100 Years of Sound in Indian Cinema

FICCI 2012 Inaugural Function Stills 586x390 100 Years of Sound in Indian Cinema

The fourth edition of the FICCI’s “Media and Entertainment Business Conclave” kicked off on Tuesday at the ITC Sheraton Park Hotels and Towers at 10 A.M.

Industry heavyweights such as Kamal Hassan, Suresh Babu, C Kalyan, B. Shashi Kumar, Ameer and Barrie Osborne were all in attendance.

Dr. Arabind Prasad, Director General, FICCI chaired the inauguration of the event that celebrates and honors 100 years of Indian Cinema.

Dr. Kamal Hassan, Chairman of the Media and Entertainment Business Conclave, FICCI gave the welcome address.
Tracing the roots of the FICCI movement, Mr. Hassan acknowledged the tireless work being done FICCI’s entertainment division to bring in policy changes in various segments of the Media and Entertainment industry.

The FICCI was founded in 1927 by Mahatma Gandhi as a non-profit initiative to boost Indian Industries during the freedom struggle.

Mr Hassan highlighted the various achievements of the division including accordance of “industry status” to the film industry, submitting of the TRP report to review and recommending a robust system of measurement of TRP. A product of the South Indian film industry, the actor proudly affirmed the South as “The residence of National Cinema!” and looked ahead to the future of digital cinema.

Following his address, Mr. C Kalyan, President of the South Indian Film Producers’ Association spoke about the burning problems of service tax and copyright issues facing the industry.

Sandeep Vishwas then released the FICCI-Deloitte Knowledge Report.

Oscar-winning Director and Producer Barrie Osborne gave the keynote address for the occasion. Impressed with the state of Indian Cinema, Mr. Osborne spoke of his desire to work with Mr. Kamal Hassan in the near future and predicted FICCI to serve as a “guiding light” to Indian Cinema for the next 100 years.

P. Murari, Advisor to President, FICCI gave the vote of thanks. He outlined the challenges facing the Industry in the form of finances and corporate matters, but assured that the industry is on the cusp of technological improvement and greatness.

Quoting Robert Frost, Mr. Murari concluded the opening session by saying that the industry should “take the road less travelled by” and that it had “miles to go before it sleeps”.

100 Years of Sound in Indian Cinema

Federation of Indian Chambers of Commerce and Industry (FICCI) partnered with Dolby to celebrate the ‘100 Years of Sound in Indian Cinema’ at the Media and Entertainment Business Conclave (MEBC), on Tuesday.

FICCI 2012 Inaugural Function Stills 3 586x390 100 Years of Sound in Indian Cinema

The event was moderated by Vikram Joglekar, Sr Marketing Manager, Dolby India. From Alamara (1931) as the first Indian movie with sound to 1950s when silent era completely vanished from the silver screens, Joglekar spoke how filmmakers still continue to look for ways to enhance the inclusion of sound tracks in a 70mm film.

“In India, Sholay was the first movie with four sound tracks. From the coin tossing by Amitabh (Bachhan) to a train coming to a halt with a screeching sound, Sholay was technically most advanced movie of its time,” he said.

Joglekar covered the journey of Dolby in Indian Cinema with its first Dolby movie being 1942 A Love story (1994); Ram Gopal Verma’s Daud (19) as the first Dolby Digital film in India with a surround sound.

Dolby is set to face an opponent in the form of Auro 3D, which will enter the Indian cinemas next year in Kamal Hassan’s next movie Vishwaroopam (2013). Both the companies have worked on an audio technology that will digitalise and split the sound into multiple surround system.

The guest panel at the event included Resul Pokutty, Oscar winning Sound Enginner; Wilfried Van Baelen, Founder of Galaxy Studios; and Senthil Kumar, Director, Real Image.

FICCI 2012 Inaugural Function Stills 2 586x390 100 Years of Sound in Indian Cinema

Writing without restrictions

In the form of Saurabh Shukla, the FICCI screen writing workshop saw yet another eminent speaker, addressing the audience on various aspects of cinematic writing. The actor/director discussed the restrictions imposed on a writer, in the form of writing for a popular actor.

Talking about himself, Saurabh said that he has been writing for 25 years. Ironically, he was not interested in writing, and started out just because he wanted to direct. He explained that he does not have to keep a particular actor in mind as he doesn’t write for the commercial core. “I write for Brad Pitt. It is just that my Brad Pitt speaks Hindi. And he is imaginary,” commented the witty actor.

He added that while writing, the character is restricted by various characteristics, as a result of which he is bound to behave in a specific way. Moreover, as an actor plays the part it becomes even more restrictive.

Screen writer Atul Tiwari, who has written for movies such as Mission Kashmir, elaborated more on the topic. He said that instead of being restricting, keeping an actor in mind while writing, liberates a writer. However, citing Kamal Haasan as an example, he said that an ideal actor should be able to defy the restrictions of physiology and fame.

The session was concluded by an interactive skit through which Saurabh demonstrated that characters are not just in the form of humans or other living beings. He explained that the surrounding, and everything it encompasses, is a character in itself and has the ability to change everything.

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