Hindi cinema

Bollywood (Hindi: बॉलीवुड, Urdu: بالی وڈ) is the informal name given to the popular Mumbai-based Hindi-language film industry in India. The term is often incorrectly used to refer to the whole of Indian cinema. Bollywood is only a part of the Indian film industry.

The name is a portmanteau of Bombay (the former name for Mumbai) and Hollywood, the center of the American film industry. Though some deplore the name, arguing that it makes the industry look like a poor cousin to Hollywood, it seems likely to persist and now has its own entry in the Oxford English Dictionary.

Bollywood is commonly referred to as Hindi cinema, even though Hindustani, the substratum common to both Hindi and Urdu, might be more accurate. Bollywood consists of the languages of Hindi, Urdu and English. The use of poetic Urdu words is fairly common. The connection between Hindi, Urdu, and Hindustani is an extremely contentious matter.

There has been a growing presence of Indian English in dialogue and songs as well. It is not uncommon to see films that feature dialogue with English words and phrases, even whole sentences. There is a growing number of English films. A few films are also made in two or even three languages (either using subtitles, or several soundtracks).

Genre conventions

Typical Bollywood Movie Poster in the 1950s

Bollywood films are generally musicals, and are expected to contain catchy music in the form of song-and-dance numbers woven into the script. A film's success often depends on the quality of such musical numbers. Indeed, a film's music is often released before the movie itself and helps increase the audience.

Indian audiences expect full value for their money, with a good entertainer generally referred to as paisa vasool, (literally, "money's worth"). Songs and dances, love triangles, comedy and dare-devil thrills — all are mixed up in a three-hour-long extravaganza with an intermission. Such movies are called masala films, after the Hindustani word for a spice mixture, masala. Like masalas, these movies are a mixture of many things.

Bollywood plots have tended to be melodramatic. They frequently employ formulaic ingredients such as star-crossed lovers and angry parents, love triangles, family ties, sacrifice, corrupt politicians, kidnappers, conniving villains, courtesans with hearts of gold, long-lost relatives and siblings separated by fate, dramatic reversals of fortune, and convenient coincidences.

There have always been Indian films with more artistic aims and more sophisticated stories, both inside and outside the Bollywood tradition (see Art cinema in India). They often lost out at the box office to movies with more mass appeal. Bollywood conventions are changing, however. A large Indian diaspora in English speaking countries, and increased Western influence at home, have nudged Bollywood films closer to Hollywood models. Film kisses are no longer banned. Plots now tend to feature Westernised urbanites dating and dancing in discos rather than arranged marriages.

Film critic Lata Khubchandani writes,"..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."

Bollywood song and dance

File:Mukesh.jpg

Songs in Bollywood are sung by professional playback singers, rather than actors, who lip-sync the lyrics. Pictured here is Mukesh, a famed playback singer.

Bollywood film music is called filmi music (from Hindi, meaning "of films").

Songs from Bollywood movies are generally pre-recorded by professional playback singers, with the actors then lip synching the words to the song on-screen, often while dancing. While most actors, especially today, are excellent dancers, few are also singers. One notable exception was Kishore Kumar, who starred in several major films in the 1950s while also having a stellar career as a playback singer. K. L. Saigal, Suraiyya, and Noor Jehan were also known as both singers and actors. Some actors in the last thirty years have sung one or more songs themselves; for a list, see Singing actors and actresses in Indian cinema.

Playback singers are prominently featured in the opening credits and have their own fans who will go to an otherwise lacklustre movie just to hear their favourites. Going by the quality as well as the quantity of the songs they rendered, most notable singers of Bollywood are Suraiyya, Noor Jehan, Lata Mangeshkar, Asha Bhosle, Geeta Dutt, Shamshad Begum, Alka Yagnik, etc among female playback singers and K. L. Saigal, Talat Mahmood, Mukesh, Mohammed Rafi, Manna Dey, Hemant Kumar, Kishore Kumar, Kumar Sanu, Udit Narayan, Sonu Nigam among male playback singers. Mohammed Rafi is often considered the arguably finest of the singers that sung for Bollywood, followed by Lata Mangeshkar, who, through the course of a career spanning over six decades, has recorded thousands of songs for Indian movies. The composers of film music, known as music directors, are also well-known. Their songs can make or break a film and usually do. Remixing of filmi songs with modern beats and rhythms is a common occurrence today, and producers may even release remixed versions of some of their films' songs along with the films' regular soundtrack albums.

The dancing in Bollywood films, especially older ones, is primarily modelled on Indian dance: classical dance styles, dances of historic northern Indian courtesans (tawaif), or folk dances. In modern films, Indian dance elements often blend with Western dance styles (as seen on MTV or in Broadway musicals), though it is not unusual to see Western pop and pure classical dance numbers side by side in the same film. The hero or heroine will often perform with a troupe of supporting dancers. Many song-and-dance routines in Indian films feature unrealistically instantaneous shifts of location and/or changes of costume between verses of a song. If the hero and heroine dance and sing a pas-de-deux (a dance and ballet term, meaning "dance of two"), it is often staged in beautiful natural surroundings or architecturally grand settings. This staging is referred to as a "picturisation".

Songs typically comment on the action taking place in the movie, in several ways. Sometimes, a song is worked into the plot, so that a character has a reason to sing; other times, a song is an externalisation of a character's thoughts, or presages an event that has not occurred yet in the plot of the movie. In this case, the event is almost always two characters falling in love.

Bollywood films have always used what are now called "item numbers". A physically attractive female character (the "item girl"), often completely unrelated to the main cast and plot of the film, performs a catchy song and dance number in the film. In older films, the "item number" may be performed by a courtesan (tawaif) dancing for a rich client or as part of a cabaret show. The dancer Helen was famous for her cabaret numbers. In modern films, item numbers may be inserted as discotheque sequences, dancing at celebrations, or as stage shows.

For the last few decades Bollywood producers have been releasing the film's soundtrack, as tapes or CDs, before the main movie release, hoping that the music will pull audiences into the cinema later. Oftentimes the soundtrack is more popular than the movie. In the last few years some producers have also been releasing music videos, usually featuring a song from the film. However, some promotional videos feature a song which is not included in the movie.

Dialogues and lyrics

Main article: Bollywood songs

The film script or lines of dialogue (called "dialogues" in Indian English) and the song lyrics are often written by different people.

Dialogues are usually written in an unadorned Hindi or Hindustani that would be understood by the largest possible audience. Some movies, however, have used regional dialects to evoke a village setting, or old-fashioned courtly Urdu in Mughal-era historical films. Contemporary mainstream movies also make great use of English. In fact, many movie scripts are first written in English, and then translated into Hindi.

Cinematic language, whether in dialogues or lyrics, is often melodramatic and invokes God, family, mother, duty, and self-sacrifice liberally.

Music directors often prefer working with certain lyricists, to the point that the lyricist and composer are seen as a team. This phenomenon is not unlike the pairings of American composers and songwriters that created old-time Broadway musicals (e.g., Richard Rodgers and Oscar Hammerstein II, or Alan Jay Lerner and Frederick Loewe). Song lyrics are usually about love. Bollywood song lyrics, especially in the old movies, frequently use Arabo-Persic Urdu vocabulary. Here's a sample from the 1983 film Hero, written by the lyricist Anand Bakshi:

Bichhdey abhi to hum, bas kal parso,

jiyoongi main kaisey, is haal mein barson?

Maut na aayi, teri yaad kyon aayi,

Haaye, lambi judaayi!

Hindi: "बिछड़े अभी तो हम, बस कल परसों,"

"जियूँगी मैं कैसे, इस हाल में बरसों?"

"मौत न आई, तेरी याद कयों आई?"

"हाय, लंबी जुदाई!"

Urdu: بچھڑے ابھی تو ہم، بس کل پرسوں

جیوں گی میں کیسے، اس حال میں برسوں؟

موت نہ آئی، تیری یاد کیوں آئی؟

!ہاۓ، لمبی جدائی

Translation: We have been separated just a day or two,

How am I going to go on this way for years?

Death doesn't come; why, instead, do these memories of you?

Oh; this long separation!

Another source for love lyrics is the long Hindu tradition of poetry about the mythological amours of Krishna, Radha, and the gopis. Many lyrics compare the singer to a devotee and the object of his or her passion to Krishna or Radha.

Cast and crew

for further details see Indian movie actors, Indian movie actresses, Indian film directors, Indian film music directors and Indian playback singers

Bollywood employs people from all parts of India. It attracts thousands of aspiring actors and actresses, all hoping for a break in the industry. Models and beauty contestants, television actors, theatre actors and even common people come to Mumbai with the hope and dream of becoming a star. Just as in Hollywood, very few succeed.

Stardom in the entertainment industry is very fickle, and Bollywood is no exception. The popularity of the stars can rise and fall rapidly. Directors compete to hire the most popular stars of the day, who are believed to guarantee the success of a movie (though this belief is not always supported by box-office results). Hence many stars make the most of their fame, once they become popular, by making several movies simultaneously.

Only a very few non-Indian actors are able to make a mark in Bollywood, though many have tried from time to time. There have been some exceptions, one recent example is the hit film Rang de Basanti, where the lead actress is an Englishwoman. Kisna, Lagaan, and The Rising: Ballad of Mangal Pandey also featured foreign actors.

Bollywood can be very clannish, and the relatives of film-industry insiders have an edge in getting coveted roles in films and/or being part of a film's crew. However, industry connections are no guarantee of a long career: competition is brutal and if film industry scions do not succeed at the box office, their careers will falter. Some of the biggest stars, such as Dharmendra, Amitabh Bachchan have succeeded despite total lack of show business connections. For film clans, see List of Bollywood film clans.

Sound

Sound in Bollywood films is rarely recorded on location (otherwise known as sync sound). Therefore, the sound is usually created (or recreated) entirely in the studio, with the actors reciting their lines as their images appear on-screen in the studio in the process known as ADR—with the foley and sound effects added later. This creates several problems, since the sound in these films usually occurs a frame or two later than the mouth movements or gestures. The actors have to act twice—once on-location, once in the studio—and the emotional level on set is often very difficult to recreate. Commercial Indian films—not just the Hindi-language variety—are known for their lack of ambient sound, so there is a strange silence underlying everything instead of the proper sound to create some sort of depth.

The ubiquity of ADR in Bollywood cinema became prevalent in the early 1960s with the arrival of the Arriflex 3 camera, which required a blimp (cover) in order to shield the sound of the camera, for which it was notorious, from on-location filming. Commercial Indian filmmakers, known for their speed, never bothered to blimp the camera, and its excessive noise required that everything had to be recreated in the studio. Eventually, this became the standard for Indian films.

The trend was bucked in 2001, after a 30-year hiatus of synchronized sound, with the film Lagaan, in which producer-star Aamir Khan insisted that the sound be done on location. This opened up a heated debate on the use and economic feasibility of on-location sound, and several Bollywood films have employed on-location sound since then.

Finances

Bollywood films are multi-million dollar productions, with the most expensive productions costing up to $10 million. More ambitious projects are reportedly planned, the most expensive of which is an epic film Mahabharata, by Ravi Chopra, estimated to cost up to $30 million and will start rolling in 2008. Sets, costumes, special effects, and cinematography were less than world-class up until the mid-to-late 1990s, although with some notable exceptions. As Western films and television gain wider distribution in India itself, there is increasing pressure for Bollywood films to attain the same production levels. In particular, in areas such as action and special effects. Recent Bollywood films have employed international technicians to improve in these areas, such as Krrish(2006) which has action choreographed by Hong Kong based Tony Ching. And Love Story 2050(2007) has 5 international studios doing the special effects for it, including the Oscar winning WETA. The increasing accessibility to professional action and special effects, coupled with rising film budgets, has seen an explosion in the action and sci-fi genres.

Sequences shot overseas have proved a real box office draw, so Mumbai film crews are increasingly filming in Australia, Canada, New Zealand, the United Kingdom, the United States, continental Europe and elsewhere. Nowadays, Indian producers are winning more and more funding for big-budget films shot within India as well, such as Lagaan, Devdas and other recent films.

Funding for Bollywood films often comes from private distributors and a few large studios. Indian banks and financial institutions were forbidden from lending money to movie studios. However, this ban has now been lifted. As finances are not regulated, some funding also comes from illegitimate sources, such as the Mumbai underworld. The Mumbai underworld has been known to be involved in the production of several films, and are notorious for their patronisation of several prominent film personalities; On occasion, they have known to use money and muscle power to get their way in cinematic deals. In January, 2000, Mumbai mafia hitmen shot Rakesh Roshan, a film director and father of star Hrithik Roshan; it had been reported that he had rebuffed mob attempts to meddle with his film distribution. In 2001, the Central Bureau of Investigation seized all prints of the movie Chori Chori Chupke Chupke after the movie was found to be funded by members of the Mumbai underworld.

Another problem facing Bollywood is widespread copyright infringement of its films. Often, bootleg DVD copies of movies are available before the prints are officially released in cinemas. Manufacturing of bootleg DVD, VCD, and VHS copies of the latest movie titles is a well established 'small scale industry' in parts of South Asia and South East Asia. Besides catering to the homegrown market, demand for these copies is large amongst some sections of the Indian diaspora, too. (In fact, bootleg copies are the only way people in Pakistan can watch Bollywood movies, since the Government of Pakistan has banned their sale, distribution and telecast). Films are frequently broadcast without compensation by countless small cable TV companies in India and other parts of South Asia. Small convenience stores run by members of the Indian diaspora in the U.S. and the UK regularly stock tapes and DVDs of dubious provenance, while consumer copying adds to the problem. The availability of illegal copies of movies on the Internet also contributes to the piracy problem.

Satellite TV, television and imported foreign films are making huge inroads into the domestic Indian entertainment market. In the past, most Bollywood films could make money; now fewer tend to do so. However, most Bollywood producers make money, recouping their investments from many sources of revenue, including selling ancillary rights. There are also increasing returns from theatres in Western countries like the United Kingdom, Canada, and the United States, where Bollywood is slowly getting noticed. As more Indians migrate to these countries, they form a growing market for upscale Indian films. 'Foreign' audiences—in East Asian and Western countries—are also growing, if more slowly .

For an interesting comparison of Hollywood and Bollywood financial figures, see this chart. It shows tickets sold in 2002 and total revenue estimates. Bollywood sold 3.6 billion tickets and had total revenues (theatre tickets, DVDs, television etc.) of US$1.3 billion, whereas Hollywood films sold 2.6 billion tickets and generated total revenues (again from all formats) of US$51 billion.

Advertising

Many Indian artists used to make a living by hand-painting movie billboards and posters. (The well-known artist M.F. Hussain was a poster painter early in his career.) This was because human labour was found to be cheaper than printing and distributing publicity material. Now, a majority of the huge and ubiquitous billboards in India's major cities are created with computer-printed vinyl. The old hand-painted posters, once regarded as ephemera, are becoming increasingly collectible as folk art.

Releasing the film music, or music videos, before the actual release of the film can also be considered a form of advertising. A popular tune is believed to help pull audiences into the theaters.

Bollywood publicists have begun to use the Internet as a venue for advertising. Most of the better-funded film releases now have their own websites, where browsers can view trailers, stills, and information about the story, cast, and crew.

Bollywood is also used to advertise other products. Product placement, as used in Hollywood, is widely practiced in Bollywood.

Bollywood movie stars appear in print and television advertisements for other products, such as watches or soap (see Celebrity endorsement). Advertisers say that a star endorsement boosts sales.

History

Raja Harishchandra (1913) was the first silent feature film made in India. It was made by Dadasaheb Phalke. By the 1930s, the industry was producing over 200 films per annum. The first Indian sound film, Ardeshir Irani's Alam Ara (1931), was a super hit. There was clearly a huge market for talkies and musicals; Bollywood and all the regional film industries quickly switched to sound filming.

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. Most Bollywood films were unabashedly escapist, but there were also a number of filmmakers who tackled tough social issues, or used the struggle for Indian independence as a backdrop for their plots.

In the late 1950s, Bollywood released its first color films; however, the majority of films continued to be black-and-white until the mid-1960s. At this time, lavish romantic musicals and melodramas were the staple fare at the cinema. Successful actors included Dev Anand, Dilip Kumar and Raj Kapoor and actresses like Nargis, Meena Kumari, Nutan and Madhubala. In the late 1960s and early 1970s, romance movies and action films starred actors like Rajesh Khanna and Dharmendra. In the mid-1970s, romantic confections made way for gritty, violent films about gangsters and bandits. Amitabh Bachchan, the star known for his "angry young man" roles, rode the crest of this trend with actors like Mithun Chakraborty and Anil Kapoor, which lasted into the early 1990s. Actresses from this era included Hema Malini, Jaya Bachchan and Rekha.

In the mid-1990s, the pendulum swung back towards family-centric romantic musicals with the success of such films as Hum Aapke Hain Kaun (1994) and Dilwale Dulhania Le Jayenge (1995) making stars out of a new generation of actors (such as Aamir Khan, Salman Khan and Shah Rukh Khan) and actresses (such as Sridevi, Madhuri Dixit, Karisma Kapoor and Kajol). In that point of time, action and comedy films were also going strong with actors like Govinda and Akshay Kumar and actresses such as Raveena Tandon and Karisma Kapoor. This decade marked an entry of new performers in the art cinema area, some of which were succesful at the box-office as well, with new critically acclaimed performanes by actors of this generation (Nana Patekar, Ajay Devgan, Manisha Koirala, Tabu and Urmila Matondkar).

In the 2000s, the industry faced a strong renovation from its new filmmakers. This decade meant the spreading of Bollywood's popularity in the world. The increasing popularity of Indian cinema, often called “Bollywood Mania” by the press, was the main cause driving Indian filmmaking to new heights in terms of quality, cinematography and innovative story lines as well as technical quality advances, moviegoers come in ever increasing numbers to watch the latest movies arriving from India's largest city. Big production houses, among them veteran ones like Yash Raj Films and Dharma Productions were the producers of new modern films. The opening up of the overseas market, the more Bollywood releases abroad and the explosion of multiplexes in big cities, led to the growth of national and international hits like Devdas, Koi... Mil Gaya, Kal Ho Naa Ho, Veer-Zaara and Dhoom 2 delivering a new generation of popular actors (Saif Ali Khan, Hrithik Roshan, Abhishek Bachchan) and actresses (Aishwarya Rai, Preity Zinta and Rani Mukerji), and keeping the popularity of actors of the previous decade.

The Indian film industry has preferred films that appeal to all segments of the audience (see the discussion in Ganti, 2004, cited in references), and has resisted making films that target narrow audiences. It was believed that aiming for a broad spectrum would maximise box office receipts. However, filmmakers may be moving towards accepting some box-office segmentation, between films that appeal to rural Indians, and films that appeal to urban and overseas audiences.

Controversies

Accusations of plagiarism

Main article: Bollywood and plagiarism

Constrained by rushed production schedules and small budgets, some Bollywood writers and musicians have been known to resort to plagiarism. They copy ideas, plot lines, tunes or riffs from sources close at hand from other Indian regional films or far away (Hollywood and other Western movies, Western pop hits). Some films (including music) in Pakistan are also inspired by Bollywood.

In past times, this could be done with impunity. Copyright enforcement was lax in India. As for the Western sources, the Bollywood film industry was largely unknown to Westerners, who would not even be aware that their material was being copied. Audiences also may not have been aware of the plagiarism, since many in the Indian audience were unfamiliar with Western films and tunes.

While copyright enforcement in India is still a little hit-and-miss, Bollywood and Hollywood are much more aware of each other now, and Indian audiences are more familiar with foreign movies and music. Flagrant plagiarism may have diminished—however, there is no general agreement that it has.

Awards

The Filmfare Awards ceremony is one of the oldest and most prominent film events given for Hindi films in India [1] and is sometimes referred to as the "Indian Oscars." [2] The Filmfare awards were first introduced in 1954, the same year as the National Film Awards and gave awards to the best films of 1953. The ceremony was referred to as the Clare Awards after the magazine's editor. A dual voting system was developed in 1956. [3] Under this system, "in contrast to the National Film Awards, which are decided by a panel appointed by Indian Government, the Filmfare Awards are voted for by both the public and a committee of experts." [4]

Since 1973, the Indian government has sponsored the National Film Awards (which first began in 1954), awarded by the government run Directorate of Film Festivals (DFF). The DFF screens not only Bollywood films, but films from all the other regional movie industries and independent/art films. These awards are handed out at an annual ceremony presided over by the President of India.

Additional ceremonies held within India are:

• Stardust Awards
• Star Screen Awards

Ceremonies held overseas are:

• Bollywood Movie Awards - Long Island, New York, United States
• Global Indian Film Awards - (different country each year)
• IIFA Awards - (different country each year)
• Zee Cine Awards- (different country each year)

Most of these award ceremonies are lavishly staged spectacles, featuring singing, dancing, and lots of stars and starlets.

Bollywood Training

• Asian Academy Of Film & Television
• Film And Television Institute Of India
• Asian School Of Media Studies
• Satyajit Ray Institute Of Film And Television

Popularity and Appeal

Bollywood and the other major cinematic hubs (Tamil, Telugu, Kannada, Marathi, Bengali, Oriya, Malayalam, and Assamese) constitute the broader Indian film industry, whose output is the largest in the world in number of tickets sold. Bollywood is not only a strong part of the popular culture of India, but also of the rest of South Asia, the Middle East, parts of Africa, parts of Southeast Asia, and among the South Asian diaspora worldwide. It also has large diasporic audiences in the West Indies, Caribbean, UK, Canada, Australia and the U.S., all of which have large Indian immigrant populations.

Asia

The majority of Pakistan's population watch Bollywood films, due to the similarities between Hindi and Urdu languages as well as similar culture. Despite the ban on Indian films, a few of Bollywood films have been legally released there such as Taj Mahal. For the most part, Bollywood movies are watched on cable in Pakistan, and there is a huge market for Bollywood movies in local video stores. Many people in other South Asian countries, especially Bangladesh and Nepal, also watch Bollywood films.

Bollywood movies are widely watched by Afghanistan's population because of the close proximity with the Indian subcontinent. Many people in the country understand watching Indian movies because the culture and languages used in the movies are similar to the Afghan culture and languages. Several major Bollywood actors even have their roots connected to Afghanistan. A number of Bollywood movies were filmed inside Afghanistan while some dealt with the country, including Dharmatma, Kabul Express, Khuda Gawah, and Escape From Taliban.

Recently Bollywood has even become successful in Israel. Special channels dedicated to Indian films have been displayed for almost two years.

Indian films are also shown in cinemas across Iran. Of the major theatres in Tehran, a number are dedicated exclusively to Indian films. Stars from Bollywood, even the newcomers, are well recognized faces in Iran. Entertainment magazines dedicate specific sections to the latest news from Indian Cinema.

Indian films have been popular in quite a few Arab countries, particularly in the Gulf countries. Almost all imported Indian films are immediately dubbed in Arabic upon their release.

Africa

Bollywood is popular in many parts of Africa. The substantial Indian population in countries such as South Africa, Nigeria and Morocco allows for box office successes for many Bollywood products. Not only do the citizens but the armed forces seem to be in current with the ongoings and new releases at Bollywood like in the countries of Sierra Leone and Morocco.

Russia

Bollywood films are mostly popular in the former Soviet Union. Bollywood films were dubbed to Russian being shown in big theatres like Mosfilm and Lenfilm.

Ashok Sharma, Indian Ambassador to Surinam, who has served three times in the Commonwealth of Independent States region during his diplomatic career said:

The popularity of Bollywood in the CIS dates back to the Soviet days when the films from Hollywood and other Western countries 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.

After the collapse of the Soviet film distribution system, Hollywood occupied the void created in the Russian film market. This made things difficult for Bollywood as Bollywood was losing market share to Hollywood. However, Russian newspapers report that there is a renewed interest in Bollywood among young Russians.

Europe and the Americas

Although Bollywood is largely popular in Eastern Europe, and has a strong hold, it is slowly getting popular in Western Europe. The large diasporic audiences in the UK have helped Bollywood to become a successful presence. Bollywood is also popular in countries like France and Germany.

Today's famous actors in India are popular stars in Europe. Shilpa Shetty, in particular is very popular in the United Kingdom after winning the reality show Celebrity Big Brother 2007.

It is also very popular in North America. It is believed Bollywood ranks second after Hollywood but it is slowly catching up. Bollywood films have largely been filmed in New York, Los Angeles, Vancouver and Toronto. 2006 was the most successful year ever for Hindi films in the U.S. reflecting Bollywood's slow rise in the United States, with 7 releases grossing over $2 million. Of the top 15 foreign-language films that year, 8 were in Hindi, of which Deepa Mehta's Water was the top grosser, pulling in $3.3 million. As a critic stated "No other language has come close to contributing so many box office hits to the list. Spanish, despite being spoken by millions of more Americans, trails far behind as the next most popular foreign language at the U.S box office with only two films above the $2 million benchmark this year (compared to 7 in Hindi)."

Bollywood is not as popular in South America, however it has its fans in countries such as Guyana and Suriname and the Caribbean island-nation of Trinidad and Tobago — all of which have people of Indian descent as a majority of their population. In (2006), Dhoom 2 was the first Bollywood film to be shot in Rio de Janeiro, Brazil.

Oceania

Bollywood is hugely popular in Oceanic Countries such as New Guinea and Indonesia whereby there is a strong hold. However Bollywood ranks second to Hollywood in countries such as Australia and New Zealand.

Australia is one of the countries where there is a large South Asian Diaspora. Bollywood is popular amongst non-Asians in the country as well. The Yash Raj Film film Salaam Namaste (2005) was the first Indian film to be shot entirely in Australia and was the most popular Bollywood film of 2005 there.

See also

• Bollywood songs
• Cinema of India
• List of Bollywood films
• List of Bollywood film clans

Books

• Alter, Stephen. Fantasies of a Bollywood Love-Thief: Inside the World of Indian Moviemaking. (ISBN 0-15-603084-5)
• Ganti, Tejaswini. Bollywood, Routledge, New York and London, 2004.
• Jolly, Gurbir, Zenia Wadhwani, and Deborah Barretto, eds. Once Upon a Time in Bollywood: The Global Swing in Hindi Cinema, TSAR Publications. 2007. (ISBN: 978-1-89-4770-40-8)
• 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 1-57273-500-5)
• Raheja, Dinesh and Kothari, Jitendra. Indian Cinema: The Bollywood Saga. (ISBN 81-7436-285-1)
• Bernard 'Bollywood' Gibson. Passing the envelope, 1994.
• Rajadhyaksha, Ashish and Willemen, Paul. Encyclopedia of Indian Cinema, Oxford University Press, revised and expanded, 1999.

External links

General guides

• IMDB - A database for International Movies
• An article on Bollywood in National Geographic archives
• "Cinema India". Asia. Victoria and Albert Museum. Retrieved 2007-07-10.