CHAPTER - 1 INTRODUCTION AND RESEARCH METHODOLOGY

Transcription

1 CHAPTER - 1 INTRODUCTION AND RESEARCH METHODOLOGY 1.1. Introduction:- In India, exhibition of film began at Bombay, on 7 th July 1896, at Watson Hotel of Bombay. Lumier Brothers exhibited films as Arrival of the Train, The Sea Bath, The Demolition, etc. and launched this new entertainment media in India Film industry in India:- Movies in the western countries were being produced in the nineteenth century. At the same time around 1885, Mahadev Gopal Patwardhan performed a unique experiment Shambarika Kharolika ( kkacjhdk [kjksyhdk). This much talked about experiment was akin to today s animation. Patwardhan had hand drawn a series of small human figures with expressions smaller than five-centimetre, on a tencentimetre slide. He had drawn more than a thousand slides and he would display these slides in quick succession, thereby producing animation. He performed these slide shows all over India and had also received recognition from the British government for his efforts. Later, in 1898, Harishchandra Sakharam Bhatavdekar alis Savedada made a short film on wrestling (Kusticha Laghupat) (dqlrhpk y?kqiv). In 1901, he filmed the award ceremony of Wrangler R. P. Paranjape. The play Pundalik (iqamfyd) was converted into a movie in It was released on 18th May 1912 by Ramchandra Gopal alis Dadasaheb Torane and it made history. The Princely State of Kolhapur did not lack behind in the new world of entertainment. Anandrao and Baburao Mestri, the cousins hailed as Painter Brothers because of their painting skills, took the initiative to setting up Deccan Cinema, a film exhibition theatre in Partnership with one Vashikar in However, the partnership was soon to be dissolved for lack of investment capital. In 1914, Painter Brothers established Maharashtra Cinema in partnership with one Ruikar. They bought a damaged second hand camera which was not within their reach. They not only repaired the damaged camera but also improvised it and successfully took the trial shots. 1

2 Emboldened with the success, Anandrao wanted to devise a new movie camera. He met with an untimely death in His efforts, however, did not go waste. Baburao, his cousin, succeeded in making a movie camera and used it for shooting some swimming shots. Next, he successfully shot 1918 Bombay Special Session of Congress. Baburao Painter, who established Maharashtra Film Company in 1917, turned the dream into a reality, finance was the major obstacle. However, Tanibai Kagalkar, a well-known singer, solved that problem by offering him Rs. 15,000/-. Baburao Painter chose mythological theme Seeta Swayamwar ¼lhrk Lo;aoj½. Given the deep influence of mythology on the Indian mind, the audience for his first venture was automatically ensured. But, due to social restrictions, he could not get female artists to act in his film. As he was very particular about female artists enacting female characters, he shelved his plan of producing Seeta Swayamwar. For his next project, again a mythological theme, he chose the story of Sairandhri ¼lSja/kzh½ based on the tale of Kichak-Vadh (fdpd&o/k) (Slaying of Kichak) which was completed in recorded time. Luckily, after considerable persuasion, Gulabbai and Anusayabai agreed to act in the film. It was exhibited in Aryan Theatre, Pune, on the 7 th February Lokmanya Tilak, highly impressed, conferred the title of Cinema Kesari on Baburao Painter. Thus, the foundation of Kolhapur film industry was laid down by Baburao Painter s Sairandhri produced, by Maharashtra Film Company in The cultural background of Kolhapur in general and Chh. Shahu s liberal patronage in particular were the key factors in sowing the seeds of film industry in this state. Director Rajdatta, whose genre was family oriented films, directed the successful Madhu-chandra ¼e/kq panz½ (Honeymoon). Kashinath Ghanekar was the lead actor in it. In 1969, Raja Paranjape s Aparadh ¼vijk/k½ (Crime) bagged the best film at the Maharashtra State Film Festival Awards. Bhalji Pendharkar s Tambadi Mati ¼rkacMh ekrh½ was Dada Kondke s first movie. The songs from the movie Gharkul ¼?kjdqy½ became very popular in The music director was C. Ramchandra. At a time when Marathi cinema was struggling to find financial success, Dada Kondke s Songadya ¼lksaxkMîkk½ hit the theatres and attracted the rural as well as the 2

3 urban crowd. At the same time, in the year 1972 Pinjara ¼fiatjk½ directed by V. Shantaram became a huge hit and created history. Shriram Lagu and Sandhya were the lead actors. It had a strong screenplay, excellent acting, effective lyrics and beautiful music. Music director, Ram Kadam had worked hard to compose the music and the audience loved it. Marathi cinema refers to films produced in the Marathi language in the state of Maharashtra, India. Marathi Cinema is one of the oldest industries in Indian Cinema. In fact the pioneer of cinema in Union of India was Dadasaheb Phalke, who brought the revolution of moving images to India with his first indigenously made silent film Raja Harishchandra in 1913, which is considered by IFFI (International Film Festival of India) and NIFD part of Marathi cinema as it was made by a Marathi crew. The first Marathi talkie film, Ayodhyecha Raja ¼v;ks/;spk jktk½ (Produced by Prabhat Films) was released in 1932, just one year after Alam Ara the first Hindi talkie film. Marathi cinema has grown in recent years, with two of its films, namely "Shwaas" ¼ okl ½ (2004) and "Harishchandrachi Factory" ¼gfj kpanzkph QWDVªjh½ (2009), being sent as India's official entries for the Oscars. Today the industry is based in Mumbai, Maharashtra, but it sprouted and grew first from Kolhapur and then Pune Objectives of the Study:- 1. To study the development of Marathi Film Industry. 2. To study and analyse role of persons for growth and Prospects of Marathi Film Industry. 3. To examine and Review the functions and working of Marathi Film Industry. 4. To study socio-economic & cultural contribution of Marathi Film Industry on persons who engaged in these Industry. 5. To study socio-economic impact of Marathi Film Industry on persons who engaged in the industry. 6. To study the socio-economic & cultural conditions of actors, actress and technical who persons engaged in Marathi Film Industry in Kolhapur. 3

4 1.4. Hypothesis:- 1. Marathi Film Industry in Kolhapur has good prospects to develop in future. 2. There is favourable impact of Marathi Film Industry on persons who engaged in this industry. 3. There is good employment generation in Marathi Film Industry in Kolhapur Research Methodology:- In order to focus on research problem, all the Primary and Secondary data has been collected and analyse. The data has also been present in a systematic and concede manner. The researcher concenrted different sources related to the research problem. Interview of some persons has been conducted. In the proposed research work data collection, survey method has been adopted. At the same time questionnaire has also been used. A) Data Sources:- I) Primary Data:- Primary data has been collected from Actors, and all Artists who are taking benefit out of the film industry has used to a structure questionnaire. II) Secondary Data:- The secondary data collected through various committee reports, articles, books, magazines, newspaper and various websites. B) Duration of the Study:- The Marathi Film Industries activity has been studied from secondary data. Period of study covered for this study is from 1967 to 1990 and 1991 to C) Statistical Techniques for Data Analysis:- Keeping the objectives of the study some appropriate statistical techniques such as; Growth rates etc., has been used in analyzing the data. The researcher has finded conclusion with the help of Excel. D) Sample Design:- The study has been undertaken in Film Industry of Kolhapur. 4

5 E) Limitation of the Study:- The study has following limitations: 1) Geographical Limitation: The area of present study is limited with the Marathi Film Industries in Kolhapur. 2) Time Limitation: The result of the analysis is based on years 1967 to As data is available upto 2012, so it is added Chapter Scheme of Study:- Chapter-1: - Introduction and Research Methodology. Chapter-2: - Review of literature. Chapter-3: - Historical Background in Marathi Film Industry. Chapter-4: - Problems in Marathi Film Industries. Chapter-5: - Growth and Development of Marathi Film Industries. ( ) Chapter-6: - Employment Generation in Marathi Film Industry. Chapter-7: - Contribution of Marathi Film Industries. (Social, Cultural & Economical) Chapter-8:- Conclusions and Suggestions. 5

6 1.7. Reference:- 1. Akhil Bharatiy Marathi Chitrapat (Film) Mahamandal cinema industry.com, 3. Mujawar Isak: Gatha Marathi Cinemachi Publication No. 115, Pune. Edition 3 rd May Phadke Sudhir: Chitrasharada Chieraman- Akhil Bharatiy Marathi (Film) Chitrapat Mahamandal, Kolhapur. Published Saari Anil: Editor- Bharatiya Chitrapat 1994 Indian Cinema, - Mukta / Liberation Woman Published by the Directorate of Film Festivals, Ministry of Information and Broadcasting, Government of India, New Delhi