MA Dissertation

On

Cinema in Modern World

Masters of Arts
(Journalism and Mass Communication)
Batch: 2019-21

Under the Supervision of:

Project Guide: Dr. Parul Malhotra
Submitted by: Aishwarya Jain
Enrollment No.: 60219009
Semester: 4th Semester

Jagannath University
State Highway-22, Bahadurgarh-Jhajjar Road, Jhajjar, Haryana-
124507 Phone: 01276-699700
Website: www. jagannathuniversityncr. ac.in
 Acknowledgement

I would like to express my special thanks of gratitude to

our Dean (Mass Communication Department) "Mrs.
Nirmala Bhatnagar" for providing me with all the facility
that was required. I would also like to extend my gratitude
to our Dissertation professor "Dr Parul Malhotra" ma'am
for her able guidance and support in completing my
Dissertation Project.

- Aishwarya Jain
 Declaration

I hereby declare that the project work entitled "Cinema in

Modern World", submitted to "Mrs Parul Malhotra"
HOD/Dissertation Professor of Mass Communication, JIMS
Rohini Sector – 3 is prepared by me. All the result are of
my efforts and research.

- Aishwarya Jain
 Preface

As a part of the MAJMC Curriculum and to gain knowledge

in the field of dissertation, we were asked to make a
project, I chose the topic "Cinema in the modern world".
The basic objective behind doing this project report was to
get closure about different perspectives in taking out a
"Dissertation Research Paper". In this project report, I
have included various concepts, effects and implications
regarding "Cinema evolvement in today's world" While
doing this project report it helped me to know more about
the subject "Dissertation" how to carry out a research
paper on neutral grounds. Through this project report, I
got to know more about cinema effects in the modern
world.
 Table of Content

Chapter 1: Introduction
Chapter 2: Review of Literature
Chapter 3: Objectives
Chapter 4: Research Methodology
Chapter 5: Research Analysis
Chapter 5: Conclusion
Chapter 6: References & Bibliography
 Introduction

"Movies have come to serve as common cultural texts,

how often movies are quoted daily by all types of people.
They've become 'thought experiments in that they teach
and influence ways of thinking." The cinema on the impact
of the arts tends to equate impact with either benefits or
value. While quantitative research has traditionally tried
to measure impact in terms of instrumental benefits,
qualitative enquiries take a softer, more intrinsic approach
and focus more holistically on value. It has been argued
that value is emergent rather than fixed or given; that as a
dialectic of practice and its productions, it tends to be
assessed in social or public whereas benefits are usually
perceived as accruing to the individual. So the cinema on
impact creates distinguishing value from benefits and
dividing impact into intrinsic and instrumental. This raises
the question of whether audiences perceive impact in
such dualistic terms.
Movies are a way of imprinting time — capturing and
preserving events in re-producible ways," says Joshua
Sikora, a former Biola cinema arts professor who is now
head of the media arts department at Houston Baptist
University and founder of production company New
Renaissance Pictures. "It's about defining moments
interesting enough to share with people, then capturing
and sculpting them into a final product that works". A film
projects a world, either familiar or alien, that we can
participate in. "A movie is simply a highly structured film."
They have become increasingly more individualistic and
stylized. We live in an era where to stand out is key, many
seek to break the cinematic mould every day. That is the
foundation of "indie" films, independentlyproduced
shorts, features and documentaries fashioned outside of
big-budget convention.
In the scope of film's evolution, and even more incredible
concept than how far movies have come is where they
might be heading. With so many advancements in camera
technology, as well as what can be done to footage in the
editing room, it isn't a stretch to suppose that in the next
50 years, the way movies are shot and experienced will
morph into something drastically different than how they
are now.
"There are hundreds of production companies instead of
just four or five, and everybody has access to the
medium."
Filmmaking has indeed become a very noisy area to
inhabit, and its designs will fluctuate and develop as the
masses dictate. Whether movies continue to look more
and more real or evolve into some kind of
audienceparticipation format, it will always be the sum of
thousands of hands working to make the next best thing.
The future will largely depend on if the artist is content to
appease the masses or pull them along through their
world of ideas, the diversity of thought and genres as well
as the differences in their progressions make it hard to
predict."
While movies may at times be reduced to flippant thrills at
the box office, they will ever remain the stuff of wonder
and possibility. No matter how much changes in the way
we watch and make them, here's to hoping that movies
will always and forever maintain the celebration of story
and the classic elements that make one great. Here's to
the classics past and the classics to come.
Present-day motion pictures make vast use of technology.
The modern motion picture cameras are technical marvels
as are also the sound systems employed. Computerized
imagery is becoming ever more in films and this
technology, which is only just beginning to make its
influence felt, will probably have a great deal to do with
how the cinema will evolve in the future. But though the
films of yesteryear look quaint and primitive to modern
eyes, it should be realized that motion pictures have
always been technically miraculous in the eyes of
contemporaries. This was so from the beginning.
Photography itself was invented in 1835. The technology
that made a "moving picture" possible, celluloid-roll film,
was invented by George Eastman in 1888, although,
before that, primitive "pictures in motion" had been made
utilizing consecutive exposures of people in motion. The
latter, however, unlike frames on a celluloid roll, would
not have blended well with the projector technology that
stemmed from the old "magic lanterns" and which was
being developed in the last half of the 19th century.
Early films were "silent" and visually limited. To say that
they were "black and white" is to understate the case
somewhat. An author notes that the black and white film
used until the 1920s was orthochromatic, sensitive to
ultraviolet, violet, and blue light, less sensitive to green
and yellow, and totally "blind" to red light; this meant that
the colors of what was being photographed had to be
carefully controlled; actresses could not, for example, use
red lipstick. The color was rarely totally absent from
socalled "black and white" films. Various means were
made to apply some coloration to movies well before the
invention 1915 of a film using an actual color-sensitive
emulsion.
The stage theatre industry may suffer in the long term
because it decides to stop producing original work. The
public may grow tired of seeing the same productions time
and time again. This could lead to a loss of interest in
theatre productions and lost revenues for the companies
producing these shows.
While most writers working in the period construed today
as the height of modernism were not philosophically
inclined to discard the notion of an essential, authentic
self, a number of them were beginning to question many
of the assumptions that underlay conventional means of
regarding the human body as a unified whole. This new
strain of inquiry was paralleled by experimental forays into
replacing human actors with alternate agents of
expression. Art essays on modernism in theatre are Paper
Masters speciality for their insight on the complexity of
the period. Varying considerably in degrees of realism and
facility of movement, that populated experimental
modernist drama came to signify a number of the
emergent philosophies and aesthetic principles that were
in currency during the period. Even in productions that did
not incorporate actual puppets, the human form came to
be used in ways that mimicked the stiff artificiality.
Cinema has been one of the greatest influences in our
modern life, and it's also a form of art, the seventh art
along with photography, architecture, literature, play,
painting and music. It's the combination of technology,
business, entertainment and aesthetics, each and
everything of these four has an important role in the
present-day world and it's also visible in the variation of
its forms, Film is technology(picture taken in the celluloid
camera and editing), the movie is the business and
entertainment, and cinema is the aesthetics. Cinema,
popular or parallel, visual art of storytelling with rich
inputs of music, screenplay, cast and script, mirrors the
contemporary society in which it functions. From
emotional dramas to candy-floss romances to
actionthrillers, cinema derives its sustenance, ideas and
imaginations from its surroundings. The images cinema
creates a surreal or tangled wave of deceit, need to be in
sync with societal aspirations and the basic urge of
humanity to recreate and have fun and entertainment. In
its long journey of more than a century, cinema has
transformed itself from being a taboo and absolute nono
to a virtual way of life. Social dynamics have always
regulated the content of cinema. The main protagonist of
any film fights villains who are manifestations of
contemporary societal evils – from village money-lender
to land-hawks to advocates of dowry, dons and
modernday terrorists. It provides a platform that reflects
the growth of the economy, politics, and technological
advancements. Films are useful for knowing the history of
the ancient world. A lot of countries of the world are
involved with Film making through their industry, among
them the most powerful, organized, popular and
influential which entertains the total world population and
not only that it surprises the world with the advancement
of technology.
A movie is not only a visual treat to its audience but also
an account of the societal, economic and political setup in
which a person is living. If we want to acquire the critical
tools to understand the medium of film in the context of
economic, industrial, social and cultural factors. On the
world map, we're one of the poor but promising countries
and a lot of hope is reserved on manpower and
universities are the key place to produce a quality human
being. For the globalization around the world media and
art has opened throughout the earth. Thinking and the
total lifestyle has changed a lot. Generally, it could be
called westernization but there is something more on that.
Without knowing the student's thinking condition and
level towards life and society, we can't fix our expectations
from them and this study is significant in present
circumstance because it aims to find out different aspects
of human behavior which is a big deal of all time, without
any suspicion.
Even if you've never actually seen a film from India, the
word Bollywood immediately conjures up images of
brightly colored productions featuring elaborately
choreographed song and dance numbers, often with 100
or so dancers, and a boy-meets-girl story with a happy
ending.
The word Bollywood is a play on Hollywood, with the B
coming from Bombay (now known as Mumbai), which is
the center of the Indian film world. The word was coined
in the 1970s by the writer of a magazine gossip column,
though there is disagreement as to which journalist was
the first to use it. However, Indian cinema dates back to
1913 and the silent film Raja Harishchandra, the firstever
Indian feature film. Its producer, Dadasaheb Phalke, was
Indian cinema's first mogul, and he oversaw the
production of 23 films between 1913 and 1918. Yet unlike
Hollywood, initial growth in the industry was slow. The
early 1920s saw the rise of several new production
companies and most films made during this era were
either mythological or historical. Imports from Hollywood,
primarily action films, were well received by Indian
audiences, and producers quickly began following suit.
However, filmed versions of episodes from Indian classics
and mythological literature, such as The Ramayana and
The Mahabharata, still dominated throughout the decade.
1931 saw the release of Alam Ara, the first talkie, and the
film that paved the way for the future of Indian cinema.
The number of productions companies began to
skyrocket, as did the number of films being produced each
year—from 108 in 1927, to 328 in 1931. Color films soon
began to appear, as did early efforts at animation. Giant
movie palaces were built and there was a noticeable shift
in audience makeup, namely in a significant growth in
working-class attendees, who in the silent era accounted
for only a small percentage of tickets sold. The WWII years
saw a decrease in the number of films produced as a result
of limited imports of film stock and government
restrictions on the maximum allowed running time. Still,
audiences remained faithful, and each year saw an
impressive rise in ticket sales.
It was around 1947 that the industry went through
significant changes. One could argue that it was during this
time that the modern Indian film was born. The historical
and mythological stories of the past were now being
replaced by social-reformist films, which turned an often
critical eye on such ancient social practices as the dowry
system, polygamy, and prostitution. The 1950s saw
filmmakers such as Bimal Roy and Satyajit Ray focusing on
the lives of the lower classes, who until then were mostly
ignored as subjects.
Inspired by social and political changes, as well as
cinematic movements in both the U.S. and Europe, the
1960s saw the birth of India's own new wave, founded by
directors such as Ray, Mrinal Sen, and Ritwik Ghatak.
Driven by a desire to offer a greater sense of realism and
an understanding of the common man, the films during
this era differed greatly from larger commercial
productions, which were mostly colourful escapism. It was
the latter that would eventually become the template for
the Masala film, a mash of genres including action,
comedy, and melodrama punctuated by approximately six
song and dance numbers. This is the model still used for
most contemporary Bollywood films. Manmohan Desai
was one of the more successful Bollywood directors of the
1970s and is considered by many to be the father of the
Masala film. Defending his approach, he said: "I want
people to forget their misery. I want to take them into a
dream world where there is no poverty, where there are
no beggars, where fate is kind and god is busy looking after
his flock." The hodgepodge of action, romance, comedy,
and musical numbers is a model that still dominates the
Bollywood industry. Though greater attention is now paid
to the plot, character development, and dramatic tension,
it is, in most cases, sheer star power that accounts for a
film's success.
With the international success of films like Slumdog
Millionaire and the injection of foreign capital into the
Indian film industry, Bollywood has perhaps been entering
a new chapter in its history, one in which the eyes of the
world are now paying closer attention. Since the
beginning of the 20th century, cinema has emerged as an
influential medium of information, entertainment, news,
education and historical memory. Cinema is not only a
powerful means of communication but also a mirror of
society, a cultural agent of change and subject matter and
a source of history.
It is true that during colonial rule many filmmakers were
not able to express explicitly their political concerns and
aspirations because of the obnoxious and politically
inspired censorship policy of the British.
But it should be kept in mind that the language of cinema
is not restricted to dialogues alone; it is also about action,
gestures, sentiments and symbolism. Most often these
symbols are part and parcel of a certain social and
historical context and they generated emotions and
excited a large number of masses. These symbols play an
important role in creating 'appropriate emotional
response among the audience in the climate of freedom
struggle.
Indian cinema just like other industries was not given any
kind of encouragement during the British rule. Moreover,
the arbitrary and politically inspired censorship machinery
of the British throttled any portrayals of democratic ideas
and revolutionary spirit in the films.
Many times, Indian filmmakers resorted to the use of
allegory and metaphor to convey the desired meanings in
the films.
The first motion picture of the world was exhibited on
December 28, 1895, in Paris. And India's connection with
cinema began on 7 July 1896 at Watson Hotel in Bombay
where an agent of Lumiere Brothers, the founders of
movie camera held the first screening of the motion
pictures.
India's first motion picture was shot with a Lumiere
camera in 1896 which was a wrestling match by
Harishchandra Sakharam Bhatwadekar (known as Save
Dada). Such films were known as 'topical' and Hiralal Sen
of Calcutta was also a pioneer in this field.
India's first film was Ram Chandra Gopal (R.G.) called
"Pundalik" which was released on May 18, 1912. The film
was based on the legend of a famous Maharashtra saint
and was a huge success.
Dhundiraj Govind Phalke or Dada Saheb Phalke's film "Raja
Harishchandra" which was released on May 3, 1913, was
a milestone in the journey of Indian cinema It was a
forerunner of the genre of mythological films. Phalke's
long-lasting contribution to Indian cinema earned him the
title of 'Father of Indian Cinema'.
There was an emergence of the studio system in the
1920s. The studios' employed individuals on a monthly
salary, on a more or less permanent basis, and they
covered all facets of filmmaking from acting, technical
know-how to the exhibition. By 1921, there were
twentyone such studio existed in India.
In the 1920s, all genres of films were attempted: historical,
social, comedy and stunt. An important aspect of the
1920s and early 1930s cinema is that the female lead roles
were mostly played by males or Anglo-Indian women as
this profession was seen as degrading for women of
respectable families.
India popular theatre had a profound influence on its
cinema. It is from these theatre performers' Indian cinema
appropriated the heritage of song and dance and has
become an intrinsic characteristic of Indian films. The
journey of Indian talkie began on March 14, 1931, when
full-length talkie Alam Ara was released. The talkies in
India were loaded with songs, dances and music. In the
initial days of talkies, the number of songs in some films
was more than fifty.
The Themes of Films were based on Mythologies. The
historical and biographical theme was another important
genre. The Gandhian movement had made an impact on
Indian cinema. Several films on the literary works of Indian
languages as well as foreign classical literary works were
also made into cinema. The genre of stunt or action films
was another significant trend in early cinema. The early
films were based on neorealism or an expression of
everyday reality.
Indian cinema underwent a significant journey from its
beginnings to the Independence of the country. The early
pioneering efforts of Dada Saheb Phalke and others during
the silent era laid the foundations of Indian filmmaking.
The obstacles and constraints during the colonial rule
provided an opportunity for filmmakers to experiment
and spread their ideas in diverse ways. During the early era
of filmmaking, short films or 'topicals' served as important
sources of education and documentation. The emergence
and growth of film studios, which acted as huge magnates,
attracted a horde of talented and promising filmmakers
and technicians into the business of filmmaking. The
films of this period exhibit undercurrents of patriotism,
zeal for social reform, advocacy of democracy, peasant
and industrial concerns and desire to attain
independence.
During the Second World War, the circulation of black
money in the film industry gave rise to the 'star system'
and the collapse of the 'studio system.' The roots of the
formula films of today can be traced back to the Second
World War. The new class of capitalists and financiers
hired big stars, directors and music directors and started
making the formula film of song, dance and star-appeal
that continues even today.
As the years dragged on, a large number of escapist
entertainers and musicals started to flood the film
theatres and continues to do so. This gave birth to the
formula films which are primarily entertainers, even
though some path-breaking films were also being made
along its side.
India has one of the oldest and largest film industries in
the world. It was in early 1913 that an Indian film received
a public screening. The film was Raja Harischandra. Its
director, Dadasaheb Phalke is now remembered through
a lifetime achievement award bestowed by the film
industry in his name. Then, it was really hard to arrange
for somebody to portray the role of females. Among the
middle classes, that association of acting with the loss of
virtue, female modesty, and respectability has only
recently been put into question. While many other
filmmakers, working in several Indian languages,
pioneered the growth and development of Indian cinema,
the studio system began to emerge in the early 1930s. Its
most successful early film was Devdas (1935), whose
director, P.C. Barua also appeared in the lead role. The
Prabhat Film Company, established by V. G. Damle,
Shantaram, S. Fatehlal, and two other men in 1929, also
achieved its first success around this time.
Damle and Fatehlal's Sant Tukaram (1936), made in
Marathi was the first Indian film to gain international
recognition.
The social films of V. Shantaram, more than anything else,
paved the way for an entire set of directors who took it
upon themselves to interrogate not only the institutions
of marriage, dowry, and widowhood, but the grave
inequities created by caste and class distinctions. Some of
the social problems received their most unequivocal
expression in Achhut Kanya ("Untouchable Girl", 1936), a
film directed by Himanshu Rai of Bombay Talkies. The film
portrays the travails of a Harijan girl, played by Devika
Rani, and a Brahmin boy, played by Ashok Kumar. The
next noteworthy phase of Hindi cinema is associated with
personalities such as Raj Kapoor, Bimal Roy, and Guru
Dutt. The son of Prithviraj Kapoor, Raj Kapoor created
some of the most admired and memorable films in Hindi
cinema.
Awaara (The Vagabond, 1951), Shri 420 (1955), and Jagte
Raho (1957) were both commercial and critical successes.
Bimal Roy's Do Bigha Zamin, which shows the influence of
Italian neo-realism, explored the hard life of the rural
peasantry under the harshest conditions. In the
meantime, the Hindi cinema had seen the rise of its first
acknowledged genius, Guru Dutt, whose films critiqued
the conventions of society and deplored the conditions
which induce artists to relinquish their inspiration. From
Barua's Devdas (1935) to Guru Dutt's Sahib, Bibi Aur
Gulam, the motif of "predestined love" looms large: too
many opponents, a mawkish sentimentality characterizes
even the best of the Hindi cinema before the arrival of the
new or alternative Indian cinema in the 1970s. It is
without a doubt that under the influence of the Bengali
film-makers like Satyajit Ray, Ritwik Ghatak, and Mrinal
Sen, the Indian cinema, not only in Hindi, also began to
take a somewhat different turn in the 1970s against the
tide of commercial cinema, characterized by song-
anddance routines, insignificant plots, and family dramas.
Ghatak went on to serve as Director of the Film and
Television School at Pune, from where the first generation
of a new breed of Indian filmmakers and actors -
Naseeruddin Shah, Shabana Azmi, Smita Patil, and Om
Puri among the latter was to emerge.
These film-makers, such as Shyam Benegal, Ketan Mehta,
Govind Nihalani, and Saeed Mirza, exhibited a different
aesthetic and political sensibility and were inclined to
explore the caste and class contradictions of Indian
society, the nature of oppression suffered by women, the
dislocations created by industrialism and the migration
from rural to urban areas, the problem of landlessness,
the impotence of ordinary democratic and constitutional
procedures of redress, and so on.
The well-liked Hindi cinema is characterized by important
changes too numerous to receive more than the slightest
mention. The song-and-dance routine is now more
systematized, more regular in its patterns; the 'other',
whether in the shape of the terrorist or the unalterable
villain, has a more gloomy presence; the nation-state is
more fixated in its demands on our loyalties and curtsy;
the Indian Diaspora is a larger presence in the Indian
imagination and so on. These are only some
considerations: anyone wishing to discover the world of
Indian cinema should also replicate its presence in Indian
spaces, its relation to vernacular art forms and mass art.
The Indian film industry, famously known as Bollywood, is
the largest in the world and has major film studios in
Mumbai (Bombay), Calcutta, Chennai, Bangalore and
Hyderabad. Between them, they turn out more than 1000
films a year to hugely appreciative audiences around the
world. For nearly 50 years, the Indian cinema has been the
central form of entertainment in India, and with its
increased visibility and success abroad, it won't be long
until the Indian film industry will be well-thoughtout to be
its western counterpart- Hollywood. Mainstream
commercial releases, however, continue to dominate the
market, and not only in India, but wherever Indian cinema
has a large following, whether in much of the British
Caribbean, Fiji, East and South Africa, the U.K., United
States, Canada, or the Middle East.

Indian Art Cinema

India is well known for its commercial cinema, better
known as Bollywood. In addition to commercial cinema,
there is also Indian art cinema, known to film critics as
"New Indian Cinema" or sometimes "the Indian New
Wave" (see the Encyclopedia of Indian Cinema). Many
people in India call such films "art films" as opposed to
mainstream commercial cinema. From the 1960s through
the 1980s, the art film or parallel cinema was usually
government-aided cinema.

Indian Commercial Cinema

Commercial cinema is the most popular form of cinema in
India. Ever since their inception, the commercial Indian
movies have seen a huge following. Commercial or
popular cinema is made not only in Hindi but also in many
other regional languages of East and South India. Let's look
at some of the general conventions of commercial films in
India. Commercial films, in whatever languages they are
made, tend to be quite long (approx. three hours), with an
interval. Another important feature of commercial cinema
in India is music.
Regional Cinema India
India is home to one of the largest film industries in the
world. Every year thousands of movies are produced in
India. Indian film industry comprises Hindi films, regional
movies and art cinema. The Indian film industry is
supported mainly by a vast film-going Indian public,
though Indian films have been gaining increasing
popularity in the rest of the world, especially in countries
with large numbers of emigrant Indians.
 Review of literature

Over the years, realism in Indian cinema has been lost.

"When the quality of everything else in the country is
improving, why not of films," she wondered.
With blockbusters like New Delhi, Naya Daur and Aasha
and much-acclaimed movies such as Sangam, Sadhna,
Madhumathi and Ganga Jamuna to her credit,
Vyjayanthimala was a heartthrob of the film world for over
two decades during the 1960s and 1970s.
After a brief stint in Tamil and Telugu films in Madras (now
Chennai) Vyjayanthimala moved to Bombay (now
Mumbai) during the early 1950s to act in Hindi films like
Bahar and Ladki. The success of Nagin in which she played
a lead role established her as an actress and got her an
offer to appear in Devdas as Chandramukhi, with thespian
Dilip Kumar as the hero.
A recipient of Filmfare and National awards like the Padma
Shri and the Sangeet Natak Akademi Award,
Vyjayanthimala acted in about 70 films, with the majority
in Hindi, and mostly as the heroine with legends like Raj
Kapoor, Dev Anand, Raj Kumar, Rajendra Kumar, Shammi
Kapoor and Dharmendra.
"I had just finished matriculation in Madras when I was
told to work in a Tamil film Vaazhkai (1949), which was a
huge success. Fondly called 'papakutty' (little child) by her
maternal grandmother Yadugiri Devi, Vyjayanthimala
acknowledged that her granny was all her strength in life
and turned her into an ambitious person.
"We were from a conservative family and nobody went to
school those days, especially girls. Grandma, however,
insisted that I join a convent to study. She also used to tell
all, 'See my child goes to a convent," Vyjayanthimala
reminiscence.
Though the film industry has always been a "man's world",
Vyjayanthimala claimed she had her way in choosing
characters or roles in which she could fully express herself.
She was picked for acting by a director while watching her
perform Bharatanatyam, the classical south Indian dance.
After marrying Chamanlal Bali, a medical doctor, in 1968,
Bollywood's first female superstar gradually bid farewell
to films and faded into oblivion, although she continued
her association with dance.
"I'm a purist concerning dance. I am a stickler for the
traditional form of Bharatanatyam and won't let any
'creativity' or 'innovation' into my dance," she asserted.
Even at 81, the veteran dancer stages two-hour-long
shows each day in Chennai during the Marghazi season, a
dance and music festival held in December-January every
year.
She currently resides in Chennai along with her son,
daughter-in-law and grandchildren.
"I'm researching rare types of dance forms performed by
dancers at Brihadeeswara Temple at Tanjore in Tamil
Nadu. I'm tracing these kinds of dance forms," affirmed
Vyjayanthimala.
Observing that art in India was unlike in other countries,
she averred her dance was spiritual worship.
"In India, art is not mere entertainment but transcends it,
unlike in other countries. Dance should touch or move the
people's hearts," she said.
When she's not spending her time with dance, she loves
to play golf, badminton and tennis. "Thanks to my
husband, I have developed a huge interest in many
sports," she said.
Vyjayanthimala also strayed into politics when then Prime
Minister Rajiv Gandhi insisted on her contesting in the
1984 general election in Tamil Nadu. She contested from
the Chennai South constituency for the Lok Sabha
elections and won.
"I entered politics because of Rajivji. I won against
seasoned politicians and got elected to the Lok Sabha and
later to the Rajya Sabha. After he (Gandhi) passed away in
May 1991, I lost interest in politics," she said.
As a contemporary actor, Vyjayanthimala also interacted
with Tamil filmdom's legendary actress and former Tamil
Nadu Chief Minister J Jayalalithaa, both as a film star and
politician.
"When Jayalalithaa was the Chief Minister, she invited me
for a state-level cinema award ceremony. After all the
awards were announced, she told me, 'You must be
thinking why you didn't get an award! It's because they're
state awards.' Your national award will be given by the
President tomorrow'. I thought it was very touching,"
Vyjayanthimala recounted.
And when Jayalalithaa passed away on December 5, 2016,
in Chennai, Vyjayanthimala could not contain herself. "I
still have nice pictures taken in her office, which I will
cherish forever. I hope the mystery surrounding her death
is solved, as she was a smart lady who meant well for the
country."
Father of Indian Cinema, Dadasaheb Phalke released the
first-ever full-length feature film 'Raja Harishchandra' in
1913. The silent film was a commercial success.
Dadasaheb was not only the producer but was also the
director, writer, cameraman, editor, make-up artist and
art director. Raja Harischandra was the first-ever Indian
film that was screened in London in 1914. Though Indian
Cinema's first mogul, Dadasaheb Phalke supervised and
managed the production of twenty-three films from 1913
to 1918, the initial growth of the Indian Film Industry was
not as fast as that of Hollywood.
Numerous new production companies emerged in the
early 1920s. Films based on mythological and historical
facts and episodes from Mahabharata and Ramayana
dominated the 20s but Indian audiences also welcomed
Hollywood movies, especially action films.

Beginning of the Talkies

The first-ever talkie 'Alam Ara' by Ardeshir Irani was
screened in Bombay in 1931. It was the first sound film in
India. The release of Alam Ara started a new era in the
history of Indian Cinema. Phiroz Shah was the first music
director of Alam Ara. The first song which was recorded
for Alam Ara in 1931 was 'De de Khuda Ke Naam par'. It
was sung by W.M. Khan.
Thereafter, several production companies emerged
leading to an increase in the release of the number of
films. 328 films were made in 1931 as compared to 108 in
1927. During this time, huge movie halls were built and
there was significant growth in the number of audiences.
During the 1930s and 1940s, many eminent film
personalities such as Debaki Bose, Chetan Anand, S.S.
Vasan, Nitin Bose and many others emerged on the scene.
Growth of Regional Films
Not only did the country witness the growth of Hindi
Cinema, but the regional film industry also made its mark.
The first Bengali feature film 'Nal Damyanti' in 1917 was
produced by J.F. Madan with Italian actors in the leading
roles. It was photographed by Jyotish Sarkar. The year
1919 saw the screening of the first silent South Indian
feature film named 'Keechaka Vadham'. The movie was
made by R. Nataraja Mudaliar of Madras (Chennai).
Dadasaheb Phalke's daughter Mandakini was the first
female child star who acted as the child Krishna in Phalke's
'Kaliya Mardan' in 1919.
The first-ever talkie film in Bengali 'Jamai Shashthi', which
was screened in 1931 and produced by Madan Theatres
Ltd. 'Kalidass' was the first Tamil talkie which was released
in Madras on 31 October 1931 and directed by H.M.
Reddy. Apart from Bengali and South Indian languages,
regional films were also made in other languages such as
Assamese, Oriya, Punjabi, Marathi, and many more.
'Ayodhecha Raja' was the first Marathi film which was
directed by V. Shantaram in 1932. This film was made in a
double version. 'Ayodhya ka Raja' in Hindi and 'Ayodhecha
Raja' in Marathi was the first-ever Indian talkie produced
by Prabhat Film Company in 1932.

Birth of a New Era

The number of films being produced saw a brief decline
during World War II. The birth of the modern Indian Film
industry took place around 1947. The period witnessed a
remarkable and outstanding transformation of the film
industry. Notable filmmakers like Satyajit Ray and Bimal
Roy made movies that focused on the survival and daily
miseries of the lower class. The historical and mythological
subjects took a back seat and the films with social
messages began to dominate the industry. These films
were based on themes such as prostitution, dowry,
polygamy and other malpractices which were prevalent in
our society.
In the 1960s new directors like Ritwik Ghatak, Mrinal Sen,
and others focused on the real problems of the common
man. They directed some outstanding movies which
enabled the Indian film industry to carve a niche in the
International film scenario.
The 1950s and 1960s are considered to be the golden age
in the history of Indian cinema and saw the rise of some
memorable actors like Guru Dutt, Raj Kapoor, Dilip Kumar,
Meena Kumari, Madhubala, Nargis, Nutan, Dev Anand,
Waheeda Rehman, among others.
This article will be incomplete if the contribution of music
in Indian cinema is not mentioned. Songs are an integral
part of Indian movies. The presence of songs has given
Indian films a distinctive look as compared to international
films. The Indian film industry has produced many
talented lyricists, music directors and artists.
Bollywood – The Pioneer of Masala Movies
The 1970s saw the advent of Masala movies in Bollywood.
The audiences were captivated and mesmerised by the
aura of actors like Rajesh Khanna, Dharmendra, Sanjeev
Kumar, Hema Malini, and many others.
The most prominent and successful director, Manmohan
Desai was considered by several people as the father of
Masala movies. According to Manmohan Desai, "I want
people to forget their misery. I want to take them into a
dream world where there is no poverty, where there are
no beggars, where fate is kind and god is busy looking after
its flock."
Sholay, the groundbreaking film directed by Ramesh
Sippy, not only got international accolades but also made
Amitabh Bachchan a 'Superstar'.
Several women directors like Meera Nair, Aparna Sen and
others showcased their talents in the 1980s. How can we
forget the extraordinary and splendid performance of
Rekha in the film Umrao Jaan in 1981? The 1990s saw a
whole new batch of actors like Shah Rukh Khan, Salman
Khan, Madhuri Dixit, Aamir Khan, Juhi Chawla, Chiranjivi,
and many more.
This new genre of actors used new techniques to enhance
their performances which further elevated and upgraded
the Indian Film Industry. 2008 was a notable year for the
Indian film industry as A.R. Rahman received two academy
awards for best soundtrack for Slumdog Millionaire.
Indian cinema is no longer restricted to India and is now
being well appreciated by international audiences. The
contribution of the overseas market to Bollywood box
office collections is quite remarkable. Around 30 film
production companies were listed on the National Stock
Exchange of India in 2013. The multiplexes too have
boomed in India due to tax incentives.
Indian cinema has become a part and parcel of our daily
life whether it is a regional or a Bollywood movie. It has a
major role to play in our society. Though entertainment is
the keyword of Indian cinema it has far more responsibility
as it impacts the mind of the audiences.
In the decade of 2000s, Bollywood began influencing
musical films in the Western world and played a
particularly instrumental role in the revival of the
American musical film genre. Baz Luhrmann (2001) stated
that his musical film Moulin Rouge was directly inspired by
Bollywood musicals. 22 The critical and financial success
of Moulin Rouge renewed interest in the Western musical
genre, and subsequently, films such as Chicago, The
Producers, Rent, Dreamgirls, Hairspray, Sweeney Todd,
Across the Universe, The Phantom of the Opera,
Enchanted and Mamma Mia were produce Besides, the
famous Indian musician, A. R. Rahman composed the
music for Andrew Lloyd Webber's Bombay Dreams, and a
musical version of Hum Aapke Hain Koun has played in
London's West End. The Bollywood musical Lagaan (2001)
was nominated for the Academy Award for Best Foreign
Language Film. Danny Boyle's Slumdog Millionaire (2008),
which has won four Golden Globes and eight Academy
Awards, was also directly inspired by Bollywood films24
and is considered to be a homage to Hindi commercial
cinema. 25 Finances Bollywood productions are
exorbitant including the costly productions investing near
about 100 billion Indian rupees to date.26 Till the 1990s,
the situation was quite different with no such world-class
standards for sets, cinematography and special effects.
Following the open market policy and economy, Indians
gained wider access to Western films and television and
thereby faced mounting competition for Bollywood
movies especially in areas of action and special effects.
The new trend resulted in mega-budget films with an
outburst in the action and sci-fi category. 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. Most Bollywood films
are funded by private distributors and some large studios.
Formerly, Indian banks and financial institutions were
prohibited from lending loans to production houses.
However, this ban has now been lifted. 27 As finances are
not regulated, some Hindi films are also supported by the
Mumbai underworld which is tarnished for patronizing
famous chosen celebrities. Occasionally, these gangsters
use their capital and contacts to finance action-based,
violent films and thereby influence producers and the
public indirectly. 28 Bollywood is confronting an extensive
copyright violation issue. Pirated DVD copies of Indian
films are easily accessible before the release of original
prints in cinemas. Manufacturing of bootleg DVD, VCD,
and VHS copies of the latest movie titles is a
wellestablished 'small scale industry in parts of South Asia
and South-East Asia. The Federation of Indian Chambers
of Commerce and Industry (FICCI) estimate that the
Bollywood industry loses $100 million annually in loss of
revenue from pirated home videos and DVDs. What is
literature in the modern world, and more particularly, how
has the novel been affected by the cinema? This
presentation will attempt to measure the impact of
literature media arts
.When the man comes home after a day's work, he needs
some sort of entertainment and relaxation. Cinema has
proved a wonderful and forceful means of entertainment
and amusement. A young man of today can go without
food but not without a film. The cinema is the cheapest
and the most popular form of amusement. Labourers can
afford to miss their evening meal, not their evening show.
Students prefer films to read books. Thus, cinema
exercises a very powerful effect on society. Cinema is a
universal teacher. It educates the people in different
branches of learning. Our film producers have made very
purposeful films to collect public opinion against some of
the social evils as the dowry system, the labour
exploitation. It can teach us natural history, geography,
botany, chemistry etc. Documentary films lead us to a
street in New York are to a park in Tokyo. These films
increase our knowledge, broaden our outlook. Social
pictures throw light on social evils as untouchability,
casteism, unemployment and the curse of widowhood,
etc. These films ripen our eyes and create in us an urge for
improvement. Cinema has great commercial value also. It
is itself a great industry, Lacs of men and women are
directly or indirectly employed in this industry. It is a good
and easy means of advertisement. Things and articles can
be shown in practical use through the films.
Most modern Indian movies ignore higher ideals. It is
wrong to say that the public wants vulgarity. Too much
cinema-going is injurious to eyesight, health and purse.
Bad films leave a very vitiating effect on the minds of
youth. They give rise to different kinds of crimes. The
vulgar obscene pictures should not be allowed to be
exhibited. They cause morality in society. The films which
make people gamblers, dacoits, etc. should be banned.
The traders of the film industry should not be ill owed to
profit by showing sensual scenes and physical
demonstration of love. These films affect the moral
character of young boys and girls badly.
 Objectives

• To find out the impact of cinema on the modern

world.

• To find out the role of cinema in the modern world.

• To find out the correlation between cinema and the

modern world.

• To find out the contribution of cinema in the modern

world.

Research Methodology

Data Collection: For this research secondary data is used.

Secondary data is collected through various sources like
article, websites, books, and blogs.
 Analysis

From this, the film moves out of science fiction to human

drama as it examines and explores the wider subject of
American culture and society during the great depression.
It is during this section we are introduced to the film's
second most important character – the Gamine – a
resourceful and energetic young orphan who, in
conjunction with the Tramp, serves to illustrate the
human cost of the Great Depression. Through them, we
are shown a country torn apart by poverty and paranoia,
in which existence is at best precarious and common
people find themselves at the mercy of the world around
them. Together they undergo a series of misadventures
including several scuffles with the police, a playful night
spent in a department store and a sweetly romantic scene
that parodies married life wherein the two playhouses in
a ramshackle hut. The film closes with the two characters
once again out of employment and back on the road, with
the Tramp assuring the Gamine that everything will be
okay. It is in this way that the second half of the film
encapsulates not only the overall message of Modern
Times but the meaning of the Tramp himself; that
salvation and happiness are to be found ultimately in hope
and human creativity and the freedom of the individual.
Overall I found Modern Times to be thoroughly enjoyable,
often hilarious and occasionally thoughtprovoking, though
I could not help but find the film to be curiously disjointed
as if Chaplin had difficulty balancing his message with the
comedy of the film. This leads to a jarring change of tone
as the film leaves the factory behind; largely due to the
drastic change of scenery from a science fiction style
factory to a far more realistic and recognizable cityscape.
Despite this, the film is a deserved classic and I heartily
recommend it to anyone interested in Chaplin's work.

In Modern Times Chaplin proves again what the whole

world already acknowledges - that he is the greatest artist
of the silent screen as apart from the half-theatrical talking
screen, the most eloquent master of mime, and the
simplest, most essential, and most touching of comedians.
Unless recent impressions have unbalanced the judgment
this would certainly appear to be one of his very best films.
Not only has Chaplin set to work on new ideas (though
they are borrowed from Clair), but he has evolved new
comic 'business' and skilfully prepared for revivals of old
tricks so that they do not seem mere uninspired
repetition. He has restrained the fondness for pathetic
effects, which so overbalanced City Lights, leaving only a
legitimate invitation to sympathy for the deliberate,
'takethe-world-as-you-find-it,' yet curiously impersonal
emblem of humanity which he presents. Watching
Modern Times one is compelled to marvel again at the
miraculous soundness of taste that has led people of so
many countries to take Chaplin to their hearts. His
reaction to life has a humble, saintly, and therefore
triumphant quality.
What Chaplin has borrowed from Clair - it was fitting that
he should borrow from such a disciple - is the idea of
satirizing mass production and the treadmill of industry, a
brief 'Rugby match' with a roast duck, and some hints on
the synchronizing of film and music. The film opens in a
factory of nightmarish efficiency where the 'boss'
observes all from his desk through television and Charlie
is hard at work tightening screws on a moving belt. This is
a mine of rich humor, and even when he becomes
unhinged in mind the treatment is not distasteful. After
that, he is thrice in and out of goal for deliriously funny
reasons. His comic adventures are too many to relate, but
it may be said that they culminate in a café of 'singing
waiters' where, after a wealth of comic 'business' with the
tray, he shows his disdain for the articulate speech by
singing a vividly explicit song in gibberish. There are few
feats of virtuosity better than his miming as he rehearses
the song and as he performs a short introductory dance.
Throughout his facial expressions and bodily gestures
make a speech and even the delightfully worded sub-titles
unnecessary. The writer, having now seen the film three
times, declares that they remain absorbing and full of
meaning.
It will no doubt be objected that the sequence of the big
machine becomes tedious and that in construction the
film is somewhat ungainly. Such critics are at liberty to
count up the faults, if it gives them pleasure, but are
certainly pursuing an unfruitful occupation in enumerating
these rather than the excellences. The whole film bears
the Chaplin stamp, particularly in the exaggerated
character of the gesture and the reliance on miming.
Paulette Goddard as the gamin has taken kindly to his
style. She seems fresh and different from all other screen
women. In the small parts, the acting is all of the same
wholes. One of the reasons why Chaplin is a great artist is
that he is not shackled by the bonds of realism which still
limit such diverse imaginative work as literature, the
stage, and the screen. He has created his ideal image of
the world, or, rather, of human nature.
Charlie Chaplin's new film "Modern Times" has been
prohibited in Germany. Reuter was informed at the
Propaganda Ministry this afternoon that there was at
present no prospect that the picture would be shown in
this country. Another Nazi spokesman said that reports
from abroad had indicated that the picture had a
"Communist tendency" and that this was no doubt the
reason why the picture was unacceptable.
This is the latest move in the Nazi drive to purge Germany
of Chaplin. In recent months Charlie Chaplin's films, which
used frequently to be revived in Germany, have vanished
from the screen on account, it has been presumed, of
doubts existing here as to the Aryan purity of the
comedian's ancestry. Picture postcards of Chaplin, which
used to be displayed in show windows all over Berlin, have
now vanished, and it is understood that by official order
no more are now being issued.
When the famous Rivels clowns recently came to a leading
Berlin music-hall with their act, which used to include a
parody of Charlie Chaplin, the clown who played the mock
Charlie abandoned his little moustache and bowler and
appeared in another disguise.
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Present-day motion pictures make vast use of technology.
The modern motion picture cameras are technical marvels
as are also the sound systems employed. Computerized
imagery is becoming ever more ubiquitous in films and this
technology, which is only just beginning to make its
influence felt, will probably have a great deal to do with
how the cinema will evolve in the future. But though the
films of yesteryear look quaint and primitive to modern
eyes, it should be realized that motion pictures have
always been technically miraculous in the eyes of
contemporaries. This was so from the beginning.
Photography itself was invented in 1835. The technology
that made a "moving picture" possible, celluloid-roll film,
was invented by George Eastman in 1888, although,
before that, primitive "pictures in motion" had been made
utilizing consecutive exposures of people in motion. The
latter, however, unlike frames on a celluloid roll, would
not have blended well with the projector technology that
stemmed from the old "magic lanterns" and which was
being developed in the last half of the 19th century.

History of Filmmaking research papers discuss the history

of motion picture and examine the differing techniques
used in filmmaking through the years.
Filmmaking originated in the 1890s with the invention of
the motion picture camera. Photography itself was not
much more than half a century old. In 1888, Frenchman
Louis Le Prince created the first motion picture films,
short, single-scene actions designed like stage
productions. The oldest known film in existence is Man
Walking around a Corner, directed by Le Prince in 1887.

By the end of the Victorian Era, films were moving towards

becoming art forms. By 1900, directors were adding
techniques such as editing and storytelling.
the technique was advanced with the development of a
camera that could rotate and take panning shots.
Frenchman Georges Melies built the first "movie studio"
outside of Paris. His notable films include "A trip to the
Moon" (1902). Melies soon added stop motion and double
exposure to the repertoire of film technique.
Up until 1927, films were silent. The story was told through
visual and thus a popular comedian such as Charlie Chaplin
had worldwide appeal. The addition of sound to motion
pictures was the next revolution in filmmaking and
doomed the careers of many silent-film era stars. By the
1930s, the Hollywood studio system was in full force,
expanding the techniques that could be achieved with
camera angles, dissolves and lighting. Citizen Kane is a
technological breakthrough in film technique. Hollywood
also began producing numerous genres to appeal to all
audiences.

In modern society, movies are an important part of

people's everyday life the movie industry is new compared
to other kinds of art as thus industry started to develop at
the end of the 19th century. The popularity of movies has
rapidly grown and in today's world, one of the most
popular ways of spending free time is watching good
movie Movies are supposed to have an entertainment
function, but it must be noted that movies have a great
impact on society and the people's minds and values
First of all, it must be underlined that all kinds of art are a
powerful tool which can influence and change the
people's values and norms but movies are perceived by
the audience in the most effective way "The narrative and
representational aspects of the film make it a wholly
unique form of art Moreover, the collective experience of
film as art renders it a wholly distinct leisure activity. The
unique properties of attending the cinema can have
decisively positive effects on mental health" (Shah The
movies can change the attitude of the people to the
particular question or highlight the necessity to discuss the
issue which was unnoticed before. The movie is the
straightest and the most understandable way in which the
person can perceive the information. What is more
important movies manually demonstrate the pictures
which provoke the emotions, so the sympathy or the
negative emotions can make people focus the attention
on the problem and find the way to its solution.

One of the most famous examples of the impact which

was made by the movie on society is a film directed by
Griffith The Birth of a Nation This film is a great example
of how movies can impact society not only positively but
also negatively "The Ku Klux Klan had largely died out in
America in the 1870s but when Birth of a Nation arrived in
Georgia, a local white supremacist, Williams Simmons,
used it as a solo to recruit new members White-clad riders
appeared on the streets" (Metz) This film influenced the
people's attitude to the racism and what is more
important this movie was used to recruit the new
members of KKK for many years after the film appeared
on the big screen. Movies can not only change the values
of society but also remind people about old problems and
provoke them to make the same mistakes. People can be
united not only by the positive attempts but by the ideas
which are based on discrimination and inequality a movie
is a powerful tool that can make people think and act in a
particular way-positive or negative.

Movies can underline social issues and draw people's

attention to the problem, and that can change their
values. On the other hand, sometimes society is not ready
to face difficult problems which usually are not widely
discussed. For example, "My Feral Heart, a film about an
individual (played by an actor with Down's syndrome)
dealing with the loss of his mother, that had been unable
to find backing to make it to the hot office" (Crisp)
although the critics and professionals positively accepted
this film, this movie was not very popular among the wide
audience. That is why it is so important to produce such
films to draw attention to important issues such as
discrimination and the position in the society of people
with disabilities. A good movie can impact the attitude to
the unnoticed problem and make the person think about
it. The power of the film is in the emotional influence
which provokes the person to think about it even when
the film ended. People read and discuss such problems as
gender inequality every day but if this issue is not related
to their lives directly, they do not pay much attention to it.
The film can tell a personal story of the character which
evokes emotions and The person who watches this film
will sympathize with the character and will think about it
differently The movie can help to understand how such a
problem influences the life of the person, how this issue
provokes the negative consequences and how the
character finds the way and the inner power to deal with
this problem. The film can show the relation of the society
to the problem and make people think about it and after
the film, they will see their behavior from the point of view
of this person, so they can change their attitude and start
to be more tolerant to the person with the same problem
The power of the mass influence of the movies cannot be
overestimated. It can change not only the attitude to the
social problems but also to help the real person Errol
Morris's 1988 film The Thin Blue Line, about a wrongly
convicted man on death row. sadly did not change the
world but it certainly changed the life of one man Randall
Adams, who had been imprisoned for murdering a Texas
police officer in 1976, who was exonerated and released
from prison in 1990, thanks to Morris's persuasive
argument" (Jones). The example of the one man who
suffered became of the particular problem can provoke
the wave of thoughts about the other similar cases and
change the general attitude to the issue. Movies are the
conversation with the masses the director and the
creators of the film have a great opportunity to convey
their ideas to the great number of people simply and
understandably People can hear about such a problem
every day, bast this problem seems to them too abstract
and general. When they see the clear and real example of
the person who suffered from this issue, they will start to
think about it differently If every person who saw the film
would change the model of the behavior for the better, it
can put the values of the society on a different level.
The movie industry can help to change the attitude to
global problems such as environmental pollution. "Former
Vice President Al Gore won a Nobel Peace Prize after his
film An Inconvenient Truth changed the world's approach
toward a controversial issue by weaving complex science
with storytelling Before the film's release, only about a
third of people surveyed believed global warming was real
Afterwards per cent believed the earth was indeed
undergoing climate change in part as a result of human
actions" (benjamin Pharisss People hear and discuss the
problem of the protection of the environment very often,
but a lot of them are not aware of the complex scientific
proofs that their actions provoke such issue. The power of
this film is in the

The simplicity allows a great number of people all around

the world to understand the existence and the roots of
this issue, and what is more important to see the real
opportunities how each individual can contribute to the
elimination of this problem. Before the movie, people's
values did not include the protection of the environment,
but after the film, the person might think about the
actions which can contribute to the development of the
issue, so the individual will act differently because the film
influenced the values of the person. Movies can make
even very complex scientific facts more understandable to
the people, and what is more important the movie put the
problem on another levelmore emotional and more
personal.
 CONCLUSION

As per the study is concerned, cinema is a source of

entertainment. It helps us to escape, for a while, from the
worries and anxieties of life. It relieves us of tension. It
provides us with relaxation. It is also a source of
employment for many. Besides providing entertainment,
cinema is also a source of employment to many. This field
has become so famous that a large number of courses
related to cinema, is being offered by almost all the
universities. Literature is the means of creating the most
powerful cinema. Because of literature cinema is getting
immense exposure. It highly contributes to making
cinema. Literature plays an important role in bringing
about social reforms in our society. Social films show the
evils of dowry, child marriage, unsociability, drinking,
smoking, drug addiction etc. Cinema also highlights
communalism. It portrays how communalism poses a
great danger to the unity of the country. The cinema
promotes national integration. In a cinema hall, we always
find a cross-section of people of all castes, religions, sexes,
social and economic status, and it is only because of the
contribution of literature.
The movie industry is a powerful tool that can influence
people's values. The main power of the movie industry is
the emotions that are evoked when the person sees the
story of the character who suffered from the particular
issue these emotions provoke people to think about it
differently in a more personal way. It must be noted that
the film can not only draw attention to the social issues
and start to act differently to solve them, but also to
provoke negative thoughts and action. That is why it is so
important for the movie industry to translate only the
messages which can change the world and society for the
better.
 Reference and Bibliography

https://karlcross.wordpress.com/2011/10/16/moderntim
es-analysis-and-observations/

https://www.weforum.org/agenda/2020/05/covid19coro
navirus-tv-film-industry/

https://www.theguardian.com/film/1936/jul/14/derekm
alcolmscenturyoffilm

https://www.solidpapers.com/essaytopics/Cinema.htm

https://www.papermasters.com/history-filmmaking.html