The iconic globular statue of, the oldest surviving studio in India No. Of 1546 () Main distributors Produced feature films (2014) Total 326 Number of admissions (2015) Total 100 million Gross box office (2015) National films: ₹3,750 crore (US$580 million) Tamil cinema is produced in the language. Based in the Indian state of, the hub of the Tamil film industry is in the neighbourhood of. Kollywood is a colloquial term used to describe this industry, the word being a of Kodambakkam and.

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The first Tamil silent film,, was made by in 1918. The first talking motion picture,, was a multilingual and was released on 31 October 1931, less than seven months after India's first talking motion picture. By the end of the 1930s, the of the passed the Entertainment Tax Act of 1939. Tamil cinema later had a profound effect on other filmmaking industries of India, establishing Madras (now Chennai) as a secondary hub for Hindi cinema, other South Indian film industries, as well as. Over the last quarter of the 20th century, Tamil films from India established a global presence through distribution to an increasing number of overseas theatres in, Sri Lanka, Malaysia, Japan, the Middle East, parts of Africa, Oceania, Europe, and North America.

The industry also inspired independent filmmaking in populations in Malaysia, Singapore, and the. Contents • • • • • • • • • • • • • • • History [ ] Early exhibitors [ ] In 1897, M. Edwards first screened a selection of silent short films at the in. The films all featured non-fictional subjects; they were mostly photographed records of day-to-day events. The film scholar Stephen Hughes points out that within a few years there were regular ticketed shows in a hall in Pophams Broadway, started by one Mrs. Klug, but this lasted only for a few months.

Once it was demonstrated as a commercial proposition, a Western entrepreneur, Warwick Major, built the first cinema theatre, the Electric Theatre, which still stands. 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 (). The Lyric Theatre was also built in the Mount Road area. This venue boasted a variety of events, including plays in English, classical music concerts, and dances. Silent films were also screened as an additional attraction., a railway draftsman from Tiruchirapalli, became a travelling exhibitor in 1905. He showed short movies in a tent in Esplanade, near the present Parry's Corner, using carbide jet-burners for projection. He bought the and silent films from the Frenchman and set up a business as.

Soon, he tied up with Path, a well-known pioneering film-producing company, and imported projectors. Free Download Adidas 316l Watch Manual Programs And Features. This helped new cinema houses to sprout across the presidency. In later years, he produced and also built a cinema in.

To celebrate the event of 's visit in 1909, a grand was organized in. Its major attraction was the screening of short films accompanied by sound. A British company imported a Crone, made up of a film projector to which a with a disc containing prerecorded sound was linked, and both were run in unison, producing picture and sound simultaneously. However, there was no synched. Raghupathy Venkiah Naidu, a successful photographer, took over the equipment after the exhibition and set up a tent cinema near the. With this equipment, he screened the short films Pearl Fish and Raja's Casket in the Victoria Public Hall.

When this proved successful, he screened the films in a tent set up in Esplanade. These tent events were the true precursors of the cinema shows. Venkiah traveled with this unit to Burma (now Myanmar) and Sri Lanka, and when he had gathered enough money, he put up a permanent cinema house in Madras—Gaiety, in 1914, the first cinema house in Madras to be built by an Indian. He soon added two more, Crown Theatre in Mint and Globe (later called Roxy) in Purasawalkam. Swamikannu Vincent, who had built the first cinema of in, introduced the concept of 'Tent Cinema' in which a tent was erected on a stretch of open land close to a town or village to screen the films. The first of its kind was established in, called 'Edison's Grand Cinemamegaphone'.

This was due to the fact that electric carbons were used for motion picture projectors. Most of the films screened then were shorts made in the United States and Britain. In 1909, an Englishman, T. Huffton, founded Peninsular Film Services in Madras and produced some short films for local audiences. But soon, hour-long films, which narrated dramatic stories, then known as 'drama films', were imported. From 1912 onwards, feature films made in Bombay (now Mumbai) were also screened in Madras.

The era of short films had ended. The arrival of drama films firmly established cinema as a popular entertainment form. More cinema houses came up in the city. Fascinated by this new entertainment form, an automobile dealer in the Thousand Lights area of Madras, R. Nataraja Mudaliyar, decided to venture into film production. After a few days’ training in Pune with the cinematographer Stewart Smith, the official cinematographer of Lord Curzon’s 1903 Durbar, he started a film production concern in 1916.

The man who truly laid the foundations of south Indian cinema was A. After a few years in film distribution, he set up a production company in Madras, the General Pictures Corporation, popularly known as GPC. Beginning with The Faithful Wife/ Dharmapathini (1929), GPC made about 24 feature films. GPC functioned as a film school and its alumni included names such as Sundara Rao Nadkarni and Jiten Banerji. The studio of GPC was housed in the Chellapalli bungalow on Thiruvottiyur High Road in Madras. This company, which produced the most number of Tamil silent films, had branches in Colombo, Rangoon and Singapore.

The Ways of Vishnu/ Vishnu Leela, which R. Prakasa made in 1932, was the last silent film produced in Madras. Unfortunately, the silent era of south Indian cinema has not been documented well. When the talkies appeared, film producers had to travel to Bombay or Calcutta to make films.

Most films of this early period were celluloid versions of well-known stage plays. Company dramas were popular among the Madras audience. The legendary Otraivadai drama theatre had been built in 1872 itself in Mint. Many drama halls had come up in the city where short silent films were screened in the afternoon and plays were enacted in the night. The scene changed in 1934 when Madras got its first sound studio. By this time, all the cinema houses in Madras had been wired for sound.

Narayanan, who had been active during the silent era, founded Srinivasa Cinetone in which his wife worked as the sound recordist. Srinivasa Kalyanam (1934), directed by Narayanan, was the first sound film (talkie) produced in Madras. The second sound studio to come up in Madras was Vel Pictures, started by M. Rajan on Eldams Road in the Dunmore bungalow, which belonged to the Raja of Pithapuram. Before long, more sound studios came up.

Thirty-six talkies were made in Madras in 1935. Influences [ ] The main impacts of the early cinema were the cultural influences of the country. The was the medium in which many plays and stories were written since the ages as early as the. They were highly stylised and nature of the spectacle was one which could attract the people. Along with this, music and dance were one of the main entertainment sources. There is a strong Indian tradition of narrating mythology, history, and so on through song and dance.

Whereas Hollywood filmmakers strove to conceal the constructed nature of their work so that the realistic narrative was wholly dominant, Indian filmmakers made no attempt to conceal the fact that what was shown on the screen was a creation, an illusion, a fiction. However, they demonstrated how this creation intersected with people's day-to-day lives in complex ways.

By the end of the 1930s, the State of Madras legislature passed the Entertainment Tax Act 1939. Studios [ ] In the year 1916 a studio, the first in south India, was set up in Madras at 10 Millers Road, Kilpauk. He called it the India Film Company. Rangavadivelu, an actor from Suguna Vilasa Sabha, a theatre company then, was hired to train the actors. Thirty-five days later, the first feature film made in south India, The Extermination of Keechakan/Keechakavatham, based on an episode from the Mahabharata, was released produced and directed by R. Nataraja, who established the India Film Company Limited ( The Destruction of Keechaka). Despite a century of increasing box office takings, Tamil cinema remains informal and dominated by shell companies, or one-film wonders, born and dead in a matter of months.

Nevertheless, there are few exceptions like Modern Theatres, Gemini Studios, AVM and Sri Thenandal Films that survived beyond 100 productions. Exhibitor strike 2017 [ ] In 2017, opposing the dual taxation of GST (28%) and entertainment tax (30%), Tamilnadu Theatre Owners Association announced indefinite closure of all cinemas in the state from 3rd July 2017. The strike has been called off and the cinemas will be playing the movies starting Friday 7th July 2017. Government has formed a committee to decide on the existence of state's 30% entertainment tax. Its reported that, per day business loss during the strike was around ₹ 20 crores.

Distribution [ ]. See also: Annual admissions in Chennai multiplexes and single screens averaged 11 million tickets with a standard deviation of ±1 million tickets during 2011-16.

The Chennai film industry produced the first nationally distributed film across India in 1948 with. They have one of the widest overseas distribution, with large audience turnout from the alongside films. They are distributed to various parts of Asia, Africa, Western Europe, North America and Oceania. Many successful Tamil films have been remade by other 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. 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).

Have popularised their highly unique, syncretic style of film music across the world. Quite often, Tamil movies feature, a colloquial version of Tamil spoken in. Film Federation of India. Retrieved 21 April 2014.

Retrieved 21 April 2014. • Hiro, Dilip (2010).. Business Standard.

25 January 2006. Retrieved 2012-02-19.

Chennai, India. 7 September 2009. Retrieved 29 June 2011. • Velayutham, Selvaraj.. Government of Tamil Nadu. Archived from (PDF) on 15 October 2011. Retrieved 26 September 2011.

• Written by Roy Stafford • Pillai, Sreedhar.. Retrieved 2017-03-09. Archived from on 3 September 2011. Retrieved 6 October 2011. 12 June 2011.

Retrieved 26 September 2011. Chennai, India:. Retrieved 26 September 2011. Chennai, India. 9 August 2011.

Retrieved 26 September 2011. Retrieved 22 February 2013.

• Rajmohan, Joshi.. Retrieved 29 June 2016. Chennai, India. 30 April 2010. Retrieved 26 September 2011.

Retrieved 12 May 2011. Retrieved 12 May 2011. • Velayutham, Selvaraj (2008).

' 'India' in Tamil silent era cinema'.. • IANS (2017-06-30)..

The Economic Times. Retrieved 2017-07-07. Retrieved 2017-07-07. Retrieved 2017-07-07. Retrieved 2017-07-07. The Indian Express. Retrieved 2017-07-07.

• Vaitheesvaran, Bharani (2017-07-06).. The Economic Times. Retrieved 2017-07-07. • Singh, Sarina (2003). 'Film Studios'. Chennai's film industry now rivals that of Bollywood (Mumbai) for output •..

Retrieved 27 September 2011. Chennai, India. Retrieved 29 June 2011. • Gokulsing, K.; Wimal Dissanayake (2004)..

Trentham Books. Chennai, India. 18 April 2008. Retrieved 30 June 2011. • • • Baskaran, Sundararaj Theodore (2013).. • Movie Buzz (14 July 2011)... Retrieved 27 April 2013.

Archived from (PDF) on 22 July 2011. Retrieved 12 May 2011. • Gautaman Bhaskaran (6 January 2002).. Retrieved 10 May 2007. Archived from on 22 September 2012.

Retrieved 12 May 2011. 28 December 2007. Archived from on 9 August 2010. Retrieved 12 May 2011.

Archived from on 17 July 2011. Retrieved 12 May 2011. Missing or empty title= () • ^. Binary Fortress Multi Keygen Download there. Retrieved 22 February 2013. 27 July 2011. Retrieved 22 February 2013.

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Retrieved 26 September 2011. Government of India. Retrieved 26 September 2011. • Ashok Kumar, S.R. (2 January 2007).. Chennai, India.

Retrieved 18 January 2013. Further reading [ ] • Arnold, Alison (2000). 'Pop Music and Audio-Cassette Technology: Southern Area – Film music'..

Taylor & Francis.. • Bhaskaran, Theodore, Sundararaj (1996).

Eye of The Serpent: An Introduction to Tamil Cinema. /: East West Books.

• Gokulsing, K.; Moti Gokulsing, Wimal (2004).. Trentham Books. • Shohini Chaudhuri (2005).. Edinburgh University Press. • Chinniah, Sathiavathi (2001).

Tamil Movies Abroad: Singapore South Indian Youths and their Response to Tamil Cinema. • Guy, Randor (1997). Starlight, Starbright: The Early Tamil Cinema... • Hughes, Stephen P.

(24–25 February 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).. • Ravindran, Gopalan (17–18 March 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.

'Desire, Youth, and Realism in Tamil Cinema'. Journal of Linguistic Anthropology. • Velayutham, Selvaraj (2008).. External links [ ] • Media related to at Wikimedia Commons • - Gallery, Trailer & Videos.