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This results in particularly marked censorship of scenes of sex, violence and interfaith conflicts. It is thus forbidden to show scenes of total nudity, or even the breast of a woman, while scenes of a sexual nature should always be suggested. These censorship rules are in fact very uncertain, often inconsistent, left to the discretion of members of conservative juries and little aware of developments in Indian society. In new-movies123.com you can have the best deal.

The Best Example

For example, in 2003, the distributor of the film Swimming Pool by François Ozon was forced to delete 13 minutes of film, thus removing all logic from the plot. Little by little, censorship is evolving even if its very nature is not called into question: since 2001 it has indeed authorized “kiss on the mouth”!

  • After an attempt started in the late 1990s, during the visit of a delegation led by Daniel Toscan du Plantier, then president of Unifrance, French exporters and producers, scalded by the inconclusive experience and little followed by effects for French cinema in India, took more than ten years to take the time to take an interest in a country which was nevertheless going to establish itself as the biggest cinematographic market in the world.

Difficult to access market, distant country, geographically and culturally, India does not really attract international stars in the promotion of the films in which they participate. Despite the Indians’ fascination with Hollywood, studios, American and European alike, are struggling to convince actors, producers or directors to get involved personally and locally in the film release process. This is an obvious handicap when you know that the Indian public easily tends to identify themselves very strongly – even going so far as to devote a real cult of personality to the headliners.

The impenetrable Indian market, a fatality

More than any other national market, the Indian film market combines several features that make it one of the most difficult for foreign distributors: a very rich history, the attraction of the public for national productions, the diversity of languages, or the complexity even the opacity of the distribution channels. All these aspects have contributed both to the emergence of a powerful national cinema that is difficult to export, struggling to impose itself internationally outside Indian communities abroad but reigning supreme at home and leaving little room for foreign productions.

India’s entry into globalization is gradually being combined with a greater openness to foreign cultures, particularly Western cultures, which are reinforced by “corporatization” and the standardization of cinematographic productions, in order to please the greatest number of audiences possible. Consequently, the development potentials for foreign producers and distributors are numerous: they are mainly based on the emergence of a middle class, especially young and urban, increasingly “educated” and open to the world, at growing purchasing power. But they will certainly also benefit from the boom in multiplexes offering a much larger range of films while limiting financial risk-taking, as well as the growth of the digital offer allowing great flexibility of distribution on ever more extensive media. .

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But distributors will have to adapt to Indian specificities at the same time. India is indeed a multicultural nation comprising a multitude of languages, hence the need to dub films in five or six languages, and to agree to sometimes give up certain rights in order to occupy the ground more effectively and sustainably: with increasing urbanization every day, foreign producers and distributors should also focus primarily on large urban centers such as Mumbai, New Delhi, Hyderabad, Bangalore or Kolkata.

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