Indian cinema has passed through various
phases in the course of its growth for the last
one century. The pace of the change has been
fast in 21°' century. With increasing
urbanisation, the themes and making of films
have changed. Multiplexes have made viewing
expensive but people do not hesitate in paying.
So the producers seem willing to put in more
money not only in production but also in
promotion of films. At the same time, films are
being used for covert advertising. This book
talks about many such trends of Indian cinema.
Despite changes contemporary Indian cinema
still banks heavily on romance, music and dance.
Romance is the lifeline whatever might be the
genre of the film. Music and dance is something
which is deep into Indian culture. From Hindi
films to regional cinema music and dance
dominate. Scholars have penned their articles
analysing varied strings of music and footsteps
The trend of biopics is gradually picking up
in Indian cinema. Such films are used for
motivation of youth and inspire them to excel
in specific fields. Many scholars have chosen
biopics for their study and their findings form
content of this book. Researchers have also
studied period drama films while analysing the
magnitude of distortion of history.
Further, freedom of expression has always
been a contentious issue in films. Scholars
always argue the justification and extent of
restrictions on cinematic expression. Dissention
and antagonism are prevalent in the work of
new filmmakers and authors in this book have
tried to interpret this phenomena as well.
We witness growing trend of film criticism
since viewers these days are found looking for
reviews and ratings. Film reviews cover all vital
elements of films while attaching significant
importance to style of writing.
This book is broadly divided in five
Part 1: Urban Phenomenon and Marketing
Trends in Indian Cinema
Part 2: Romance, Music and Dance in Indian
Part 3: Biopics and Period Drama in Indian
Part 4: Regulation and Antagonism in Indian
Part 5: Film Analysis and Criticism Evaluation
Dr. Susmita Bala is Head of DME Media
School at Delhi Metropolitan Education. She
is a gifted teacher and trainer equipped with
rich experience in media industry and
academics for more than three decades. She
has taught in colleges of GGS IP University,
namely MBICEM and VIPS.
Dr. Susmita has visited Chinese universities
as part of delegation of Indian academicians.
She has attended a Media Conference and
Film Festival in RMIT University,
Melbourne, Australia. She has presented
papers in Portland and Eugene in the United
States as part of pre-conference and the
conference organised by International
Association of Media and Communication
Research (IAMCR). She has presented 20
papers in national-international seminars
Dr. Susmita has authored 2 books, co-
authored 1 book, edited 3 books and written
chapters in 3 books. She has been a Member
of Jury of Akashvani Awards organized by AIR
for many years. She has also been member of
Nomination Jury in the International Science
Film Festival organised by Department of
Science and Technology, Government of India.
Dr. Parul Mehra is Associate Professor and
Head (second Shift) at Delhi Metropolitan
Education with 11 years of academic
experience. She holds additional charge of Head,
student welfare, DME.
She has recently authored a book on
Changing Ethics in India Mediscape which
focuses on Indian media, identifies ownership
patterns and impact of conglomerates on ethical
standards.She has three edited books to her
credit. She has published and contributed
chapters in several books, apart from research
articles in reputed journals. She was an Expert
in UGC meeting organized by MHRD in 2015.
She is a recipient of DR SATYA JANGHID
women achiever award 2018. She actively
participates in conferences and seminar
Pramod Kumar Pandey is Assistant
Professor in DME Media School at Delhi
Metropolitan Education, Noida. He is also
pursuing PhD from GJU, Hisar. He has been
associated with the field of media academic for
around 7 years which includes 2 years fulltime
research experience as UGC-NET JRF. He has
participated in many national-international
seminars and conferences and has published
papers in reputed journals and books.
Cinema and television have long held mainstream entertainment
appeal. From a mass media perspective, the content in movies or
cinema can be classified vis-a-vis the status of society. There have
been those that, upon release, mirror the life and times of the
audience. Also present have been both regressive and progressive
productions. There are in fact considerable themes into which
productions can be categorised and various lenses through which
they can be understood.
India produces numerous films in many languages every year.
There is also endless hours of television programming churned out,
day in and day out. Indian films have been widely recognised as a
tool for soft power diplomacy too. Their reach and appeal have
transcended borders and left a indelible impression on even India’s
fiercest foes. From my travels across South-East Asia I have also
seen firsthand how Indian soap operas have a loyal and dedicated
audiences well beyond India’s borders. Add to this the heady mix
of new networks that have aggregated content and are also
producing Indian originals— Netflix, Amazon Prime Video, AltBalaji
etc., and the playing field has just expanded exponentially.
Given the scale and reach of Indian cinema and the nuances
of the developing TV and networks platform, a study of the journey,
direction and impact of these is very much in order. In fact the lack
of periodic and systematic analysis of what we are watching, is
simply astounding. This series of four books tries to fill this gap,
and is a first in what should be a regular inquiry into the state of
These books contain research articles that analyse the various
facets and developments in this field, and were presented at DME’s
second international ICAN-— Indian Cinema & Alternate Networks
Conference. The Conference, partnered by Deak in University,
Australia, and inaugurated at the India Habitat Centre on 16th
November 2018, received exceptional support and contributions.
It is indeed heartening that we are sharing the spirit of inquiry
and awareness with leading academicians of Australia, which is
emerging as one of India’s more prominent foreign connection.
An enormous amount of hard work has gone into organising of
the conference as well as release of these books, and the ably led
DME Media School must be congratulated on this feat.
I am hopeful that these papers contribute positively to the study
of an industry that, while understandably acknowledged as a
commercial giant, is often intellectually ignored.
Cinema makes a lasting effect on viewers’ mind. It not only
entertains but enlightens too. It is the real documentation of the
culture, history, heritage and societal issues in a country. Cinema
fascinates, it is alluring and captivating, and that is how it draws
crowd to theatres all across the globe.
For the creative people cinema is a craft and not an academic
subject. Learning the craft may be easy with an ingenious approach
and skill friendly attitude. But, academics has its own importance.
It gives a depth, an understanding to the producer of cinematic
content. Educational institutions perform this job either through
prescribing the subject in curriculum or organizing film appreciation
Besides academic and creative aspect, film making also
involves technology and marketing. The arrival of OTT signals the
departure of satellite age and internet based promotional tools have
changed the dynamics of business. There is an earnest need to
appreciate and comprehend these changes in whichever Capacity
we are associated with cinema whether as producer of content or
merely consuming the content as viewer.
ICAN* held on November 16, 17 and 18, 2018, at DME
provided a platform for all those who love cinema and want to live
with cinema. Technical sessions (8), plenary sessions (3) and
workshops (3) during International Conference on Indian Cinema
and Alternate Networks delivered ample opportunities to film
academia and film makers.
This conference looked at various aspects of Indian cinema
while looking into how its reception and consumption, collaboration
and distribution have changed over the years. Various aspects of
Indian cinema were researched, analysed and discussed by scholars
and filmmakers in different sessions of the conference.
ICAN? provided ocean of knowledge in terms of research based
writings by eminent and emerging scholars from India and abroad.
The research papers presented in this international conference are
being published in the form of four books, three in English and one
in Hindi. This book Changing Trends of Indian Cinema is one
of these books. The other two books are titled "Bollywood Women
and Indian Society" and ""World Cinema and Alternate Networks".
This book Changing Trends of Indian Cinema discusses
the effect of urbanization on films right from themes to emergence
of multiplexes. Some authors talk about the commercial aspects in
filmmaking business. Some other authors have focused on the real
lifeline of Indian cinema — romance, music and dance in the write
ups published in this book.
This book comprises many articles written on biopics and period
drama in Indian cinema. While biopics have been interpreted as
tools of motivation and promotion, period dramas are accused of
distorting history. Freedom of filmmakers and the issue of censorship
has also been discussed in some articles.
Film reviews incorporating analysis and criticism is an important
component in film studies and many scholars have chosen this
subject for writing articles. Many eminent media scholars,
researchers and film experts have contributed to this book by penning
down the outcome of their research and analysis. Hope, this book
will benefit the cine lovers.
**Contents and Sample Pages**
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