It’s been a long and eventful technological journey for Hindi cinema over the decades, though not all technology-driven changes or (r)evolutions have been welcomed, at least initially, with open arms. Proof of this lies in the fact that when Alam Ara, India’s first talkie (in Hindi) was released by Ardeshir Irani in 1931, we stillRead More
The post Tech That: Technological evolution in Hindi cinema – Part I appeared first on Bollywood Hungama.
The post Tech That: Technological evolution in Hindi cinema – Part I appeared first on Bollywood Hungama.
- 11/10/2017
- by Rajiv Vijayakar
- BollywoodHungama
Martin Scorsese’s The Film Foundation is among the organsiations working with India’s Film Heritage Foundation on a film preservation workshop that kicks off this week (Feb 26-March 6).
Overseas partners also include The International Federation of Film Archives (Fiaf), George Eastman Museum, the Selznick School of Film Preservation and Italy’s L’Immagine Ritrovata. In addition to Film Heritage Foundation, established by Indian filmmaker Shivendra Singh Dungarpur, local organisers include the National Film Archive of India (Nfai) and Viacom18.
“The language of cinema is universal,” said Scorsese, announcing the workshop. “In a time of great divisions, conflicts, transformations, it’s really crucial to preserve and share our cultural patrimonies and to ensure that this universal language will speak to future generations around the world.”
The 10-day workshop, which will take place at Nfai’s headquarters in Pune, covers the technology and ethics involved in film preservation as India races to save its film heritage. “This is a unique...
Overseas partners also include The International Federation of Film Archives (Fiaf), George Eastman Museum, the Selznick School of Film Preservation and Italy’s L’Immagine Ritrovata. In addition to Film Heritage Foundation, established by Indian filmmaker Shivendra Singh Dungarpur, local organisers include the National Film Archive of India (Nfai) and Viacom18.
“The language of cinema is universal,” said Scorsese, announcing the workshop. “In a time of great divisions, conflicts, transformations, it’s really crucial to preserve and share our cultural patrimonies and to ensure that this universal language will speak to future generations around the world.”
The 10-day workshop, which will take place at Nfai’s headquarters in Pune, covers the technology and ethics involved in film preservation as India races to save its film heritage. “This is a unique...
- 2/23/2016
- by lizshackleton@gmail.com (Liz Shackleton)
- ScreenDaily
May 3, 1913 went down in history as the release date of the first Indian film Raja Harishchandra by Dadasaheb Phalke. Exactly 100 years later releases a documentary Celluloid Man by Shivendra Singh Dungarpur that leads us to the man responsible for finding and preserving whatever remained of India’s first film and the films that were made thereafter. The man who gave us our cinematic history by building the National Film Archive. DearCinema.com reproduces a detailed interview with P.K Nair. This interview was recorded in Pune in 2008 for Asian Film Foundation to mark his felicitation with Satyajit Ray Memorial Award.
What memories do you have of watching your first film?
It was in the early forties, at the height of war. I must have been hardly eight years old.
The venue: a Tent Cinema in Thiruvnanthapuram Putharikandam Maidan, almost the same venue of the present Padmanabha Theatre. Nearly half the...
What memories do you have of watching your first film?
It was in the early forties, at the height of war. I must have been hardly eight years old.
The venue: a Tent Cinema in Thiruvnanthapuram Putharikandam Maidan, almost the same venue of the present Padmanabha Theatre. Nearly half the...
- 5/2/2013
- by Bikas Mishra
- DearCinema.com
In the second of two Yorkshire tributes to a century of Indian cinema, Irfan Ajeeb describes the extraordinary power of Bollywood film makers and stars
1999. It was a muggy night and approaching the end of a long and arduous day. The festivities were coming to a close and I was restively glancing at my watch as I knew I had yet to endure a four-hour drive to London. It was approaching midnight. Overdosing on coffee and chewing gum, I was anxious but at the same time excited - like a little kid waiting to open his presents on his tenth birthday.
The journey had begun as we set off on an empty M1. Sat on the back seat was the Indian actress, Pooja Bhatt, who had attended the Bite the Mango film festival at the then National Museum of Photography, Film & Television for an on-stage Screentalk interview. She had insisted...
1999. It was a muggy night and approaching the end of a long and arduous day. The festivities were coming to a close and I was restively glancing at my watch as I knew I had yet to endure a four-hour drive to London. It was approaching midnight. Overdosing on coffee and chewing gum, I was anxious but at the same time excited - like a little kid waiting to open his presents on his tenth birthday.
The journey had begun as we set off on an empty M1. Sat on the back seat was the Indian actress, Pooja Bhatt, who had attended the Bite the Mango film festival at the then National Museum of Photography, Film & Television for an on-stage Screentalk interview. She had insisted...
- 3/13/2013
- The Guardian - Film News
“After watching the film, he cried. I have never seen him so emotional. He is a man of very few words and rarely praises any work. He came to me and told me, “I am fine with the length.” That itself was high praise.”
P. K. Nair with Shivendra Singh Dungarpur after the screening of “Celluloid Man” in Mumbai Film Festival
A journey that started with attending Il Cinema Ritrovato (Cinema Rediscovered) festival in Italy came a full circle for Shivendra Singh Dungarpur when his film Celluloid Man premiered at the same festival in 2012. An archivist and Ftii-trained filmmaker, Dungarpur has made a significant contribution to Indian cinema by making a film on the work of P.K. Nair, the man who single-handedly built the national film archive. In an interview with DearCinema, Dungarpur reveals his discoveries and plans about preservation and restoration of Indian films:
How did it occur...
P. K. Nair with Shivendra Singh Dungarpur after the screening of “Celluloid Man” in Mumbai Film Festival
A journey that started with attending Il Cinema Ritrovato (Cinema Rediscovered) festival in Italy came a full circle for Shivendra Singh Dungarpur when his film Celluloid Man premiered at the same festival in 2012. An archivist and Ftii-trained filmmaker, Dungarpur has made a significant contribution to Indian cinema by making a film on the work of P.K. Nair, the man who single-handedly built the national film archive. In an interview with DearCinema, Dungarpur reveals his discoveries and plans about preservation and restoration of Indian films:
How did it occur...
- 12/13/2012
- by Nandita Dutta
- DearCinema.com
Pran Kishan Sikand
Pran Kishan Sikand dreamt of becoming a professional photographer. Little did he know that a measly, humble ‘paan’ (betel leaf) would change his life and set him on his destined path. It was 1939 or thereabouts. Pran was at a ‘paan’ shop at Lahore, enjoying a munch with his friends when a stranger approached him and asked whether he wanted to act in films. Pran was amused and asked his name. Stranger introduced himself as Muhammad Walli, a renowned film maker in the flourishing film district of Lahore. He said he was making a Punjabi film and Pran looked a perfect fit for the role of a villain in the film. Pran just brushed him off. Walli kept insisting that he pay a visit to the studio, and pushed a piece of paper with his address into Pran’s hands. The film was Yamla Jat (1940), a runaway hit that year.
Pran Kishan Sikand dreamt of becoming a professional photographer. Little did he know that a measly, humble ‘paan’ (betel leaf) would change his life and set him on his destined path. It was 1939 or thereabouts. Pran was at a ‘paan’ shop at Lahore, enjoying a munch with his friends when a stranger approached him and asked whether he wanted to act in films. Pran was amused and asked his name. Stranger introduced himself as Muhammad Walli, a renowned film maker in the flourishing film district of Lahore. He said he was making a Punjabi film and Pran looked a perfect fit for the role of a villain in the film. Pran just brushed him off. Walli kept insisting that he pay a visit to the studio, and pushed a piece of paper with his address into Pran’s hands. The film was Yamla Jat (1940), a runaway hit that year.
- 7/26/2012
- by Amborish Roychoudhury
- DearCinema.com
Today 14th March 2011 is a special day for Indian cinema as it marks the 80th anniversary of Alam Ara - the first Indian film to have sound. On this very day in the year 1931, Alam Ara debuted at the Majestic cinema in Mumbai causing such frenzy and stampede among the audience that the police control had to be called for. Alam Ara also featured the first song of Indian cinema -'De De Khuda Ke Naam Par'- sung by actor Wazir Mohammed Khan himself. The film, directed by Ardeshir Irani, is a love story between a prince and a gypsy girl and was based on a Parsi play. The sad part though is that as a result of a fire which took place at National Film Archive of India at Pune in 2003, the last surviving print of Alam Ara was destroyed and the film is no longer available in its original format.
- 3/14/2011
- by Bollywood Hungama News Network
- BollywoodHungama
Today 14th March 2011 is a special day for Indian cinema as it marks the 80th anniversary of Alam Ara - the first Indian film to have sound. On this very day in the year 1931, Alam Ara debuted at the Majestic cinema in Mumbai causing such frenzy and stampede among the audience that the police control had to be called for. Alam Ara also featured the first song of Indian cinema -'De De Khuda Ke Naam Par'- sung by actor Wazir Mohammed Khan himself. The film, directed by Ardeshir Irani, is a love story between a prince and a gypsy girl and was based on a Parsi play. The sad part though is that as a result of a fire which took place at National Film Archive of India at Pune in 2003, the last surviving print of Alam Ara was destroyed and the film is no longer available in its original format.
- 3/14/2011
- by Bollywood Hungama News Network
- BollywoodHungama
Ian Sansom makes connections in the Indian film industry
In 1896, Marius Sestier, a young pharmacist from Lyon, set off on a trip around the world. Sestier had been employed by the Lumière brothers as a cameraman and cinematograph operator. Midway on his journey to Australia, Sestier stopped off at Watson's hotel in Mumbai, where, on 7 July, he presented the first cinematograph show in India.
Within a few years, Indian directors were making their own moving pictures. The first full-length India feature film was Raja Harishchandra, released in 1913. Almost a century later, India is the world's largest producer of films – some estimate more than 1,000 films a year (Hollywood produces around 600). There are Tamil and Telugu language film studios based in Madras and Hyderabad, and Hindi language studios based in Mumbai. Every day, an estimated 15m people in India go to one of the country's 12,500 cinemas, and every month the pages of...
In 1896, Marius Sestier, a young pharmacist from Lyon, set off on a trip around the world. Sestier had been employed by the Lumière brothers as a cameraman and cinematograph operator. Midway on his journey to Australia, Sestier stopped off at Watson's hotel in Mumbai, where, on 7 July, he presented the first cinematograph show in India.
Within a few years, Indian directors were making their own moving pictures. The first full-length India feature film was Raja Harishchandra, released in 1913. Almost a century later, India is the world's largest producer of films – some estimate more than 1,000 films a year (Hollywood produces around 600). There are Tamil and Telugu language film studios based in Madras and Hyderabad, and Hindi language studios based in Mumbai. Every day, an estimated 15m people in India go to one of the country's 12,500 cinemas, and every month the pages of...
- 7/9/2010
- by Ian Sansom
- The Guardian - Film News
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