai]] said that "more than seventy-five per cent of films are made in Urdu" but were categorised as Hindi films by the government.<ref name="film-world">{{cite journal|title=Film World|journal=Film World|year=1974|volume=10|page=65|url=https://books.google.com/books?id=sHlTAAAAYAAJ|quote=I feel that the Government should eradicate the age-old evil of certifying Urdu films as Hindi ones. It is a known fact that Urdu has been willingly accepted and used by the film industry. Two eminent Urdu writers [[Krishan Chander]] and [[Ismat Chughtai]] have said that "more than seventy-five per cent of films are made in Urdu." It is a pity that although Urdu is freely used in films, the producers in general mention the language of the film as "Hindi" in the application forms supplied by the Censor Board. It is a gross misrepresentation and unjust to the people who love Urdu.}}</ref> [[Urdu poetry]] has strongly influenced [[Bollywood songs]], whose lyrics also draw from the [[ghazal]] tradition ([[filmi-ghazal]]).<ref name="Dwyer"/> According to Javed Akhtar in 1996, Urdu [[diction]] dominates Bollywood film dialogue and lyrics, with about 90% of them written in Urdu script, including his own works as well as those of [[Majrooh Sultanpuri]] and [[Anand Bakshi]].<ref>{{cite news |last1=Bhaumik |first1=Saba Naqvi |title=From nonsensical to sublime, Majrooh Sultanpuri still defines Bollywood frontiers |url=https://www.indiatoday.in/magazine/profile/story/19960930-from-nonsensical-to-sublime-majrooh-sultanpuri-still-defines-bollywood-frontiers-833834-1996-09-30 |accessdate=7 June 2013 |work=[[India Today]] |date=30 September 1996 |language=en}}</ref>
 
Some films have used [[Hindi dialects|regional dialects]] to evoke a village setting, or archaic Urdu in [[Medieval India|medieval]] [[historical films]]. In her book, ''The Cinematic ImagiNation'', Jyotika Virdi wrote about the presence of Urdu in Hindi films: "Urdu is often used in film titles, screenplay, lyrics, the language of love, war, and martyrdom." Virdi notes that although Urdu was widely used in classic Hindi cinema decades after partition because it was widely taught in pre-[[Partition of India|partition]] India, its use has declined in modern Hindi cinema: "The extent of Urdu used in commercial Hindi cinema has not been stable ... the decline of Urdu is mirrored in Hindi films ... It is true that many Urdu words have survived and have become part of Hindi cinema's popular vocabulary. But that is as far as it goes ... For the most part, popular Hindi cinema has forsaken the florid Urdu that was part of its extravagance and retained a 'residual' Urdu".<ref>{{cite book|author=Virdi, Jyotika|url=https://archive.org/details/cinematicimagina0000vird|url-access=registration|page=[https://archive.org/details/cinematicimagina0000vird/page/19 19]|title=The cinematic imagiNation (sic): Indian popular films as social history|publisher=Rutgers University Press|year=2003|isbn=9780813531915}}</ref> However, Urdu continues to be used in Bollywood films for dialogues and (particularly) songs.<ref>{{cite news|title=Soulful Urdu Words Used in Bollywood That You May Be Unaware Of|url=http://www.news18.com/news/lifestyle/soulful-urdu-words-used-in-bollywood-that-you-may-be-unaware-of-1482243.html|work=[[CNN-News18]]|agency=[[CNN International]]|date=4 August 2017}}</ref>
 
Contemporary mainstream films also use English; according to the article "Bollywood Audiences Editorial", "English has begun to challenge the ideological work done by Urdu."<ref>Desai, Jigna, Dudrah, Rajinder, Rai, Amit, "Bollywood Audiences Editorial", ''South Asian Popular Culture'' (October 2005), Vol. 3, Issue 2, pp. 79–82.</ref> Some film scripts are first written in [[Latin script]].<ref>{{cite news|author=Us Salam, Ziya|title=Assault of the mixed doubles|date=12 August 2007|work=[[The Hindu]]|url=http://www.hindu.com/mag/2007/08/12/stories/2007081250070400.htm|accessdate=9 December 2009|location=Chennai, India}}</ref> Characters may shift from one language to the other to evoke a particular atmosphere (for example, English in a business setting and Hindi in an informal one). The blend of Hindi, Urdu and English sometimes heard in modern Bollywood films, known as [[Hinglish]], has become increasingly common.<ref name="scienceandmediamuseum"/>
 
Cinematic language (in dialogues or lyrics) is often melodramatic, invoking God, family, mother, duty, and self-sacrifice. Song lyrics are often about love. Bollywood song lyrics (especially in older films) frequently use the poetic vocabulary of court Urdu, with a number of [[Persian language|Persian]] loanwords.<ref name="Ganti2004">{{cite book|author=Tejaswini Ganti|title=Bollywood: a guidebook to popular Hindi cinema|url=https://books.google.com/books?id=GTEa93azj9EC|accessdate=25 April 2011|year=2004|publisher=Psychology Press|isbn=978-0-415-28854-5|pages=22–23}}</ref> Another source for love lyrics in films such as ''[[Jhanak Jhanak Payal Baje]]'' and ''[[Lagaan]]'' is the long [[Hindu]] tradition of poetry about the loves of [[Krishna]], [[Radha]], and the [[gopi]]s.
 
Music directors often prefer working with certain lyricists, and the lyricist and composer may be seen as a team. This phenomenon has been compared to the pairs of American composers and songwriters who created classic Broadway musicals.
 
==Sound==
{{More citations needed section|date=April 2019}}
Sound in early Bollywood films was usually not recorded on location ([[sync sound]]). It was usually created (or re-created) in the studio,<ref name="dubbing">{{cite news|url=http://movies.indiatimes.com/News-Gossip/Did-you-Know-/Lagaan-used-synchronized-sound/articleshow/3987370.cms|title=Lagaan used synchronized sound|date=16 January 2009|work=[[The Times of India]]|accessdate=29 December 2009}}</ref> with the actors [[Dubbing (filmmaking)|speaking their lines]] in the studio and [[Foley (filmmaking)|sound effects]] added later; this created synchronisation problems.<ref name="dubbing"/> Commercial Indian films are known for their lack of ambient sound, and the [[Arri|Arriflex 3]] camera necessitated dubbing. ''[[Lagaan]]'' (2001) was filmed with sync sound,<ref name="dubbing"/> and several Bollywood films have recorded on-location sound since then.
 
=={{anchor|Makeup}}Female makeup artists==
In 1955, the Bollywood Cine Costume Make-Up Artist & Hair Dressers' Association (CCMAA) ruled that female makeup artists were barred from membership.<ref name="telegraphindia1">{{cite web|author=Samyabrata Ray Goswami |url=http://www.telegraphindia.com/1141111/jsp/frontpage/story_19024241.jsp |title=Women get makeup justice |work=The Telegraph|location=Kolkota |date=2014-11-11 |accessdate=2015-04-21}}</ref> The [[Supreme Court of India]] ruled in 2014 that the ban violated Indian constitutional guarantees under Article 14 (right to equality), 19(1)(g) (freedom to work) and Article 21 (right to liberty).<ref name="telegraphindia1"/> According to the court, the ban had no "rationale nexus" to the cause sought to be achieved and was "unacceptable, impermissible and inconsistent" with the constitutional rights guaranteed to India's citizens.<ref name="telegraphindia1"/> The court also found illegal the rule which mandated that for any artist to work in the industry, they must have lived for five years in the state where they intend to work.<ref name="telegraphindia1"/> In 2015, it was announced that Charu Khurana was the first woman registered by the Cine Costume Make-Up Artist & Hair Dressers' Association.<ref>{{cite web|author=Amit Anand Choudhary |url=http://timesofindia.indiatimes.com/bollywood/Bollywood-make-up-artists-group-inducts-first-woman-after-SC-rap/articleshow/46995208.cms |title=Bollywood make-up artists' group inducts first woman after SC rap |work=The Times of India |date=21 April 2015 |accessdate=2015-04-21}}</ref>
 
==Song and dance==
[[File:Bollywood Playback Singers.jpg|thumb|alt=Group photo|Group of Bollywood singers at the 2015 Indian Singers' Rights Association (ISRA) meeting]]
{{see also|Music of Bollywood|Filmi-ghazal|Filmi qawwali|Hindi dance music|List of singing actors and actresses in Indian cinema}}
Bollywood film music is called ''[[filmi]]'' (from the Hindi "of films"). Bollywood songs were introduced with Ardeshir Irani's ''Alam Ara'' (1931) song, "De De Khuda Ke Naam pay pyaare".<ref name="Ganesh">{{cite book|title=Bollywood Melodies: A History|url=https://books.google.ae/books?id=lmrSLuBwbKkC&source=gbs_navlinks_s|page=2|first=Ganesh|last=Anantharaman|isbn=9780143063407|year=2008|publisher=Penguin Books India|accessdate=13 March 2019}}</ref> Bollywood songs are generally pre-recorded by professional playback singers, with the actors then [[lip sync]]ing the words to the song on-screen (often while dancing). Although most actors are good dancers, few are also singers; a notable exception was [[Kishore Kumar]], who starred in several major films during the 1950s while having a rewarding career as a playback singer. [[Kundan Lal Saigal|K. L. Saigal]], Suraiyya, and [[Noor Jehan]] were known as singers and actors, and some actors in the last thirty years have sung one or more songs themselves.
 
Songs can make and break a film, determining whether it will be a flop or a hit: "Few films without successful musical tracks, and even fewer without any songs and dances, succeed".<ref name=":1">{{Cite journal |doi=10.1080/17513050903428117|title="I Need an Indian Touch": Glocalization and Bollywood Films|journal=Journal of International and Intercultural Communication|volume=3|pages=1–19|year=2010|last1=Rao|first1=Shakuntala|doi-access=free}}</ref> Globalization has changed Bollywood music, with lyrics an increasing mix of Hindi and English. Global trends such as salsa, pop and hip hop have influenced the music heard in Bollywood films.<ref name=":1" />
 
Playback singers are featured in the opening credits, and have [[Fan (aficionado)|fans]] who will see an otherwise-lackluster film to hear their favourites. Notable Bollywood singers are [[Lata Mangeshkar]], [[Asha Bhosle]], [[Geeta Dutt]], [[Shamshad Begum]], [[Kavita Krishnamurthy]], [[Sadhana Sargam]] , [[Alka Yagnik]] and [[Shreya Goshal]] (female), and K. L. Saigal, Talat Mahmood, [[Mukesh (singer)|Mukesh]], [[Mohammed Rafi]], [[Manna Dey]], [[Hemant Kumar]], [[Kishore Kumar]], [[Kumar Sanu]], [[Udit Narayan]] and [[Sonu Nigam]] (male). Kishore Kumar and Mohammed Rafi have been considered the finest singers of Bollywood songs, followed by Lata Mangeshkar (who has recorded thousands of songs for Indian films in her six-decade career). Composers of film music, known as music directors, are also well-known. [[Remix]]ing of film songs with modern rhythms is common, and producers may release remixed versions of some of their films' songs with the films' soundtrack albums.
 
Dancing in Bollywood films, especially older films, is modeled on Indian dance: classical dance, dances of north-Indian courtesans ([[tawaif]]) or [[folk dance]]s. In modern films, Indian dance blends with Western dance styles as seen on MTV or in Broadway musicals; Western pop and classical-dance numbers are commonly seen side-by-side in the same film. The hero (or heroine) often performs with a troupe of supporting dancers. Many song-and-dance routines in Indian films contain unrealistically-quick shifts of location or changes of costume between verses of a song. If the hero and heroine dance and sing a duet, it is often staged in natural surroundings or architecturally-grand settings.
 
Songs typically comment on the action taking place in the film. A song may be worked into the plot, so a character has a reason to sing. It may externalise a character's thoughts, or presage an event in the film (such as two characters falling in love). The songs are often referred to as a "dream sequence", with things happening which would not normally happen in the real world. Song and dance scenes were often filmed in [[Kashmir]] but, due to political unrest in Kashmir since the end of the 1980s,<ref>[http://news.bbc.co.uk/2/hi/south_asia/2935951.stm BBC News: Kashmir beckons Bollywood] (10 April 2003).</ref> they have been shot in western Europe (particularly [[Switzerland]] and [[Austria]]).<ref>[http://www.museum-gestaltung.ch/Htmls/Ausstellungen/Archiv/2002/Bollywood/E_Bollywood.html Bollywood – The Indian Cinema and Switzerland (2002)]. {{webarchive |url=https://web.archive.org/web/20110118005321/http://www.museum-gestaltung.ch/Htmls/Ausstellungen/Archiv/2002/Bollywood/E_Bollywood.html |date=18 January 2011 }}</ref><ref>[http://www.hindu.com/2008/02/14/stories/2008021459770700.htm The Hindu: Bollywood boosts Austria's tourism potential]. (2008).</ref>
 
Contemporary Bollywood dancers include [[Madhuri Dixit]], [[Hrithik Roshan]], [[Aishwarya Rai Bachchan]], [[Sridevi]], [[Meenakshi Seshadri]], [[Malaika Arora Khan]], [[Shahid Kapoor]], [[Katrina Kaif]] and [[Tiger Shroff]].<ref>{{cite web|title = Top 10 Best Dancers in Bollywood |url = https://mashtos.com/bollywood-dancers/|website = Mashtos|accessdate = 2019-06-21}}</ref> Older dancers include [[Helen (actress)|Helen]]<ref>{{cite web|title = Helen: Bollywood's Queen of Dance|url = http://www.huffingtonpost.co.uk/ben-mirza/helen-bollywoods-queen-of_b_2213570.html|website = The Huffington Post UK|accessdate = 2015-12-05|language = en-GB|date = 2012-12-02}}</ref> (known for her cabaret numbers), [[Madhubala]], [[Vyjanthimala]], [[Padmini (actress)|Padmini]], [[Hema Malini]], [[Mumtaz (actress)|Mumtaz]], [[Cuckoo Moray]],<ref>{{cite web|title = The Tragic ending of Cuckoo Moore – Helen remembers Cuckoo|url = http://cineplot.com/the-tragic-ending-of-cuckoo-moore-helen-remembers-cuckoo/|website = cineplot.com|accessdate = 2015-12-05}}</ref> [[Parveen Babi]]<ref>{{cite web|title = Happy Birthday Parveen Babi|url = http://indianexpress.com/photos/entertainment-gallery/happy-birthday-parveen-babi/|website = The Indian Express|date = 2014-04-04|accessdate = 2015-12-05|archive-url = https://web.archive.org/web/20151208165452/http://indianexpress.com/photos/entertainment-gallery/happy-birthday-parveen-babi/|archive-date = 8 December 2015|url-status=dead}}</ref> [[Waheeda Rehman|, Waheeda Rahman]],<ref>{{cite web|title = World Dance Day: Top 6 dancing queens of Bollywood!|url = http://zeenews.india.com/entertainment/celebrity/world-dance-day-top-6-dancing-queens-of-bollywood_1586532.html|website = Zee News|accessdate = 2015-12-05|date = 2015-04-28}}</ref> [[Meena Kumari]],<ref>{{cite web|title = 'Her Story' {{!}} Vinod Mehta {{!}} Aug 01,2013|url = http://www.outlookindia.com/article/her-story/287253|website = www.outlookindia.com|accessdate = 2015-12-05}}</ref> and [[Shammi Kapoor]].<ref>{{Cite news|title = Shammi Kapoor|url = https://www.telegraph.co.uk/news/obituaries/culture-obituaries/film-obituaries/8705192/Shammi-Kapoor.html|website =The Telegraph|accessdate = 2015-12-05|date = 2011-08-16}}</ref>
 
Bollywood producers have been releasing a film's soundtrack (as tapes or CDs) before the film's release, hoping that the music will attract audiences; a soundtrack is often more popular than its film. Some producers also release music videos, usually (but not always) with a song from the film.
 
==Finances==
Bollywood films are multi-million dollar productions, with the most expensive productions costing up to {{INR}} 1 billion (about US$20&nbsp;million). The science-fiction film ''[[Ra.One]]'' was made on a budget of {{INR}} 1.35 billion (about $27 million), making it the most expensive Bollywood film of all time.<ref>{{cite news|author1=The Times of India|author2=movie report |url=http://articles.timesofindia.indiatimes.com/2011-11-06/special-report/30366066_1_ke-liye-shah-rukh-khan-big-stars|accessdate=12 December 2011|work=The Times of India|title=It took me 20 years to be an overnight success: Shah Rukh Khan|date=6 November 2011}}</ref> [[Set (drama)|Sets]], costumes, special effects and [[cinematography]] were less than world-class, with some notable exceptions, until the mid-to-late 1990s. As Western films and television are more widely distributed in India, there is increased pressure for Bollywood films to reach the same production levels (particularly in action and special effects). Recent Bollywood films, like ''[[Krrish]]'' (2006), have employed international technicians such as Hong Kong-based action choreographer [[Tony Ching Siu-Tung|Tony Ching]]. The increasing accessibility of professional action and special effects, coupled with rising film budgets, have seen an increase in action and science-fiction films.
 
Since overseas scenes are attractive at the box office, Mumbai film crews are filming in Australia, Canada, [[New Zealand]], the United Kingdom, the United States, [[Europe]] and elsewhere. Indian producers have also obtained funding for big-budget films shot in India, such as ''[[Lagaan]]'' and ''[[Devdas (2002 Hindi film)|Devdas]]''.
 
Funding for Bollywood films often comes from private distributors and a few large [[Movie studio|studios]]. Although Indian banks and financial institutions had been forbidden from lending to film studios, the ban has been lifted.<ref>{{cite web|url=http://www.rediff.com/entertai/2001/mar/31sush.htm |title=I & B Ministry will help film industry |publisher=Rediff |date=31 March 2001 |accessdate=9 March 2013}}</ref> Finances are not regulated; some funding comes from illegitimate sources such as the Mumbai underworld, which is known to influence several prominent film personalities. Mumbai organised-crime hitmen shot [[Rakesh Roshan]], a film director and father of star [[Hrithik Roshan]], in January 2000. In 2001, the [[Central Bureau of Investigation]] seized all prints of ''[[Chori Chori Chupke Chupke]]'' after the film was found to be funded by members of the Mumbai underworld.<ref>{{cite web|author=Singh, Vijay|title=Bharat Shah sentenced, but won't have to spend time in prison|date=1 October 2003|url=http://www.rediff.com/news/2003/oct/01shah.htm|publisher=[[Rediff.com]]|accessdate=14 February 2008}}</ref>
 
Another problem facing Bollywood is widespread [[copyright infringement]] of its films. Often, bootleg [[DVD#DVD Video|DVD]] copies of movies are available before they are released in cinemas. Manufacturing of bootleg DVD, VCD, and VHS copies of the latest movie titles is an established small-scale industry in parts of south and [[southeast Asia]]. The Federation of Indian Chambers of Commerce and Industry (FICCI) estimates that the Bollywood industry loses $100 million annually from unlicensed home videos and DVDs. In addition to the homegrown market, demand for these copies is large amongst portions of the [[Non-resident Indian and person of Indian origin|Indian diaspora]]. Bootleg copies are the only way people in Pakistan can watch Bollywood movies, since the Pakistani government has banned their sale, distribution and telecast. Films are frequently broadcast without compensation by small cable-TV companies in India and other parts of South Asia. Small convenience stores, run by members of the Indian diaspora in the US and the UK, regularly stock tapes and DVDs of dubious provenance; consumer copying adds to the problem. The availability of illegal copies of movies on the Internet also contributes to industry losses.
 
Satellite TV, television and imported foreign films are making inroads into the domestic Indian entertainment market. In the past, most Bollywood films could make money; now, fewer do. Most Bollywood producers make money, however, recouping their investments from many sources of revenue (including the sale of ancillary rights). There are increasing returns from theatres in Western countries like the United Kingdom, Canada, and the United States, where Bollywood is slowly being noticed. As more Indians migrate to these countries, they form a growing market for upscale Indian films. In 2002, Bollywood sold 3.6 billion tickets and had a total revenue (including theatre tickets, DVDs and television) of $1.3 billion; Hollywood films sold 2.6 billion tickets, and had a total revenue of $51 billion.
 
==Advertising==
A number of Indian artists hand-painted movie billboards and posters. [[M. F. Husain]] painted film posters early in his career; human labour was found to be cheaper than printing and distributing publicity material.<ref name="paint">{{cite news|url=http://timesofindia.indiatimes.com/ahmedabad-times/a-different-canvas/articleshow/1027777.cms|title=A different canvas|work=[[The Times of India]]|date=21 February 2005|accessdate=21 November 2008|author=Ramanan, Manju}}</ref> Most of the large, ubiquitous billboards in India's major cities are now created with computer-printed vinyl. Old hand-painted posters, once considered [[ephemera]], are collectible [[folk art]].<ref name="paint"/><ref>{{cite web| title = Collectors can make good money with old Bollywood posters|work=The Economic Times
| url = http://articles.economictimes.indiatimes.com/2011-12-18/news/30529124_1_poster-art-movie-posters-poster-pasters|date=18 December 2011| accessdate = 20 August 2013}}</ref><ref>{{cite web| title = 100 years of Indian cinema: Top 50 hand-painted Bollywood posters| url = http://ibnlive.in.com/news/100-years-of-indian-cinema-top-50-handpainted-bollywood-posters/389311-8-66.html|publisher=CNN-IBN|date= 3 May 2013 | accessdate = 20 August 2013}}</ref><ref name="PintoSippy2008">{{cite book|author1=Jerry Pinto|authorlink1=Jerry Pinto|author2=Sheena Sippy|title=Bollywood Posters|url=https://books.google.com/books?id=V4frAAAAMAAJ|accessdate=20 August 2013|year=2008|publisher=Thames & Hudson|isbn=978-0-500-28776-7}}</ref>
 
Releasing film music, or music videos, before a film's release may be considered a form of advertising. A popular tune is believed to help attract audiences.<ref>{{cite book|author1=Skelton, Tracey |author2=Allen, Tim |title=Culture and Global Change|url=https://archive.org/details/cultureglobalcha00skel |url-access=limited |year=1999|publisher=Routledge|isbn=978-0-415-13917-5|page=[https://archive.org/details/cultureglobalcha00skel/page/n281 269]}}</ref> Bollywood publicists use the Internet as a venue for advertising. Most bigger-budget films have a websites on which audiences can view trailers, stills and information on the story, cast, and crew.<ref>{{cite news|url=http://articles.timesofindia.indiatimes.com/2003-01-31/news-interviews/27264956_1_small-budget-movies-producers-and-distributors-film|title=Bollywood wakes up to the power of Web|work=[[The Times of India]]|date=31 January 2003|accessdate=21 November 2008|author=Ferrao, Dominic}}</ref> Bollywood is also used to advertise other products. [[Product placement]], used in Hollywood, is also common in Bollywood.<ref>{{cite web|url=http://www.indiantelevision.com/special/y2k3/valuecreation5.htm |title=Leo Entertainment capitalises on film placements |publisher=Indian Television |date=14 January 2003 |accessdate=9 March 2013}}</ref>
 
=={{anchor|International shoots}}International filming==
Bollywood's increasing use of international settings such as Switzerland, London, Paris, New York, Mexico, Brazil and Singapore does not necessarily represent the people and cultures of those locales. Contrary to these spaces and geographies being filmed as they are, they are actually Indianised by adding Bollywood actors and Hindi speaking extras to them. While immersing in Bollywood films, viewers get to see their local experiences duplicated in different locations around the world.
 
According to Shakuntala Rao, "Media representation can depict India's shifting relation with the world economy, but must retain its 'Indianness' in moments of dynamic hybridity";<ref name=":1" /> "Indianness" (cultural identity) poses a problem with Bollywood's popularity among varied diaspora audiences, but gives its domestic audience a sense of uniqueness from other immigrant groups.<ref>{{Cite journal |doi=10.1080/10304312.2013.766309|title=Imagining global India: Bollywood's transnational appeal|journal=Continuum|volume=27|issue=2|pages=254–266|year=2013|last1=O'Neill|first1=Patricia}}
</ref>
 
==Awards==
The [[Filmfare Awards]] are some of the most prominent awards given to Hindi films in India.<ref>{{cite news |url=http://movies.indiatimes.com/articleshow/msid-1367349,prtpage-1.cms |title=Filmfare Awards gets new sponsor |work=The Times of India |accessdate=12 November 2010 |url-status=dead |archiveurl=https://web.archive.org/web/20090220033512/http://movies.indiatimes.com/articleshow/msid-1367349%2Cprtpage-1.cms |archivedate=20 February 2009}}</ref> The Indian screen magazine ''[[Filmfare]]'' began the awards in 1954 (recognising the best films of 1953), and they were originally known as the Clare Awards after the magazine's editor. Modeled on the [[Academy of Motion Picture Arts and Sciences]]' poll-based merit format, individuals may vote in separate categories. A dual voting system was developed in 1956.<ref>{{cite web|url=http://www.dnnworld.com/filmfare.php |title=Diaspora News & Network Ltd |publisher=Dnnworld.com |date=4 March 2005 |accessdate=12 November 2010}}</ref>
 
The [[National Film Awards]] were also introduced in 1954. The Indian government has sponsored the awards, given by its [[Directorate of Film Festivals]] (DFF), since 1973. The DFF screens Bollywood films, films from the other regional movie industries, and independent/art films. The awards are made at an annual ceremony presided over by the president of India. Unlike the Filmfare Awards, which are chosen by the public and a committee of experts, the National Film Awards are decided by a government panel.<ref>[http://www.bollywoodsoundtracks.com/html/filmfareawards.htm Filmfare Awards Complete Winners List – BollywoodSoundtracks.com<!-- Bot generated title -->] {{webarchive|url=https://web.archive.org/web/20070703214358/http://www.bollywoodsoundtracks.com/html/filmfareawards.htm |date=3 July 2007 }}</ref>
 
Other awards ceremonies for Hindi films in India are the [[Screen Awards]] (begun in 1995) and the [[Stardust Awards]], which began in 2003. The [[International Indian Film Academy Awards]] (begun in 2000) and the [[Zee Cine Awards]], begun in 1998, are held abroad in a different country each year.
 
==Global markets==
{{See also | List of highest-grossing Indian films in overseas markets | List of highest-grossing Indian films}}
In addition to their popularity among the Indian diaspora from [[Nigeria]] and [[Senegal]] to [[Egypt]] and [[Russia]], generations of non-Indians have grown up with Bollywood.<ref name="samar"/> Indian cinema's early contacts with other regions made inroads into the [[Soviet Union]], the [[Middle East]], [[Southeast Asia]],<ref name="Desai38">Desai, 38</ref> and [[China]].<ref name="chinadaily"/>
Bollywood entered the consciousness of Western audiences and producers during the late 20th century,<ref name="Us popularity"/><ref name=businessweek>[http://www.businessweek.com/magazine/content/02_48/b3810013.htm Can new money create a world-class film industry in India?]. Business Week.</ref> and Western actors now seek roles in Bollywood films.<ref name=BBC-Bollywood-popularity>{{cite news|url=https://www.bbc.co.uk/news/world-asia-india-17920845 |title=Bollywood's expanding reach |work=BBC News |date=3 May 2012 |accessdate=9 March 2013}}</ref>
 
===Asia-Pacific===
====South Asia====
Bollywood films are also popular in [[Pakistan]], [[Bangladesh]], and [[Nepal]], where Hindustani is widely understood. Many Pakistanis understand Hindi, due to its linguistic similarity to [[Urdu]].<ref name="Pakistan">{{cite web |url=http://www.newindpress.com/NewsItems.asp?ID=IEE20051004061008&Page=E&Title=Startrek&Topic=0 |title=Despite official ban, Hindi movies are a craze in Pakistan |accessdate=5 February 2008 |url-status=dead |archiveurl=https://web.archive.org/web/20080224205938/http://www.newindpress.com/NewsItems.asp?ID=IEE20051004061008&Page=E&Title=Startrek&Topic=0 |archivedate=24 February 2008}}</ref> Although Pakistan banned the import of Bollywood films in 1965, trade in unlicensed DVDs<ref>{{cite web|url=http://www.expressindia.com/news/fullstory.php?newsid=67664|title=Bollywood stumbles in Pak with Taj Mahal|accessdate=21 November 2008|work=[[The Indian Express]]|date=14 May 2006|archive-url=https://web.archive.org/web/20090330002107/http://www.expressindia.com/news/fullstory.php?newsid=67664|archive-date=30 March 2009|url-status=dead}}</ref> and illegal cable broadcasts ensured their continued popularity. Exceptions to the ban were made for a few films, such as the colorized re-release of ''[[Mughal-e-Azam]]'' and ''[[Taj Mahal]]'' in 2006. Early in 2008, the Pakistani government permitted the import of 16 films.<ref>{{cite web| url=http://www.thaindian.com/newsportal/politics/will-it-be-curtains-for-indian-films-in-pakistan_100137752.html|title=Will it be curtains for Indian films in Pakistan?|accessdate=23 February 2010|publisher=[[ThaIndian]]|date=9 January 2009}}</ref> More easing followed in 2009 and 2010. Although it is opposed by nationalists and representatives of Pakistan's small film industry, it is embraced by cinema owners who are making a profit after years of low receipts.<ref>{{cite magazine|url=http://www.outlookindia.com/article.aspx?264316|title=The Mirror is Watching|accessdate=23 February 2009|magazine=[[Outlook India]]|date=1 March 2010|archive-url=https://web.archive.org/web/20100222070609/http://www.outlookindia.com/article.aspx?264316|archive-date=22 February 2010|url-status=dead}}</ref> The most popular actors in Pakistan are the three [[Khans of Bollywood]]: [[Salman Khan|Salman]], [[Shah Rukh Khan|Shah Rukh]], and [[Aamir Khan|Aamir]]. The most popular actress is [[Madhuri Dixit]];<ref name="bollywoodlife">{{cite news|last=Sudhakaran|first=Sreeju|title=Aamir Khan in China, Shah Rukh Khan in Germany - 7 Bollywood stars who have massive fan following in other countries|url=http://www.bollywoodlife.com/news-gossip/aamir-khan-in-china-shah-rukh-khan-in-germany-7-bollywood-stars-who-have-massive-fan-following-in-other-countries/|work=Bollywood Life|date=10 June 2017}}</ref> at [[India–Pakistan cricket rivalry|India-Pakistan cricket matches]] during the 1990s, Pakistani fans chanted "''Madhuri dedo, Kashmir lelo!''" ("Give Madhuri, take [[Kashmir]]!")<ref>{{cite news|title=Bollywood set to cross LoC|url=http://www.hindustantimes.com/india/bollywood-set-to-cross-loc/story-6IXcKAlpvbeUntyGj9P7WP.html|work=[[Hindustan Times]]|date=27 January 2006}}</ref> Bollywood films in Nepal earn more than [[Cinema of Nepal|Nepali films]], and Salman Khan, [[Akshay Kumar]] and Shah Rukh Khan are popular in the country.
The films are also popular in [[Afghanistan]] due to its proximity to the Indian subcontinent and their cultural similarities, particularly in music. Popular actors include Shah Rukh Khan, [[Ajay Devgan]], [[Sunny Deol]], [[Aishwarya Rai]], [[Preity Zinta]], and Madhuri Dixit.<ref>{{Cite web|url=https://www.thehindubusinessline.com/todays-paper/tp-others/tp-variety/Its-Bollywood-all-the-way-in-Afghanistan/article20275900.ece|archiveurl=https://web.archive.org/web/20070403082744/http://www.thehindubusinessline.com/2005/05/09/stories/2005050900561400.htm|title=It's Bollywood all the way in Afghanistan|archivedate=3 April 2007|website=@businessline}}</ref> A number of Bollywood films were filmed in Afghanistan and some dealt with the country, including ''[[Dharmatma]]'', ''[[Kabul Express]]'', ''[[Khuda Gawah]]'' and ''[[Escape From Taliban]]''.<ref>{{cite news|url=http://archives.cnn.com/2002/WORLD/asiapcf/central/08/29/kabul.tv/index.html |title=CNN World: Kabul TV bans 'explicit' Indian films, soaps |date=29 August 2002 |accessdate=26 April 2010 |url-status=dead |archiveurl=https://web.archive.org/web/20090809155213/http://archives.cnn.com/2002/WORLD/asiapcf/central/08/29/kabul.tv/index.html |archivedate=9 August 2009 }}</ref><ref>{{cite news|url=http://news.bbc.co.uk/1/hi/entertainment/film/1679115.stm|title=BBC: Bollywood eyes Afghan market | date=27 November 2001 | accessdate=31 December 2009 | work=BBC News}}</ref>
 
====Southeast Asia====
Bollywood films are popular in [[Southeast Asia]], particularly in [[maritime Southeast Asia]]. The three Khans are very popular in the [[Malay world]], including [[Indonesia]], [[Malaysia]], and [[Singapore]]. The films are also fairly popular in [[Thailand]].<ref>{{cite web|author=Yogendra Singh|title=Bollywood in Southeast Asia|publisher=[[Institute of Peace and Conflict Studies]]|date=19 November 2008|url=http://www.ipcs.org/article_details.php?articleNo=2734|accessdate=18 May 2009}}</ref>
 
India has [[Indosphere|cultural ties]] with Indonesia, and Bollywood films were introduced to the country at the end of [[World War II]] in 1945. The "angry young man" films of [[Amitabh Bachchan]] and [[Salim–Javed]] were popular during the 1970s and 1980s before Bollywood's popularity began gradually declining in the 1980s and 1990s. It experienced an Indonesian revival with the release of Shah Rukh Khan's ''[[Kuch Kuch Hota Hai]]'' (1998) in 2001, which was a bigger box-office success in the country than ''[[Titanic (1997 film)|Titanic]]'' (1997). Bollywood has had a strong presence in Indonesia since then, particularly Shah Rukh Khan films such as ''[[Mohabbatein]]'' (2000), ''[[Kabhi Khushi Kabhie Gham...]]'' (2001), ''[[Kal Ho Naa Ho]]'', ''[[Chalte Chalte (2003 film)|Chalte Chalte]]'' and ''[[Koi...&nbsp;Mil Gaya]]'' (all 2003), and ''[[Veer-Zaara]]'' (2004).<ref>{{Cite journal|last=Tambunan|first=Shuri Mariasih Gietty|title=Bollywood in Indonesia: The Kuch Kuch Hota Hai effect|url=http://southasia.oneworld.net/features/bollywood-in-indonesia-the-kuch-kuch-hota-hai-effect|journal=Owsa|date=23 December 2012|access-date=30 January 2018|archive-url=https://web.archive.org/web/20180130204242/http://southasia.oneworld.net/features/bollywood-in-indonesia-the-kuch-kuch-hota-hai-effect|archive-date=30 January 2018|url-status=dead}}</ref>
 
====East Asia====
Some Bollywood films have been widely appreciated in [[China]], [[Japan]], and [[South Korea]]. Several Hindi films have been commercially successful in Japan, including [[Mehboob Khan]]'s ''[[Aan]]'' (1952, starring [[Dilip Kumar]]) and [[Aziz Mirza]]'s ''[[Raju Ban Gaya Gentleman]]'' (1992, starring [[Shah Rukh Khan]]). The latter sparked a two-year boom in Indian films after its 1997 release,<ref name="Japan">{{cite book | url=http://ir.minpaku.ac.jp/dspace/bitstream/10502/1140/1/SES71_011.pdf | title=Asia to Watch, Asia to Present: The Promotion of Asian/Indian Cinema in Japan | publisher=Senri Ethnological Studies, Reitaku University | last=Matsuoka | first=Tamaki | year=2008| page=246 | archiveurl=https://web.archive.org/web/20110722073202/http://ir.minpaku.ac.jp/dspace/bitstream/10502/1140/1/SES71_011.pdf | archivedate=22 July 2011}}</ref> with ''[[Dil Se..]]'' (1998) a beneficiary of the boom.<ref>{{cite book|last=Kohli-Khandekar|first=Vanita|title=The Indian Media Business|date=2013|publisher=[[SAGE Publications]]|isbn=9788132117889|page=188|url=https://books.google.com/books?id=1C4nAgAAQBAJ&pg=PA188}}</ref> The highest-grossing Hindi film in Japan is ''[[3 Idiots]]'' (2009), starring [[Aamir Khan]],<ref name="qz">{{cite news|title=Japan is going gaga over Bollywood|url=https://qz.com/310502/japan-is-going-gaga-over-bollywood/|work=[[Quartz (publication)|Quartz]]|date=11 December 2014}}</ref> which received a [[Japanese Academy Award]] nomination.<ref>{{cite web|title=3 Idiots to race for Japan Academy Awards|url=http://www.bollywoodhungama.com/news/2382254/3-Idiots-to-race-for-Japan-Academy-Awards|date=2014-01-27}}</ref> The film was also a critical and commercial success in South Korea.<ref>{{cite news|title=Embrace Your Nerdiness with 3 Idiots|url=http://herald.kaist.ac.kr/news/articleView.html?idxno=285|accessdate=29 March 2012|newspaper=KAIST Herald|date=4 December 2011|author=Chaerim Oh|agency=[[KAIST]]|archive-url=https://web.archive.org/web/20120424035900/http://herald.kaist.ac.kr/news/articleView.html?idxno=285|archive-date=24 April 2012|url-status=dead}}</ref>
 
''[[Dr. Kotnis Ki Amar Kahani]]'', ''[[Awara (1951 film)|Awaara]]'', and ''[[Do Bigha Zamin]]'' were successful in China during the 1940s and 1950s, and remain popular with their original audience. Few Indian films were commercially successful in the country during the 1970s and 1980s, among them [[Tahir Hussain]]'s ''[[Caravan (1971 film)|Caravan]]'', ''[[Noorie]]'' and ''[[Disco Dancer]]''.<ref name="chinadaily">{{cite news|title=Dangal underlines popularity of Indian films in China|url=http://www.chinadaily.com.cn/opinion/2017-07/20/content_30186720.htm|work=[[China Daily]]|date=2017-07-20}}</ref><ref name="rediff">{{cite web|title=Aamir: I couldn't really enjoy the food in China|url=http://www.rediff.com/movies/report/aamir-i-couldnt-really-enjoy-the-food-in-china/20150521.htm|website=[[Rediff]]|date=21 May 2015}}</ref> Indian film stars popular in China included Raj Kapoor, [[Nargis]],<ref name="tagore"/> and [[Mithun Chakraborty]].<ref name="rediff"/> Hindi films declined significantly in popularity in China during the 1980s.<ref name="lagaan-china">{{cite news|accessdate=12 January 2008 |url=http://www.tribuneindia.com/2002/20021121/world.htm#4 |title=''Lagaan'' released in China |date=20 November 2002 |work=The Tribune |agency=[[Press Trust of India]] |url-status=live |archiveurl=https://web.archive.org/web/20071227190730/http://www.tribuneindia.com/2002/20021121/world.htm |archivedate=27 December 2007 }}</ref> Films by Aamir Khan have recently been successful,<ref name="chinadaily"/><ref name="rediff"/><ref name="forbes-china">{{cite web|url=https://www.forbes.com/sites/robcain/2017/06/08/how-a-52-year-old-indian-actor-became-chinas-favorite-movie-star/|title=How A 52-Year-Old Indian Actor Became China's Favorite Movie Star|first=Rob|last=Cain}}</ref> and ''[[Lagaan]]'' was the first Indian film with a nationwide Chinese release in 2011.<ref name="lagaan-china"/><ref>{{cite news|title=Lagaan revives memories of Raj Kapoor in China|author=Anil K. Joseph|agency=[[Press Trust of India]]|date=20 November 2002|url=http://expressindia.indianexpress.com/news/fullstory.php?newsid=16983|accessdate=30 January 2009|url-status=bot: unknown|archiveurl=https://web.archive.org/web/20131205095946/http://expressindia.indianexpress.com/news/fullstory.php?newsid=16983|archivedate=5 December 2013}}</ref> [[Cinema of China|Chinese]] filmmaker [[He Ping (director)|He Ping]] was impressed by ''Lagaan'' (particularly its soundtrack), and hired its composer [[A. R. Rahman]] to score his ''[[Warriors of Heaven and Earth]]'' (2003).<ref>{{cite web|title=Rahman's 'Lagaan' cast a spell on me|publisher=[[Sify]]|date=13 February 2004|url=http://sify.com/peopleandplaces/fullstory.php?id=13388284|accessdate=24 February 2009|url-status=dead|archiveurl=https://web.archive.org/web/20090324022050/http://sify.com/peopleandplaces/fullstory.php?id=13388284|archivedate=24 March 2009}}</ref>
 
When ''3 Idiots'' was released in China, China was the [[Aamir Khan|world's]] 15th-largest film market (partly due to its widespread pirate [[DVD]] distribution at the time). The pirate market introduced the film to Chinese audiences, however, and it became a [[cult hit]]. According to the [[Douban]] film-review site, ''3 Idiots'' is China's 12th-most-popular film of all time; only one domestic Chinese film (''[[Farewell My Concubine (film)|Farewell My Concubine]]'') ranks higher, and [[Aamir Khan]] acquired a large Chinese fan base as a result.<ref name="forbes-china"/> After ''3 Idiots'', several of Khan's other films (including 2007's ''[[Taare Zameen Par]]'' and 2008's ''[[Ghajini (2008 film)|Ghajini]]'') also developed cult followings.<ref>{{Cite news|title=Q&A: Aamir Khan on what it takes to crack China's box office|url=https://www.reuters.com/article/india-bollywood-aamir-khan-dangal-interv/qa-aamir-khan-on-what-it-takes-to-crack-chinas-box-office-idUSKBN18R0RQ|agency=Reuters|accessdate=31 May 2017|year=2017}}</ref> China became the world's second-largest film market (after the United States) by 2013, paving the way for Khan's box-office success with ''[[Dhoom 3]]'' (2013), ''[[PK (film)|PK]]'' (2014), and ''[[Dangal (film)|Dangal]]'' (2016).<ref name="forbes-china"/> The latter is the [[List of highest-grossing films in China|16th-highest-grossing film in China]],<ref name="cbo">{{cite web|url=http://www.cbooo.cn/Alltimedomestic|script-title=zh:内地总票房排名 ("All-Time Domestic Box Office Rankings")|work=中国票房 (China Box Office)|publisher=Entgroup|language=zh}}</ref> the fifth-highest-grossing non-[[English language]] film worldwide,<ref name="5thForbes">{{cite news|last1=Cain|first1=Rob|title='Dangal' Tops $300 Million, Becoming The 5th Highest-Grossing Non-English Movie Ever|url=https://www.forbes.com/sites/robcain/2017/06/12/dangal-joins-300-million-club-now-the-5th-biggest-non-english-movie-ever|accessdate=14 June 2017|work=Forbes|date=12 June 2017}}</ref> and the highest-grossing non-English foreign film in any market.<ref name="bloomberg">{{cite news|last=Miller|first=Lee|title=Bollywood Hit Beats 'Star Wars' at China's Box Office|url=https://www.bloomberg.com/news/articles/2018-01-28/bollywood-beats-star-wars-at-china-s-box-office-with-hindi-hit|work=[[Bloomberg News]]|date=28 January 2018}}</ref><ref>{{cite news|last=Miller|first=Lee|title=China Picks Bollywood Over Hollywood|url=https://www.bloomberg.com/news/articles/2018-01-29/china-picks-bollywood-over-hollywood|work=[[Bloomberg News]]|date=29 January 2018}}</ref><ref name="business-standard">{{cite news|last=Miller|first=Lee|title=How Aamir Khan's Secret Superstar beat 'Star Wars' at China's Box Office|url=http://www.business-standard.com/article/current-affairs/how-aamir-khan-s-secret-superstar-beat-star-wars-at-china-s-box-office-118012900051_1.html|work=[[Business Standard]]|date=29 January 2018}}</ref> Several Khan films, including ''Taare Zameen Par'', ''3 Idiots'', and ''Dangal'', are highly rated on Douban.<ref>{{cite news|title=印度的良心阿米尔·汗如何用电影改变国家|url=http://ent.sina.com.cn/zl/bagua/blog/2017-05-19/10105939/350163497/14df122910102wywr.shtml|publisher=[[Sina Corp]]|date=19 May 2017}}</ref><ref>{{cite news|title=《摔跤吧！爸爸》主演阿米尔·汗被誉为"印度刘德华"-中新网|url=http://www.chinanews.com/yl/2017/05-11/8220929.shtml|work=[[China News Service]]|date=11 May 2017}}</ref> His next film, ''[[Secret Superstar]]'' (2017, starring [[Zaira Wasim]]), broke ''Dangal''{{'}}s record for the highest-grossing opening weekend by an Indian film and cemented Khan's status<ref name="scmp">{{cite news|title=Meet the Secret Superstar of China, from India|url=http://www.scmp.com/week-asia/society/article/2130746/meet-secret-superstar-china-india-aamir-khan|work=[[South China Morning Post]]|date=28 January 2018}}</ref> as "a king of the Chinese box office";<ref name="hollywoodreporter">{{cite news|title=China Box Office: Bollywood's 'Secret Superstar' Beats 'Ferdinand' and 'Jumanji'|url=https://www.hollywoodreporter.com/news/china-box-office-bollywoods-secret-superstar-beats-ferdinand-jumanji-1076857|work=[[The Hollywood Reporter]]|date=22 January 2018}}</ref><ref>{{cite news|title=Aamir Khan film 'Secret Superstar' lives up to the hype to become king of the Chinese mainland weekend box office|url=http://www.globaltimes.cn/content/1085999.shtml|work=[[Global Times]]|date=22 January 2018}}</ref> ''Secret Superstar'' was China's highest-grossing foreign film of 2018 to date.<ref name="firstpost2">{{cite news|title=Secret Superstar: Aamir Khan's film becomes second Indian movie to cross Rs 500 cr in China, next only to his Dangal|url=http://www.firstpost.com/entertainment/secret-superstar-aamir-khans-film-becomes-second-indian-movie-to-cross-rs-500-cr-in-china-next-only-to-his-dangal-4331887.html|work=[[Firstpost]]|date=2 February 2018}}</ref> Khan has become a household name in China,<ref>{{cite news|title=5 big stories from the week gone by|url=https://www.filmfare.com/features/5-big-stories-from-the-week-gone-by-26308-3.html|work=[[Filmfare]]|date=29 January 2018}}</ref> with his success described as a form of Indian [[soft power]]<ref>{{cite news|last1=Gao|first1=Charlotte|title=Aamir Khan: India's Soft Power in China|url=https://thediplomat.com/2018/01/aamir-khan-indias-soft-power-in-china/|work=[[The Diplomat]]}}</ref> improving [[China–India relations]] despite political tensions.<ref name="tagore">{{cite news|title=Aamir Khan: the second coming of Tagore?|url=http://www.scmp.com/week-asia/society/article/2130794/chinas-secret-superstar-aamir-khan-second-coming-indias-tagore|work=[[South China Morning Post]]|date=28 January 2018}}</ref><ref name="scmp"/><ref name="globaltimes">{{cite news|last=Xi|first=Wei|title=Bollywood superstar Aamir Khan softens Sino-India communications|url=http://www.globaltimes.cn/content/1086932.shtml|accessdate=29 January 2018|work=[[Global Times]]}}</ref> With Bollywood competing with Hollywood in the Chinese market,<ref>{{cite news|title=Significant Digits For Tuesday, Jan. 30, 2018|url=https://fivethirtyeight.com/features/significant-digits-for-tuesday-jan-30-2018/|work=[[FiveThirtyEight]]|date=30 January 2018}}</ref> the success of Khan's films has driven up the price for Chinese distributors of Indian film imports.<ref>{{cite news|title=Headlines from China: Tencent Acquires Stake in Hollywood Studio Skydance Media|url=http://chinafilminsider.com/headlines-china-tencent-acquires-stake-hollywood-studio-skydance-media/|work=China Film Insider|date=26 January 2018}}</ref> [[Salman Khan]]'s ''[[Bajrangi Bhaijaan]]'' and [[Irrfan Khan]]'s ''[[Hindi Medium]]'' were also Chinese hits in early 2018.<ref>{{cite news|last=Tripathi|first=Rajat|title=Irrfan Khan's Hindi Medium BEATS the first day collections of Dangal and Bajrangi Bhaijaan in China|url=http://www.bollywoodlife.com/news-gossip/irrfan-khans-hindi-medium-beats-the-first-day-collections-of-dangal-and-bajrangi-bhaijaan-in-china/|accessdate=4 April 2018|work=Bollywood Life}}</ref>
 
====Oceania====
Although Bollywood is less successful on some Pacific islands such as [[New Guinea]], it ranks second to Hollywood in [[Fiji]] (with its large Indian minority), [[Australia]] and [[New Zealand]].<ref name="Oceania">{{cite news|url=http://economictimes.indiatimes.com/News/News_By_Industry/ET_Cetera/Bollywood_clubs_popular_among_Australians/articleshow/2372640.cms|title=Bollywood clubs popular among Australians|work=[[The Times of India]]|date=15 September 2007|accessdate=12 November 2007|agency=Indo-Asian News Service|archiveurl=https://web.archive.org/web/20080212095151/http://economictimes.indiatimes.com/News/News_By_Industry/ET_Cetera/Bollywood_clubs_popular_among_Australians/articleshow/2372640.cms|archivedate=12 February 2008}}</ref> Australia also has a large South Asian diaspora, and Bollywood is popular amongst non-Asians in the country as well.<ref name="Oceania"/> Since 1997, the country has been a backdrop for an increasing number of Bollywood films.<ref name="Oceania"/> Indian filmmakers, attracted to Australia's diverse locations and landscapes, initially used the country as a setting for song-and-dance scenes;<ref name="Oceania"/> however, Australian locations now figure in Bollywood film plots.<ref name="Oceania"/> Hindi films shot in Australia usually incorporate Australian culture. [[Yash Raj Films]]' ''[[Salaam Namaste]]'' (2005), the first Indian film shot entirely in Australia, was the most successful Bollywood film of 2005 in that country.<ref>{{cite news|author=Phillips, Mark|url=http://www.theage.com.au/news/Film/Bollywood-on-Bourke-Street/2005/05/12/1115843307939.html|title=Bollywood on Bourke Street|work=[[The Age]]|date=13 May 2005|accessdate=18 August 2008|location=Melbourne}}</ref> It was followed by the box-office successes ''[[Heyy Babyy]]'', (2007) ''[[Chak De! India]]'' (2007), and ''[[Singh Is Kinng]]'' (2008).<ref name="Oceania"/> Prime Minister [[John Howard]] said during a visit to India after the release of ''Salaam Namaste'' that he wanted to encourage Indian filmmaking in Australia to increase tourism, and he appointed [[Steve Waugh]] as tourism ambassador to India.<ref>{{cite web |url=http://www.bonza.rmit.edu.au/essays/2006/Mithila%20Gupta/CollectionofAnnotatedRef.html |title=Australian PM says Salaam Namaste to Bollywood |publisher=bonza.rmit.edu.au |date=7 March 2006 |accessdate=17 November 2008 |url-status=dead |archiveurl=https://web.archive.org/web/20090120112704/http://bonza.rmit.edu.au/essays/2006/Mithila%20Gupta/CollectionofAnnotatedRef.html |archivedate=20 January 2009}}</ref>{{failed verification|date=April 2019}} Australian actress [[Tania Zaetta]], who appeared in ''Salaam Namaste'' and several other Bollywood films, was eager to expand her career in Bollywood.<ref>{{cite news|url=http://www.smh.com.au/news/people/tania-zaettas-bollywood-career-in-doubt/2008/05/23/1211183051898.html|title=Tania Zaetta's Bollywood career in doubt|work=[[The Sydney Morning Herald]]|date=23 May 2008|accessdate=17 November 2008|author=Ramachandran, Arjun}}</ref>
 
===Eastern Europe and Central Asia===
Bollywood films are popular in the former [[Soviet Union]] ([[Russia]], [[Eastern Europe]], and [[Central Asia]]),<ref name="Sanskar Shrivastava">{{cite web|url=http://www.theworldreporter.com/2013/08/bollywood-diplomacy-influence-in-soviet-union.html|title=Influence of Bollywood in Former Soviet Union; Why India and Russia Need to Target Bollywood Diplomacy and Business|work=The World Reporter|date=1 August 2013|author=Sanskar Shrivastava|accessdate=1 August 2013}}</ref> and have been dubbed into [[Russian language|Russian]]. Indian films were [[List of Soviet films of the year by ticket sales|more popular in the Soviet Union]] than Hollywood films<ref>[https://books.google.com/books?id=cpoLAQAAMAAJ ''Indian Films in Soviet Cinemas: The Culture of Movie-going After Stalin''], page 75, [[Indiana University Press]], 2005</ref><ref name="moscow">[https://is.muni.cz/el/1421/podzim2015/FAV291/um/Roth-Ey-Moscow_Prime_Time.pdf#page=5 ''Moscow Prime Time: How the Soviet Union Built the Media Empire that Lost the Cultural Cold War'', page 44], [[Cornell University Press]], 2011</ref> and, sometimes, domestic [[Soviet films]].<ref>[https://books.google.com/books?id=laoaAQAAIAAJ ''Behind The Scenes Of Hindi Cinema: A Visual Journey Through The Heart Of Bollywood''], page 138, [[Royal Tropical Institute]], 2005</ref> The first Indian film released in the Soviet Union was ''[[Dharti Ke Lal]]'' (1946), directed by [[Khwaja Ahmad Abbas]] and based on the [[Bengal famine of 1943]], in 1949.<ref name="Rajadhyaksha"/> Three hundred Indian films were released in the Soviet Union after that;<ref>{{cite news|title=With love from India to Russia|url=https://www.rbth.com/articles/2009/10/22/221009_indianfilms.html|work=[[Russia Beyond]]|date=22 October 2009}}</ref> most were Bollywood films with higher average audience figures than domestic Soviet productions.<ref name="moscow"/><ref>[https://books.google.com/books?id=bJnAAwAAQBAJ&pg=PA357 ''The Routledge Handbook of the Cold War'', page 357], [[Routledge]], 2014</ref> Fifty Indian films had over 20 million viewers, compared to 41 Hollywood films.<ref>{{cite web|url=https://books.google.com/books?id=-FceAQAAMAAJ|title=A Taste for Indian Films: Negotiating Cultural Boundaries in Post-Stalinist Soviet Society|first=Sudha|last=Rajagopalan|date=16 August 2018|publisher=Indiana University|via=Google Books}}</ref><ref>{{cite web|url=http://kinanet.livejournal.com/1469857.html|title=Зарубежные популярные фильмы в советском кинопрокате (Индия)|author=[[Sergey Kudryavtsev (film critic)|Sergey Kudryavtsev]]}}</ref> Some, such as ''[[Awaara]]'' (1951) and ''[[Disco Dancer]]'' (1982), had more than 60 million viewers<ref>{{cite web|url=http://kinanet.livejournal.com/13882.html|title=Зарубежные фильмы в советском кинопрокате|author=[[Sergey Kudryavtsev (film critic)|Sergey Kudryavtsev]]}}</ref><ref name="hindu_russia">{{cite news|title=Bollywood re-enters Russian homes via cable TV|work=[[The Hindu]]|date=27 September 2007|url=http://www.hindu.com/thehindu/holnus/009200709270360.htm|accessdate=7 June 2011|archiveurl=https://web.archive.org/web/20121109235938/http://www.hindu.com/thehindu/holnus/009200709270360.htm|archivedate=9 November 2012|location=Chennai, India}}</ref> and established actors [[Raj Kapoor]], [[Nargis]],<ref name="hindu_russia"/> [[Rishi Kapoor]]<ref name="moscow43">[https://is.muni.cz/el/1421/podzim2015/FAV291/um/Roth-Ey-Moscow_Prime_Time.pdf#page=4 ''Moscow Prime Time: How the Soviet Union Built the Media Empire that Lost the Cultural Cold War'', page 43], [[Cornell University Press]], 2011</ref> and [[Mithun Chakraborty]] in the country.<ref name="sbs">[http://www.sbs.com.au/yourlanguage/hindi/en/article/2017/03/18/do-you-remember-jimmy-jimmy Do you remember Jimmy Jimmy?], [[SBS One|SBS]], 18 March 2017</ref>
 
According to diplomat Ashok Sharma, who served in the [[Commonwealth of Independent States]],
{{quote|The popularity of Bollywood in the CIS dates back to the Soviet days when the films from [[Cinema of the United States|Hollywood]] and other Western cinema centers were banned in the Soviet Union. As there was no means of other cheap entertainment, the films from Bollywood provided the Soviets a cheap source of entertainment as they were supposed to be non-controversial and non-political. In addition, the Soviet Union was recovering from the onslaught of the Second World War. The films from India, which were also recovering from the disaster of partition and the struggle for freedom from colonial rule, were found to be a good source of providing hope with entertainment to the struggling masses. The aspirations and needs of the people of both countries matched to a great extent. These films were dubbed in Russian and shown in theatres throughout the Soviet Union. The films from Bollywood also strengthened family values, which was a big factor for their popularity with the government authorities in the Soviet Union.<ref>{{cite web|url=http://www.chillibreeze.com/articles/Indian-films.asp |title=Promoting Bollywood Abroad Will Help to Promote India |last=Ashreena |first=Tanya |url-status=dead |archiveurl=https://web.archive.org/web/20131203003948/http://www.chillibreeze.com/articles/Indian-films.asp |archivedate=3 December 2013 }}</ref>}}
 
After the collapse of the Soviet film-distribution system, Hollywood filled the void in the Russian film market and Bollywood's market share shrank.<ref name="Sanskar Shrivastava"/> A 2007 [[RT (TV network)|Russia Today]] report noted a renewed interest in Bollywood by young Russians.<ref>{{cite web|url=http://www.russiatoday.ru/features/news/11895 |archiveurl=https://web.archive.org/web/20080626020120/http://www.russiatoday.ru/features/news/11895 |title=RussiaToday Features: Bollywood challenges Hollywood in Russia|archivedate=26 June 2008|date=3 August 2007|url-status=dead}}</ref>
 
In [[Poland]], [[Shah Rukh Khan]] has a large following. He was introduced to Polish audiences with the 2005 release of ''[[Kabhi Khushi Kabhie Gham...]]'' (2001) and his other films, including ''[[Dil Se..]]'' (1998), ''[[Main Hoon Na]]'' (2004) and ''[[Kabhi Alvida Naa Kehna]]'' (2006), became hits in the country. Bollywood films are often covered in ''[[Gazeta Wyborcza]]'', formerly Poland's largest newspaper.<ref>{{cite news|title=After Kama Sutra, it is Bollywood and SRK in Poland|url=http://www.dnaindia.com/entertainment/report-after-kama-sutra-it-is-bollywood-and-srk-in-poland-1211988|work=[[Daily News and Analysis]]|date=7 December 2008}}</ref><ref name="indiatimes">{{cite news|title=9 Countries Where Bollywood Is Badshah|url=https://www.indiatimes.com/entertainment/bollywood/9-countries-where-bollywood-is-badshah-331482.html|work=[[The Times of India]]|date=15 October 2017}}</ref>
 
The upcoming movie [[Squad (2020)|Squad]], is the first Indian film to be shot in [[Belarus]]. A majority of the film was shot at [[Belarusfilm]] studios, in [[Minsk]].<ref>{{Cite web|url=https://mumbaimirror.indiatimes.com/entertainment/bollywood/epic-battle-for-climax-of-rinzings-film-squad/articleshow/71765107.cms|title=Epic battle for climax of Rinzing Denzongpa’s film Squad|last=Oct 26|first=Mumbai Mirror {{!}} Updated:|last2=2019|website=Mumbai Mirror|language=en|access-date=2020-03-20|last3=Ist|first3=10:25}}</ref>
 
===Middle East and North Africa===
Hindi films have become popular in [[Arab world|Arab countries]],<ref>{{cite news|url=http://timesofindia.indiatimes.com/ahmedabad-times/bollywood-films-gaining-popularity-in-gulf-countries/articleshow/2121632.cms|title=Bollywood films gaining popularity in Gulf countries|date=8 October 2006|accessdate=21 November 2008|work=[[The Times of India]]|agency=Press Trust of India}}</ref>
and imported Indian films are usually subtitled in Arabic when they are released. Bollywood has progressed in [[Israel]] since the early 2000s, with channels dedicated to Indian films on cable television;<ref>{{cite news|url=http://www.tribuneindia.com/2004/20041116/world.htm|title=Indian films swamp Israel|date=16 November 2004|accessdate=21 November 2008|work=The Tribune|agency=Press Trust of India}}</ref> [[MBC Bollywood]] and [[Zee Aflam]] show Hindi movies and serials.<ref>{{cite web|title = Bollywood craze grows ever stronger with audiences in the Middle East {{!}} The National|url = http://www.thenational.ae/uae/bollywood-craze-grows-ever-stronger-with-audiences-in-the-middle-east|website = The National|location=Abu Dhabi|accessdate = 2015-12-02}}</ref>
 
In Egypt, Bollywood films were popular during the 1970s and 1980s. In 1987, however, they were restricted to a handful of films by the [[Egyptian government]].<ref>{{cite web|title = Living the spectacle: Why Egyptians worship Bollywood - Entertainment - Arts & Culture - Ahram Online|url = http://english.ahram.org.eg/NewsContent/5/0/127435/Arts--Culture/0/Living-the-spectacle-Why-Egyptians-worship-Bollywo.aspx|website = english.ahram.org.eg|accessdate = 2015-12-02}}</ref><ref>{{cite web|title = Bollywood Rides Back to Egypt on Chennai Express|url = https://blogs.wsj.com/middleeast/2013/09/30/bollywood-rides-back-to-egypt-on-chennai-express/|website = WSJ Blogs - Middle East Real Time|date = 2013-09-30|accessdate = 2015-12-02|first = Matt|last = Bradley}}</ref> [[Amitabh Bachchan]] has remained popular in the country<ref>{{cite news|title=Egypt's Amitabh Bachchan mania|url=https://timesofindia.indiatimes.com/india/Egypts-Amitabh-Bachchan-mania/articleshow/1315446.cms|work=[[The Times of India]]|date=2 December 2005}}</ref> and Indian tourists visiting Egypt are asked, "Do you know Amitabh Bachchan?"<ref name="bollywoodlife"/>
 
Bollywood movies are regularly screened in Dubai cinemas, and Bollywood is becoming popular in Turkey; ''[[Barfi!]]'' was the first Hindi film to have a wide theatrical release in that country.<ref>{{cite web|title = Barfi! making inroads for Bollywood in Turkey {{!}} The National|url = http://www.thenational.ae/arts-culture/film/barfi-making-inroads-for-bollywood-in-turkey|website = The National|location=Abu Dhabi|accessdate = 2015-12-02}}</ref> Bollywood also has viewers in Central Asia (particularly [[Uzbekistan]]<ref>{{cite news |date=24 October 1998 |title=World: Bollywood stirs Uzbek passions |quote=Indian films are known for their all singing all dancing formula. |author=Louise Hidalgo |url= http://news.bbc.co.uk/1/hi/world/south_asia/200689.stm |accessdate=18 May 2009 |work= BBC News}}</ref> and [[Tajikistan]]).<ref>{{cite news|date=23 June 2004 |title=Bollywood bowls Tajiks over |work=BBC News|author1=Monica Whitlock  |author2=Rahim Rahimian  |lastauthoramp=yes |url= http://news.bbc.co.uk/1/hi/world/south_asia/3834295.stm |accessdate=18 May 2009}}</ref>
 
===South America===
Bollywood films are not influential in most of South America, although its culture and dance is recognised. Due to significant South Asian diaspora communities in [[Suriname]]<ref>{{Cite web|url=https://www.hugedomains.com/domain_profile.cfm?d=swarit&e=com|archiveurl=https://web.archive.org/web/20150112152317/http://swarit.com/pop_music.html|title=HugeDomains.com - Swarit.com is for sale (Swarit)|archivedate=12 January 2015|website=hugedomains.com}}</ref> and [[Guyana]], however, Hindi-language movies are popular.<ref>Global Bollywood – Anandam P. Kavoori, Aswin Punathambekar</ref> In 2006, ''[[Dhoom 2]]'' became the first Bollywood film to be shot in [[Rio de Janeiro]].<ref>{{cite web|url=http://www.rediff.com/movies/2006/sep/15sfa.htm|title=Will Hrithik's Dhoom 2 prove lucky for Brazil?|date=15 September 2006|author=Firdaus Ashraf, Syed|publisher=[[Rediff.com]]|accessdate=5 March 2008}}</ref> In January 2012, it was announced that UTV Motion Pictures would begin releasing films in [[Peru]] with ''[[Guzaarish (film)|Guzaarish]]''.<ref>{{cite news | url=http://latino.foxnews.com/latino/lifestyle/2012/01/26/bollywood-makes-it-way-to-latin-america/ | publisher=Fox News Channel | title=Bollywood Comes to Latin America | date=26 January 2012 | access-date=1 December 2018 | archive-url=https://web.archive.org/web/20160402125013/http://latino.foxnews.com/latino/lifestyle/2012/01/26/bollywood-makes-it-way-to-latin-america/ | archive-date=2 April 2016 | url-status=dead}}</ref>
 
==={{anchor|Sub-Saharan Africa and Horn of Africa}}Africa===
Hindi films were originally distributed to some parts of Africa by Lebanese businessmen, and ''[[Mother India]]'' (1957) continued to be screened in [[Nigeria]] decades after its release. Indian movies have influenced [[Hausa people|Hausa]] clothing, songs have been covered by Hausa singers, and stories have influenced Nigerian novelists. Stickers of Indian films and stars decorate taxis and buses in Nigeria's [[Northern Region, Nigeria|Northern Region]], and posters of Indian films hang on the walls of tailoring shops and mechanics' garages. Unlike Europe and North America, where Indian films cater to the expatriate marke, Bollywood films became popular in West Africa despite the lack of a significant Indian audience. One possible explanation is cultural similarity: the wearing of turbans, animals in markets; porters carrying large bundles, and traditional wedding celebrations. Within Muslim culture, Indian movies were said to show "respect" toward women; Hollywood movies were seen as having "no shame". In Indian movies, women are modestly dressed; men and women rarely kiss and there is no [[nudity]], so the films are said to "have culture" which Hollywood lacks. The latter "don't base themselves on the problems of the people"; Indian films are based on socialist values and the reality of developing countries emerging from years of colonialism. Indian movies permitted a new youth culture without "becoming Western."<ref name="samar">{{cite web|last=Larkin |first=Brian |url=http://www.samarmagazine.org/archive/article.php?id=21 |title=Bollywood Comes To Nigeria |publisher=Samarmagazine.org |date=31 August 2002 |accessdate=12 November 2010 |url-status=dead |archiveurl=https://web.archive.org/web/20100731164710/http://www.samarmagazine.org/archive/article.php?id=21 |archivedate=31 July 2010 }}</ref> The first Indian film shot in Mauritius was ''[[Souten]]'', starring [[Rajesh Khanna]], in 1983.<ref>{{Cite web |url=http://www.silverdollarproduction.com/film-shooting.html |title=Archived copy |access-date=10 October 2016 |archive-url=https://web.archive.org/web/20161220145113/http://www.silverdollarproduction.com/film-shooting.html |archive-date=20 December 2016 |url-status=dead}}</ref>
 
In [[South Africa]], film imports from India were watched by black and [[Indian South Africans|Indian]] audiences.<ref name="Rajinder"/> Several Bollywood figures have travelled to Africa for films and off-camera projects. ''[[Padmashree Laloo Prasad Yadav]]'' (2005) was filmed in South Africa.<ref>{{cite news|author=Balchand, K.|title=Lalu Prasad, at home|date=26 September 2004|work=[[The Hindu]]|url=http://www.hindu.com/2004/09/26/stories/2004092600682000.htm|accessdate=9 December 2009|location=Chennai, India}}</ref> ''[[Dil Jo Bhi Kahey...]]'' (2005) was also filmed almost entirely in [[Mauritius]], which has a large ethnic-Indian population.
 
Bollywood, however, seems to be diminishing in popularity in Africa. New Bollywood films are more sexually explicit and violent. Nigerian viewers observed that older films (from the 1950s and 1960s) had more culture and were less Westernised.<ref name="samar"/> The old days of India avidly "advocating decolonization ... and India's policy was wholly influenced by his missionary zeal to end racial domination and discrimination in the African territories" were replaced.<ref>{{cite web|url=http://www.salon.com/tech/htww/2007/06/13/bollywood_in_africa/ |title=Bollywood in Africa – Is it getting too Western? – How the World Works |work=Salon |date=13 June 2007 |accessdate=12 November 2010}}</ref> The emergence of [[Nollywood]] ([[West Africa]]'s film industry) has also contributed to the declining popularity of Bollywood films, as sexualised Indian films became more like American films.
 
[[Kishore Kumar]] and [[Amitabh Bachchan]] have been popular in [[Egypt]] and [[Somalia]].<ref name="Baru">{{cite book|last=Baru|first=Sanjaya|title=Strategic Consequences of India's Economic Performance|year=2013|publisher=Routledge|isbn=978-1-134-70973-1|page=442|url=https://books.google.com/books?id=rXE3cEqRcDoC}}</ref> In [[Ethiopia]], Bollywood movies are shown with Hollywood productions in [[town square]] theatres such as the Cinema Ethiopia in [[Addis Ababa]].<ref name="Phillips">{{cite book|last=Matt Phillips|first=Jean-Bernard Carillet|title=Ethiopia & Eritrea. Ediz. Inglese|year=2006|publisher=Lonely Planet|isbn=978-1-74104-436-2|page=103|url=https://books.google.com/books?id=7barYwB0UWcC}}</ref> Less-commercial Bollywood films are also screened elsewhere in [[North Africa]].<ref name="Carter">{{cite book|last=Carter|first=Sandra Gayle|title=What Moroccan Cinema?: A Historical and Critical Study|year=2009|publisher=Lexington Books|isbn=978-0-7391-3187-9|page=9|url=https://books.google.com/books?id=PByNqtLQo8QC}}</ref>
 
===Western Europe and North America===
[[File:Bollywood Dance London.jpg|thumb|alt=Large group of dancers onstage|Bollywood dancing show in [[London]]]]
The first Indian film to be released in the [[Western world]] and receive mainstream attention was ''[[Aan]]'' (1952), directed by [[Mehboob Khan]] and starring [[Dilip Kumar]] and [[Nimmi]]. It was subtitled in 17 languages and released in 28 countries,<ref name="Rajinder">{{cite book|last1=Rajinder|first1=Dudrah|last2=Jigna|first2=Desai|title=The Bollywood Reader|date=2008|publisher=[[McGraw-Hill Education]]|isbn=9780335222124|page=65|url=https://books.google.com/books?id=4Wz4AAAAQBAJ&pg=PA65}}</ref> including the [[United Kingdom]],<ref name="moviemahal">{{cite web|url=https://moviemahal.net/2017/01/11/mehboobs-aan-1952-indian-cinemas-entry-into-europe|title=Mehboob's AAN (1952) – Indian Cinema's entry into Europe|date=11 January 2017}}</ref> the [[United States]], and [[France]].<ref name="filmfare">{{Cite web|url=https://www.filmfare.com/features/nimmis-filmfare-interview-11920.html|title=Dilip Kumar ke aashiq hum bhi the|website=filmfare.com}}</ref> ''Aan'' was praised in the contemporary British press, and ''[[The Times]]'' compared it favourably to Hollywood productions.<ref name="gaur">{{cite book|last=Gaur|first=Madan|title=Other Side of the Coin: An Intimate Study of Indian Film Industry|date=1973|publisher=Trimurti Prakashan [distributed through Universal Book Service, Delhi]|page=122|url=https://books.google.com/books?id=LAAwAAAAMAAJ}}</ref> Mehboob Khan's later [[Academy Awards|Academy Award]]-nominated ''[[Mother India]]'' (1957) was a success in overseas markets, including [[Europe]],<ref name="gaur"/> Russia, the [[Eastern Bloc]], [[French colonial empire|French territories]], and [[Latin America]].<ref>{{cite book|last=Chatterjee|first=Gayatri|title=Mother India|year=2002|publisher=British Film Institute|isbn=978-0-85170-917-8|pages=[https://archive.org/details/motherindiamadar00chat/page/77 77–78]|url=https://archive.org/details/motherindiamadar00chat/page/77}}</ref>
 
Many Bollywood films have been commercially successful in the United Kingdom. The most successful Indian actor at the UK box office has been [[Shah Rukh Khan]], whose popularity in [[British Asian]] communities played a key role in introducing Bollywood to the UK<ref name="livemint">{{cite news|last=Jha|first=Lata|title=Why Shah Rukh Khan remains the ultimate NRI hero|url=http://www.livemint.com/Consumer/ZLahUQiFIQKYz2MSeo1JDN/Why-Shah-Rukh-Khan-remains-the-ultimate-NRI-hero.html|work=[[Live Mint]]|date=10 February 2017}}</ref> with films such as ''[[Darr]]'' (1993),<ref>{{cite web|title=Darr|url=http://www.boxofficeindia.com/movie.php?movieid=3320|publisher=[[Box Office India]]|accessdate=2 November 2017}}</ref> ''[[Dilwale Dulhaniya Le Jayenge]]'' (1995),<ref name=Hindu1>{{cite news|url=http://www.thehindu.com/todays-paper/tp-features/tp-sundaymagazine/article2275753.ece |title=Bollywood needs to change its act |work=The Hindu |author=Desai, Lord Meghnad |date=25 November 2007|accessdate=6 April 2011|archiveurl=https://web.archive.org/web/20150530021748/http://www.thehindu.com/todays-paper/tp-features/tp-sundaymagazine/article2275753.ece|archivedate=30 May 2015 |url-status=live}}</ref> and ''[[Kuch Kuch Hota Hai]]'' (1998).<ref name="livemint"/> ''[[Dil Se]]'' (1998) was the first Indian film to enter the UK top ten.<ref name="livemint"/> A number of Indian films, such as ''Dilwale Dulhaniya Le Jayenge'' and ''[[Kabhi Khushi Kabhie Gham]]'' (2001), have been set in London.
 
Bollywood is also appreciated in France, [[Germany]], the [[Netherlands]],<ref>Francis C. Assisi. [http://www.planetbollywood.com/displayArticle.php?id=051806123941 Bollywood Culture Binds Global Indian Diaspora] {{Webarchive|url=https://web.archive.org/web/20170614132632/http://www.planetbollywood.com/displayArticle.php?id=051806123941 |date=14 June 2017 }}</ref> and [[Scandinavia]]. Bollywood films are dubbed in [[German language|German]] and shown regularly on the German television channel [[RTL II]].<ref>{{cite web|url=http://www.tribuneindia.com/2004/20041205/spectrum/main3.htm|title=Bollywood in Germany|work=[[The Tribune (Chandigarh)|The Tribune]]|date=5 December 2004|author=Lehmann, Ana|accessdate=21 November 2008}}</ref> Germany is the second-largest European market for Indian films, after the United Kingdom. The most recognised Indian actor in Germany is Shah Rukh Khan, who has had box-office success in the country with films such as ''[[Don 2]]'' (2011)<ref name="indiatimes"/> and ''[[Om Shanti Om]]'' (2007).<ref name="dnaindia"/> He has a large German fan base,<ref name="bollywoodlife"/> particularly in [[Berlin]] (where the tabloid ''[[Die Tageszeitung]]'' compared his popularity to that of the [[pope]]).<ref name="dnaindia"/>
 
[[File:Michelle Obama joins students for a Bollywood Dance Clinic in White House.jpg|thumb|alt=Michelle Obama dancing with a large group of people|[[Michelle Obama]] joining students for a Bollywood dance clinic with [[Nakul Dev Mahajan]] in the [[White House]] State Dining Room, 2013]]
Bollywood has experienced revenue growth in [[Canada]] and the United States, particularly in the South Asian communities of large cities such as [[Toronto]], Chicago, and New York City.<ref name="Us popularity"/> [[Yash Raj Films]], one of India's largest production houses and distributors, reported in September 2005 that Bollywood films in the United States earned about $100 million per year in theatre screenings, video sales and the sale of movie soundtracks;<ref name="Us popularity"/> Indian films earn more money in the United States than films from any other non-English speaking country.<ref name="Us popularity"/> Since the mid-1990s, a number of Indian films have been largely (or entirely) shot in New York, Los Angeles, Vancouver or Toronto. Films such as ''[[The Guru (2002 film)|The Guru]]'' (2002) and ''[[Marigold: An Adventure in India]]'' (2007) attempted to popularise Bollywood for Hollywood.{{citation needed|date=April 2019}}
 
==Plagiarism==
Pressured by rushed production schedules and small budgets, some Bollywood writers and musicians have been known to [[plagiarism|plagiarise]].{{citation needed|date=November 2019}} Ideas, plot lines, tunes or riffs have been copied from other Indian film industries or foreign films (including Hollywood and other [[Asian cinema|Asian films]]) without acknowledging the source.<ref name="Times plagiarism">{{Cite news |url=http://timesofindia.indiatimes.com/city/mumbai/Plagiarism-issue-jolts-Bollywood/articleshow/46715385.cms |title=Plagiarism issue jolts Bollywood. |last=Shedde |first=Meenakshi |date=18 May 2003 |work=The Times of India |access-date=23 May 2017}}</ref>
 
Before the 1990s, plagiarism occurred with impunity. [[Copyright]] enforcement was lax in India, and few actors or directors saw an official contract.<ref name="Ayres">{{cite book|author1=Ayres, Alyssa |author2=Oldenburg, Philip |url=https://archive.org/details/indiabriefingtak00alys|url-access=registration |title=India briefing: takeoff at last|publisher=M.E. Sharpe|year=2005|page=[https://archive.org/details/indiabriefingtak00alys/page/174 174]|isbn=978-0-7656-1593-0}}</ref> The Hindi film industry was not widely known to non-Indian audiences (except in the Soviet states), who would be unaware that their material had been copied. Audiences may not have been aware of plagiarism, since many in India were unfamiliar with foreign films and music.<ref name="Times plagiarism" /> Although copyright enforcement in India is still somewhat lenient, Bollywood and other film industries are more aware of each other and Indian audiences are more familiar with foreign films and music.{{citation needed|date=November 2019}} Organisations such as the India EU Film Initiative seek to foster a community between filmmakers and industry professionals in India and the [[European Union]].<ref name="Times plagiarism" />
 
A commonly-reported justification for plagiarism in Bollywood is that cautious producers want to remake popular Hollywood films in an Indian context. Although screenwriters generally produce original scripts, many are rejected due to uncertainty about whether a film will be successful.<ref name="Times plagiarism" /> Poorly-paid screenwriters have also been criticised for a lack of creativity.<ref name="Cloning">{{cite news|url=http://www.hindu.com/thehindu/mag/2003/08/03/stories/2003080300090400.htm|title=Cloning Hollywood|date=3 August 2003|work=[[The Hindu]]|accessdate=14 April 2009|location=Chennai, India}}</ref> Some filmmakers see plagiarism in Bollywood as an integral part of globalisation, with which Western (particularly American) culture is embedding itself into Indian culture.<ref name="Cloning"/> [[Vikram Bhatt]], director of ''[[Raaz (2002 film)|Raaz]]'' (a remake of ''[[What Lies Beneath]]'') and ''[[Kasoor]]'' (a remake of ''[[Jagged Edge (film)|Jagged Edge]]''), has spoken about the influence of American culture and Bollywood's desire to produce box-office hits based along the same lines: "Financially, I would be more secure knowing that a particular piece of work has already done well at the box office. Copying is endemic everywhere in India. Our TV shows are adaptations of American programmes. We want their films, their cars, their planes, their [[Diet Coke]]s and also their attitude. The American way of life is creeping into our culture."<ref name="Cloning"/> According to [[Mahesh Bhatt]], "If you hide the source, you're a genius. There's no such thing as originality in the creative sphere".<ref name="Cloning"/>
 
Although very few cases of film-copyright violations have been taken to court because of a slow legal process,<ref name="Times plagiarism" /> the makers of ''[[Partner (2007 film)|Partner]]'' (2007) and ''[[Zinda (film)|Zinda]]'' (2005) were targeted by the owners and distributors of the original films: ''[[Hitch (film)|Hitch]]'' and ''[[Oldboy (2003 film)|Oldboy]]''.<ref>{{cite news | url=http://economictimes.indiatimes.com/industry/partner-may-face-30-mn-hitch/articleshow/2264000.cms | title=Partner may face $30 mn Hitch | work=The Times of India | date=8 August 2007 | accessdate=22 November 2016}}</ref><ref>{{cite news|url=http://www.hindu.com/fr/2006/01/20/stories/2006012002530300.htm|title=Copycat filmmaker lacks creativity|work=[[The Hindu]]|date=20 January 2006|accessdate=13 February 2009|location=Chennai, India}}</ref> The American studio [[20th Century Fox]] brought Mumbai-based B. R. Films to court over the latter's forthcoming ''[[Banda Yeh Bindaas Hai]]'', which Fox alleged was an illegal remake of ''[[My Cousin Vinny]]''. B. R. Films eventually settled out of court for about $200,000, paving the way for its film's release.<ref>{{cite news|url=http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/film/bollywood/article6742092.ece |title=Plagiarism case could stop Bollywood borrowing from Hollywood |work=The Times |date= 7 August 2009|accessdate=12 November 2010 |first=Rhys |last=Blakely}}</ref> Some studios comply with copyright law; in 2008, Orion Pictures secured the rights to remake Hollywood's ''[[Wedding Crashers]]''.<ref>[http://www.bollywoodhungama.com/news/2008/05/03/11326/index.html Orion Pictures produce official remake to Wedding Crashers], [[Bollywood Hungama]] {{webarchive |url=https://web.archive.org/web/20140728230909/http://www.bollywoodhungama.com/news/2008/05/03/11326/index.html |date=28 July 2014 }}</ref>
 
===Music===
The Pakistani [[Qawwali]] musician [[Nusrat Fateh Ali Khan]] had a big impact on Bollywood music, inspiring numerous Indian musicians working in Bollywood, especially during the 1990s. However, there were many instances of Indian music directors plagiarising Khan's music to produce hit [[filmi]] songs.<ref name="nusrat">{{cite web|url=http://www.hinduonnet.com/fline/fl1418/14181230.htm|archive-url=https://web.archive.org/web/20011230173145/http://www.hinduonnet.com/fline/fl1418/14181230.htm|url-status=dead|archive-date=30 December 2001|title=The stilled voice |author=Amit Baruah, R. Padmanabhan|work=[[The Hindu]], [[Frontline (U.S. TV series)|Frontline]]|date=6 September 1997}}</ref><ref>{{cite book |last1=Chaudhuri |first1=Diptakirti |title=Bioscope: A Frivolous History of Bollywood in Ten Chapters |date=2018 |publisher=[[Hachette (publisher)|Hachette]] |isbn=9789351952299 |page=93 |url=https://books.google.com/books?id=_e9LDwAAQBAJ&pg=PT93}}</ref> Several popular examples include [[Viju Shah]]'s hit song "Tu Cheez Badi Hai Mast Mast" in ''[[Mohra]]'' (1994) being plagiarised from Khan's popular Qawwali song "[[Dam Mast Qalandar]]",<ref name="nusrat"/> "Mera Piya Ghar Aya" used in ''[[Yaraana (1995 film)|Yaarana]]'' (1995), and "Sanoo Ek Pal Chain Na Aaye" in ''[[Judaai (1997 film)|Judaai]]'' (1997).<ref name="nusrat"/> Despite the significant number of hit Bollywood songs plagiarised from his music, Nusrat Fateh Ali Khan was reportedly tolerant towards the plagiarism.<ref name="Chaudhuri"/><ref name="rediff-khan">{{cite news |title=A rare encounter with Ustad Nusrat Ali Khan |url=http://www.rediff.com/movies/apr/05nusrat.htm |accessdate=23 December 2018 |work=[[Rediff]] |year=1997}}</ref> One of the Bollywood music directors who frequently plagiarised him, [[Anu Malik]], claimed that he loved Khan's music and was actually showing admiration by using his tunes.<ref name="rediff-khan"/> However, Khan was reportedly aggrieved when Malik turned his spiritual "Allah Hoo, Allah Hoo" into "I Love You, I Love You" in ''[[Auzaar]]'' (1997).<ref name="Chaudhuri"/> Khan said "he has taken my devotional song ''Allahu'' and converted it into ''I love you''. He should at least respect my religious songs."<ref name="rediff-khan"/>
 
Bollywood soundtracks also plagiarised [[Guinea]]n singer [[Mory Kanté]], particularly his 1987 album ''Akwaba Beach''. His song, "Tama", inspired two [[Bollywood songs]]: [[Bappi Lahiri]]'s "Tamma Tamma" in ''[[Thanedaar]]'' (1990) and "Jumma Chumma" in [[Laxmikant-Pyarelal]]'s soundtrack for ''[[Hum (film)|Hum]]'' (1991). The latter also featured "Ek Doosre Se", which copied Kanté's "Inch Allah".<ref name="Srinivasan">{{Cite web |url=https://www.filmcompanion.in/guinean-singer-mory-kante-tamma-tamma-loge-jumma-chumma-de-de-bappi-lahiri-carbon-copy/ |title=How Guinean Singer Mory Kanté's Music Was Lifted To Create 'Tamma Tamma Loge' and 'Jumma Chumma De De' |last=Srinivasan |first=Karthik |date=16 October 2018 |website=[[Film Companion]] |archive-url=https://archive.today/20181016095542/https://www.filmcompanion.in/guinean-singer-mory-kante-tamma-tamma-loge-jumma-chumma-de-de-bappi-lahiri-carbon-copy/ |archive-date=16 October 2018 |url-status=live |access-date=16 October 2018}}</ref> His song "[[Yé ké yé ké]]" was used as background music in the 1990 Bollywood film ''[[Agneepath (1990 film)|Agneepath]]'', inspired the [[Music of Bollywood|Bollywood song]] "Tamma Tamma" in ''Thanedaar''.<ref name="Srinivasan"/>
 
=={{anchor|Film education}}See also==
{{Portal|Bollywood|India|Film}}
{{Div col}}
* [[Asian Academy of Film & Television]]
* [[Bibliography of Hindi cinema]]
* [[Central Board of Film Certification]]
* [[Film and Television Institute of India]]
* [[Film City]]
* [[Hindi film distribution circuits]]
* [[Indian animation industry#List of Indian Animated Movies|List of Indian animated films]]
* [[Lists of Bollywood films]]
* [[List of cinema of the world]]
* [[List of highest-grossing Indian films]]
* [[List of highest domestic net collection of Hindi films]]
* [[National Science and Media Museum]]
* [[Satyajit Ray Film and Television Institute]]
 
{{Div col end}}
{{clear}}


==References==
==References==
{{Reflist|30em}}
<references />
 
==Further reading==
{{reflist|30em}}
* [[Stephen Alter|Alter, Stephen]]. ''Fantasies of a Bollywood Love-Thief: Inside the World of Indian Moviemaking''. {{ISBN|0-15-603084-5}}.
* [[Begum-Hossain, Momtaz]]. ''Bollywood Crafts: 20 Projects Inspired by Popular Indian Cinema'', 2006. The Guild of Mastercraftsman Publications. {{ISBN|1-86108-418-8}}.
* [[Bose, Mihir]], ''Bollywood: A History'', New Delhi, Roli Books, 2008. {{ISBN|978-81-7436-653-5}}.
* Dwyer, Rachel. ''Bollywood's India: Hindi Cinema as a Guide to Contemporary India'' (Reaktion Books, distributed by University of Chicago Press; 2014) 295 pages
* Ganti, Tejaswini. ''Bollywood'', Routledge, New York and London, 2004.
* Ganti, Tejaswini. ''Producing Bollywood: Inside the Contemporary Hindi Film Industry'' (Duke University Press; 2012) 424 pages; looks at how major changes in film production since the 1990s have been influenced by the liberal restructuring of India's state and economy.
* Gibson, Bernard. 'Bollywood'.'' Passing the Envelope'', 1994.
* Jolly, Gurbir, Zenia Wadhwani, and Deborah Barretto, eds. ''Once Upon a Time in Bollywood: The Global Swing in Hindi Cinema'', TSAR Publications. 2007. {{ISBN|978-1-894770-40-8}}.
* Joshi, Lalit Mohan. ''Bollywood: Popular Indian Cinema''. {{ISBN|0-9537032-2-3}}.
* [[Kabir, Nasreen Munni]]. ''Bollywood'', Channel 4 Books, 2001.
* Mehta, Suketu. ''Maximum City'', Knopf, 2004.
* Mishra, Vijay. ''Bollywood Cinema: Temples of Desire''. {{ISBN|0-415-93015-4}}.
* Pendakur, Manjunath. ''Indian Popular Cinema: Industry, Ideology, and Consciousness''. {{ISBN|1-57273-500-7}}.
* Prasad, Madhava. ''Ideology of the Hindi Film: A Historical Construction'', Oxford University Press, 2000. {{ISBN|0-19-565295-9}}.
* [[Raheja, Dinesh]] and Kothari, Jitendra. ''Indian Cinema: [[The Bollywood Saga]]''. {{ISBN|81-7436-285-1}}.
* Raj, Aditya (2007) "Bollywood Cinema and Indian Diaspora" in ''Media Literacy: A Reader'' edited by Donaldo Macedo and Shirley Steinberg New York: Peter Lang
* Rajadhyaksa, Ashish (1996), "India: Filming the Nation", ''The Oxford History of World Cinema'', Oxford University Press, {{ISBN|0-19-811257-2}}.
* Rajadhyaksha, Ashish and Willemen, Paul. ''Encyclopedia of Indian Cinema'', Oxford University Press, revised and expanded, 1999.
* [[Jha, Subhash]] and [[Bachchan, Amitabh]] (foreword). ''The Essential Guide to Bollywood''. {{ISBN|978-81-7436-378-7}}.
 
==External links==
* [http://ngm.nationalgeographic.com/ngm/0502/feature3 ''National Geographic Magazine'': "Welcome to Bollywood"]
* [https://www.niffa.org/ National Institute Of Film and Fine Arts]


[[Category:Bollywood| ]]
[[Category:Indian cinema]]
[[Category:Cinema of India]]
[[Category:Economy of Mumbai]]
[[Category:Hindi]]
[[Category:Hindi]]
[[Category:Hindustani language]]
[[Category:Indian culture]]

Revision as of 02:31, 20 January 2021

Bollywood, an Indian Hollywood, refers to the Hindi language movie industry in India.[1]

The word is often used to describe Indian cinema as a whole, but more precisely it means Hindi language movies only. The term Bollywood combines Bombay (where most Hindi movies are made) and Hollywood (where most American movies are made).

Bollywood makes many movies each year. Many Bollywood movies are called Masala movies. In Hindi, Masala means spice. These movies usually have higher levels of emotions, songs, revenge and differences between rich and poor in them.

Languages used in Bollywood films

The movies made in Bollywood are usually in Hindi and Urdu. Some are in English. Often, poetic Urdu words are used; see also Lollywood (Pakistan Cinema).

The number of dialogues and songs in English has increased lately. There are movies now where parts of the dialogue are in English. There is also a growing number of movies which are in English. Some movies are also made in more than one language. This is either done with subtitles, or by using several soundtracks.

What Bollywood movies are like

In general, Bollywood movies are like musicals. The audience expects to hear music. There are usually song-and-dance numbers as a part of the script. Often, the success of a movie depends on the quality of these musical numbers.[2] Very often, the movie music is released before the movie. It helps make the audience bigger.

A good entertainer is generally referred to as paisa vasool. This means money's worth. Songs and dances, love triangles, comedy and thrills are all mixed up. Such movies are called masala movies, after the Hindustani word for a spice mixture, masala. Like masalas, these movies are a mixture of many things.

Bollywood movies are often longer than those made in Hollywood. A normal Bollywood movie is about 3 hours long. Bollywood movies are movies made for the masses. Other Indian movies are made inside or outside of the Bollywood tradition. They sometimes try to set higher standards. They often lose out at the box office to movies with more mass appeal.

Bollywood plots are usually melodramatic. They often use common ideas such as star-crossed lovers and angry parents, love triangles, family ties, sacrifice, corrupt politicians, kidnappers, scheming villains, hookers with a heart of gold, long-lost relatives and siblings separated by fate, dramatic reversals of fortune, and convenient coincidences.

Bollywood songs are called Hindi film songs or filmi songs. Most of the movies have songs in them. Bollywood songs along with dances are a characteristic part of Hindi cinema. They give these movies their popular appeal, cultural value and context. Songs are sung by playback singers which actors and actresses lip sync on screen.

Change

Bollywood ways of doing things are changing, however. A large Indian diaspora in English speaking countries, and increased Western influence at home, have moved Bollywood movies closer to movies made in Hollywood. Kisses in the movies are now allowed. Plots tend to show Westernised city people dating and dancing in discos instead of arranged marriages.

Movie critic Lata Khubchandani writes,"..our earliest movies...(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."[3] In 2001 five percent on Indian movies were shown in Britain.

Related pages

References

  1. ↑ "Hindi Movies(Bollywood) Releases in 2018". BookMyShow.
  2. ↑ Kalita, S. Mitra (2005). Suburban Sahibs: Three Immigrant Families And Their Passage from India to America. Rutgers University Press, p. 134. ISBN 0-8135-3318-X
  3. ↑ Free Reeling, PLAY, Sunday Mid-day, March 11, 2007, Mumbai.MH/MR/WEST/66/2006-08 Khubchandani, Lata. "Memories of another day". mid-day.com.
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