Essay on kannada Cienima in kannada
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Essay on Kannada Cinema!
Guppi Veerarma, who was closely associated with the theatre, is seen as the pioneer in making of silent films in Kannada though his film project never got completed. Surya Film Company begun by Haribhai R. Desai and Bogilal C. Dave of Sharada Film Company in Bombay (now, Mumbai) made some 40 silent films in four years (till 1932).
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The 1930s saw the rise of film companies including Karnataka Pictures Corporation, Surya Prakash Film Company, Mysore Pictures Corporation and Ramesh Film Company. Noted film-makers of the 1930s were Kota Shivarama Karanth and Mohan Bhavanaru who made the remarkable Vasanthasena based onthe Sanskrit drama Mritcha Katika by Sudraka. It turned out to be an exception as it was neither a stunt movie nor a devotional film nor a fantasy.
The Kannada talkies era began in 1934 with Sati Sulochana which was followed by Bhakta Dhruva (or Dhruvkumar). The first studio in Karnataka was the Mysore Sound Studio started by V.R. Thimmaiah in 1937. The Navjyothi Studio was set up by G.R. Ramaiah in 1947 (closed in 1956); it produced Rajasurya Yaga. The Premier Studio was one of the early prominent studios.
In the 1930s and the 1940s, Kannada films were made by those who were not Kannada speakers. Only 15 films were produced till 1943, popular films of the 1940s being Jeevana Nataka, Vani Hemareddy Mallamma, Naga Kannika and Jagan Mohini.
In the 1950s, some 98 films were made. A landmark venture was Bedara Kannappa (1954) that began the career of Rajkumar, perhaps the most noted artist in Kannada films. Naandi (1964) by Lakshminarayan, featuring Rajkumar, was the first Kannada film to earn national recognition.
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The 1960s saw the rise of directors like Lakshminarayan (Uyyale, Mukti, Abachurina Post Office, Bettada Hoovu); B.R. Panthulu (School Master, Kithuru Chennamma); and Puttanna Kanagal who made (Bellimoda, Sarapanjara, Nagara Haavu, Upasane, Billi Hendthi, Katha Sangama and Gejje Pooje).
The 1970s began with a bang: Samskara (1970) of Pathabhi Rama Reddy heralded the new cinema movement in Kannada and won the National Award for Best Feature Film. G.V. Iyer’s Vamsa Vriksha (1972), directed by Girish Karnad and B.V. Karanth, and became popular. G.V. Iyer directed Hamsageetha (1975) and won accolades.
He was the first to make a film in Sanskrit, Adi Sankaracharya, in 1984. He also made Madhavacbarya in Kannada (1986) and Ramanujacharya (1988) in Tamil, and his second Sanskrit film Bhagavad Gita in 1993, for which he won the National Award.
Among the film-makers who were prominent in the 1970s were Girish Karnad, B.V. Karanth and M.S. Sathyu. Kamad made Kaadu in 1974, dealing with the damage to village life and value, and Ondanondu Kaladalli (1978). He made Tabbaliyu Neenada Magatie in 1977 with B.V. Karanth who had made Chomana Dudi (1975) that won the President’s Gold Medal Award. M.S. Sathyu, maker of Garam Hawa in Hindi (1975), made Kanneswara Rama (1977), Chitegu Chititu (1978) and Bara (1982).
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Girish Kasaravalli made Ghatashraddha (1977), and won the President’s Gold Medal for it. He has directed films like Aakramana, Moori Darigalu, Tabarana Kathe, Bannada Vesha, Mane, Kraurya, Thai Saheb, Dweepa, Hasina and Naayi Neralu. Tabarana Kathe, Thai Saheb and Dweepa have won the President’s Gold Medal Award for the Best Feature Film.
The noted Kannada directors of the 1970s and the 1980s include P. Lankesh (Pallavi, Anuroopa, Khandavideko, Mamsa Videko, Ellinadalo Bandavaru), Nanjaraj Urs (Sankalpa), Chandrasekhara Kambara (Kaadu Kudre), V.R.K. Prasad (Rishya Sringa), T.S. Nagabharana (Grahana, Banker Maargayya, Asphota, Santa Shishunala Shariffa, Mysoora Mallige), T.S. Ranga (Geejgana Goodu, Savithri, Giddh), C.R. Simha (Kakanakote) and Katte Ramachandra (Arivu).
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Subject area Strategy. Study level/applicability This case can be used on a strategic management course in the second year of an MBA programme, any special elective course on the media and entertainment industry and in executive education programmes to demonstrate the application of strategic management concepts and frameworks. Case overview The Indian film industry was the largest in the world and the seventh largest in terms of revenue. Significant number of movies were made in languages such as Bengali, Marathi, Telugu, Tamil, Malayalam and Kannada, with Hindi commanding the highest number. The film industry in Karnataka made movies in the Kannada language. The industry was plagued by a host of issues with the industry contributing just 2 per cent of the revenues and box office success rate at just around 25 per cent. The state government had set up Karnataka Chalanachitra Academy with the objective of promotion and development of the movie industry in Karnataka. The Chairman of the academy, Shailesh Singh, was extremely concerned about the poor success rate of Kannada movies and was contemplating various options of reviving the ailing Kannada movie industry. Expected learning outcomes The expected learning outcomes are as follows: application of strategic management frameworks in the context of the movie industry; analysis of industry issues from the long-term and short-term perspectives; study of different entities in the movie industry and the roles they play and their interdependence; applying learning to suggest survival strategies in an extremely competitive market; and insights into the role of government in the media/entertainment industry.Shankar, Author, ‘Chitrakathe Haagendarenu?’ (Screenplay: What’s That?) Director of films such as Ulta Palta and Wrong Number, N S Shankar has also worked as a screenwriter and journalist. The book ‘Chitrakathe Haagendarenu?’ was released in 2018 ...