Editing Hindi cinema (section)

== {{anchor|Influences for Hindi cinema}}Influences on Hindi cinema ==
Moti Gokulsing and [[Wimal Dissanayake]] identify six major influences which have shaped Indian popular cinema:<ref name=Gokulsing>{{Cite book|title=Indian Popular Cinema: A Narrative of Cultural Change|last=Gokulsing|first=K. Moti|author2=Dissanayake, Wimal|publisher=Trentham Books|year=2004|isbn=978-1-85856-329-9|pages=98–99}}</ref>
* The branching structures of ancient [[Indian epic poetry|Indian epics]], like the ''[[Mahabharata]]'' and ''[[Ramayana]]''. Indian popular films often have plots which branch off into sub-plots.
* Ancient [[Sanskrit drama]], with its stylised nature and emphasis on spectacle in which [[Classical Indian music|music]], [[Classical Indian dance|dance]] and gesture combine "to create a vibrant artistic unit with dance and mime being central to the dramatic experience." Matthew Jones of [[De Montfort University]] also identifies the Sanskrit concept of ''[[Rasa (aesthetics)|rasa]]'', or "the emotions felt by the audience as a result of the actor's presentation", as crucial to Bollywood films.<ref>{{Cite journal|title=Bollywood, Rasa and Indian Cinema: Misconceptions, Meanings and Millionaire|author=Matthew Jones|journal=Visual Anthropology|volume=23|issue=1|date=January 2010|pages=33–43|doi=10.1080/08949460903368895|s2cid=144974842}}</ref>
* Traditional [[Theatre of India|folk theatre]], which became popular around the 10th century with the decline of Sanskrit theater. Its regional traditions include the [[Jatra (theatre)|Jatra]] of [[Bengal]], the [[Ramlila]] of [[Uttar Pradesh]], and the [[Terukkuttu]] of [[Tamil Nadu]].
* [[Parsi theatre]], which "blended realism and fantasy, music and dance, narrative and spectacle, earthy dialogue and ingenuity of stage presentation, integrating them into a dramatic discourse of [[melodrama]]. The Parsi plays contained crude humour, melodious songs and music, sensationalism and dazzling stagecraft."
* [[Cinema of the United States|Hollywood]], where musicals were popular from the 1920s to the 1950s.
* Western musical television (particularly [[MTV]]), which has had an increasing influence since the 1990s. Its pace, camera angles, dance sequences and music may be seen in 2000s Indian films. An early example of this approach was [[Mani Ratnam]]'s ''[[Bombay (1995 film)|Bombay]]'' (1995).

Sharmistha Gooptu identifies [[Indo-Persian culture|Indo-Persian]]-[[Islamic culture]] as a major influence. During the early 20th century, [[Urdu]] was the [[lingua franca]] of popular cultural performance across northern India and established in popular [[performance art]] traditions such as [[nautch]] dancing, [[Urdu poetry]], and Parsi theater. Urdu and related [[Hindi dialects]] were the most widely understood across northern India, and Hindustani became the standard language of early Indian talkies. Films based on "[[Persianate]] adventure-romances" led to a popular genre of "''[[Arabian Nights]]'' cinema".<ref>{{cite book|last=Gooptu|first=Sharmistha|title=Bengali Cinema: 'An Other Nation'|date=2010|publisher=[[Routledge]]|isbn=978-1-136-91217-7|page=38|url=https://books.google.com/books?id=DcUtCgAAQBAJ&pg=PA38}}</ref>

Scholars Chaudhuri Diptakirti and [[Rachel Dwyer]] and screenwriter [[Javed Akhtar]] identify [[Urdu literature]] as a major influence on Hindi cinema.<ref name="Akhtar" /><ref name="Chaudhuri2015">{{cite book|last=Chaudhuri|first=Diptakirti|title=Written by Salim-Javed: The Story of Hindi Cinema's Greatest Screenwriters|date=2015|publisher=[[Penguin Books]]|isbn=9789352140084|url=https://books.google.com/books?id=Cri9CgAAQBAJ}}</ref><ref name="Dwyer">{{cite book|last=Dwyer|first=Rachel|author-link=Rachel Dwyer|title=Filming the Gods: Religion and Indian Cinema|date=2006|publisher=[[Routledge]]|isbn=978-1-134-38070-1|page=106|url=https://books.google.com/books?id=ZsKR1RKoJKUC&pg=PA106}}</ref> Most of the screenwriters and scriptwriters of classic Hindi cinema came from Urdu literary backgrounds,<ref name="Akhtar" /><ref name="Chaudhuri2015" /><ref name="FilmWorld">{{cite journal|title=Film World|journal=Film World|year=1974|volume=10|page=65|url=https://books.google.com/books?id=sHlTAAAAYAAJ|publisher=T.M. Ramachandran|language=en|quote=Two eminent Urdu writers [[Krishan Chander]] and [[Ismat Chughtai]] have said that "more than seventy-five per cent of films are made in Urdu."}}</ref> from [[Khwaja Ahmad Abbas]] and [[Akhtar ul Iman]] to [[Salim–Javed]] and [[Rahi Masoom Raza]]; a handful came from other [[Indian literature|Indian literary]] traditions, such as [[Bengali literature|Bengali]] and [[Hindi literature]].<ref name="Chaudhuri2015" /> Most of Hindi cinema's classic scriptwriters wrote primarily in Urdu, including Salim-Javed, [[Gulzar]], [[Rajinder Singh Bedi]], [[Inder Raj Anand]], Rahi Masoom Raza and [[Wajahat Mirza]].<ref name="Akhtar"/><ref name="FilmWorld"/> Urdu poetry and the [[ghazal]] tradition strongly influenced [[filmi]] ([[Music of Bollywood|Bollywood lyrics]]).<ref name="Akhtar" /><ref name="Dwyer" /> Javed Akhtar was also greatly influenced by [[Urdu literature|Urdu novels]] by Pakistani author [[Ibn-e-Safi]], such as the ''[[Jasoosi Dunya]]'' and [[Imran series|''Imran'' series]] of detective novels;<ref>{{cite book |last1=Chaudhuri |first1=Diptakirti |title=Written by Salim-Javed: The Story of Hindi Cinema's Greatest Screenwriters |date=2015 |publisher=[[Penguin Books]] |isbn=9789352140084 |pages=26–27 |url=https://books.google.com/books?id=Cri9CgAAQBAJ&pg=PT26}}</ref> they inspired, for example, famous Bollywood characters such as [[Gabbar Singh (character)|Gabbar Singh]] in ''[[Sholay]]'' (1975) and Mogambo in ''[[Mr. India (1987 film)|Mr. India]]'' (1987).<ref>{{cite news |title=Urdu pulp fiction: Where Gabbar Singh and Mogambo came from |url=https://www.dnaindia.com/lifestyle/review-urdu-pulp-fiction-where-gabbar-singh-and-mogambo-came-from-1564148 |access-date=3 June 2019 |work=[[Daily News and Analysis]] |date=10 July 2011}}</ref>

Todd Stadtman identifies several foreign influences on 1970s commercial Bollywood [[masala film]]s, including [[New Hollywood]], Italian [[exploitation film]]s, and [[Hong Kong martial arts cinema]].<ref name="funky" /> After the success of [[Bruce Lee]] films (such as ''[[Enter the Dragon]]'') in India,<ref>{{cite news |title=Bruce Lee storms Bombay once again with Return of the Dragon |url=https://www.indiatoday.in/magazine/society-the-arts/films/story/19790915-bruce-lee-storms-bombay-once-again-with-return-of-the-dragon-822544-2014-02-21 |work=[[India Today]] |date=15 September 1979 |access-date=20 January 2015}}</ref> ''[[Deewaar]]'' (1975) and other Bollywood films incorporated fight scenes inspired by 1970s [[martial arts film]]s from [[Hong Kong cinema]] until the 1990s.<ref name="Heide">{{cite book|last=Heide|first=William Van der|title=Malaysian Cinema, Asian Film: Border Crossings and National Cultures|date=2002|publisher=[[Amsterdam University Press]]|isbn=9789053565803|url=https://books.google.com/books?id=k3HTdu1HuWQC&pg=PA148}}</ref> Bollywood action scenes emulated Hong Kong rather than Hollywood, emphasising acrobatics and [[Stunt performer|stunts]] and combining [[kung fu]] (as perceived by Indians) with [[Indian martial arts]] such as [[pehlwani]].<ref>{{cite book|last1=Morris|first1=Meaghan|last2=Li|first2=Siu Leung|last3=Chan|first3=Stephen Ching-kiu|title=Hong Kong Connections: Transnational Imagination in Action Cinema|date=2005|publisher=[[Hong Kong University Press]]|isbn=978-1-932643-19-0|page=149|url=https://books.google.com/books?id=DdrHAQAAQBAJ&pg=PA149}}</ref>