Since the 1960s, both the Bengali-language film industries based in Dhaka and Calcutta targeted a distinct population, a Bengali-speaking audience within their national or regional boundaries and rarely beyond that. Such a linguistically-defined viewing context coupled with 'captive' audiences for Bengali-language popular films ensured that Bengali film industries continued to survive as those rare species of medium-sized, vernacular film industries amid the globalizing forces. Therefore, these two Bengali cinemas manage to survive, almost ignoring the Hollywood film industry, considered as a major threat to many film industries in the world. This success lies in the fact that the two cinemas address well-identified market sector, a non-English-speaking national/sub-national audience that is, Bengali-speaking Bengali Muslims in postcolonial Bangladesh and Bengali Hindus of West Bengal and Eastern India. In other words, the two Bengali cinemas somewhat divided the Bengali population in terms of their national and religious orientations and their films represent these biases in creating a particular spectatorship though sharing a common language. To put it in local terms: Dhaka industry focused on producing films for Bangals while Calcutta cinema attempted capturing whom we (the Bangals) call the Ghotis. The glory that once had in bangla cinema is consistently decreasing day by day due to lags in acting, technology and also poor direction. Most recently viewrs are losing their interest to watch bangla cinema is not only for poor acting and direction but also for the quality of cinema halls and also for the vulgarism and uncensored materials in the cinema that is being used by the film producers and other authorities. This research examines and tried to find out why people are not actually interested to watch bangla cinema anymore and what factors they feel that is liable for the aversion towards bangla cinema. It also conducted to find out whether the above mentioned reasons are fair enough of this aversion towards bangla cinema. My target was to established that the ineffective situation of present bangla cinema industry that left it totally out of any criticism is because of the absence of middle class and upper class and overall the educated people in cinema halls and their apathetical behavior to watch bangla cinema. This is established by this research with some strong evidence as well.
This research is to understand the acting standard in bangla cinema to determine the downfall of this industry is based on the survey that starts with some questionnaire where people was asked about their perception of our actors/actresses quality and their acting knowledge, cinematography, technology and conditions of directors and producers. This survey includes students, service holders and other general people who are mainly represent the upper and middle class of our society. This survey also was based on some literature review including some books written by renowned writers and successful directors and actors/actresses. Some important topic and discussion of this survey was also collected from the internet based sources. Some websites were really helpful to take this survey in a position that makes it little bit successful. This research paper employed the techniques of content analysis for discussions and participant observation for case studies as methodology.
One literature review tells that the poor standard of our cinema where rarely acting is highly appreciated which is leading our viewers to watch foreign countries movies. Though, it is banned in Bangladesh to show any Indian movie in Bangladeshi cinema halls, ever since its independence from Pakistan in 1971. Indian movies have some similarities with our culture and societies it has become a substitute of bangle cinema due to its poor standard and involvement of uneducated people. However, cinema hall owners argue that they...
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