Film represents one of the most influential foundations for mass media and communication in contemporary society. Its widespread appeal can be attributed to its inherent universal language, which facilitates the transmission of messages to audiences with remarkable efficacy. The medium serves as a reflective vessel for socialization, societal norms, awareness, civilization, historical narratives, and cultural elements, thereby embodying a tranquil conduit and messenger through this formidable form of mass media. Its prominence is equally evident in Bangladesh, paralleling that of other nations. The invention of the Cinematograph by the Lumière Brothers, descendants of Antoine Lumière, occurred in 1895 through the innovative amalgamation of camera and projector technologies. This pivotal year marked a significant milestone in the annals of global cinema. The 28th of December is commemorated as the date when their inaugural cinematic presentation was showcased using their invention, a momentous occasion that remains a source of inspiration for many. In 1898, following the advent of the Cinematograph, the Royal Bioscope Company was established by Hira Lal Sen, who is recognized as the pioneering filmmaker in Bengal and the broader Indian subcontinent. On the 4th of April 1898, he made the decisive move to orchestrate a film exhibition in Bhola, Barishal, which holds the distinction of being the first such event in East Pakistan.
Following the establishment of the East Pakistan Government Film Division Laboratory in Dhaka on June 19, 1955, there was an increased enthusiasm for filmmaking and corresponding opportunities in East Pakistan (now Bangladesh). Consequently, the Government of Pakistan instituted a Five-Year Plan aimed at the advancement and development of the film sector. The inaugural full-length film originating from Bangladesh (then East Pakistan) was "Mukh O Mukhosh," produced in 1956, subsequent to the release of "Pather Panchali" by Satyajit Ray (Yasmin S. 2011). On April 3, 1957, in the parliamentary arena, the "East Pakistan Film Development Organization Bill" was presented by the Father of the Nation, Bangabandhu Sheikh Mujibur Rahman, who previously held the position of Minister of Industry and Commerce in East Pakistan. In 1958, subsequent to the passage of this bill, the East Pakistan Film Development Corporation (EPFDC) was officially established.
The term “Dhallywood” refers to the Bangladeshi film industry. Since its independence from Pakistan in 1971, local cinema halls have been prohibited from screening Indian films, a measure aimed at safeguarding the domestic filmmaking industry, which is valued at approximately $20 million (£12.9 million). However, in the near future, cinema halls in Bangladesh are anticipated to exhibit three Indian Bengali films, along with nine additional Hindi films from Bollywood. Following the Independence War of 1971, the Bangladesh Film Development Corporation (BFDC) was rebranded from the East Pakistan Film Development Corporation (EPFDC). Under the provisions of the Act of XV-1957, the Bangladesh Film Development Corporation, commonly referred to as FDC, was established to foster the local film industry. "Suryo Dighal Bari" was the first film to gain international recognition.
The Bangladesh Film Development Corporation (BFDC) operates under the jurisdiction of the Ministry of Information and is governed by both a governing body and an executive body. The governing body serves as the paramount authority responsible for management and policy formulation. BFDC is characterized as an autonomous, self-sustaining entity. It has undertaken a crucial role as the central organization facilitating various activities pertaining to the film industry in Bangladesh. The corporation engages in a comprehensive array of managerial activities, mechanical operations, and the provision of raw materials essential for filmmaking, including shooting, dubbing, editing, laboratory processing, and film printing, while also supplying raw film stock, skilled personnel, and both indoor and outdoor shooting facilities (Mohiuddin Md. 2015).
Prior to the inception of the Bangladesh Film Development Corporation (BFDC), the term Bangla cinema predominantly referred to productions emanating from Kolkata. However, the contemporary landscape has shifted, with Bangladesh now generating a substantial volume of films annually. Amongst these, only a limited number achieve commercial success, with one or two films attaining global standards. Consequently, there is an articulated demand for actors, actresses, directors, and other professionals possessing the requisite capabilities to produce films of international caliber. Should the challenges confronting the Bangladeshi film industry, commonly referred to as Dhallywood, be identified and effectively addressed, it could emerge as a highly lucrative sector for the government and potentially rival world-renowned film industries such as Hollywood and Bollywood.
Currently, the state of the film industry is suboptimal. In comparison to Bollywood, Hollywood, and the cinematic outputs of Russia and China, we find ourselves significantly lagging. The deteriorating condition of the film industry increasingly hampers its ability to serve as a conduit for the messages of the populace, thereby rendering films incapable of adequately reflecting the entertainment needs of audiences. Bangladesh is home to a wealth of talented individuals who possess the potential to contribute significantly to the advancement of cinema. This talent pool includes directors, producers, technicians, cameramen, and numerous other professionals. If these individuals can harness their capabilities effectively, Bangladeshi films could establish a presence in the global film market and gain recognition on an international scale. However, should the focus remain solely on financial gain without an emphasis on the production of high-quality films, the success of these movies will be precarious and will fail to yield benefits in a multidimensional context.
Bangladeshi cinema is currently experiencing significant economic challenges attributable to a multitude of factors, such as in-home entertainment options, satellite broadcasting, and an influx of internationally acclaimed films. Due to the presence of indecorous content and objectionable scenes, Dhallywood productions have witnessed a decline in local patronage, and the prevalence of gratuitous violence has rendered these films increasingly unpalatable. Numerous contentious filmmakers continue to operate, necessitating a concerted effort to combat such trends. Nonetheless, a limited number of films have garnered the attention of the international film community and have received nominations for various accolades. Notwithstanding these successes, the Bangladeshi film industry, in its entirety, and each locally produced film, in particular, owe a considerable debt of gratitude to the Bangladesh Film Development Corporation (BFDC) for its indispensable contributions to the achievements realized to date.
The film industry in Bangladesh has been unable to thrive as anticipated, exhibiting a dismal performance historically. In a previous era, audiences expressed considerable enthusiasm for Bengali films upon their release; however, this excitement has since shifted predominantly towards Indian and American cinema. The 1990s marked a period of decline for Bangladeshi cinema, characterized by a fall from grace. In pursuit of financial gain, commercial filmmakers resorted to imitating Indian Hindi films, which were replete with violence, musical numbers, dance sequences, and superfluous humor. These productions could not be categorized as either B-grade films or high-quality endeavors; rather, they were ensnared in a liminal space between the two. Ultimately, audiences began to forsake cinema halls, leading to a deepening financial downturn within the industry.
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