Film Industry of Bangladesh 1

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Introduction:

Thecinema of Bangladesh, rarely referred to as Dhallywood, has had a

significant effect on Asia. Bangladesh has had a significant film industry

since the 80's. Film production reached an all-time high in 1990, a period

referred to as the golden age of Bangladeshi cinema. During the 1990s, the

Bangladeshi film industry produced some of the biggest films in the history

of Bangladeshi Cinema. As of 2013, the Bangladeshi film industry grossed

around $62mn in the domestic market from 120 releases, making

Bangladesh the 10th largest film producing country in the

world. According to film pundits, the Bangladeshi film industry is growing

at a very fast pace in recent years. 2014 has proved to be an excellent year

for the film industry, with some of movies being the highest grossing

Bangladeshi films of all time. The Bangladeshi film industry has its

beginnings with the 1931 production of Last Kiss; the earliest feature film

ever made in what would become Bangladesh. However, the first ever

screening of films in Bangladesh started on April 24, 1898 by Bradford

Bioscope Company at the Crown Theater near Dhaka

harbour. Commercially successful Bangladeshi films have included

Tojammel Haq'sThe Gypsy Daughter, AJ Khan'sThe face and the mask,

Giashuddin Selim'sMonpura, Ashiqur Rahman'sKistimaatand Iftakar

Chowdhury'sAgnee.[9]Bangladeshi Film Industry is the second largest film

industry in South Asia after Bollywood and as of 2014; it is the ninth

largest in Asia terms of revenue.

1
http://en.wikipedia.org/wiki/Beder_Meye_Josnahttp://en.wikipedia.org/wiki/Mukh_O_Mukhoshhttp://en.wikipedia.org/wiki/Monpurahttp://en.wikipedia.org/wiki/Kistimaathttp://en.wikipedia.org/wiki/Agnee_(2014_film)http://en.wikipedia.org/wiki/Cinema_of_Bangladesh#cite_note-9http://en.wikipedia.org/wiki/Mukh_O_Mukhoshhttp://en.wikipedia.org/wiki/Monpurahttp://en.wikipedia.org/wiki/Kistimaathttp://en.wikipedia.org/wiki/Agnee_(2014_film)http://en.wikipedia.org/wiki/Cinema_of_Bangladesh#cite_note-9http://en.wikipedia.org/wiki/Beder_Meye_Josna


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Present Situation:

During 1990s, Bangladeshi films started losing a large sector of audience

because of lack of quality. The film directors started giving more attention

to film's music, dance and other elements instead of story and screenplay.

Some also began to add action and intense scenes. A few directors began to

imitate and copy foreign films, mostly Indian films. Hence, the films could

attract only the urban living small income people.

During 2000s, Bangladeshi films began doing poor business and initially,

the numbers of films decreased. The term 'Bangla Cinema' became amatter of joke among the people. Though there always have been some

independent film makers who attempt to make movies in a good manner,

their work attract only a few audience.

After declining during most of the 2000s, the Bangladeshi film industry

bounced back after 2009. With the help of the Bangladeshi Government

and the emergence of giant production companies, the Bangladeshi film

industry is growing at a fast pace. Since 2010, Bangladesh has developed

several large production and distribution companies, such as Jaaz

Multimedia and Tiger Media Limited and the films produced by them have

been doing better business than the others for their large budget and

glamorous appearance. But these films hardly catch the educated

audience living in rural and urban areas.

The year 2014 proved to be the most profitable year, while 2015 is already

the biggest, with some of Bangladeshs biggest films lined up for release.

Bollywood's Reliance Entertainment Limited has expressed their interest in

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producing Bangladeshi films. However, the Bangladesh Film Corporation

didn't respond due to the ban on Indian films in Bangladesh.

Environment of Film Industry of Bangladesh:

As a nation, we have always had film as a foremost choice of

entertainment, and as an outlet of our emotions. Statistics show that the

film industry revives better than most others from negativeInfluential

factors*, often at rates which are unexpected for a people with spending

capabilities as limited as ours!

*Factors like:Natural Calamities, Political transitions and loss of

talented stars etc.

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The Economic Segment:

Though the study of Film as a discipline started around 1960s, the debate

whether a movie is a piece of art or not began much earlier. A group of

academicians favor the term Film over Movie and recognize it as a piece

of Art. But a great number of practitioners and academicians regard it as a

form of entertainment, pure and simple. Government may promote movies

as a mass communication tool to communicate nationally important

messages to its people. We will not take any extreme position to explain the

phenomena of Film industry of Bangladesh. Assumptions that fail to

provide criteria for the analysis of messages, falling between the extremes

of good and bad, beautiful and ugly and art and non-art must prove

singularly unfit as basic assumptions for the analysis of films that so

clearly fall between these extreme. (Sol Worth 1971)

On the other hand, the inherent issues like demand uncertainty, risk

involvement and big investment movie turns to be a business. . From the

perspective of the phenomenal decline of Hollywood in the late 1960s and

early 1970s Fadiman (1973) contends that Movie making is business

which is at the same time an art and an industry. While producing a

movie, producers and directors have clear idea on what factor will be

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dominating in that movie. Even without negating any of these factors and

making a balance among the factors a director can make an outstanding

movie.

After the War of Independence of Bangladesh in 1971, most of the time we

have seen one man show in the film Industry. Sometimes it is Nayok Raz

Razzak, Sometimes it is Dashing Hero Jashim, then Romantic Hero

Salman Shah and Lastly Super Star Manna. After the sudden death of

Manna in 2008, whole film industry was jolted down. Shakib Khan came to

the limelight and whole industry was directed centering him. Situations

worsened as there was lack of variation in stories, lack of innovation inother areas of movie making. People started to forget about going Cinema

Hall to watch movies as the number of movie-goers was decreasing slowly

after the death of Salman Shah. The Cinema Halls were shut down one

after another. At last, despite the strong protest from directors-producers-

actors, Bangladesh Cinema Hall Owners Association imported Indian

Bangla movie to exhibit in their dormitory. But this initiative went in vain

also.

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Guerrilla

With the emergence of some brilliant young directors especially Mostofa

Sarwar Farooki ( director) , M. A. Jalil Ananta (Producer-Actor), Giasuddin

Selim (Monpura), Nasiruddin Yousuff (Guerrilla), Redoan Rony (Chorabali)

the film industry get back its life. Bangla movie experiences some

benchmarks with completely different, wonderful stories, unprecedented

cinematography and the phenomenal improvement in every technical side

of movie making. Now time comes to arm the life of the film industry with

continuous re-engineering . It is a business term what Japanese calls

Kaizen. From the capitalistic view, without the motivation of profitcontinuous development or re-engineering of something is impossible.

Monpura

We all know that a good producer is a good investor; a good director is a

good manager and obviously a good marketer also. You need proper

planning, managing whole shooting unit, finishing all activities within a

definite period of time and within definite amount of budget, developing a

control system to be a successful director. You have to act like a total

businessman.

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Another thing to consider is that popularity in the past has been has been

found to be no guarantee of success in the future. There is no simple,

consistent relationship between film themes, costs of productions and box

office receipts.(Edmunds and Strick 1977).It is strategically sound torecognize the truth of movie business more elaborately. The measure of

success in movie making is attendance either in terms of the number of

admissions, the dollar value of the rental fees which exhibitors return to

the distributors. But more practically it is not the number of admission,

not box office hit; it is the rentals which the distributor receives that are

used in calculating the actual profit or loss.(Jowett, Linton 1980)

Chorabali

In the competitive market one must differentiate his/her movies in the

market. But In which area you have to differentiate, in which area you have

to compete is a matter of concern. Each movie while produced is

essentially a unique commodity. It needs high degree of product

differentiation which results in promotional competition rather than

admission price competition. (Larmett et al, 1978).Product differentiation

needs to be dealt with cultural sensitivity and the most important thing is

to position in the audiences mind differently.

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Understanding the phenomena of the film industry in a pragmatic way is

significant to the people having stake in the industry. Contemplating the

learning of modern management and implementing latest marketing

strategies in producing movies can play an influential role to develop thefilm industry of Bangladesh.

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The Global Segment:

Bangladeshi cinema-goers can now enjoy Indian films in cinema halls

across the country, for the first time, as the Indian action crime thriller,

Wanted, got clearance certificate from the Bangladesh film censor board

yesterday. Saiful Islam Chowdhury, member of the censor board and

president of Bangladesh Motion Picture Exhibitors Association, confirmed

the development. Inn-win Enterprise has imported the film, under the

Import Policy Order, 2012-15. Inn-win Enterprise proprietor Iftekhar Uddin

Naushad told The Independent that screening each others movies should

be allowed in both the countries, to save the cinema halls and the film

industry in general.

Many cinema halls are closing down. If this continues, it will be difficult to

save the industry. Thats why we have to open up the market, he added.

About releasing Wanted, Naushad, also the proprietor of Madhumita

Cinema Hall, said, Ive called upon the film producers' association, to

release the film in 50-60 cinema halls across the country. Everything

depends on the approval of the association.

Recreational programmes like music, drama, movies, documentaries, etc.

can be exported in the form of audio and video cassettes, compact discs

(CD), DVDs, etc., if there is no objection from the information ministry, the

order said.

Armed with this order, Bangladesh distributors imported Indian films such

as Don 2, Three Idiots, and Taare Zameen Par. Of the films imported,

Wanted got the clearance of the censor board for the first time, Saiful Islam

Chowdhury said.

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Two other filmsKhoka Babu and Khoka 420are in the pipeline for

clearance of the censor board, he added.

Under the order, two organisations, Khan Brothers and Upahar Cinema,

exported eight films Ananta Bhalabasha, Hridoyer Bondhan, Maa Amar

Swarga, Tumi Amar Moner Manush, Mukhoshdhari, Sramik Neta, Praner

Manush, and Josner Prem. Of these, Maa Amar Swarga and Tumi Amar

Moner Manush got clearance from the Indian censor board.

JK Entertainment, a West Bengal-based distributor, distributes the films. It

has filed an application with the authorities at West Bengal state-run

Nandan cineplex, in Kolkata, to screen the films there, in December.

Under the Import Policy Order, 2012-15, import of cinematographic films

from SAFTA countries will be equal in number, against export of films

produced in Bangladesh.

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The Technological & Sociocultural Segment:

The technique of art is to make objects "unfamiliar", to make

forms difficult, to increase the difficulty and length of perception

because the process of perception is an aesthetic end in itself and

must be prolonged. Art is a way of experiencing the artfulness of

an object: the object is not important.

(Art as a Technique, Viktor

Sklovosky)

As mentioned earlier the familiar portrayal of the liberation war

of Bangladesh was not the central concern of Nasiruddin Yousuff and

Rubayat Hossains recent films

Guerrilla and Meherjaan. Rather these films attempt to open new

perspectives from the typical representation of the liberation war where

the dominant version has been always projected with passion and

authenticity. Getting away from the earlier gender- biased projection of

characters, these two film makersdefamiliarizethe typical representation

of women by voicing it from the womans perspective and adopting a

distinctive narratological process.

Viktor Sklovosky in hisArt as a Techniqueexpresses

Anyone who knows Tolstoy can find several hundred passages in

his work where his method of seeing things out of their normal

context is so apparent. Tolstoy described the dogmas and rituals

he attacked as if they were unfamiliar, substituting everyday

meanings for the customarily religious meanings of the words

common in church ritual. Many persons were painfully wounded;11


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they considered it blasphemy to present as strange and

monstrous what they accepted as sacred. Their reaction was due

chiefly to the technique through which Tolstoy

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perceived and reported his environment. And after turning to

what he had long avoided, Tolstoy found that his perceptions had

unsettled his faith.

The technique of defamiliarization is nothing new. But in

Bangladeshi context, Hossain applies this technique for the first time in

Meherjaan to encounter the grand narrative of the nations liberation

war through her outlandish love-story and faces almost similar criticism

that Tolstoy had faced then. As Pablo Casals said, The love of ones

country is a splendid thing. But why should love stop at the border?5

Having this notion

in mind Hossains film Meherjaan breaks the border bringing the

people together under the magic of love. Meherjaan portrays the

emotional aspects of human psyche where people are in war fight and kill

each other, but the only thing remains is the purity of love. Following the

tagline of the film Loving the other Hossain creates a love story in the

backdrop of the war, but there is little of war in it. She tries to provide a

post-nationalist perspective of 1971, by valorizing the everyday politics of

the villagers and also emphasizes on looking at the liberation through

the eyes of the women who loves a Baloch Army, Washim, who

rescues her from a rape attempt. Again this Washim rejects to support

his own army when he realizes the shameless ferocities they are doing in

Bangladesh. Interestingly, this film pronounces the necessity of loving

the other in a rather more atypical way that projects all the sensual

aspects of feminine love ignoring the horror of the war (upon which the

story is supposedly based). Meherjaan, the protagonist of the film falls in

love with an enemy soldier while living in the same home with her cousin

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Nila. Her character symbolizes the symbol of love, but in the wrong time

of the history. She is educated, peaceful and against war. But despite

being educated, she is totally unaware of the national demand of

independence and the reasons behind that. This projection somehow

might remind of a typical Indian films romance genre, where the war is

between the families in the backdrop, and the lovers are courting

aside. Criticisms aside, this surely is a new way of projecting the war in

the cinema of Bangladesh.

Again, I find strong resemblances of Hollywood action films with

that of Guerilla, where the heroine is to bring justice and is involved

with serious action. The protagonist of Guerilla disguises herself,

provides grenades and explosives to co- fighters, deceives the high-ups of

the army and sets a bomb there that explodes minutes after her

departure. Even at the end of the film she manages to set the army camp

on fire through her hand bomb. All this action pack thriller-drama has

been technically done in a real Hollywood style. The violent portrayal of

gruesome killing also reminds us of any Hollywood thriller film. Even the

Bengali soundtrack in the film is also influenced by Western compositions.

In total, this film, portraying the 1971 liberation war, is actually

demonstrating a whole new 21stcentury stylish action thriller as a

genre, which also is very new way of defining the liberation war on the

celluloid in Bangladesh.

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The Political Segment:

Bangladeshi movie actors and directors have gone on an indefinite strike

protesting against a decision to screen Indian movies in local theatres.

Shoots both at Bangladesh Film Development Corporation (FDC) and

elsewhere in the country have come to a halt since Thursday evening.

'Bangladesh Chalachitra Oikya Jote' (films unity) told bdnews24.com that

the strike would continue until further announcement.

Leaders of the unity submitted a memorandum to the Prime Ministers

Office on Thursday afternoon opposing the import and screening of Indian

films.

Prime ministers Information Affairs Adviser Iqbal Sobhan received the

memorandum.

A leader of the Oikya Jote and Bangladesh Film Directors Associations

Publicity Secretary, Ahmed Ali Mondal said, In protest against the release

of Indian movie Wanted, we have decided to suspend all movie-related

activities.

"We are now waiting for the prime ministers response. Our strike will

continue until our demands are met.

He said film stars including 'Shakib', 'Moushumi' and Amit Hasan along

with crew members would visit theatres at 9am on Friday.

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They would request the audience to boycott Bollywood movies at halls

where Wanted is expected to be released.

Bangladesh Film Directors Association, Film Artists Association and other

organisations of the film industry have started the protest since Inwin

Enterprise decided to imported four Hindi movies from India 'Wanted',

'Don 2', 'Taare Zameen Par' and '3 Idiots'.

The Oikya Jote was formed after the Inwin announced the release of

Wanted in 80 theatres.

Leaders of the Oikya Jote said at a press conference at the FDC on Tuesday

that they would prevent the screening of Hindi movies at any cost.

On the other hand, head of the Inwin Nawshad said they followed the

SAFTA Agreement and the direction of the information ministry while

importing the movies and hence there was no legal hurdle in releasing

Wanted.

Meanwhile, on behalf of the Oikya Jote, Advocate Ekhlas Uddin Bhuiyan

has sent a legal notice to the cabinet secretary, cultural affairs minister and

secretary, chairman of the Censor Board, Dhaka deputy commissioner, IG

of the police asking them not to allow screening of Wanted.

In the meantime, the Bangladesh Film Producers and Distributors

Association has convened an emergency meeting on Saturday to take a

decision on the import and screening of Indian films.

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The Demographic Segment:

After the independence the decades of seventies and eighties witnessed the

golden time of film industry. There were 1,200 cinema halls in the country and

only in Dhaka city there were 44 cinema halls .Since 2001 this number started

to reduce and at present there are 500 cinema halls and out of them 100 halls

are seasonal which remain closed almost all the year round. They are opened

just on some occasions. In Dhaka city there are only 33 cinema halls now and

in Chittagong only three cinema halls are in operation. From the perspective of

the phenomenal decline of Hollywood in the late 1960s and early 1970s

Fadiman (1973) contends that "Movie making is business which is at the same

time an art and an industry." While producing a movie, producers and directors

have clear idea on what factors will be dominating in that movie. Even without

negating any of these factors and making a balance among the factors a

director can make an outstanding movie. Bangladeshi film industry witnessed

one man show after 1971. Situation worsened as there was lack of variation in

stories, lack of innovation in other areas of movie making. People started to

forget going to cinema halls to watch movies as the number of movie-goers was

decreasing slowly after the death of Salman Shah. The cinema halls were shut

down one after another. At last, despite the strong protest from directors-

producers-actors, Bangladesh Cinema Hall Owners Association imported

Indian Bangla movies to exhibit those in their halls. But this initiative went in

vain.

With the emergence of some brilliant young directors especially Mostofa Sarwar

Farooki, M A Jalil Ananta who is both a producer and actor, Giasuddin Selim

who produced Monpura, Nasiruddin Yousuff who created Guerrilla and

Redoan Rony who made Chorabali, the film industry has somehow saved its

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life. Bangla movie experiences some benchmarks with completely different,

wonderful stories, unprecedented cinematography and the phenomenal

improvement in every technical side of movie making. Now time has come to

arm the life of the film industry with "continuous re-engineering. We all know

that a good producer is a good investor; a good director is a good manager and

obviously a good marketer also. In order to be a successful director proper

planning, managing whole shooting unit, finishing all activities within a

definite period of time and within definite amount of budget, developing a

control system are the prerequisites. Understanding the phenomena of the film

industry in a pragmatic way is significant to the people having stakes in the

industry. Contemplating the learning of modern management and

implementing latest marketing strategies in producing movies can play an

influential role to develop the film industry of Bangladesh.

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SWOT Analysis

STRENGTHS:

Approx. 1000 cinemas in all 66 major district HQ

No. of Viewers: Over 50 million and above.

Habitual attitude thatentertainment is a big part of life for

Bangladeshis

Ample group of Talented artists and Makers

Rising demand from viewers for more improved quality movies

Average Cost of production is substantially lower that other

countries/economies.

WEAKNESSES:

Limited technological advancement

Heavily influenced Quality control forums.

Poor Infrastructure for film crew and viewers.

Politicized controlling body, Trade union

Restricted entry given to large Private Sector Investors.

Declining no. movie goers resulting in both falling Government and

industry revenue

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Rising unmet demand from viewers for more improved quality movies

Overall poor Perception of the Silver Screen and the values it generates

OPPORTUNITIES:

Potential viewer base of 50 million (approx)

Wide and extensive Outreach of cinema Halls.

The ongoing exponential rise in Marketing giving rise to opportunities for

product placement in films.

Physiographical the range TGs are Entertainment Craving

Potential to capturing a large chunk of the Satellite TV Audience

Large NRB Population.

Potential for being first in BD for Pay Per View online

Current stability should provide conducive investment climate

A renewed interest in local Arts and Culture as evidenced by the boom in

both the music industry and Private TV channels.

THREATS:

Satellite TV still has a formidable influence in terms of viewership

Stringent and censorship rules dating back from before the satellite era.

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Cheap Technologies for Media reproduction CD/DVD/Internet.

Physiographically the range TGs are Entertainment Craving (subject to

influence of other modes of entertainment)

Current Instability threat to friendly investment climate

Lack of professional expertise entering the field can further lower

standards

Possibilities + Threats = PROSPECT:

The objective, therefore, should be to put the strengths and weaknesses

on a common scale and bring out the rewards, which can be summarized as

below:

By Publicizing The Proper Cast (crew), any producer can generate at

least a certain amount of interest around each production.

By promising something NEW in the film, it is always possible to generate

footfall in the halls (simple animation can do wonders too).

Many producers lose out on a ground unknown to them. The success of

any film largely depends on understanding theimportantpeople (Hall

Owners Shomiti, stakeholders) and other crucial factors like Distribution

process and network.

The success rates of fresh producers are also determined by their

affiliation with larger institutions (Using TV channels as banners) which

have the above understanding. Database, company history of field level

experience and Individual success has also been accounted to success as

investor (or producer).

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Recommendation:

Bangladesh film industry must produce quality movies

The picture shows M A Jalil Ananta (left), a brilliant young director, with his co-

actress Borsha

Bengali cinema is passing through a tough and critical time. Cinema halls in

the country have been reduced to half. Releasing new cinemas has also come

down to half. The lack of patronization of government, non-government,

influence of sky culture, unhealthy and dilapidated condition of cinema halls,

not producing quality films, financial constraints, lack of modern technology,

lack of filming education and training have been identified as the prime causes

for miserable days of this industry. Films are not only a means of

entertainment but also a great and very effective medium of education which

many books cannot do. Next its prosperity goes with economic development as

well.

'Mukh and Mukhush,' the first film of the country, was released 58 years ago in

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1956. Since then 2,905 films were released till 2013. Releasing films got

increased and in 2005, some 100 films were released. From 2005 it started to

witness a sluggish trend and in 2013, only 45 films were produced. The

situation has got back to that of four decades ago. The same mundane

formulaic stories had taken over the industry. A major breakthrough is

required. Someone must break the norm and bring fresh outlook to films that

will present a better quality of action; stunts and effects that would make the

films stand out from the rest. Movies must be highly entertaining as well as

educative; otherwise spectators would not come to the cinema halls. They will

satisfy their needs by buying CDs and watching Bollywood movies. And this is

what is actually going on now.

Developing a film institute is a crying need of this industry. The institute will

produce talented directors, producers, actors and actresses. Sound, culture

friendly, timely films can be produced which will exhibit relevant issues

discussed at the present time. Films can be easily produced based on famous

literary books of Bengali and English literature. Films can show the presentday world politics, make the people know the rules of health and hygiene, teach

traffic rules, crumbling religious faith of humans, teach us why girls' education

is necessary, it can show us how rural and urban gap can be minimized. The

entire gamut of human behavior, social, political and international issues can

be featured through the films. These diversified issues will definitely draw

spectators from various fields and backgrounds removing the insecurity of

meeting financial loss. What do we see in our present day films? Just the same

and known stories are used in a series of films. Even a simple and non-sensible

man can also guess its course, turning point and ending very easily. Vulgarism

and irrelevant entertaining scenes and similar kind of stories reign in the

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present day cinemas of Bangladesh which have lost the appeal of the audience

almost totally. Twenty-first century films must be very promising, challenging,

scientific, fully educative and critical thought provoking.

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Conclusion:

The Film industry has for long been neglected from substantial Public or

Private Sector Investment. The True Potential of this industry has long been

misunderstood. Recent World Economy is undergoing a Recession and Stats

suggest that return upon investment in the film Industry is risk Free, More

Secure and more Prospective than other Conventional forms of Investment.

Indeed film making is a risky business and very few in our country dare to denote a notion of

defamiliarization against the typically familiar projection, however it is a noteworthy

change in the context of our socio-cultural environment that the recent film-makers are

daring to hink otherwise and show different perspectives of the great history of our

country! he aspiration and the dare to think otherwise should stand strong! If so, then

someday in near future "angladeshi film industry will be able to uphold the glorious national

history of our country in front of the world audience with larger definitions and interesting

interpretations!

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Reference:

http://en.wikipedia.org/wiki/Cinema_of_Bangladesh

http://www.thefinancialexpress-bd.com/2014/10/11/60341

http://www.thedailystar.net/reviving-the-bangladeshi-film-industry-

37120

Bangladesh-Journal-of-Environmental-Society.-June-2011._2
http://www.thefinancialexpress-bd.com/2014/10/11/60341http://www.thedailystar.net/reviving-the-bangladeshi-film-industry-37120http://www.thedailystar.net/reviving-the-bangladeshi-film-industry-37120http://www.thefinancialexpress-bd.com/2014/10/11/60341http://www.thedailystar.net/reviving-the-bangladeshi-film-industry-37120http://www.thedailystar.net/reviving-the-bangladeshi-film-industry-37120

Film Industry of Bangladesh 1

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