Costume analysis of Sanjay Leela Bhansali’s protagonists: A semiotic-visual study of Indian traditional textiles exhibited on Padmavati and Kashibai

This empirical study tried to understand the effects of over-the-top (OTT) streaming platforms on the Indian film industry. The paper analyzes the impact of OTT on both users and technicians of the film industry, highlighting both positive and negative effects. The objective of the study is to explore the changes in the film industry because of the rise in OTT platforms. The methodology of the research involved sending a questionnaire to 100 individuals, which included both users and technicians of the Indian film industry. The sampling techniques used in the study were convenience sampling and snowball sampling. The data collected through the questionnaire was analyzed using statistical tools to get meaningful insights. The study found that the introduction of OTT platforms has led to a significant change in the Indian film industry. While it has provided a platform for small-budget films and new talent, it has also led to concerns about censorship and revenue loss for traditional distribution channels. The study also found that the viewing habits of users have changed, and they now prefer to consume content on their own terms, rather than following traditional schedules and methods. Overall, this study provides valuable insights into the effects of OTT platforms on the Indian film industry. The findings of this study can be used by industry to make informed decisions about the future of the film industry in the digital age.

The relationship of domestic moviegoers to the works of Indian cinema has a complex and heterogeneous development history. The Soviet audience watched the first Indian movie back in the 1950s, which gave a powerful impetus to the formation of multifaceted contacts between Indian and Soviet film industry. As a result such films were shot as Journey Beyond Three Seas, Black Prince Adjouba, The Adventures of Ali Baba and the Forty Thieves, the famous My name is clown by Raj Kapoor, and others. However, a sympathy to the Indian cinema of the 1970-80s led to the formation of the stereotypes (frivolous story, improbable fights, numerous songs and dances, etc.), which have been preserved by this day, in spite of the changes that occurred in the Indian film industry. In the 1990s, there was a revision of values on the part of the domestic audience and interest for Indian cinema began to wane. Development of various types of video media has allowed fans to buy movies for personal viewing. At the turn of the century a number of television companies obtained broadcasting rights for the classic Indian films. Broadcasting of the channels India TV and Zee-TV, completely dedicated to the Indian culture, marked a new stage in distribution of Indian cinema in this country. In addition, the Internet technology gave way for development of various kinds of specialized resources. These facts, as well as resumed festivals of Indian cinema in the last decade in this country, speak in favor of the revival of the audience interest to it. Despite the virtual absence of the joint Russian-Indian films in the last decades and a small amount of Indian films, audience sympathy gives rise to the assumption of the prospects for this kind of cooperation, as well as accentuation of resuming heavy study of Indian cinema by Russian researchers.

Online Piracy of Indian Movies: Is the Film Industry Firing at the Wrong Target?

India has a longstanding reputation in the film industry, whereas South Korean films have only recently achieved notable success globally. Despite their significant positions in the global film market, there are very few studies that compare and analyze the competitive advantage of the two countries in the film industry. This paper adopts the ABCD model as a complementary framework to the two mainstream theories of strategic management (i.e., industry-based view and resource-based view) to analyze and compare the competitiveness of the industrial success of emerging countries. For the empirical test, this paper uses natural language processing methods to operationalize the theoretical model. After collecting text data from news articles in English related to the Korean and Indian film industries, this study analyzes how many keywords with regards to the 8 sub-factors of the ABCD model are mentioned in the articles using the document similarity measurement. The results reveal the different but complementary areas of strengths. India has higher competitiveness in the factor of Agility while Korea has higher competitiveness in Convergence. This study also highlights the areas for further development and potential partnership between the two countries by leveraging each other’s strengths.

The Indian film industry has consistently performed well across years and has emerged as the largest in the world in terms of the number of movies it produces annually. However, the year 2020 presented a crude shock to the prospects and promises of the industry. The catastrophic effect of the pandemic in the year 2020 led to the drop in the global box office by as much as 72% with a mere $12 billion collections across the world in the form of ticket sales. To understand the factors facilitating the Indian film industry to go beyond theatres during the pandemic and to explore the key challenges faced by the industry in light of its advancement, secondary data was collected from available publications, industry reports, and official websites of various bodies. The chapter aims at exploring the factors which contribute to the recent trends of the Indian film industry, attempts to identify the new and emerging challenges that plague its growth and how this transition can speed the recovery of Indian film industry as this would provide ample input to the various stakeholders of the industry.

There exists a disproportion in the Indian film industry in the delegation and the representation of queer community. The inclusion of queer subjects often fluctuates between invisibility, stereotypes, authentic portrayal and its acceptance. Investigations and explorations of the LGBTQ+ narratives in a refined and nuanced way became more visible in the Indiasn cinemas after the amendment of Section 377 in 2018. This study aims to observe and understand the horizons and boundaries of queer representation in the Indian film industry by examining the historical and contemporary global trends, significant movies, and related scholarly productions and literary narratives. A huge gap is prevailing between the global queer film sector and the Indian queer film sector in the detailing of queer subjects on the backdrop of social, political, economic and familial resistance. This review article evidences that the developments in both mainstream and regional industries still do not gain freedom from the restrictions of class, caste, gender binaries, and censorship. This apparently calls for the need for an intersectional and authentic detailing of queer narratives. The difference in the reception of queer subjects on various geographical and generational bases is yet another topic for discussion. The article stands for politically correct, culturally rooted, socially balanced queer portrayals in the Indian film industry.

The aim of the research work is to analyse the visual effects and animation techniques used in recent Indian cinema industry. This research aimed to compare the development of visual effects and its impacts on film themes. A case study is conducted to analyse the elements of film contents and changing technological advancements in Indian films. The details such as visual effects, animations, advancements, viewers’ opinions and themes are analysed to study the developments and the recent trends in Indian cinema. The Indian film industry (namely Bollywood, Kollywood and Tollywood) is one of the largest film industries in the world. There is a vast development found in the Indian film industry in between the year 2010 to 2019. This research work analysed the mega budget animated and visual effects incorporated movies. In this research, Kollywood films such as Enthiran, Kochadaiyaan, Baahubali, and Robot 2.0 were taken for the study to analyze the development of visual effects and animation in Indian cinema. The selected Indian films reflected the advancements of visual effects and animation in films. Also, this research work found the changing themes, viewer’s opinion and film maker’s views in the aspects of creating visual effects and animation in the cinema. The visual effects and animation techniques provide more scope for the film director to visualize on all the possible ways. Also, it engages the film viewers in the story in an effective way. Keywords—Visual effects and animation, Recent trends, Impact study, Indian cinema, Opinion study, Viewer’s engagement

Scientific studies of the elements that influence the box office performance of Indian films have generally concentrated on post-production elements, such as those discovered after a film has been completed or released, and notably for Bollywood films. Only fewer studies have looked at regional film industries and pre-production factors, which are elements that are known before a decision to greenlight a film is made. This study looked at Indian films using natural language processing and machine learning approaches to see if they would be profitable in the pre-production stage. We extract movie data and English subtitles (as an approximation to the screenplay) for the top five Indian regional film industries: Bollywood, Kollywood, Tollywood, Mollywood, and Sandalwood, as they make up a major portion of the Indian film industry’s revenue. Subtitle Vector (Sub2Vec), a Paragraph Vector model trained on English subtitles, was used to embed subtitle text into 50 and 100 dimensions. The proposed approach followed a two-stage pipeline. In the first stage, Return on Investment (ROI) was calculated using aggregated subtitle embeddings and associated movie data. Classification models used the ROI calculated in the first step to predicting a film’s verdict in the second step. The optimal regressor–classifier pair was determined by evaluating classification models using [Formula: see text]-score and Cohen’s Kappa scores on various hyperparameters. When compared to benchmark methods, our proposed methodology forecasts box office success more accurately.

In the film industry, the largest producer of films in the world is India. The Indian film industry was established in 1913 and is the second oldest in the world. India was the third largest with box office revenue of US $ 2.18 billion in 2017. The Indian film industry is multi-lingual. Hindi film Industry is the largest film industry in India and is mostly based in Mumbai (Bombay), which is referred to as "Bollywood". This paper attempts to predict whether an upcoming movie would be a blockbuster, neutral or a flop. By predicting this, it can help production houses in advertising and to find the best time period to release a movie by looking at the overall environment. This paper proposes making use of classification technique of Data Mining i.e. Naïve Bayes Theorem and Decision Tree on Data Mining Tool named Orange. Data mining is a process to transform raw data into useful information. By applying data mining, we can discover a large set of patterned data. Machine Learning Statistics and Database Systems are involved in Data Mining. In Knowledge Discovery (KDD) process, data mining is an analysis step. Classification helps us to classify the data according to the attributes of the data with respect to a predefined set of classes. Naive Bayes is a theorem of data mining which is able to predict categorical class labels (blockbuster, neutral, and flop) that classifies data according to rating, month, year of release, genres such as drama, action, romance, comedy, mystery, thriller, and other attributes, and values to classify an upcoming movie. Decision tree helps in supervised learning by creating a training model which can help us predict class values by learning decisions from prior data. To perform the research, we used a Data Mining Tool named Orange which is an open source component-based Visual Programming Software Package for data visualization, machine learning, data mining, and data analysis.

This study examines the impact of cinematic branding on marketing effectiveness in the Indian film industry, focusing on brand recall, consumer engagement, and return on investment (ROI). Through an analysis of secondary data, including case studies from prominent Bollywood films like 3 Idiots and Chennai Express, the research highlights how strategic product placements enhance brand visibility and purchase intent. Findings reveal that seamless narrative integration, celebrity endorsements, and multi-platform extensions significantly improve consumer response, with some campaigns achieving over 150% ROI. However, challenges such as audience skepticism and measurement inconsistencies persist. The study provides actionable insights for marketers, emphasizing ethical practices and data-driven strategies. By bridging gaps in existing literature, this research contributes to the evolving discourse on non-traditional advertising in emerging markets. Keywords: Cinematic branding, product placement, brand recall, marketing effectiveness, ROI, consumer engagement, advertising strategies, Indian film industry.

PurposeThe purpose of this paper is to illustrate the way in which product and brand placement function in the Indian film industry.Design/methodology/approachThe case study is based on extensive field work conducted by the author in India, including interviews with many film industry figures.FindingsProduct placement is pervasive in the Indian film industry, but there can be tension between the artistic goals of the film director and the commercial goals of the brand owner.Originality/valueAs far as is known, this is the first case study to address product and brand placement in the Indian film industry. Since this is the largest film industry in the world, this represents an important contribution to understanding the interface between commercial interests and artistic direction.

The Indian Film Industry is second popular entertainment industry across the globe after Hollywood film industry of the United States of America. Despite of being popular, there are arguments that New Delhi hasn’t utilized the full potential of Indian film industry as an instrument to turn popularity into the (Soft)power. The Indian film industry has tremendous potential to become India’s soft power if its potential is harnessed to the fullest. Therefore, this paper focuses upon how the popularity can be effectively used by examining strengths of industry and future prospects. Additionally, this paper provides relevant policy recommendations to effectively use film industry to enhance soft power as well as brief concluding remarks.

Movies may be considered a very powerful medium of entertainment, and at the same time they offer insights into various aspects of human behavior. Psychologists in the West have been observing different aspects of psychology in the movies- social behavior, psychological disorders, etc. Also, the advent of Positive Psychology marks an interesting shift in perspective as far as research in the field of psychology is concerned, and therefore has had some impact in the area of movies as well. Positive psychologists have been doing some research in the area of films, Niemiec, a psychologist practising in St. Louis being the fore runner. The Indian film industry being such a powerful mode of entertainment in the country warrants research in this area, which may pave way for psycho-educational and therapeutic utilization of the information thus obtained.

Reconceptualizing Nigerian Copyright Law to Protect Nollywood

How did the imperial logic underlying British and Indian film policy change with the British Empire’s loss of moral authority and political cohesion? Were British and Indian films of the 1930s and 1940s responsive to and responsible for such shifts? Cinema at the End of Empire illuminates this intertwined history of British and Indian cinema in the late colonial period. Challenging the rubric of national cinemas that dominates film studies, Priya Jaikumar contends that film aesthetics and film regulations were linked expressions of radical political transformations in a declining British empire and a nascent Indian nation. As she demonstrates, efforts to entice colonial film markets shaped Britain’s national film policies, and Indian responses to these initiatives altered the limits of colonial power in India. Imperially themed British films and Indian films envisioning a new civil society emerged during political negotiations that redefined the role of the state in relation to both film industries.\nIn addition to close readings of British and Indian films of the late colonial era, Jaikumar draws on a wealth of historical and archival material, including parliamentary proceedings, state-sponsored investigations into colonial filmmaking, trade journals, and intra- and intergovernmental memos regarding cinema. Her wide-ranging interpretations of British film policies, British initiatives in colonial film markets, and genres such as the Indian mythological film and the British empire melodrama reveal how popular film styles and controversial film regulations in these politically linked territories reconfigured imperial relations. With its innovative examination of the colonial film archive, this richly illustrated book presents a new way to track historical change through cinema.