Indian art cinema differs from increasingly popular films that are mostly known commercially. They are realists and they seek to capture important aspects of Indian reality.
Features of Indian Art Cinema
Indian art cinemas are usually low budget and presents at international film festivals. Indian art films do not attract the mass audience that popular films do. Often many regional films do not get pan-India exposure. Artistic filmmakers differ greatly from their counterparts in popular cinema, in terms of their commitment to serious cinema.
To make cinema an important medium of artistic communication. For removing the vulgarity and inequalities often associated with Indian popular cinema. Art, according to Aristotle nurtured by concepts of twice-placed reality. Cinema is a reel adaptation of the real. There are clearly two poles in the discourse of art house cinema: as illustration and as institution.
Establishment of Indian art cinema
Satyajit Ray is the first name that comes to art films in India. This is because he was primarily responsible for fashioning this style and gaining international recognition for it. His 1955 film Pather Panchali was the first such film. In a 1992 poll by the magazine Sight & Sound. The first voted winner is Pather for one of the ten greatest films of all time. Indian art films are in contrast to popular Indian films.
They use comprehension effectively, something completely absent in popular movies. There’s a visual lyricism and a deep humanism that is intensely satisfying. Satyajit Ray made several important films in the same molds, which won international acclaim. His work provides a sense of the forebodings of artistic cinema and how they differ from popular cinema. Satyajit Ray is generally regarded as India’s greatest filmmaker. Jean Renoir and Vittorio De Sica, is regarded as one of the great masters of humanistic halkalı escort cinema.
Major Indian Art Movies
Today, art films in India are no longer different from mainstream films in popularity. The audience today is looking for good films instead of popular or serious films. So while a multi-starrer Indian film bombs at the box office, cine-goers highly appreciate the film like Aamir.. Thodasa Romani Ho Jayen is another milestone that gives the story an unmarried ugly girl. Hu Tu Tu exposes politicians while Sukma is a realistic depiction of communal riots, politics and bureaucracy.
Sushil Rajpal’s Antravand is another acclaimed film in this genre that portrays a real life experience.
Kalpana Lajmi’s Rudaali brilliantly presents the life and hardships of a woman who publicly expresses the grief of family members who are restricted to display emotions due to social status.
Adoor Gopalakrishnan’s film, Rat Trap (1981) has won several prestigious awards. In his film Face to Face (1984), Gopalakrishnan explores the subject of self and modernization, this time taking a different angle. However, once again the style of the film follows the neo-realist tradition.
Other famous Bollywood art films include
- Ardh Satya
- Sooraj Ka Sattva Ghoda
- Rajeev Patil’s Jogwa (Marathi)
- Aparna Sen’s Sati (Bengali)
- Albert Pinto Ko Gusa Kyun Aaya Hai
- Ankur
- Parzania,
- Maya Darpan
- Sardari Begum
- Utsav
- Ek Din Aachman
- Ek Doctor Ki Maat
- and many more.
director of Indian art cinema
Many high-profile actors of Indian cinema are associated with artistic cinema like
- Adoor Gopalakrishnan
- Vijaya Mehta
- Buddhadev Dasgupta
- Ritwik Ghatak
- Govind Nihalani
- Shyam Bhalgal
- Mrinal Sen
- Ketan Mehta
- Kumar Shahani
- Mani Kaul
- Aparna Sen
- Arvind Sen.
Development of Indian Art Cinema
From the beginning of the genre, there was a distinction between art and commercial cinema. However, with the passage of time this gap has been bridged. There has been a change in the theme of art films.
The earlier trends in Indian art films more specifically pertained to the Indian audience while the recent leaning towards a global concept. Ideally therefore Indian art cinema has gradually emerged as a reflection of the happenings in the society. The need for better subjects, the desire to see something more on screen and the boredom set with regular candy floss dramas are the reasons for this apparent change in audience . If this trend so called Indian art films continues, then it will surely boom in the near future.
As one seeks to identify the distinguishing features of Indian films. so, one has to keep in mind the salient features of its two main branches – main and popular art films. Both relate to Indian reality and consciousness, but in very different ways.
Traditional fiction largely form the techniques of popular cinema, while the nature of artistic cinema is Western largely neo-realistic. However, in terms of exploration of experience, artistic films are much closer to Indian reality than popular films which are mostly fiction
