| 4 | | oleographs. Sailed to Germany to obtain three- colour printing equipment (1909). Saw The Life ofChrist around Christmas 1910 in a Bombay cinema, an event he describes with great passion although contempora1-y notices suggest it must h:lVe been around Easter 1911. Strongly moved by the 'magic' of cinema. also dedicated himself to bringing Indian images to the ·screen. Raised finance from Yeshwant Nadkarni. a photographic equipment dealer, with short |
| 5 | | trick film, Birtb ofa Pea Plant, shooting one frame a day to show a plant growing. \\1ent to London in February 1912 to familiarise himself with filn1 technology and to acquire |
| 6 | | equipment. Bought a Williamson camera, Kodak negative and a perforator. Cecil Hepworth tutored him at \Valton Studios. Returned to establish Phalke Films on Dadar Main Road in Bombay 0912) for wh'ch he made five films, starting wirh RaJa Harisbchandm. \X'cnt to Eng!Jnd again in 1914 to organise trade ohowo and recci1·ed many offers to remain in Europe. Rc:turned to India witl1 new equipment, closed Phalke Films and |
| 7 | | set up rhe Hindustan Cinema Films (1918). Resigned briefly from Hindustan to write the Nlarathi play Rangbhoomi (1922) in Benares. Made c.44 silent features, .1everal shorts and one talkie, Gaugavatarau. The films introduced the mythological genre to Indian cinema, allowing him to merge his notion of Swadeshi with an mdustrial practice and a politico-cultural aesthetic. s~nish Bahadur compiled the film D.C. Pbalke, the First Indian Film Directorfor the Fill (1964): the film contains the only existing footage of How Films Are Made, footage of himself directing Raja Harisbchandra, and Setu Bmzdhan, and is a tribute nor only to the founder of the Indian film industry but also to a daring experimenter with animation techniques (including match- sticks), inventor of promotional films and of documentaries, creator of special effects and codifier of a new generic form, the my1hological film. Essays on film, 'Bh;iratiya Chitrapat', were published in Navyug (1917-8). |
| | 4 | oleographs. Sailed to Germany to obtain three- colour printing equipment (1909). Saw The Life ofChrist around Christmas 1910 in a Bombay cinema, an event he describes with great passion although contempora1-y notices suggest it must h:lVe been around Easter 1911. Strongly moved by the 'magic' of cinema. also dedicated himself to bringing Indian images to the ·screen. Raised finance from Yeshwant Nadkarni. a photographic equipment dealer, with short trick film, Birtb ofa Pea Plant, shooting one frame a day to show a plant growing. \\1ent to London in February 1912 to familiarise himself with filn1 technology and to acquire equipment. Bought a Williamson camera, Kodak negative and a perforator. Cecil Hepworth tutored him at \Valton Studios. Returned to establish Phalke Films on Dadar Main Road in Bombay 0912) for wh'ch he made five films, starting wirh RaJa Harisbchandm. \X'cnt to Eng!Jnd again in 1914 to organise trade ohowo and recci1·ed many offers to remain in Europe. Rc:turned to India witl1 new equipment, closed Phalke Films and set up rhe Hindustan Cinema Films (1918). Resigned briefly from Hindustan to write the Nlarathi play Rangbhoomi (1922) in Benares. Made c.44 silent features, .1everal shorts and one talkie, Gaugavatarau. The films introduced the mythological genre to Indian cinema, allowing him to merge his notion of Swadeshi with an mdustrial practice and a politico-cultural aesthetic. s~nish Bahadur compiled the film D.C. Pbalke, the First Indian Film Directorfor the Fill (1964): the film contains the only existing footage of How Films Are Made, footage of himself directing Raja Harisbchandra, and Setu Bmzdhan, and is a tribute nor only to the founder of the Indian film industry but also to a daring experimenter with animation techniques (including match- sticks), inventor of promotional films and of documentaries, creator of special effects and codifier of a new generic form, the my1hological film. Essays on film, 'Bh;iratiya Chitrapat', were published in Navyug (1917-8). |