Editing Hindi cinema (section)

=== New Hindi cinema (1990s–2020s) ===
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| caption2          = [[Aamir Khan]], one of the "Three Khans", in 2008
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Hindi cinema experienced another period of box-office decline during the late 1980s with due to concerns by audiences over increasing violence and a decline in musical quality, and a rise in video piracy. One of the turning points came with such films as ''[[Qayamat Se Qayamat Tak]]'' (1988), presenting a blend of youthfulness, family entertainment, [[emotional intelligence]] and strong melodies, all of which lured audiences back to the big screen.<ref name="Chintamani">{{cite book|last=Chintamani|first=Gautam|title=Qayamat Se Qayamat Tak: The Film That Revived Hindi Cinema|date=2016|publisher=[[HarperCollins]]|isbn=9789352640980|url=https://books.google.com/books?id=BZYOvgAACAAJ}}</ref><ref name="Ray">{{cite news|last=Ray|first=Kunal|title=Romancing the 1980s|url=https://www.thehindu.com/entertainment/movies/Romancing-the-1980s/article16898867.ece|work=[[The Hindu]]|date=18 December 2016|language=en-IN}}</ref> It brought back the template for Bollywood musical romance films which went on to define 1990s Hindi cinema.<ref name="Ray" />

Known since the 1990s as "New Bollywood",<ref>{{cite book|last=Sen|first=Meheli|title=Haunting Bollywood: Gender, Genre, and the Supernatural in Hindi Commercial Cinema|date=2017|publisher=[[University of Texas Press]]|isbn=978-1-4773-1158-5|page=189|url=https://books.google.com/books?id=ZA7BDQAAQBAJ&pg=PA189}}</ref> contemporary Bollywood is linked to [[economic liberalisation in India|economic liberalization in India]] during the early 1990s.<ref>{{cite book|last=Joshi|first=Priya|title=Bollywood's India: A Public Fantasy|date=2015|publisher=[[Columbia University Press]]|isbn=978-0-231-53907-4|page=171|url=https://books.google.com/books?id=C3wyBgAAQBAJ&pg=PA171}}</ref> Early in the decade, the pendulum swung back toward family-centered romantic musicals. ''Qayamat Se Qayamat Tak'' (1988) was followed by blockbusters such as ''[[Maine Pyar Kiya]]'' (1989), ''[[Hum Aapke Hain Kaun]]'' (1994), ''[[Dilwale Dulhania Le Jayenge]]'' (1995), ''[[Raja Hindustani]]'' (1996), ''[[Dil To Pagal Hai]]'' (1997) and ''[[Kuch Kuch Hota Hai]]'' (1998), introducing a new generation of popular actors, including the [[Khans of Bollywood|three Khans]]: [[Aamir Khan]], [[Shah Rukh Khan]], and [[Salman Khan]],<ref name="desiblitz" /><ref name="forbes">{{cite web|url=https://www.forbes.com/sites/robcain/2016/03/20/are-bollywoods-three-khans-the-last-of-the-movie-kings/|title=Are Bollywood's Three Khans The Last of the Movie Kings?|first=Rob|last=Cain|website=[[Forbes]]}}</ref> who have starred in most of the top ten [[List of highest-grossing Bollywood films|highest-grossing Bollywood films]]. [[Khans of Bollywood|The Khans]] and have had successful careers since the late 1980s and early 1990s,<ref name="desiblitz" /> and have dominated the Indian box office for three decades.<ref>[https://www.firstpost.com/entertainment/after-aamir-srk-salman-why-bollywoods-next-male-superstar-may-need-a-decade-to-rise-3049864.html After Aamir, SRK, Salman, why Bollywood's next male superstar may need a decade to rise], Firstpost, 16 October 2016</ref><ref>{{Cite web|url=https://www.ndtv.com/india-news/aamir-khan-is-the-king-of-the-king-khans-moved-ahead-of-shah-rukh-salman-1723117|title=Why Aamir Khan Is The King of Khans: Foreign Media|website=NDTV.com}}</ref> Shah Rukh Khan was the most successful Indian actor for most of the 1990s and 2000s, and [[Aamir Khan]] has been the most successful Indian actor since the mid 2000s.<ref name="actorsuntil90" /><ref name="forbes-2017-1-23">{{cite web|url=https://www.forbes.com/sites/suparnadutt/2017/01/23/why-dangal-star-aamir-khan-is-the-new-king-of-bollywood/|title=Why 'Dangal' Star Aamir Khan Is The New King of Bollywood|first=Suparna Dutt|last=D'Cunha|website=[[Forbes]]}}</ref> Action and comedy films, starring such actors as [[Akshay Kumar]] and [[Govinda (actor)|Govinda]].<ref>{{cite news|title=Akshay Kumar meets Jackie Chan in Hong Kong |date=20 May 2004 |work=[[Bollywood Hungama]] |url=https://www.bollywoodhungama.com/news/box-office-business-talk/2004-starts-on-a-grim-note/ |access-date=11 April 2011 |url-status=live |archive-url=https://web.archive.org/web/20110323110849/https://www.bollywoodhungama.com/news/2004/05/20/1112/index.html |archive-date=23 March 2011 }}</ref>

The decade marked the entrance of new performers in [[Art film|art]] and independent films, some of which were commercially successful. The most influential example was ''[[Satya (1998 film)|Satya]]'' (1998), directed by [[Ram Gopal Varma]] and written by [[Anurag Kashyap]]. Its critical and commercial success led to the emergence of a genre known as [[Mumbai]] noir:<ref name=Nayar>{{cite news| title = Bollywood on the table| author = Aruti Nayar| work = The Tribune| date = 16 December 2007| access-date = 19 June 2008| url = https://www.tribuneindia.com/2007/20071216/spectrum/main11.htm}}</ref> urban films reflecting the city's social problems.<ref name=Jungen>{{cite web|title=Urban Movies: The Diversity of Indian Cinema |author=Christian Jungen |publisher=[[FIPRESCI]] |date=4 April 2009 |url=https://www.fipresci.org/festivals/archive/2009/fribourg/indian_cinema_chjungen.htm |access-date=11 May 2009 |url-status=dead |archive-url=https://web.archive.org/web/20090617225942/https://www.fipresci.org/festivals/archive/2009/fribourg/indian_cinema_chjungen.htm |archive-date=17 June 2009}}</ref> This led to a resurgence of [[parallel cinema]] by the end of the decade.<ref name=Nayar /> The films featured actors whose performances were often praised by critics.

[[File:Salman's Being Human show at HDIL India Couture Week 2010 (1).jpg|thumb|left|upright=1.5|alt=Salman Khan walking hand-in-hand with a group of colourfully-dressed actresses|[[Salman Khan]], one of the Three Khans, with Bollywood actresses ''(from left)'' [[Kareena Kapoor]], [[Rani Mukerji]], [[Preity Zinta]], [[Katrina Kaif]], [[Karisma Kapoor]] and [[Priyanka Chopra]] in Mumbai (2010).]]

The 2000s saw increased Bollywood recognition worldwide due to growing (and prospering) [[Non-resident Indian and person of Indian origin|NRI]] and [[South Asian diaspora]] communities overseas. The growth of the Indian economy and a demand for quality entertainment in this era led the country's film industry to new heights in production values, cinematography and screenwriting as well as technical advances in areas such as special effects and animation.<ref name="Us popularity">Anita N. Wadhwani. [https://www.america.gov/st/washfile-english/2006/August/20060809124617nainawhdaw0.8614466.html "Bollywood Mania" Rising in United States] {{webarchive|url=https://web.archive.org/web/20121020195105/https://www.america.gov/st/washfile-english/2006/August/20060809124617nainawhdaw0.8614466.html |date=20 October 2012 }}. US State Department. (9 August 2006). Retrieved 29 July 2010.</ref> Some of the largest production houses, among them [[Yash Raj Films]] and [[Dharma Productions]] were the producers of new modern films.<ref name="Us popularity" /> Some popular films of the decade were ''[[Kaho Naa... Pyaar Hai]]'' (2000), ''[[Kabhi Khushi Kabhie Gham...]]'' (2001), ''[[Gadar: Ek Prem Katha]]'' (2001), ''[[Lagaan]]'' (2001), ''[[Koi... Mil Gaya]]'' (2003), ''[[Kal Ho Naa Ho]]'' (2003), ''[[Veer-Zaara]]'' (2004), ''[[Rang De Basanti]]'' (2006), ''[[Lage Raho Munna Bhai]]'' (2006), ''[[Dhoom 2]]'' (2006), ''[[Krrish]]'' (2006), and ''[[Jab We Met]]'' (2007), among others, showing the rise of new movie stars.

During the 2010s, the industry saw established stars such as making big-budget [[masala film]]s like ''[[Dabangg]]'' (2010), ''[[Singham]]'' (2011)'','' ''[[Ek Tha Tiger]]'' (2012), ''[[Son of Sardaar]]'' (2012), ''[[Rowdy Rathore]]'' (2012), ''[[Chennai Express]]'' (2013), ''[[Kick (2014 film)|Kick]]'' (2014) and ''[[Happy New Year (2014 film)|Happy New Year]]'' (2014) with much-younger actresses. Although the films were often not praised by critics, they were commercially successful. Some of the films starring Aamir Khan, from {{Lang|hi-latn|[[Taare Zameen Par]]}} (2007) and ''[[3 Idiots]]'' (2009) to ''[[Dangal (2016 film)|Dangal]]'' (2016) and ''[[Secret Superstar]]'' (2018), have been credited with redefining and modernising the masala film with a distinct brand of socially conscious cinema.<ref>{{Cite news|last=Rangan|first=Baradwaj|url=https://www.thehindu.com/todays-paper/tp-features/tp-sundaymagazine/Masala-redux/article17007881.ece|title=Masala redux|date=8 January 2017|newspaper=The Hindu|access-date=8 January 2017|language=en-IN}}</ref><ref>{{cite news|url=https://www.asianage.com/entertainment/bollywood/021117/secret-superstar-a-moving-slice-of-life.html|title=Secret Superstar: A moving slice of life|date=2 November 2017|work=[[The Asian Age]]}}</ref>

Most stars from the 2000s continued successful careers into the next decade,{{CN|date=August 2023}} and the 2010s saw a new generation of popular actors in different films. Among new conventions, female-centred films such as ''[[The Dirty Picture]]'' (2011), ''[[Kahaani]]'' (2012), and ''[[Queen (2014 film)|Queen]]'' (2014), ''[[Pink (2016 film)|Pink]]'' (2016), ''[[Raazi]]'' (2018), ''[[Gangubai Kathiawadi]]'' (2022) and ''Crew'' started gaining wide financial success.<ref>{{cite web|url=https://www.indiatoday.in/movies/bollywood/story/kareena-kapoor-proud-to-be-part-of-two-successful-women-centric-films-exclusive-2524033-2024-04-06|title=Kareena Kapoor: Proud to be part of two successful women-centric films |date=6 April 2024 |publisher=India Today}}</ref>