Saturday, 19 July 2014

Hollywood Vs Bollywood Review

India is that the largest producer of films within the world in terms of its variety of flicks in many languages. Largest movie industry in India is that the Hindi movie industry referred to as the screenland that is predicated in metropolis. Hollywood is that the yank movie industry, the most centre of that is l. a. , California.

Hollywood and its high school personnel ar deeply involved concerning the technical perfection of their movies. Technical perfection is that the major image of Hollywood movies. Even a hollywood picture show that is discharged within the 40s or 50s have a technical perfection that can not be seen even in today's screenland movies. Gone With The Wind (1939), subject Kane (1941), metropolis (1942), the massive Sleep (1946), Hen-Hur (1959), The Bridge On The stream Chinese monetary unit (1957) etc. ar best
examples. the most reason why screenland movies don't seem to be thought of for Oscar is that the lack of this preciseness and quality in movies.

Hollywood movies ar created on a range of subjects - action, phantasy, horror, comedy, drama, romance etc. This diversity in theme makes the Hollywood movies distinct and well outlined. The screenland movies ar confined to a restricted subjects. Third rate romance and low-cost comedy ar the most subjects of today's most screenland movies that is often crammed with variety of strident songs and sizzling dances. Most of those songs and dances ar forever typical and boring. Our team of film manufacturers forget that cinema is that the most powerful media and it will influence individuals considerably. Our screenland movies ar lacking a way of moral or social part. they are doing not convey a replacement expertise or a message to the individuals.

I happened to observe Associate in Nursing interview on TV with a high screenland director. He says that he visited Hollywood someday and met a number of the favored administrators there. They asked him that it's a surprise that Indians ar creating films with the assistance of a script solely. Our beloved screenland director with pride aforesaid that he has created films even while not a script. i used to be stunned why this man isn't mortified to inform such a factor to them. The Hollywood administrators in utter feeling told him to send one copy of such films. On coming to India our director sent a video tape of 1 of his superhit movies to them. meaning a success picture show in India does not necessary want a script. The Hollywood movies want plenty of paper work before the film is shot.

The individuals behind cinema ought to have a dedication in their work. The calibre of our movies is that the results of lack of this dedication. administrators like Satyajit Ray, Mrinal Sen, Syam Benegal etc. ought to be remembered here. They tried to form films with slightly of reality and perfection.

Hollywood vs. Bollywood: An Interview With Filmmaker James Kicklighter

Growing up in California, I was raised with a substantial Hollywood influence, but the Hollywood that was part of my development comprised of musicals such as Mary Poppins, The Sound of Music, and Disney films filled with song and dance. With Oscar season here, I've spent a lot of time wondering whether Bollywood is gaining power compared to Hollywood.

Looking at income generation, Bollywood sold a total of 3.6 billion tickets and earned revenues of $1.3 billion, whereas Hollywood films sold 2.6 billion tickets, but generated revenues of $51 billion. The industries vary greatly in what it costs to make a film, though the average Bollywood film is budgeted at $1.3 million, Hollywood has an average $13.6 million.

To gain a better understanding of Bollywood and Hollywood from someone on the ground and in the industry, I spoke with director of Desires of the Heart, James Kicklighter.

Does he think Bollywood is becoming more powerful than Hollywood? Kicklighter said that, “In the entertainment business, power pertains to money,” so until Bollywood begins exporting more films that are successful in markets outside of Asia, “it will not have the seat of power.”

Kicklighter notes that as Hollywood explores partnerships with financing and distribution deals, “it is clear that the market is important to Hollywood.” Kicklighter sees the main barrier to Bollywood’s power is not film output, but the accessibility to Western markets: “Bollywood has a style that is uniquely its own. As the international market becomes more important than the domestic market, I am curious to see how this relationship evolves over the next few decades.”

While we may be able to see singing and dancing in Hollywood films, Hollywood still influences Bollywood. As Kicklighter said, “In emerging markets, I believe that the Western lens is the most important.”

Is Slumdog Millionaire a Bollywood film? As the New York Times wrote, "despite the director’s strenuous denials, it could well be a Bollywood film." The film uses the homegrown version of Who Wants to Be a Millionaire, an American game show adapted for an Indian audience.

Kicklighter discussed his experience traveling in Turkey last year, while preparations were being made for an American version of ABC's Revenge. American companies are going beyond selling U.S. TV shows abroad, “Now, they are selling shows with pre-existing scripts to networks in local countries, casting their own local favorite actors. To my knowledge, other countries are not doing anything like that.”

Kicklighter’s most recent film, Desires of the Heart explores facets of two cultures. It is the story of Dr. Kris Sharma (portrayed by Val Lauren), a psychiatrist from India practicing in Savannah, Ga., where he meets Madeline (Alicia Minshew), a local artist with a mysterious past. But as their relationship begins to blossom in America, Kris is summoned home by his brother, Pradeep (Gulshan Grover) to marry the woman chosen by his parents.

Kicklighter believes that as the world continues to grow closer, it is the homogenization of culture that is the most negative aspect of globalization.

During the course of shooting part of the film in India, Kicklighter and his team were in Rajasthan, in the province closest to Pakistan. As he recalls, “I remember seeing a large poster of Joseph Gordon-Levitt's film Looper at the movie theater right in front of the market. There were cows sitting in the road while dust flew up from the stores. The building had its own local flavor, designed like the other area buildings."

He saw this in stark contrast to the megaplex in New Delhi, which was just like any other in the U.S., next to "Coffee Bean and Tea Leaf, Hard Rock Cafe, Gucci, among every other global brand you can imagine."

What may be more pervasive are the retail malls which echo a global influence of American power, and thus, as Kicklighter sees it, “the power of Hollywood.” The question may not be one of Bollywood mimicking Hollywood, but a global cinema usurping the local.

"I fear that the days of the small, local theater in Rajasthan, even though they carry American movies, are soon to be in the past."

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