Negara India kita kenal dengan keragaman budayanya. Tercatat belasan bahasa lokal yang diakui disana, seperti Hindi, Tamil, Bengali, dan sebagainya, itu pun belum termasuk sub-bahasa mereka. Di India juga terdapat beragam agama dan aliran kepercayaan lainnya, yakni Hindu, Budha, Islam, Kristen, Yahudi, Zen, Sikh, dan lainnya. Perfilman India sendiri merupakan salah satu yang tertua di Asia yang dibagi atas beberapa wilayah industri sesuai dengan bahasa lokal yang mereka gunakan, yakni Hindi, Bengali, Tamil, Marathi, Telugu, dan belasan lainnya. Industri film Hindi adalah yang terbesar di India yang berpusat di kota Mumbai (dulu Bombay), atau lebih sering kita kenal dengan Bollywood. Tampak dari sejarah sinema India dari masa ke masa kita dapat melihat bagaimana kultur lokal mempengaruhi pencapaian naratif dan estetik film serta industri film mereka secara keseluruhan.

Awal Perkembangan Sinema India

Film pertama kali diperkenalkan di India pada tanggal 7 Juli 1986 melalui film-film pendek garapan Lumiere Bersaudara. Setelahnya film berkembang subur dengan dibangunnya tempat eksibisi film di kota-kota besar di India, seperti Madras (Chennai), Mumbai, dan Calcutta. Setelah beberapa tahun para pembuat film memproduksi film pendek dan dokumenter pendek, akhirnya pada tahun 1913 diproduksi film panjang pertama mereka, berjudul Raja Harishchandra. Sang sineas, Dadasaheb Phalke, konon terinspirasi dari film biblikal barat, Life of Christ, dan mencoba mengadopsinya ke budaya India. “…kita bisa membuat film tentang Rama dan Khrisna” ujar Phalke yang juga penganut Hindu. Raja Harishchandra berkisah tentang Raja Khrisna yang mengorbankan kekuasaan dan keluarganya untuk membaktikan dirinya sepenuhnya pada Sang Pencipta. Film ini sukses komersil dan unsur mitologis kelak menjadi dasar bagi perfilman India hingga kini. Atas jasanya bagi dunia perfilman, Phalke kini dianggap sebagai Bapak Sinema India.
Pada dekade 20-an, industri film secara bertahap mulai berkembang di hampir semua kota-kota besar di India, seperti Mumbai, Calcutta, dan Madras. Mumbai, sejak tahun 1925 telah berkembang menjadi pusat industri film terbesar di India. Pada dekade berikutnya studio-studio film baru mulai bermunculan dan lambat laun mereka mulai mengadopsi sistem studio Hollywood. Sukses komersil film-film mereka membuat para pemilik studio mampu memperbarui teknologi, infrastruktur, serta membangun teater-teater baru. Ketika teknologi suara datang, film bicara dengan cepat menggantikan film bisu. Tercatat Alam Ara (1931) garapan Ardeshir Irani sebagai film bicara pertama India. Film bicara berdurasi lebih dari dua jam ini penuh dengan lagu dan tari yang kelak merubah industri sinema India secara menyeluruh. Mengapa musikal? Karena hampir di seluruh aspek kehidupan (ritual) masyarakat India tidak pernah lepas dari unsur musik, lagu, dan tari.

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Artikel SebelumnyaPather Panchali, Film Neorealisme ala Bengali
Artikel BerikutnyaDari Redaksi mOntase
A lifelong cinephile, he cultivated a deep interest in film from a young age. Following his architectural studies, he embarked on an independent exploration of film theory and history. His passion for cinema manifested in 2006 when he began writing articles and film reviews. This extensive experience subsequently led him to a teaching position at the esteemed Television and Film Academy in Yogyakarta. From 2003 to 2019, he enriched the minds of students by instructing them in Film History, Introduction to Film Art, and Film Theory. His scholarly pursuits extended beyond the classroom. In 2008, he published his seminal work, "Understanding Film," which delves into the core elements of film, both narrative and cinematic. The book's enduring value is evidenced by its second edition, released in 2018, which has become a cornerstone reference for film and communication academics across Indonesia. His contributions extend beyond his own authorship. He actively participated in the compilation of the Montase Film Bulletin Compilation Book Volumes 1-3 and "30 Best Selling Indonesian Films 2012-2018." Further solidifying his expertise, he authored both "Horror Film Book: From Caligari to Hereditary" (2023) and "Indonesian Horror Film: Rising from the Grave" (2023). A lifelong cinephile, he developed a profound passion for film from an early age. After completing his studies in architecture, he embarked on an independent journey exploring film theory and history. His enthusiasm for cinema took tangible form in 2006 when he began writing articles and film reviews. This extensive experience eventually led him to a teaching position at the esteemed Television and Film Academy in Yogyakarta. From 2003 to 2019, he enriched students’ understanding through courses such as Film History, Introduction to Film Art, and Film Theory. His scholarly pursuits extended well beyond the classroom. In 2008, he published his seminal work, Understanding Film, an in-depth examination of the essential elements of cinema, both narrative and visual. The book’s enduring significance is reflected in its second edition, released in 2018, which has since become a cornerstone reference for film and communication scholars across Indonesia. His contributions to the field also encompass collaborative and editorial efforts. He participated in the compilation of Montase Film Bulletin Compilation Book Volumes 1–3 and 30 Best-Selling Indonesian Films 2012–2018. Further establishing his authority, he authored Horror Film Book: From Caligari to Hereditary (2023) and Indonesian Horror Film: Rising from the Grave (2023). His passion for cinema remains as vibrant as ever. He continues to offer insightful critiques of contemporary films on montasefilm.com while actively engaging in film production with the Montase Film Community. His short films have received critical acclaim at numerous festivals, both nationally and internationally. In recognition of his outstanding contribution to film criticism, his writing was shortlisted for years in a row for Best Film Criticism at the 2021-2024 Indonesian Film Festival. His dedication to the discipline endures, as he currently serves as a practitioner-lecturer in Film Criticism and Film Theory at the Indonesian Institute of the Arts Yogyakarta, under the Independent Practitioner Program from 2022-2024.

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