Current scenario of Bangladeshi Cinema Industry
Mahim Ahamed
2111242030
Submitted To:
Md. Mehedi Hasan (HMe)
Senior Lecturer,
Department of English & Modern Languages,
North South University
16th November 2023.
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Acknowledgements
Before anything else, I would like to thank my respondents for giving their time to
participate in the survey for my research and share their valuable opinions with me.
Our respected faculty member, Md. Mehedi Hasan, has always helped me
wholeheartedly and guided me properly to produce this research paper throughout
this entire journey. Words fail to describe my gratitude towards sir as he painlessly
and patiently helped me understand each topic and the procedure of the whole
research paper.
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Abstract
This research is conducted on the students of North South University to see what
they think as young adults on the current scenario of Bangladeshi Cinema Industry.
A sum of total 33 male, and female students participated in the survey. I talked
about Dhallywood’s glorious past, how the situation was back then. I examined
such issues like Dhallywood cinema’s competitiveness on global scale, role of
BFCB, challenges to overcome etc. Success in the film industry is subjective as it
depends on many factors, influenced by stakeholders, genre, and audience. My
findings partially supports the hypothesis.
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Table of Contents
INTRODUCTION: .........................................................................................................................5
RESEARCH QUESTIONS: ..........................................................................................................7
HYPOTHESIS: ..............................................................................................................................7
METHODOLOGY: ........................................................................................................................8
RESULT & DISCUSSION: ...........................................................................................................8
SUMMARY OF THE FINDINGS: .............................................................................................19
CONCLUSION: ...........................................................................................................................20
REFERENCES: ...........................................................................................................................20
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Introduction
The term "Bangla cinema" refers to the film industries that use Bengali as their
language and are located in the Bengal area of South Asia. In this part of the world,
there are two major centers for the production of motion pictures: one is located in
Kolkata, West Bengal, India (Indian Cinema), also known as Tollywood (a
portmanteau of the words Tollygunge and Hollywood), and the other is located in
Dhaka, Bangladesh (Bangladeshi Cinema), also known as Dhallywood (a
portmanteau of the words Dhaka and Hollywood). This region has played an
essential role in the significant growth of the Bangladeshi film industry, churning
out approximately one hundred movies annually. Markedly, prior to Bangladesh's
independence from India on December 16, 1979, most Bengali films were crafted
in Calcutta and East Pakistan. However, post-1979, the film industry in
Bangladesh experienced a surge, reaching the production of nearly fifty movies per
year. During the 1990s, this number gradually rose, reaching close to ninety films
annually. In the early days between 2000 to 2018, Dhallywood movies had a very
limited audience due to lack of newness. According to Hossan (2023), “When
compared to the amount of business that Bangladeshi films are doing today, films
from three decades ago did even better” (para-9).
The lost glamor of Bangladeshi cinema is reviving, and many people are planning
to watch movies frequently, Talks (2022) explained, she loved the movie Din-the
day and planning to watch Poran and Hawa.
Determining the success of a movie is not a difficult job. It's crucial to note that
success may be subjective, and various stakeholders (producers, distributors,
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audiences, and reviewers) may have different definitions of what constitutes a
successful film. Furthermore, the success of a film may be judged differently
depending on its genre, target audience, and the creators' intentions.
The recently released movies in past few years that made the buzz in the country
are Aynabaji, Poran, Din- the day,Hawa, Priyotoma, Operation Sundabans,
Surongo, Prohelika, Black War: Mission Extreme 2 etc. Starting with the movie
Aynabaji, according to the Box Office Bangladesh (2017), the budget of the movie
was BDT 10 million, and the box office collection was BDT 140 Million. The
director of the movie was Amitabh Reza. Secondly, Priyotoma featuring Megastar
Shakib Khan, According to The Daily Star (2023), Pritoma collected total revenue
of BDT 400 million, and budget was BDT 25 million (para 5). Another movie
directed by Raihan Rafi that is Surongo, earned BDT 59 million (“cinefry,” n.d). It
is clear that recent movies earned a good number of profits that was lacking in last
two decades. Actors who are famous in Drama and serial, coming to big screen
namely Arfan Nisho, Shariful Raj, Tama Mirza etc. And, we see some recent
changes in collaboration,namely Megastar Shakib khan has collaborated with
Tollywood actress Idhika Paul, and audience liked that collab very much.
According to ATN News (2023), Shakib’s upcoming film with Bollywood Actress
Sonal Chauhan is a trending topic among movie lovers. Shakib Khan’s demand has
gone up and “raised his remuneration to Tk 1 crore” (The Daily Star, 2023, para 1).
Another important part is Bangladesh Film Censor Board, it plays a crucial role in
the release and development of movies in Dhallywood. Many directors and actors
say that, the board do not support controversial movies, According to Dhaka
Tribune (2023), The film “Saturday Afternoon” directed by Mostafa Sarwar
Farooki got restrictions to release in Bangladesh, and the movie did not get the
permission yet.
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Over the past several years, there has been an observable transformation in the
realm of Bangladeshi film, indicating a divergence from conventional paradigms.
The cinema business is currently experiencing a notable shift, characterized by
filmmakers' exploration of novel tales, adoption of creative storytelling
approaches, and incorporation of modern topics that align with the growing
preferences of audiences. Bangladeshi cinema is evolving, as evidenced by its
increasing international collaboration and presence at prominent film festivals. The
industry's increased prominence throughout the world is indicative of a desire to
communicate with a wider audience and investigate universal issues.
Research Questions
1. Is the traditional pattern of Bangladeshi cinema changing?
2. If yes, why is the traditional pattern changing?
3. Do young adults think these changes in Bangladeshi cinema positively impact the
industry’s global competitiveness, and what are their reasons for these opinions?
4. Does the Bangladesh Film Censor Board (BFCB) impose strict guidelines when
censoring films?
Hypothesis
Young adults think traditional patterns of Bangladeshi cinema are changing to
compete with international movie standards. From my research, I expect to find
the traditional design of Bangladeshi is changing to new directions. Since most
Bangladeshi people who watch movies are young, I think most prefer watching
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new storylines. I think that young adults watch Bollywood, Hollywood more
often, so they expect international touches in local cinemas. I also think that
current changes in cinema industry getting attention of young adults as well as
impacting positively on global scale. I also expect to find the Bangladesh Film
Censor Board (BFCB) imposes strict guidelines when censoring films that are
out of the box or creative.
Research Methodology
For my primary research, I have conducted a survey among the students of North
South University, most of them within the age group of 2-25. I have designed a
questionnaire with different types of questions to get a range of worthwhile data
that will help me to answer my research questions.
For my secondary research, I have used the resources from magazines,
newspapers, books, social media, video streaming platform (YouTube),
autobiographies etc. I have also browsed the internet and used search engines like
Google, Bing etc.
Results & Discussion:
A total of 33 participants (17 males and 16 females) took part in this survey. All of
them are students of North South Universiy aged 21 to 25. The survey consisted of
total 12 questions to assess whether they think that Bangladeshi cinema pattern is
changing or not.
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Figure 1. Distribution of Respondents Based on Regularity of Bangladeshi
Cinema Viewing.
The above pie chart shows the response to a question where participants’
were asked about their regularity of Bangladeshi cinema viewing.
The given figure portrays that majority of the participants 60.6% do not watch
Bangla movies regularly. Whereas 39.4% people watch on a regular basis. Here,
21.2% is less than those who watch occasionally. We can see that irregular viewers
are more maybe cause blockbuster movies only release during festivals.
The analysis did not help in my hypothesis as it is not directly connected to my
hypothesis.
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Figure 2. Perception of Changes in Bangladeshi Cinema Over Recent Years
The presented chart describes that peoples’ perceptions regarding whether they
have noticed any changes in Bangladeshi cinema or not over recent years.
It can be seen that 48.5% people answered yes, and 30.3% people think that
maybe they have seen changes. While, 12.1% people denied, and other 9.1%
answered maybe no. Due to changes in tradition pattern in cinemas, it is probable
that people also noticed changes. Therefore, this evaluation supports my
hypothesis.
Figure 3. The competitiveness of Bangladeshi cinema on the international
stage is on the rise.
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The level of competition of Bangladeshi movies on the world stage is shown in
Figure 3 by a pie chart. This image shows how Bangladeshi film industry stacks up
against other film businesses around the world.
People who totally agreed on this matter is only 18.2%, another 33.3% answered
maybe yes. Yet 39.4% voted No, and 9.1% said possibly no. Here, total 51.%
answer is positive, and remaining 48.5% is negative. Perhaps, we can say that
many people do not have enough idea on this matter, or many of them do not keep
update on this matter that is why half is positive and other half is negative.
Therefore, this analysis partially matches with my hypothesis.
Figure 4. Preference for Bangladeshi movies incorporating international
filmmaking standards.
The bar chart illustrates the percentage of people who are more inclined to watch
Bangladeshi movies that incorporate international standards of filmmaking.
The data indicates that a significant portion of respondents (24.2%) express a
strong inclination to watch Bangladeshi movies that adhere to international
filmmaking standards. Following closely, 18.2% show a moderate level of
inclination. About 12.1% remain neutral, while 9.1% exhibit a certain level of
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disinclination. Additionally, 3% express a strong disinclination. The bar graph data
suggests that most Bangladeshi audiences prefer movies with international
filmmaking standards. This conclusion is drawn from the fact that the combined
percentage of respondents who are "very inclined" (24.2%) and "somewhat
inclined" (18.2%) exceeds 50%. Hence, the analysis partially supports my
hypothesis.
Figure 5. Interest in watching Bangladeshi films featuring international
actors.
The pie chart illustrates the proportion of individuals in Bangladesh who would be
inclined to watch a Bangladeshi movie if it showcased actors from international
backgrounds.
The majority of respondents (45.5%) said that they would be more frequently
interested in watching a Bangladeshi film if it featured international actors. This
suggests that there is a strong demand for Bangladeshi films with international
stars.
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Then second majority of respondents 24.2% said that they would be sometimes
interested in watching a Bangladeshi film if it featured international actors. This
suggests that some Bangladeshi viewers are interested in watching Bangladeshi
films with international stars, but not as frequently as others.
Only a small minority of respondents (12.1% + 15.2% = 27.3%) said that they
would never or rarely be interested in watching a Bangladeshi film if it featured
international actors. This suggests that most Bangladeshi viewers are open to
watching Bangladeshi films with international stars. Hence, the evaluation partially
matches my hypothesis.
Figure 6. Showing the awareness of the Bangladesh Film Censor Board
(BFCB).
The pie chart portrays the fraction of people whether they are aware of the
Bangladesh Film Censor Board (BFCB) or not.
The illustration indicates that the majority of survey participants responded
affirmatively with a simple "yes," and approximately 63.6% of this group is
familiar with BFCB. In contrast, 34.4% of individuals are unaware of the
board.The difference of 29.2%, and this is explained by the BFCB's low visibility
in Bangladesh. Established in 2011, this group is quite new. The BFCB has also
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come under fire for its censorship policies, which some claim are too stringent.
This could have made some individuals hesitant to interact with the BFCB or find
out more about what it does. All things considered, the bar graph indicates that the
Bangladeshi public needs to be made more aware of the BFCB and its operations.
The analysis partially supports my hypothesis.
Figure 7. Shift toward international movie standards in Bangladeshi cinema
by naming a film that exemplifies this transition.
This pie chart displays the films from Bangladesh that people believe best
exemplify the country's move toward international cinema standards.
The reaction from the targeted populace was favorable towards the movie Aynabaji
about 54.5% of people think that it's an international-level movie, and around
30.3% people choose the movie Surongo, 12.1% considers Poran falls under
international criteria and 3% people selected Priyotoma too. Surongo and Aynabaji
were totally new stories. Hence, it is clear that unique and different storylines are
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more appreciated by the audience than only the romantic genre. The analysis
supports my hypothesis.
Figure 8. Factors driving changes in Bangladeshi cinema
The variables that Bangladeshis think are influencing developments in their country's
cinema are shown in this bar graph.
The majority of respondents (69.7%) believe changing audience preferences and
expectations are driving developments in Bangladeshi film. This shows that
Bangladeshi consumers are getting pickier about cinema and that artists are reacting
by generating more relevant and engaging films. Globalization and the desire to reach
more people was the second most prevalent explanation, with 36.4% of respondents
choosing it. This shows that Bangladeshi filmmakers are increasingly targeting a
worldwide audience. Competition with other worldwide cinemas (18.2%),
partnerships with foreign directors and performers (15.2%), and changing socio-
cultural dynamics in Bangladesh (36.4%%), were also chosen. These variables
indicate that internal and international forces are influencing Bangladeshi film.
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The analysis matches with my hypothesis.
Figure 9. Challenges or drawbacks perceived in the shift towards international
movie standards in Bangladeshi cinema
The above illustration shows the perceived challenges in the shift towards
international movie standards in Bangladeshi cinema.
The primary obstacles perceived by individuals are financial constraints (60.6%) and
a shortage of advanced technology (54.5%). This indicates that the film industry in
Bangladesh might benefit from increased resources and technological assistance to
produce movies aligned with global standards. Some individuals (27.3%) also
express concerns about cultural sensitivity, given the rich and distinctive cultural
heritage of Bangladeshi cinema. It is crucial to ensure that films meeting international
standards still preserve the unique identity of Bangladeshi cinema. The least
commonly identified challenge is a lack of creative content (42.4%), suggesting that
Bangladeshi filmmakers are confident in their ability to generate appealing content
for international audiences. However, the analysis does help in my hypothesis.
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Figure 10. Changing trends in Bangladeshi cinema attract younger audience or
expand viewership beyond the typical Bangladeshi audience.
The given chart illustrates the outcomes of a survey that inquired about participants'
opinions regarding whether the evolving genres in Bangladeshi cinema are drawing
in a younger audience or broadening the viewership beyond the conventional
Bangladeshi audience.
From the provided data, we can see that 60.6% respondents agree that changing
trends are attracting younger audience. Another, 15.2% think that changes are
expanding the viewership afar the typical audience. Whereas 12.1% denied that
changes are significantly affecting the audience composition. The remaining people
are not sure about that. Few decades ago, Films only had adult viewers, but now all
age of people are coming, especially younger audience. So, it is very clear that
majority (75.8%) people are in favor of the statement. Hence, the analysis fully
supports my hypothesis.
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Figure 11. Opinion on Bangladesh Film Censor Board (BFCB)
The pie chart shows the percentage of participants’ who think Bangladesh Film
Censor Board (BFCB) is supportive or not towards new type of films.
The majority of people (45.5%) are not aware of this matter. Other, 33% think that
BFCB supports creative and controversial films. Remaining 21.2% believe that
strict rules get implemented while censoring films. It cannot be denied that people
do not keep updates on BFCB’s actions. Therefore, the analysis does not support
my hypothesis.
Figure 12. Perspective on the sustainability of changes in Bangladeshi cinema
versus short-term trend-driven influences
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In the above illustration, the participants were asked that the changes are
sustainable or are driven by short-term trends.
The largest group 54.5% think that changes are sustainable and represent a long-
term shift in the industry. As they have witnessed many unique films, their
perception are changes are sustainable. Yet another 9.1% people showed their
concern regarding the changes, and believe changes are short-term, and may not
last long. Next 18.2% people are unsure. Remaining 18.2% did not like to give
their opinion in this regard. Hence, the film industry has not fully revived, and
have many challenges ahead, therefore, not all the people want to believe the
sustainability.
The analysis partially supports my hypothesis.
Summary of the Findings
From the survey, it is evident that majority of all responses partially matched with
my hypothesis. Among 12 questions, only one survey question does not support
with my hypothesis. Yet another five question fully support with my hypothesis.
Moreover, five other questions partially support with the hypothesis.
Consequently, the overall survey partially supports my hypothesis that young
adults believe conventional trends in Bangladeshi cinema are undergoing
transformation to compete with international movie standards.
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Conclusion
From the above findings, it is clear that Bangladeshi cinema industry is
moving towards a new direction. Nowadays people have so many resources to get
entertained. Twenty to Thirty years back, film was one of the key entertainments.
Hence, people used to go in cinema halls frequently. Currently, if we want to bring
audience to the hall, we have to create new and unique movies that other countries
are producing. It is important to know that, in my survey the participants were only
33, and to mention about the secondary research, people are not that much
interested writing research paper on the current film industry. People tend to talk
on this topic more on social medias. I wish if I could do this survey on a big scale
like 10000 to 20000 participants’ and talk to the film stars about the research topic,
my research might have more impact and meaningful. However, it is also correct
that we are able to see new changes and international standards.
References
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