film

film, chalachitr athva cinema mein chitron ko is tarah ek ke baad ek pradarshit kiya jaata hai jisse gati ka aabhaas hota hai. filmein aksar vidiyo camere se rikaard karke banaai jaati hain, ya fir enimeshan vidhiyon ya spaishal ifaikts ka prayog karke. aaj ye manoranjan ka mahattvapoorn saadhan hain lekin inka prayog kala-abhivyakti aur shiksha ke liye bhi hota hai. Bhaarat vishv mein sabse adhik filmein banaata hai. film udyog ka mukhya kendra Mumbai hai, jise amareeka ke filmotpaadan kendra Hollywood ke naam par Bollywood kaha jaata hai. bhaarateeya filme videsho me bhi dekhi jaati hai

anukram

parichay

cinema beesaveen shataabdi ki sarvaadhik lokapriya kala hai jise prakaash vigyaan, [[rasaayan vigyaan], vidyut vigyaan, photo takaneek tatha drushti kriya vigyaan (khoj ke anusaar aankh ki retina kisi bhi drushya ki chhavi ko second ke dasvein hisse tak ankit kar sakti hai) ke kshetron mein hue tarakki ne sambhav banaaya hai. beesaveen shataabdi ke sampoorn daur mein manoranjan ke sabse jaroori saadhan ke roop mein sthaapit karne mein bijli ka balb, aarkalainp, photo seinsitiv kemikl, box-camera, glaas plate pikchar nigetivon ke sthaan par jiletin filmon ka prayog, projektar, leins optiks jaisi tamaam khojon ne sahaayata ki hai. cinema ke kai pratispardhi aae jinki chamak dhundhali ho gayi. lekin yeh abhi bhi lubhaata hai. filmi sitaaron ke liye logon ka chunbakeeya aakarshan barkaraar hai. ek peedhi ke sitaare doosari peedhi ke sitaaron ko aage badhne ka raasta de rahe hain. cinema ne ti. vi., veediyon, deeveedi aur setelaait, kebal jaise manoranjan ke tamaam saadhan bhi paida kiye hain. America mein ronaald Reagan, Bhaarat mein M.ji.aar. N.ti.aar. janyalalita aur anek sansad sadasyon ke roop mein cinema ne raajaneta diye hain. kai peedhiyon se, yuva aur vruddh, donon ko samaan roop se cinema selulaaid ki chhoti pattiyaan apne aakarshan mein baandhe hue hain. darshakon par cinema ka sachmuch jaadui prabhaav hai.

cinema ne paramparaagat kala roopon ke kai pakshon aur upalabdhiyon ko aatmasaat kar liya hai – masalan aadhunik upanyaas ki tarah yeh manushya ki bhautik kriyaaon ko uske antarman se jodta hai, peting ki tarah sanyojan karta hai aur chhaaya tatha prakaash ki antarkriyaaon ko aankata hai. rangamanch, saahitya, chitrakala, sangeet ki sabhi saundaryamoolak visheshataaon aur unki maulikta se cinema aage nikal gaya hai. iska seedha kaaran yeh hai ki cinema mein saahitya (patakatha, geet), chitrakala (eneemetej kaartoon, baikadraups), chaakshush kalaaen aur rangamanch ka anubhav, (abhineta, abhinetriya) aur dhvanishaastr (samvaad, sangeet) aadi shaamil hain. aadhunik takaneek ki upalabdhiyon ka seedha laabh cinema leta hai.

cinema ki appeal poori tarah se saarvabhaumik hai. cinema nirmaan ke anya keindron ki upalabdhiyon par yadyapi haaleevud bhaari padta hai, tathaapi Bhaarat mein vishv mein sabse adhik filmein banti hain. cinema aasaani se nai takaneek aatmasaat kar leta hai. isne apne kalaatmak kshetr ka vistaar mook cinema (mooveej) se lekar savaak cinema (taakeej]], rangeen cinema, 3di cinema, steeriyo saaund, wide screen aur I meks tak kiya hai. cinema ke tarah-tarah ke aalochak bhi hai. daraasal jab America mein pehli baar cinema me dhvani ka prayog kiya gaya tha, unheen dinon 1928 mein, chaiplin ne 'suicide of cinema' naamak ek lekh likha. unhonne usamein likha tha ki dhvani ke prayog se suruchiviheen naatakeeyata ke liye dwaar khul jaaenge aur cinema ki apni vishisht prakruti ismein kho jaaegi. aainsataain (montaaj) di. dablyoo. grifith (klojaap) aur nitin Bose (paarshv gaayan) jaise diggajon ke yogadaan se vishv cinema samruddh hua hai. doosare deshon ki takaneeki pragati ka mukaabala Bhaarat sirf apne hunar aur nae-nae prayogon se kar paaya hai. cinema aaj vishv sabhyata ke bahumoolya khajaane ka anivaarya hissa hai. haaleevud se atyadhik prabhaavit hone ke baavajood bhaarateeya cinema ne apni lambi vikaas yaatra mein apni pehchaan, aatma aur darshakon ko bachaae rakha hai.

hindi cinema

inhein bhi dekhein