Tamil cinema
| South Asian cinema |
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Tamil cinema (also referred to as the cinema of Tamil Nadu, the Tamil film industry, or Chennai film industry) is the Tamil language filmmaking industry, based in Chennai, Tamil Nadu India. It is based in Chennai's Kodambakkam district, where several Tamil language feature films are produced, which has led to a reference to the district and industry as Kollywood (Tamil: கோலிவுட் kōlivūṭ), a portmanteau of the words Kodambakkam and Hollywood. Tamil cinema is known for being India's second largest film industry after Bollywood on first, in terms of revenue and worldwide distribution.[1]
Silent movies were produced in Chennai since 1916 and the era of talkies dawned in 1931 with the film Kalidas. By the end of the 1930s, the State of Madras legislature passed the Entertainment Tax Act 1939. Tamil Nadu cinema has had a profound effect on the film making industries of India, with Chennai becoming a hub for the filmmaking industries of other languages, including Telugu cinema, Malayalam cinema, Kannada cinema, Hindi cinema, Sinhalese cinema and Sri Lankan Tamil cinema in the 1900s. Tamil–language films are further made in other countries. Today, Tamil films are distributed to various overseas theatres in South Asia, including Sri Lanka, Singapore, and Malaysia; East Asia, including Japan and South Korea; as well as Oceania, Southern Africa, Western Europe, North America, and other significant Tamil diaspora regions.
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History
A visiting European exhibitor first screened (date unknown) a selection of silent short films at the Victoria Public Hall in Madras. The films all featured non-fictional subjects; they were mostly photographed records of day-to-day events.
Early exhibitors
In Madras (now known as Chennai), the Electric Theatre was established for the screening of silent films. It was a favourite haunt of the British community in Madras. The theatre was shut down after a few years. This building is now part of a post office complex on Anna Salai (Mount Road). The Lyric Theatre was also built in the Mount Road area. This venue boasted a variety of events, including plays in English, Western classical music concerts, and ballroom dances. Silent films were also screened as an additional attraction. Samikannu Vincent, an employee of the South Indian Railways in Trichy, purchased a film projector and silent films from the Frenchman Du Pont and set up a business as film exhibitor. He erected tents for screening films. His tent cinema became popular and he travelled all over the state with his mobile unit. In later years, he produced talkies and also built a cinema in Coimbatore.
To celebrate the event of King George V's visit in 1909, a grand exhibition was organised in Madras. Its major attraction was the screening of short films accompanied by sound. A British company imported a Crone megaphone, made up of a film projector to which a gramophone with a disc containing prerecorded sound was linked, and both were run in unison, producing picture and sound simultaneously. However, there was no synched dialogue. Raghupathy Venkiah Naidu, a successful photographer, took over the equipment after the exhibition and set up a tent cinema near the Madras High Court. R. Venkiah, flush with funds, built in 1912 a permanent cinema in the Mount Road area named Gaiety Theatre. It was the first in Madras to screen films on a full-time basis. This theatre is still functioning, although under different ownership.
In tent cinemas, there were usually three classes of tickets: the floor, bench and, chair. The floor-ticket purchaser sat on sand to watch the movie, but he enjoyed certain advantages that other patrons did not. He could sit as he pleased, or he could turn over and take a short nap when the narrative was particularly dull and roll back again when the action was again to his liking—luxuries in which the upper class could never indulge.
Film studios
1916 marked the birth of Tamil cinema with the first Madras production and South Indian film release Keechaka Vaadham (The Destruction of Keechaka).[2] During the 1920s, silent Tamil-language movies were shot at makeshift locations in and around Chennai, and for technical processing, they were sent to Pune or Calcutta. Later some movies featuring M. K. Thyagaraja Bhagavathar were shot in Pune and Calcutta. In the 1930s AVM set up its makeshift studio in the town of Karaikudi, and during the same decade, full-fledged Movie studios were built in Salem (Modern Theatres Studio) and Coimbatore (Central Studios, Neptune, and Pakshiraja). By the mid 1940s, Chennai became the hub of Studio activity with two more movie Studios built in Chennai, Vijaya Vauhini Studios and Gemini Studios. Later, AVM Studios shifted its operations to Chennai. Thus, with the undivided Madras Presidency being the Capital to most of South India, Chennai became the center for Tamil- and notable Telugu-language movies. Also, most of the pre-independence era drama and stage actors joined the movie industry from the 1940s, and Chennai became the hub for South Indian–language film production and Sri Lankan cinema before independence.
Film music
Ilaiyaraaja and A. R. Rahman are music directors from the Chennai film industry and have an international following.[3][4] Other prominent Tamil film score and soundtrack composers in the industry include Yuvan Shankar Raja, Harris Jayaraj, Karthik Raja and Vidyasagar. Several international composers have used Chennai's studios to record music for projects, as have composers from other film industries. S. Rajeswara Rao was based in Chennai from the 1940s. During the 2000's film composer M. S. Viswanathan was popular, with interest in Tamil film songs being re-ignited with the audio revolution.[5]
Politics
The Tamil film industry has a long intertwining link with politics, dating from the earliest days of regional cinema, where stories, themes and characters derived from Tamil traditional folk ballads have inspired screenplays and have become vehicles for creating future politicians.[6] The first non congress Chief Minister C. N. Annadurai and the current Chief Minister M. Karunanidhi were directors and script writers. M. G. Ramachandran, who was a commercial film actor, had served as the Chief Minister of Tamil Nadu for more than a decade. The current opposition leader J. Jayalalithaa was also an actress. And current members of legislative assembly(MLA) of Tamil Nadu includes Vijayakanth and S.Ve.Sekar.
Distribution and popularity
Tamil films constitute India's most popular films along with Bollywood films.[7] They have one of the widest overseas distribution, with large audience turnout from the Tamil diaspora alongside Hindi films. The Chennai film industry produced the first nationally distributed film across India in 1948 with Chandralekha.
Tamil films have enjoyed consistent popularity among populations in India, Sri Lanka, Singapore, South Africa, Canada and Malaysia. They have recently become popular in Japan (particularly Muthu, directed by K. S. Ravikumar, and Indira, directed by Suhasini Mani Ratnam).
Ayngaran International and BIG Cinemas have emerged as the top distributors for Tamil films in the UK and US markets respectively.
Within India, Aascar Films, Pyramid Saimira, AGS Entertainment, et al handle distribution. The most successful Tamil film ever, K. S. Ravikumar-directed Dasavathaaram, was distributed by Walt Disney Pictures in Canada.
Many Tamil-language films have premiered or have been selected as special presentations at various prestigious film festivals across the world, such as Mani Ratnam's Kannathil Muthamittal, Veyyil and Ameer Sultan's Paruthiveeran. More recently, Kanchivaram, directed by Priyadarshan, was selected to be premiered at the Toronto International Film Festival. Films like Thevar Magan, Indian and Jeans had been selected by India for Best Foreign Language Film for the Academy Awards. Mani Ratnam's Nayagan (1987) was included in Time magazine's "All-TIME" 100 best movies list.[8]
Tamil films enjoy significant patronage in neighbouring Indian states like Kerala, Karnataka and Andhra Pradesh. In Kerala and Karnataka the films are directly released in Tamil but in Andhra Pradesh they are generally dubbed into Telugu. Many successful Tamil films have been remade by the Hindi and Telugu film industries. It is estimated by the Manorama Yearbook 2000 (a popular almanac) that over 5,000 Tamil films were produced in the 20th century. Tamil films have also been dubbed into other languages, thus reaching a much wider audience.
Tamil language films are produced in other cinema hubs. The film My Magic directed by Singaporean Eric Khoo became Singapore's first film to be nominated for the Palme d'Or at Cannes. There has been a growing presence of English in dialogue and songs in Chennai films. It is not uncommon to see movies that feature dialogue studded with English words and phrases, or even whole sentences. Some movies are also simultaneously made in two or three languages (either using subtitles or several soundtracks). Chennai's film composers have popularised their highly unique, syncretic style of film music across the world. Quite often, Tamil movies feature Madras Tamil, a colloquial version of Tamil spoken in Chennai.
Actors
Tamil cinema was dominated by P. U. Chinnappa and M. K. Thyagaraja Bhagavathar during the 1940s.[9][10]
From the 1950s through the 1970s, the industry was dominated by M. G. Ramachandran and Sivaji Ganesan.[11]
From the 1980s till date, Kamal Haasan and Rajinikanth, have maintained a strong grip on the box office despite the introduction of new technologies and business models.Since 2000s,vijay and Surya have large fan base.
Union associations
The industry includes several groups who organize their own events based on different issues of major concern. Rather than forming separate and distinct groups, each association occasionally collaborate for certain events. These associations are based on profession in the industry, such as a directors' association or producers' association.
The most notable association is the South Indian Film Artistes' Association which is a group of all prominent Tamil film actors. Formed in 1952 under the leadership of actor Sivaji Ganesan, the association has continued to conduct several protests and hunger strikes for certain political and humanitarian issues, in efforts to make positive changes in the Indian and Tamil society. Specifically, they govern film or media-related problems or conflicts that may arise to its members. The current president of the association is the actor-turned-politician R. Sarath Kumar.
Other associations include the Association of Tamil Film Directors which is headed by director Bharathiraja and the Tamil Film Producers' Council, headed by film producer Rama Narayanan, who often meet to make cinema-related decisions. A more general association that incorporates all kinds of film personalities (actors, directors, producers, cinematographers, composers, etc.) include the well known Film Employees' Federation of South India (FEFSI). They often successfully pledge for the welfare of low-income film workers, such as lighting technicians and stunt coordinators.
Business model
There are 3 major roles in the Tamil film value chain viz producer, distributor and exhibitor.[12]
Distribution business model
The distributor purchases theatrical distribution rights from the producer for exhibiting the film in a defined territory. The distributor performs enhanced functions such as:
- part-financing of film (incase of minimum guarantee / advance based purchase of film rights)
- localised marketing of film
- selection of exhibition halls
- managing the logistics of physical print distribution
There are three popular approaches to transfer of distribution rights via distribution contracts:
- Minimum Guarantee + Royalty - Here, the producer sells the distribution rights for a defined territory for a minimum lump sum irrespective of the box office performance of the film. Any surplus is shared between the producer and distributor, in a pre-set ratio (typically 1:2) after deducting entertainment tax, show rentals, commission, print costs and publicity costs. Effectively, the distributor becomes a "financier" in the eyes of the market. This is the most common channel available to high budget producers.
- Commission - Here, the distributor pays the producer the entire box office collection after deducting commission. So, the entire risk of box office performance of the film remains with the producer. This is the most common channel available to low budget producers.
- Outright Sale - Here, the producer sells all distribution and theatrical rights for a defined territory exclusively to a distributor. Effectively, the distributor becomes a "producer" in the eyes of the market. So, the entire risk of box office performance of the film remains with the distributor.
Exhibition business model
There are four popular approaches to transfer of exhibition rights via exhibition contracts:
- Theatre Hire - Here, the exhibitor pays the distributor the entire box office collection after deducting entertainment tax and show rentals. So, the entire risk of box office performance of the film remains with the distributor. This is the most common channel for low budget films, casting rank newcomers, with unproven track record.
- Fixed Hire - Here, the exhibitor pays the distributor a maximum lump sum irrespective of the box office performance of the film. Rental is not chargeable per show. Any surplus after deducting entertainment tax is retained by the exhibitor. Effectively, the exhibitor becomes a "producer" in the eyes of the market. So, the entire risk of box office performance of the film remains with the exhibitor. This is the most common channel for high budget films, casting established front-runners, with proven track record.
- Minimum Guarantee + Royalty - Here, the exhibitor pays the distributor a minimum lump sum irrespective of the box office performance of the film. Any surplus after deducting entertainment tax and show rental is shared in a pre-set ratio (typically 2:1) between the exhibitor and distributor. But risk of deficit remains with the exhibitor. This is the most common channel preferred by single screens.
- Revenue Share - Here, the exhibitor shares with the distributor, in a pre-set ratio (typically 1:2), the entire box office collection of the film after deducting entertainment tax. Rental is not chargeable per show. So, the entire risk of box office performance of the film is shared between the exhibitor and distributor. This is the most common channel preferred by multiplex screens.
Industrial trends
Average annual film output in Tamil film industry peaked in 1985.
Given below is a chart of trend of box office collections of cinemas in Tamil Nadu with figures in millions of United States Dollars. The data excludes the market segments of in-film advertisement, celebrity branding, mobile entertainment, stage, DVD and other intellectual property rights.
Chandralekha produced in 1948 at a cost of almost $600,000 ($28 million in 2008 prices) remains the most expensive Tamil film ever. The film was released in 609 screens worldwide with subtitles.
The Tamil film market accounts for approximately 0.1% of the gross domestic product of the state of Tamil Nadu. In the year 2007 a record 108 movies were released.[13] For the purpose of entertainment taxes, returns have to be filed by the exhibitors weekly (usually each Tuesday). [14] Costs of production have grown exponentially from just under 
40 lakhs in 1980 to over 11 crores by 2005 for a typical star-studded big-budget film. Similarly, costs of processing per print have risen from just under 2,500 in 1980 to nearly 70,000 by 2005.
The Tamil Nadu government has made provisions for an entertainment tax exemption for Tamil movies having pure Tamil word(s) in the title. This is in accordance with Government Order 72 passed on July 22, 2006. The first film to be released after the new Order was Unakkum Enakkum. The original title had been Something Something Unakkum Ennakkum, a half-English and a half-Tamil title.
Domestic exhibitors
There are about 1800 cinema-halls located in Tamil Nadu.[15]
See also
- Cinema of the world
- List of Tamil-language films
- List of highest-grossing Tamil-language films
- List of Tamil actors
- Cinema of India
- Filmfare Awards South
- Tamil Nadu State Film Awards
- International Tamil Film Awards
- Cinema of Sri Lanka
- World Fastest Movie
References
- ↑ http://www.moneycontrol.com/news/business/prime-focus-expands-india-operations-_275679.html
- ↑ Velayutham, Selvaraj (2008). "'India' in Tamil silent era cinema". Tamil Cinema: The Cultural Politics of India's Other Film Industry. Routledge. pp. 156. ISBN 9780415396806. http://books.google.com/?id=65Aqrna4o5oC&dq=Tamil+cinema.
- ↑ Kasbekar, Asha (2006). Pop Culture India!: Media, Arts and Lifestyle. ABC-CLIO. pp. 215. ISBN 9781851096367. http://books.google.com/?id=Sv7Uk0UcdM8C&pg=PA215&dq=A.+R.+Rehman+tamil. "Songs play as important a part in South Indian films and some South Indian music directors such as A. R. Rehman and Ilyaraja have an enthusiastic national and even international following"
- ↑ Arnold, Alison (2000). "Film music in the late Twentieth century". The Garland Encyclopedia of World Music. Taylor & Francis. pp. 540. ISBN 9780824049461. http://books.google.com/?id=ZOlNv8MAXIEC&pg=RA2-PA555&dq=A.+R.+Rahman+tamil+film+music. "The recent success of the Tamil film music director A. R. Rehman in achieving widespread popularity in the world of Hindi film music is now possibly opening doors to new South-North relationships and collaborations"
- ↑ Arnold, Alison (2000). "Pop Music and Audio-Cassette Technology: Southern Area - Film music". The Garland Encyclopedia of World Music. Taylor & Francis. ISBN 9780824049461. http://books.google.com/?id=ZOlNv8MAXIEC&pg=RA2-PA554&dq=A.+R.+Rehman+tamil. "The popularity of classic Tamil film songs from the 1950s, 1960s and 1970s have been revived through cassettes, making the villages popular-music time capsules. Such songs usually foreground a playback singer's voice against a backdrop of light Carnatic instrumentation including harmonium, vina, tabla and miridangam. In Tamil Nadu, the most popular old film songs are from films featuring the actor turned politician M. G. Ramachandran"
- ↑ Abram, David; Nick Edwards, Mike Ford, Devdan Sen, Beth Wooldridge (2003). "Of movie stars and ministers". South India. Rough Guides. pp. 422. ISBN 9781843531036. "One notable difference between the Chennai movie industry and its counterpart in Mumbai is the influence of politics on Tamil films - an overlap that dates from the earliest days of regional cinema, when stories, stock themes and characters were derived from traditional folk ballads about low caste heroes vanquishing high caste villains"
- ↑ Singh, Sarina (2003). "Film Studios". India. Lonely Planet. pp. 964. ISBN 9781740594219. "Chennai's film industry now rivals that of Bollywood (Mumbai) for output"
- ↑ Nayakan, All-Time 100 Best Films, Time Magazine, 2005
- ↑ http://www.lakshmansruthi.com/legends/puc.asp
- ↑ http://www.chakpak.com/celebrity/m.k.-thyagaraja-bhagavathar/biography/16695
- ↑ http://www.indianmalaysian.com/sound/modules.php?name=News&file=article&sid=536
- ↑ Business model of Indian films (page 40)
- ↑ http://www.hinduonnet.com/thehindu/fr/2007/12/28/stories/2007122850050100.htm Superstars dominate
- ↑ http://www.tnsalestax.com/briefent.htm
- ↑ A boon to film-buffs.
Further reading
- Arnold, Alison (2000). "Pop Music and Audio-Cassette Technology: Southern Area - Film music". The Garland Encyclopedia of World Music. Taylor & Francis. ISBN 9780824049461. http://books.google.com/?id=ZOlNv8MAXIEC&pg=RA2-PA554&dq=A.+R.+Rehman+tamil.
- Bhaskaran, Theodore, Sundararaj (1996). Eye of The Serpent: An Introduction to Tamil Cinema. Chennai / University of Michigan: East West Books.
- Gokulsing, K.; Moti Gokulsing, Wimal (2004). Indian Popular Cinema: A Narrative of Cultural Change. Trentham Books. pp. 132. ISBN 1858563291. http://books.google.com/?id=_plssuFIar8C&pg=PA132.
- Shohini Chaudhuri (2005). Contemporary World Cinema: Europe, the Middle East, East Asia and South Asia. Edinburgh University Press. pp. 149. ISBN 074861799X. http://books.google.com/?id=qOXoeyesZOIC&pg=PA149.
- Chinniah, Sathiavathi (2001). Tamil Movies Abroad: Singapore South Indian Youths and their Response to Tamil Cinema. 8. Kolam.
- Guy, Randor (1997). Starlight, Starbright : The Early Tamil Cinema. Chennai. OCLC 52794531.
- Hughes, Stephen P. (February 24–25, 2005). "Tamil Cinema as Sonic Regime: Cinema Sound, Film Songs and the Making of a Mass Culture of Music". New Perspectives on the Nineteenth and Twentieth Century. Keynote address: South Asia Conference at the University of Chicago. Chicago, Illinois.
- Kasbekar, Asha (2006). Pop Culture India!: Media, Arts and Lifestyle. ABC-CLIO. ISBN 9781851096367. http://books.google.com/?id=Sv7Uk0UcdM8C&pg=PA215&dq=A.+R.+Rehman+tamil.
- Ravindran, Gopalan (March 17–18, 2006). "Negotiating identities in the Diasporic Space: Transnational Tamil Cinema and Malaysian Indians". Cultural Space and Public Sphere in Asia, 2006. Seoul, Korea: Korea Broadcasting Institute, Seoul.
- Nakassis, Constantine V.; Dean, Melanie A. (2007). "Desire, Youth, and Realism in Tamil Cinema". Journal of Linguistic Anthropology 17: 77–104. doi:10.1525. http://www.anthrosource.net/doi/abs/10.1525/jlin.2007.17.1.77.
- Velayutham, Selvaraj (2008). Tamil Cinema: The Cultural Politics of India's Other Film Industry. Routledge. ISBN 9780415396806. http://books.google.com/?id=65Aqrna4o5oC&dq=Tamil+cinema.
- To read magazines like 'சினிமா அந்தரங்கம்' and 'ரொமான்ஸ் ரகசியம்' which contains latest tamil cinema news
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