Bollywood History

Bollywood is the informal term popularly used for the Hindi-language film industry based in Mumbai, Maharashtra, India. The term is often incorrectly used to refer to the whole of Indian cinema; it is only a part of the total Indian film industry, which includes several regional film industries sorted by language. Bollywood is the largest film producer in India and one of the largest centers of film production in the world.

Bollywood is formally referred to as Hindi cinema. There has been a growing presence of Indian English in dialogue and songs as well. It is common to see films that feature dialogue with English words, phrases, or even whole sentences.

Etymology

The name "Bollywood" is derived from Bombay (the former name for Mumbai) and Hollywood, the center of the American film industry. However, unlike Hollywood, Bollywood does not exist as a physical place. Though some deplore the name, arguing that it makes the industry look like a poor cousin to Hollywood, it has its own entry in the Oxford English Dictionary.

The term "Bollywood" has origins in the 1970s, when India overtook America as the world's largest film producer. Credit for the term has been claimed by several different people, including the lyricist, filmmaker and scholar Amit Khanna, and the journalist Bevinda Collaco.

The naming scheme for "Bollywood" was inspired by "Tollywood", the name that was used to refer to the cinema of West Bengal. Dating back to 1932, "Tollywood" was the earliest Hollywood-inspired name, referring to the Bengali film industry based in Tollygunge, which rhymed with "Hollywood" and was the center of the cinema of India at the time. The name "Bollywood" later arose as the Bombay-based film industry overtook the one in Tollygunge as the center of the Indian film industry.

History

Film poster for first Indian sound film, Ardeshir Irani's Alam Ara (1931)

Raja Harishchandra (1913), by Dadasaheb Phalke, was the first silent feature film made in India. By the 1930s, the industry was producing over 200 films per annum. The first Indian sound film, Ardeshir Irani's Alam Ara (1931), was a major commercial success. There was clearly a huge market for talkies and musicals; Bollywood and all the regional film industries quickly switched to sound filming.

The 1930s and 1940s were tumultuous times: India was buffeted by the Great Depression, World War II, the Indian independence movement, and the violence of the Partition. Most Bollywood films were unabashedly escapist, but there were also a number of filmmakers who tackled tough social issues, or used the struggle for Indian independence as a backdrop for their plots.

In 1937, Ardeshir Irani, of Alam Ara fame, made the first colour film in Hindi, Kisan Kanya. The next year, he made another colour film, Mother India. However, colour did not become a popular feature until the late 1950s. At this time, lavish romantic musicals and melodramas were the staple fare at the cinema.

Golden Age

Following India's independence, the period from the late 1940s to the 1960s is regarded by film historians as the "Golden Age" of Hindi cinema. Some of the most critically acclaimed Hindi films of all time were produced during this period. Examples include the Guru Dutt films Pyaasa (1957) and Kaagaz Ke Phool (1959) and the Raj Kapoor films Awaara (1951) and Shree 420 (1955). These films expressed social themes mainly dealing with working-class urban life in India; Awaara presented the city as both a nightmare and a dream, while Pyaasa critiqued the unreality of city life.^[17] Some of the most famous epic films of Hindi cinema were also produced at the time, including Mehboob Khan's Mother India (1957), which was nominated for the Academy Award for Best Foreign Language Film,^[18] and K. Asif's Mughal-e-Azam (1960).^[19] Madhumati (1958), directed by Bimal Roy and written by Ritwik Ghatak, popularized the theme of reincarnation in Western popular culture.^[20] Other acclaimed mainstream Hindi filmmakers at the time included Kamal Amrohi and Vijay Bhatt. Successful actors at the time included Dev Anand, Dilip Kumar, Raj Kapoor and Guru Dutt, while successful actresses included Nargis, Meena Kumari, Nutan, Madhubala, Waheeda Rehman and Mala Sinha.

While commercial Hindi cinema was thriving, the 1950s also saw the emergence of a new Parallel Cinema movement. Though the movement was mainly led by Bengali cinema, it also began gaining prominence in Hindi cinema. Early examples of Hindi films in this movement include Chetan Anand's Neecha Nagar (1946) and Bimal Roy's Two Acres of Land (1953). Their critical acclaim, as well as the latter's commercial success, paved the way for Indian neorealism and the Indian New Wave. Some of the internationally-acclaimed Hindi filmmakers involved in the movement included Mani Kaul, Kumar Shahani, Ketan Mehta, Govind Nihalani, Shyam Benegal and Vijaya Mehta.

Ever since the social realist film Neecha Nagar won the Grand Prize at the first Cannes Film Festival, Hindi films were frequently in competition for the Palme d'Or at the Cannes Film Festival throughout the 1950s and early 1960s, with some of them winning major prizes at the festival. Guru Dutt, while overlooked in his own lifetime, had belatedly generated international recognition much later in the 1980s. Dutt is now regarded as one of the greatest Asian filmmakers of all time, alongside the more famous Indian Bengali filmmaker Satyajit Ray. The 2002 Sight & Sound critics' and directors' poll of greatest filmmakers ranked Dutt at #73 on the list. Some of his films are now included among the greatest films of all time, with Pyaasa (1957) being featured in Time magazine's "All-TIME" 100 best movies list, and with both Pyaasa and Kaagaz Ke Phool (1959) tied at #160 in the 2002 Sight & Sound critics' and directors' poll of all-time greatest films. Several other Hindi films from this era were also ranked in the Sight & Sound poll, including Raj Kapoor's Awaara (1951), Vijay Bhatt's Baiju Bawra (1952), Mehboob Khan's Mother India (1957) and K. Asif's Mughal-e-Azam (1960) all tied at #346 on the list.

Modern cinema

In the late 1960s and early 1970s, romance movies and action films starred actors like Rajesh Khanna and Dharmendra, and actresses like Sharmila Tagore, Mumtaz, Leena Chandavarkar and Helen. In the mid-1970s, romantic confections made way for gritty, violent films about gangsters (see Indian mafia) and bandits. Amitabh Bachchan, the star known for his "angry young man" roles, rode the crest of this trend with actors like Mithun Chakraborty and Anil Kapoor, which lasted into the early 1990s. Actresses from this era included Hema Malini, Jaya Bachchan and Rekha.

Some Hindi filmmakers such as Shyam Benegal continued to produce realistic Parallel Cinema throughout the 1970s, alongside Mani Kaul, Kumar Shahani, Ketan Mehta, Govind Nihalani and Vijaya Mehta. However, the 'art film' bent of the Film Finance Corporation came under criticism during a Committee on Public Undertakings investigation in 1976, which accused the body of not doing enough to encourage commercial cinema. The 1970s thus saw the rise of commercial cinema in the form of enduring films such as Sholay (1975), which solidified Amitabh Bachchan's position as a lead actor. The devotional classic Jai Santoshi Ma was also released in 1975. Another important film from 1975 was Deewar, directed by Yash Chopra and written by Salim-Javed. A crime film pitting "a policeman against his brother, a gang leader based on real-life smuggler Haji Mastan", portrayed by Amitabh Bachchan, it was described as being “absolutely key to Indian cinema” by Danny Boyle. The most internationally-acclaimed Hindi film of the 1980s was Mira Nair's Salaam Bombay! (1988), which won the Camera d'Or at the 1988 Cannes Film Festival and was nominated for the Academy Award for Best Foreign Language Film.

During the late 1980s and early 1990s, the pendulum swung back toward family-centric romantic musicals with the success of such films as Qayamat Se Qayamat Tak (1988), Maine Pyar Kiya (1989), Hum Aapke Hain Kaun (1994) and Dilwale Dulhania Le Jayenge (1995), making stars out of a new generation of actors (such as Aamir Khan, Salman Khan and Shahrukh Khan) and actresses (such as Sridevi, Madhuri Dixit, Juhi Chawla and Kajol). In that point of time, action and comedy films were also successful, with actors like Govinda and actresses such as Raveena Tandon and Karisma Kapoor appearing in popular comedy films, and stunt actor Akshay Kumar gaining popularity for performing dangerous stunts in action films.Furthermore, this decade marked the entry of new performers in arthouse and independent films, some of which succeeded commercially, the most influential example being Satya (1998), directed by Ram Gopal Varma and written by Anurag Kashyap. The critical and commercial success of Satya led to the emergence of a distinct genre known as Mumbai noir, urban films reflecting social problems in the city of Mumbai. This led to a resurgence of Parallel Cinema by the end of the decade. These films often featured actors like Nana Patekar, Manoj Bajpai, Manisha Koirala, Tabu and Urmila Matondkar, whose performances were usually critically acclaimed.

The 2000s saw a growth in Bollywood's popularity in the world. This led the nation's filmmaking to new heights in terms of quality, cinematography and innovative story lines as well as technical advances in areas such as special effects, animation, etc. Some of the largest production houses, among them Yash Raj Films and Dharma Productions were the producers of new modern films. The opening up of the overseas market, more Bollywood releases abroad and the explosion of multiplexes in big cities, led to wider box office successes in India and abroad, including Lagaan (2001), Devdas (2002), Koi... Mil Gaya (2003), Kal Ho Naa Ho (2003), Veer-Zaara (2004), Rang De Basanti (2006), Lage Raho Munnabhai (2006), Krrish (2006), Dhoom 2 (2006), Om Shanti Om (2007), Chak De India (2007), Rab Ne Bana Di Jodi (2008), Ghajini(2008), 3 Idiots (2009), My Name is Khan (2010), Raajneeti (2010) & Dabangg (2010) delivering a new generation of popular actors (Hrithik Roshan, Abhishek Bachchan) and actresses (Aishwarya Rai, Preity Zinta, Rani Mukerji, Kareena Kapoor and Priyanka Chopra), and keeping the popularity of actors of the previous decade. Among the mainstream films, Lagaan won the Audience Award at the Locarno International Film Festival and was nominated for Best Foreign Language Film at the 74th Academy Awards, while Devdas and Rang De Basanti were both nominated for the BAFTA Award for Best Foreign Language Film.

The Hindi film industry has preferred films that appeal to all segments of the audience (see the discussion in Ganti, 2004, cited in references), and has resisted making films that target narrow audiences. It was believed that aiming for a broad spectrum would maximise box office receipts. However, filmmakers may be moving towards accepting some box-office segmentation, between films that appeal to rural Indians, and films that appeal to urban and overseas audiences.

Influences for Bollywood

Gokulsing and Dissanayake identify six major influences that have shaped the conventions of Indian popular cinema:

• The ancient Indian epics of Mahabharata and Ramayana which have exerted a profound influence on the thought and imagination of Indian popular cinema, particularly in its narratives. Examples of this influence include the techniques of a side story, back-story and story within a story. Indian popular films often have plots which branch off into sub-plots; such narrative dispersals can clearly be seen in the 1993 films Khalnayak and Gardish.^[40]
• Ancient Sanskrit drama, with its highly stylized nature and emphasis on spectacle, where music, dance and gesture combined "to create a vibrant artistic unit with dance and mime being central to the dramatic experience." Sanskrit dramas were known as natya, derived from the root word nrit (dance), characterizing them as specacular dance-dramas which has continued Indian cinema.^[40] The theory of rasa dating back to ancient Sanskrit drama is believed to be one of the most fundamental features that differentiate Indian cinema, particularly Hindi cinema, from that of the Western world.
• The traditional folk theatre of India, which became popular from around the 10th century with the decline of Sanskrit theatre. These regional traditions include the Yatra of Bengal, the Ramlila of Uttar Pradesh, and the Terukkuttu of Tamil Nadu.
• The 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."
• Hollywood, where musicals were popular from the 1920s to the 1950s, though Indian filmmakers departed from their Hollywood counterparts in several ways. "For example, the Hollywood musicals had as their plot the world of entertainment itself. Indian filmmakers, while enhancing the elements of fantasy so pervasive in Indian popular films, used song and music as a natural mode of articulation in a given situation in their films. There is a strong Indian tradition of narrating mythology, history, fairy stories and so on through song and dance." In addition, "whereas Hollywood filmmakers strove to conceal the constructed nature of their work so that the realistic narrative was wholly dominant, Indian filmmakers made no attempt to conceal the fact that what was shown on the screen was a creation, an illusion, a fiction. However, they demonstrated how this creation intersected with people's day to day lives in complex and interesting ways."
• Western musical television, particularly MTV, which has had an increasing influence since the 1990s, as can be seen in the pace, camera angles, dance sequences and music of 2000s Indian films. An early example of this approach was in Mani Ratnam's Bombay (1995).

Influence of Bollywood

In the 2000s, Bollywood began influencing musical films in the Western world, and played a particularly instrumental role in the revival of the American musical film genre. Baz Luhrmann stated that his musical film Moulin Rouge! (2001) was directly inspired by Bollywood musicals. The film incorporated an Indian-themed play based on the ancient Sanskrit drama The Little Clay Cart and a Bollywood-style dance sequence with a song from the film China Gate. The critical and financial success of Moulin Rouge! renewed interest in the then-moribund Western musical genre, and subsequently films such as Chicago, The Producers, Rent, Dreamgirls, Hairspray, Sweeney Todd, Across the Universe, The Phantom of the Opera, Enchanted and Mamma Mia! were produced, fueling a renaissance of the genre.

A. R. Rahman, an Indian film composer, wrote the music for Andrew Lloyd Webber's Bombay Dreams, and a musical version of Hum Aapke Hain Koun has played in London's West End. The Bollywood musical Lagaan (2001) was nominated for the Academy Award for Best Foreign Language Film, and two other Bollywood films Devdas (2002) and Rang De Basanti (2006) were nominated for the BAFTA Award for Best Foreign Language Film. Danny Boyle's Slumdog Millionaire (2008), which has won four Golden Globes and eight Academy Awards, was also directly inspired by Bollywood films, and is considered to be a "homage to Hindi commercial cinema". The theme of reincarnation was also popularized in Western popular culture through Bollywood films, with Madhumati (1958) inspiring the Hollywood film The Reincarnation of Peter Proud (1975), which in turn inspired the Bollywood film Karz (1980), which in turn influenced another Hollywood film Chances Are (1989). The 1975 film Chhoti Si Baat is believed to have inspired Hitch (2005), which in turn inspired the Bollywood film Partner (2007).

The influence of Bollywood filmi music can also be seen in popular music elsewhere in the world. For example, Devo's 1988 hit song "Disco Dancer" was inspired by the song "I am a Disco Dancer" from the Bollywood film Disco Dancer (1982). The 2002 song "Addictive", sung by Truth Hurts and produced by DJ Quik and Dr. Dre, was lifted from Lata Mangeshkar's "Thoda Resham Lagta Hai" from Jyoti (1981). The Black Eyed Peas' Grammy Award winning 2005 song "Don't Phunk with My Heart" was inspired by two 1970s Bollywood songs: "Ye Mera Dil Yaar Ka Diwana" from Don (1978) and "Ae Nujawan Hai Sub" from Apradh (1972). Both songs were originally composed by Kalyanji Anandji, sung by Asha Bhosle, and featured the dancer Helen. Also in 2005, the Kronos Quartet re-recorded several R. D. Burman compositions, with Asha Bhosle as the singer, into an album You've stolen my heart - Songs From R D Burman's Bollywood, which was nominated for "Best Contemporary World Music Album" at the 2006 Grammy Awards. Filmi music composed by A. R. Rahman (who would later win two Academy Awards for the Slumdog Millionaire soundtrack) has frequently been sampled by musicians elsewhere in the world, including the Singaporean artist Kelly Poon, the Uzbek artist Iroda Dilroz, the French rap group La Caution, the American artist Ciara, and the German band Löwenherz, among others. Many Asian Underground artists, particularly those among the overseas Indian diaspora, have also been inspired by Bollywood music.

Genre conventions

Bollywood films are mostly musicals, and are expected to contain catchy music in the form of song-and-dance numbers woven into the script. A film's success often depends on the quality of such musical numbers. Indeed, a film's music is often released before the movie itself and helps increase the audience.

Indian audiences expect full value for their money, with a good entertainer generally referred to as paisa vasool, (literally, "money's worth"). Songs and dances, love triangles, comedy and dare-devil thrills are all mixed up in a three-hour-long extravaganza with an intermission. Such movies are called masala films, after the Hindi word for a spice mixture. Like masalas, these movies are a mixture of many things such as action, comedy, romance etc. Most films have heroes who are able to fight off villains all by themselves.

Melodrama and romance are common ingredients to Bollywood films. Pictured Achhut Kanya (1936)

Bollywood plots have tended to be melodramatic. They frequently employ formulaic ingredients such as star-crossed lovers and angry parents, love triangles, family ties, sacrifice, corrupt politicians, kidnappers, conniving villains, courtesans with hearts of gold, long-lost relatives and siblings separated by fate, dramatic reversals of fortune, and convenient coincidences.

There have always been Indian films with more artistic aims and more sophisticated stories, both inside and outside the Bollywood tradition (see Parallel Cinema). They often lost out at the box office to movies with more mass appeal. Bollywood conventions are changing, however. A large Indian diaspora in English speaking countries, and increased Western influence at home, have nudged Bollywood films closer to Hollywood models.

Film critic Lata Khubchandani writes,"..our earliest films...had liberal doses of sex and kissing scenes in them. Strangely, it was after Independence the censor board came into being and so did all the strictures." Plots now tend to feature Westernised urbanites dating and dancing in clubs rather than centering on pre-arranged marriages. Though these changes can widely be seen in contemporary Bollywood, traditional conservative ways of Indian culture continue to exist in India outside the industry and an element of resistance by some to western-based influences. Despite this, Bollywood continues to play a major role in fashion in India.Indeed some studies into fashion in India have revealed that some people are unaware that the changing nature of fashion in Bollywood films which are presented to them are often influenced by globalisation and many consider the clothes worn by Bollywood actors as authentically Indian.

Cast and crew

for further details see Indian movie actors, Indian movie actresses, Indian film directors, Indian film music directors and Indian playback singers

Bollywood employs people from all parts of India. It attracts thousands of aspiring actors and actresses, all hoping for a break in the industry. Models and beauty contestants, television actors, theatre actors and even common people come to Mumbai with the hope and dream of becoming a star. Just as in Hollywood, very few succeed. Since many Bollywood films are shot abroad, many foreign extras are employed too.

Stardom in the entertainment industry is very fickle, and Bollywood is no exception. The popularity of the stars can rise and fall rapidly. Directors compete to hire the most popular stars of the day, who are believed to guarantee the success of a movie (though this belief is not always supported by box-office results). Hence many stars make the most of their fame, once they become popular, by making several movies simultaneously.

Only a very few non-Indian actors are able to make a mark in Bollywood, though many have tried from time to time. There have been some exceptions, one recent example is the hit film Rang De Basanti, where the lead actress is Alice Patten, an Englishwoman. Kisna, Lagaan, and The Rising: Ballad of Mangal Pandey also featured foreign actors. There is also Emma Brown Garett, an Australian born actress, who is starring in a few Indian films.

Bollywood can be very clannish, and the relatives of film-industry insiders have an edge in getting coveted roles in films or being part of a film's crew. Industry connections are no guarantee of a long career: competition is fierce and if film industry scions do not succeed at the box office, their careers will falter. Some of the biggest stars, such as Dharmendra, Amitabh Bachchan, and Shahrukh Khan have succeeded despite total lack of show business connections. For film clans, see List of Bollywood film clans.

Sound

Sound in Bollywood films is rarely recorded on location (otherwise known as sync sound). Therefore, the sound is usually created (or recreated) entirely in the studio, with the actors reciting their lines as their images appear on-screen in the studio in the process known as "looping in the sound" or ADR—with the foley and sound effects added later. This creates several problems, since the sound in these films usually occurs a frame or two earlier or later than the mouth movements or gestures. The actors have to act twice: once on-location, once in the studio—and the emotional level on set is often very difficult to recreate. Commercial Indian films, not just the Hindi-language variety, are known foheir lack of ambient sound, so there is a silence underlying everything instead of the background sound and noises usually employed in films to create aurally perceivable depth and environment.

The ubiquity of ADR in Bollywood cinema became prevalent in the early 1960s with the arrival of the Arriflex 3 camera, which required a blimp (cover) in order to shield the sound of the camera, for which it was notorious, from on-location filming. Commercial Indian filmmakers, known for their speed, never bothered to blimp the camera, and its excessive noise required that everything had to be recreated in the studio. Eventually, this became the standard for Indian films.

The trend was bucked in 2001, after a 30-year hiatus of synchronized sound, with the film Lagaan, in which producer-star Aamir Khan insisted that the sound be done on location. This opened up a heated debate on the use and economic feasibility of on-location sound, and several Bollywood films have employed on-location sound since then.

Bollywood song and dance

Songs in Bollywood are sung by professional playback singers, rather than actors, who lip-sync the lyrics. Pictured here is Mukesh, a famed playback singer.

Bollywood dances usually follow filmi songs

Bollywood film music is called filmi music (from Hindi, meaning "of films"). Songs from Bollywood movies are generally pre-recorded by professional playback singers, with the actors then lip synching the words to the song on-screen, often while dancing. While most actors, especially today, are excellent dancers, few are also singers. One notable exception was Kishore Kumar, who starred in several major films in the 1950s while also having a stellar career as a playback singer. K. L. Saigal, Suraiyya, and Noor Jehan were also known as both singers and actors. Some actors in the last thirty years have sung one or more songs themselves; for a list, see Singing actors and actresses in Indian cinema.

Playback singers are prominently featured in the opening credits and have their own fans who will go to an otherwise lackluster movie just to hear their favourites. Going by the quality as well as the quantity of the songs they rendered, most notable singers of Bollywood are Lata Mangeshkar, Asha Bhosle, Geeta Dutt, Shamshad Begum and Alka Yagnik among female playback singers; and K. L. Saigal, Talat Mahmood, Mukesh, Mohammed Rafi, Manna Dey, Hemant Kumar, Kishore Kumar, Kumar Sanu, Udit Narayan and Sonu Nigam among male playback singers. Mohammed Rafi is often considered arguably the finest of the singers that have lent their voice to Bollywood songs, followed by Lata Mangeshkar, who, through the course of a career spanning over six decades, has recorded thousands of songs for Indian movies. The composers of film music, known as music directors, are also well-known. Their songs can make or break a film and usually do. Remixing of film songs with modern beats and rhythms is a common occurrence today, and producers may even release remixed versions of some of their films' songs along with the films' regular soundtrack albums.

The dancing in Bollywood films, especially older ones, is primarily modelled on Indian dance: classical dance styles, dances of historic northern Indian courtesans (tawaif), or folk dances. In modern films, Indian dance elements often blend with Western dance styles (as seen on MTV or in Broadway musicals), though it is usual to see Western pop and pure classical dance numbers side by side in the same film. The hero or heroine will often perform with a troupe of supporting dancers. Many song-and-dance routines in Indian films feature unrealistically instantaneous shifts of location or changes of costume between verses of a song. If the hero and heroine dance and sing a duet, it is often staged in beautiful natural surroundings or architecturally grand settings. This staging is referred to as a "picturisation".

Songs typically comment on the action taking place in the movie, in several ways. Sometimes, a song is worked into the plot, so that a character has a reason to sing. Other times, a song is an externalisation of a character's thoughts, or presages an event that has not occurred yet in the plot of the movie. In this case, the event is often two characters falling in love. The songs are also often referred to as a "dream sequence", and anything can happen that would not normally happen in the real world.

Previously song and dance scenes often used to be shot in Kashmir, but due to political unrest in Kashmir since the end of the 1980s, those scenes have since then often been shot in Western Europe, particularly in Switzerland and Austria.

Bollywood films have always used what are now called "item numbers". A physically attractive female character (the "item girl"), often completely unrelated to the main cast and plot of the film, performs a catchy song and dance number in the film. In older films, the "item number" may be performed by a courtesan (tawaif) dancing for a rich client or as part of a cabaret show. The actress Helen was famous for her cabaret numbers. In modern films, item numbers may be inserted as discotheque sequences, dancing at celebrations, or as stage shows.

For the last few decades Bollywood producers have been releasing the film's soundtrack, as tapes or CDs, before the main movie release, hoping that the music will pull audiences into the cinema later. Often the soundtrack is more popular than the movie. In the last few years some producers have also been releasing music videos, usually featuring a song from the film. However, some promotional videos feature a song which is not included in the movie.

Dialogues and lyrics

The film script or lines of dialogue (called "dialogues" in Indian English) and the song lyrics are often written by different people.

Dialogues are usually written in an unadorned Hindi or Hindustani that would be understood by the largest possible audience. Some movies, however, have used regional dialects to evoke a village setting, or old-fashioned courtly Urdu in Mughal era historical films. Contemporary mainstream movies also make great use of English. Some movie scripts are first written in Roman alphabet. Characters may shift from one language to the other to express a certain atmosphere (for example, English in a business setting and Hindi in an informal one).

Cinematic language, whether in dialogues or lyrics, is often melodramatic and invokes God, family, mother, duty, and self-sacrifice liberally.

Music directors often prefer working with certain lyricists, to the point that the lyricist and composer are seen as a team. This phenomenon is like the pairings of American composers and songwriters that created old-time Broadway musicals (e.g., Richard Rodgers and Oscar Hammerstein II, or Alan Jay Lerner and Frederick Loewe). Song lyrics are usually about love. Bollywood song lyrics, especially in the old movies, frequently use Arabo-Persic Urdu vocabulary. Another source for love lyrics is the long Hindu tradition of poetry about the mythological amours of Krishna, Radha, and the gopis. Many lyrics compare the singer to a devotee and the object of his or her passion to Krishna or Radha.

Finances

Bollywood films are multi-million dollar productions, with the most expensive productions costing up to 100 crores rupees (roughly USD 20 million). Sets, costumes, special effects, and cinematography were less than world-class up until the mid-to-late 1990s, although with some notable exceptions. As Western films and television gain wider distribution in India itself, there is an increasing pressure for Bollywood films to attain the same production levels, particularly in areas such as action and special effects. Recent Bollywood films have employed international technicians to improve in these areas, such as Krrish (2006) which has action choreographed by Hong Kong based Tony Ching. The increasing accessibility to professional action and special effects, coupled with rising film budgets, has seen an explosion in the action and sci-fi genres.

Sequences shot overseas have proved a real box office draw, so Mumbai film crews are increasingly filming in Australia, Canada, New Zealand, the United Kingdom, the United States, continental Europe and elsewhere. Nowadays, Indian producers are winning more and more funding for big-budget films shot within India as well, such as Lagaan, Devdas and other recent films.

Funding for Bollywood films often comes from private distributors and a few large studios. Indian banks and financial institutions were forbidden from lending money to movie studios. However, this ban has now been lifted. As finances are not regulated, some funding also comes from illegitimate sources, such as the Mumbai underworld. The Mumbai underworld has been known to be involved in the production of several films, and are notorious for their patronisation of several prominent film personalities; On occasion, they have been known to use money and muscle power to get their way in cinematic deals. In January 2000, Mumbai mafia hitmen shot Rakesh Roshan, a film director and father of star Hrithik Roshan. In 2001, the Central Bureau of Investigation seized all prints of the movie Chori Chori Chupke Chupke after the movie was found to be funded by members of the Mumbai underworld.

Another problem facing Bollywood is widespread copyright infringement of its films. Often, bootleg DVD copies of movies are available before the prints are officially released in cinemas. Manufacturing of bootleg DVD, VCD, and VHS copies of the latest movie titles is a well established 'small scale industry' in parts of South Asia and South East Asia. The Federation of Indian Chambers of Commerce and Industry (FICCI) estimates that the Bollywood industry loses $100 million annually in loss of revenue from pirated home videos and DVDs. Besides catering to the homegrown market, demand for these copies is large amongst some sections of the Indian diaspora, too. (In fact, bootleg copies are the only way people in Pakistan can watch Bollywood movies, since the Government of Pakistan has banned their sale, distribution and telecast). Films are frequently broadcast without compensation by countless small cable TV companies in India and other parts of South Asia. Small convenience stores run by members of the Indian diaspora in the U.S. and the UK regularly stock tapes and DVDs of dubious provenance, while consumer copying adds to the problem. The availability of illegal copies of movies on the Internet also contributes to the piracy problem.

Satellite TV, television and imported foreign films are making huge inroads into the domestic Indian entertainment market. In the past, most Bollywood films could make money; now fewer tend to do so. However, most Bollywood producers make money, recouping their investments from many sources of revenue, including selling ancillary rights. There are also increasing returns from theatres in Western countries like the United Kingdom, Canada, and the United States, where Bollywood is slowly getting noticed. As more Indians migrate to these countries, they form a growing market for upscale Indian films.

For an interesting comparison of Hollywood and Bollywood financial figures, see chart. It shows tickets sold in 2002 and total revenue estimates. Bollywood sold 3.6 billion tickets and had total revenues (theatre tickets, DVDs, television etc.) of US$1.3 billion, whereas Hollywood films sold 2.6 billion tickets and generated total revenues (again from all formats) of US$51 billion.

Advertising

Many Indian artists used to make a living by hand-painting movie billboards and posters (The well-known artist M.F. Hussain used to paint film posters early in his career). This was because human labour was found to be cheaper than printing and distributing publicity material.Now, a majority of the huge and ubiquitous billboards in India's major cities are created with computer-printed vinyl. The old hand-painted posters, once regarded as ephemera, are becoming increasingly collectible as folk art.

Releasing the film music, or music videos, before the actual release of the film can also be considered a form of advertising. A popular tune is believed to help pull audiences into the theaters.

Bollywood publicists have begun to use the Internet as a venue for advertising. Most of the better-funded film releases now have their own websites, where browsers can view trailers, stills, and information about the story, cast, and crew.

Bollywood is also used to advertise other products. Product placement, as used in Hollywood, is widely practiced in Bollywood.

Bollywood movie stars appear in print and television advertisements for other products, such as watches or soap (see Celebrity endorsement). Advertisers say that a star endorsement boosts sales.

Awards

The Filmfare Awards ceremony is one of the most prominent film events given for Hindi films in India. The Indian screen magazine Filmfare started the first Filmfare Awards in 1954, and awards were given to the best films of 1953. The ceremony was referred to as the Clare Awards after the magazine's editor. Modelled after the poll-based merit format of the Academy of Motion Picture Arts and Sciences, individuals may submit their votes in separate categories. A dual voting system was developed in 1956. Like the Oscars, the Filmfare awards are frequently accused of bias towards commercial success rather than artistic merit.

As the Filmfare, the National Film Awards were introduced in 1954. Since 1973, the Indian government has sponsored the National Film Awards, awarded by the government run Directorate of Film Festivals (DFF). The DFF screens not only Bollywood films, but films from all the other regional movie industries and independent/art films. These awards are handed out at an annual ceremony presided over by the President of India. Under this system, in contrast to the National Film Awards, which are decided by a panel appointed by Indian Government, the Filmfare Awards are voted for by both the public and a committee of experts.

Sports Bra

A sports bra is a bra that provides additional support to female breasts during physical exercise. Sturdier than typical bras, they minimize breast movement, alleviate discomfort, and reduce potential damage to chest ligaments.

A number of women, particularly those with larger breasts, wear sports bras to reduce pain, discomfort, and potential embarrassment resulting from breast movement during exercise, which may have prevented them from participating in sports activities. Some sports bras are designed to be worn as outerwear during exercise like jogging.

Sports bras may also be worn by women following breast surgical procedures. In those situations, a front closing sports bra with a compression, seamless cup is recommended for healing and comfort. Fabrics like Lycra have been recognized to help reduce swelling and help "even-out" a bustline that has been altered by a surgical procedure.

Breasts during exercise

Two women wearing sports bras exercise and walk their dogs on Cayucos State Beach, Cayucos, California

During exercise, unrestrained breasts move about freely with the movement of the body. The potential motion is reflected in the bobbing of a woman's ponytail during an activity, such as jogging. Some women, particularly those with larger breasts, may find excessive movement painful or embarrassing.

Other problems

German pole vaulter Floé Kühnert wearing a sports bra

Another problem arises from the shoulder straps of standard bras. Standard well-fitting bras are constructed in the form of a "square frame", with all dimensions adjusted for each woman in a normal standing position, with arms to the sides. When a woman performs an activity which requires her to lift her arms above the shoulders, the frame is strained because it is anchored by the chest band, putting direct pressure on the shoulder trapezius muscles. This may result in neck and shoulder pain, numbness and tingling in the arm and headaches. To avoid such problems the bra's shoulder straps are usually crossed at the back, or the bra is worn halter-style.

Design and history

The exercise bra, initially called a "jockbra", was invented in 1977 by Lisa Lindahl. Her sister, Victoria Woodrow, called to complain about her bad experience exercising in every-day bras.She was frustrated by runaway bra straps, chafing skin, and sore breasts after running. Hinda Miller and Lisa Lindahl cut up a pair of jockstraps and sewed them together into a bra; and marketed the garment as the Jogbra.

In 1990 Playtex purchased Jogbra from Lisa and her partners. This was followed by research by Christine Haycock, associate professor of surgery at the University of Medicine and Dentistry of New Jersey. She measured breast movement of women running on treadmills. Sought out by bra manufacturers for her expertise, she advocated wide bottom bands for extra support and firm straps that minimized breasts bounce. Renelle Braaten, a Montana hairdresser, struggled to contain her double-Ds while playing racquetball and volleyball. Unable to interest mainstream bra manufacturers, she collaborated with freelance apparel designer Heidi Fisk, and founded Enell Incorporated. After considerable lobbying, she persuaded Oprah Winfrey in 2001 to try her bra. This led to very positive reviews in O: The Oprah Magazine, a 2001 appearance on The Oprah Winfrey Show, and a huge surge in orders.

Sports bras can either encapsulate or compress breasts. Bras that encapsulate breasts have molded cups, while compression-type bras restrict movement by flattening the breasts. Encapsulation-type bras generally are more effective at reducing discomfort, but some women prefer compression designs that enhance their perception of modesty.

The most common sports bra is basically designed like a tank top with the bottom half cut off. Other designs use gel and water pads, silver fibres, and air bags. A stitchless bra was made by Wacoal, was molded, compressed, and shaped. A compressed bra is designed to push the breasts against the chest to reduce movement and bounce. Other bras are knitted in circular patterns, giving varying stretch and support. A common design uses a stretchable, absorbent fabric like Lycra designed to reduce irritation by drawing perspiration away from the skin.

Levels of control

Different physical activities require different levels of breast control. Yoga, walking and gardening require only "light" control; bicycling, power walking and hiking require "moderate" control; tennis, soccer and jogging requires "firm" control; and running, intense workouts, boxing and horseback riding requires "maximum" control.

Exercise discomfort

About 50 percent of women report some pain or discomfort in their breasts during exercise. This varies considerably in intensity and may depend on what they are wearing. In an Australian study 3 women (17-21, cup sizes B and C) were photographed exercising bare breasted, with two models of a bra, and with a particular sports bra. As expected, breast motion was reduced by bras, and the sports bra was the most effective. The women reported less discomfort with bras and especially with the sports bra. However not all sports bras are created equally and should be properly fitted.

A 2007 study found that breasts move in three planes of motion during exercise. This study concluded that encapsulation bras are more effective than compression bras at reducing total breast motion during exercise because encapsulation bras reduce motion in two of the three planes, while compression bras reduce motion in only one plane.Although some female athletes are concerned that a sports bra may interfere with breathing, and increased pressure on the rib cage has been demonstrated, no significant effect on breathing can be shown.

Most bra research has concentrated on sports bras, where discomfort is directly related to the degree of nipple movement. While sports bras are more effective in this regard than standard bras, they also vary considerably in their effectiveness.

Sports bras are also manufactured for men with large breasts to enable them to take part more comfortably in physical activity. Some descriptions used euphemistically to describe bras for men are chest binders, compression vests or shimmel

History of Wrist Watch

Watches evolved in the 17th century from spring powered clocks, which appeared in the 15th century. The first watches were strictly mechanical. As technology progressed, the mechanisms used to measure time has in some cases been replaced by use of quartz vibrations or electromagnetic pulses and is called a quartz movements. The first digital electronic watch was developed in 1970.

Before wristwatches became popular in the 1920s, most watches were pocket watches, which often had covers and were carried in a pocket and attached to a watch chain or watch fob. In early 1900s, the wristwatch, originally called a Wristlet, was reserved for women and considered more of a passing fad than a serious timepiece. Real gentlemen, who carried pocket watches, were actually quoted as saying they would "sooner wear a skirt as wear a wristwatch". This all changed in World War I when soldiers on the battlefield found using a pocket watch to be impractical, so they attached the pocket watch to their wrist by a cupped leather strap. It is also believed that Girard-Perregaux equipped the German Imperial Navy in a similar fashion as early as the 1880s, which were used while synchronizing naval attacks and firing artillery.

Most inexpensive and medium-priced watches used mainly for timekeeping are electronic watches with quartz movements. Expensive, collectible watches valued more for their workmanship and aesthetic appeal than for simple timekeeping, often have purely mechanical movements and are powered by springs, even though mechanical movements are less accurate than more affordable quartz movements. In addition to the time, modern watches often display the day, date, month and year, and electronic watches may have many other functions. Watches that provide additional time-related features such as timers, chronographs and alarm functions are not uncommon. Some modern designs even go as far as using GPS technology or heart-rate monitoring capabilities.

History

Movement

Different kinds of movements move the hands differently as shown in this 2 second exposure. The left watch has a mechanical 21,600 bph movement, the right one has a quartz movement

A movement in watchmaking is the mechanism that measures the passage of time and displays the current time (and possibly other information including date, month and day). Movements may be entirely mechanical, entirely electronic (potentially with no moving parts), or a blend of the two. Most watches intended mainly for timekeeping today have electronic movements, with mechanical hands on the watch face indicating the time.

Mechanical movements

A Russian mechanical watch movement

Compared to electronic movements, mechanical watches are less accurate, often with errors of seconds per day, and they are sensitive to position, temperature and magnetism. They are also costly to produce, require regular maintenance and adjustment, and are more prone to failure. Nevertheless, the craftsmanship of mechanical watches still attracts interest from part of the watch-buying public. Skeleton watches are designed to leave the mechanism visible for aesthetic purposes.

Mechanical movements use an escapement mechanism to control and limit the unwinding and winding parts of a spring, converting what would otherwise be a simple unwinding into a controlled and periodic energy release. Mechanical movements also use a balance wheel together with the balance spring (also known as a hairspring) to control motion of the gear system of the watch in a manner analogous to the pendulum of a pendulum clock. The tourbillon, an optional part for mechanical movements, is a rotating frame for the escapement, which is used to cancel out or reduce the effects of gravitational bias to the timekeeping. Due to the complexity of designing a tourbillon, they are very expensive, and only found in "prestige" watches.^{[citation needed]}

The pin-lever escapement (called the Roskopf movement after its inventor, Georges Frederic Roskopf), which is a cheaper version of the fully levered movement, was manufactured in huge quantities by many Swiss manufacturers as well as Timex, until it was replaced by quartz movements.

Tuning-fork watches use a type of electromechanical movement. Introduced by Bulova in 1960, they use a tuning fork with a precise frequency (most often 360 hertz) to drive a mechanical watch. The task of converting electronically pulsed fork vibration into rotary movement is done via two tiny jeweled fingers, called pawls. Tuning-fork watches were rendered obsolete when electronic quartz watches were developed, because quartz watches were cheaper to produce and even more accurate.

Traditional mechanical watch movements use a spiral spring called a mainspring as a power source. In manual watches the spring must be rewound periodically by the user by turning the watch crown. Antique pocketwatches were wound by inserting a separate key into a hole in the back of the watch and turning it. Most modern watches are designed to run 40 hours on a winding and thus must be wound daily, but some run for several days and a few have 192-hour mainsprings and are wound weekly.

Automatic watch: An eccentric weight, called a rotor, swings with the movement of the wearer's body and winds the spring

A self-winding or automatic watches is one that rewinds the mainspring of a mechanical movement by the natural motions of the wearer's body. The first self-winding mechanism was invented for pocketwatches in 1770 by Abraham-Louis Perrelet, but the first "self-winding", or "automatic", wristwatch was the invention of a British watch repairer named John Harwood in 1923. This type of watch allows for constant winding without special action from the wearer; it works by an eccentric weight, called a winding rotor, which rotates with the movement of the wearer's wrist. The back-and-forth motion of the winding rotor couples to a ratchet to automatically wind the mainspring. Self-winding watches usually can also be wound manually so they can be kept running when not worn or if the wearer's wrist motions are inadequate to keep the watch wound.

Electronic movements

Electronic movements have few or no moving parts, as they use the piezoelectric effect in a tiny quartz crystal to provide a stable time base for a mostly electronic movement. The crystal forms a quartz oscillator which resonates at a specific and highly stable frequency, and which can be used to accurately pace a timekeeping mechanism. For this reason, electronic watches are often called quartz watches. Most quartz movements are primarily electronic but are geared to drive mechanical hands on the face of the watch in order to provide a traditional analog display of the time, which is still preferred by most consumers.

In 1959 Seiko gave an order to Epson (a daughter company of Seiko and the actual brain behind the quartz revolution) to start developing a quartz wristwatch. The project was codenamed 59A and by the 1964 Tokyo Summer Olympics, Seiko had a working prototype of a portable quartz watch which took part in time measurements throughout the event. The first Swiss prototypes of electronic quartz watches were made by the CEH research laboratory in Switzerland in 1962. The first quartz watch to enter production was the Seiko 35 SQ Astron, which hit the shelves on December 25, 1969. One particularly interesting decision made by Seiko at that time was to not patent the whole movement of the quartz wristwatch, thus allowing other manufacturers to benefit from the Seiko technology. This played a major role in the popularity and quick development of the quartz watch, which in less than a decade was dominant in the watch market, nearly ending an almost 100 years of mechanical wristwatch heritage. The modern quartz movements are produced in very large quantities, and even the cheapest wristwatches typically have quartz movements. Whereas mechanical movements can typically be off by several seconds a day, an inexpensive quartz movement in a child's wristwatch may still be accurate to within half a second per day—ten times better than a mechanical movement.^[12] Seiko's efforts to combine the quartz and mechanical movements bore fruit after 20 years of research, leading to the introduction of the Seiko Spring Drive, first in a limited domestic market production in 1999 and to the world in September 2005. The Spring Drive manages to keep time within quartz standards without the use of a battery, using a traditional mechanical gear train powered by a spring, while at the same time doesn't have the need of a balance wheel either.

Radio time signal watches are a type of electronic quartz watch which synchronizes (time transfer) its time with an external time source such as in atomic clocks, time signals from GPS navigation satellites, the German DCF77 signal in Europe, WWVB in the US, and others. Movements of this type may -among others- synchronize not only the time of day but also the date, the leap-year status of the current year, and the current state of daylight saving time (on or off). However, other than the radio receiver these watches are normal quartz watches in all other aspects.

Electronic watches require electricity as a power source. Some mechanical movements and hybrid electronic-mechanical movements also require electricity. Usually the electricity is provided by a replaceable battery. The first use of electrical power in watches was as a substitute for the mainspring, in order to remove the need for winding. The first electrically-powered watch, the Hamilton Electric 500, was released in 1957 by the Hamilton Watch Company of Lancaster, Pennsylvania.

Watch batteries (strictly speaking cells, as a battery is composed of multiple cells) are specially designed for their purpose. They are very small and provide tiny amounts of power continuously for very long periods (several years or more). In most cases, replacing the battery requires a trip to a watch-repair shop or watch dealer; this is especially true for watches that are designed to be water-resistant, as special tools and procedures are required to ensure that the watch remains water-resistant after battery replacement. Silver-oxide and lithium batteries are popular today; mercury batteries, formerly quite common, are no longer used, for environmental reasons. Cheap batteries may be alkaline, of the same size as silver-oxide cells but providing shorter life. Rechargeable batteries are used in some solar powered watches.

Some electronic watches are also powered by the movement of the wearer of the watch. For instance, Seiko's Kinetic powered quartz watches make use of the motion of the wearer's arm turning a rotating weight which causes a tiny generator to supply power to charge a rechargeable battery that runs the watch. The concept is similar to that of self-winding spring movements, except that electrical power is generated instead of mechanical spring tension.

Solar powered watches are powered by light. A photovoltaic cell on the face (dial) of the watch converts light to electricity, which in turn is used to charge a rechargeable battery or capacitor. The movement of the watch draws its power from the rechargeable battery or capacitor. As long as the watch is regularly exposed to fairly strong light (such as sunlight), it never needs battery replacement, and some models need only a few minutes of sunlight to provide weeks of energy (as in the Citizen Eco-Drive). Some of the early solar watches of the 1970s had innovative and unique designs to accommodate the array of solar cells needed to power them (Synchronar, Nepro, Sicura and some models by Cristalonic, Alba, Seiko and Citizen). As the decades progressed and the efficiency of the solar cells increased while the power requirements of the movement and display decreased, solar watches began to be designed to look like other conventional watches.

A rarely used power source is the temperature difference between the wearer's arm and the surrounding environment (as applied in the Citizen Eco-Drive Thermo).

Display

Analogue

Traditionally, watches have displayed the time in analogue form, with a numbered dial upon which are mounted at least a rotating hour hand and a longer, rotating minute hand. Many watches also incorporate a third hand that shows the current second of the current minute. Watches powered by quartz usually have a second hand that snaps every second to the next marker. Watches powered by a mechanical movement have a "sweep second hand", the name deriving from its uninterrupted smooth (sweeping) movement across the markers, although this is actually a misnomer in most cases; the hand merely moves in smaller steps, typically 1/5th of a second, corresponding to the beat (half period) of the balance wheel. In some escapements (for example the duplex escapement), the hand advances every two beats (full period) of the balance wheel, typically 1/2 second in those watches, or even every four beats (two periods, 1 second), in the double duplex escapement. A truly sweeping second hand is achieved with the tri-synchro regulator of Spring Drive watches. All of the hands are normally mechanical, physically rotating on the dial, although a few watches have been produced with "hands" that are simulated by a liquid-crystal display.

Analog display of the time is nearly universal in watches sold as jewelry or collectibles, and in these watches, the range of different styles of hands, numbers, and other aspects of the analogue dial is very broad. In watches sold for timekeeping, analog display remains very popular, as many people find it easier to read than digital display; but in timekeeping watches the emphasis is on clarity and accurate reading of the time under all conditions (clearly marked digits, easily visible hands, large watch faces, etc.). They are specifically designed for the left wrist with the stem (the knob used for changing the time) on the right side of the watch; this makes it easy to change the time without removing the watch from the wrist. This is the case if one is right-handed and the watch is worn on the left wrist (as is traditionally done). If one is left-handed and wears the watch on the right wrist, one has to remove the watch from the wrist to reset the time or to wind the watch.

Analog watches as well as clocks are often marketed showing a display time of approximately 10:09 or 10:10. This creates a visually pleasing smile-like face on upper half of the watch, in addition to enclosing the manufacturer's name. Digital displays often show a time of 12:08, where the increases in the numbers from left to right culminating in the fully-lit numerical display of the 8 also gives a positive feeling.

Analogue watch displays can be used to indicate cardinal direction due to the relation between the position of the hour hand and the position of the Sun in the sky. By rotating the watch so that the hour hand points toward the Sun, the point halfway between the hour hand and 12 o'clock will indicate south.

Digital

Cortébert digital mechanical pocket watch. 1890s

Cortébert digital mechanical wristwatch. 1920s

A digital display simply shows the time as a number, e.g., 12:08 instead of a short hand pointing towards the number 12 and a long hand 8/60 of the way round the dial.

The first digital mechanical pocket watches appeared in late 19th century. In the 1920s the first digital mechanical wristwatches appeared.

The first digital electronic watch, a Pulsar LED prototype in 1970, was developed jointly by Hamilton Watch Company and Electro-Data. John Bergey, the head of Hamilton's Pulsar division, said that he was inspired to make a digital timepiece by the then-futuristic digital clock that Hamilton themselves made for the 1968 science fiction film 2001: A Space Odyssey. On April 4, 1972, the Pulsar was finally ready, made in 18-carat gold and sold for $2,100. It had a red light-emitting diode (LED) display.

Digital LED watches were very expensive and out of reach to the common consumer until 1975, when Texas Instruments started to mass produce LED watches inside a plastic case. These watches, which first retailed for only $20, reduced to $10 in 1976, saw Pulsar lose $6 million and the Pulsar brand sold to Seiko.

A digital watch displaying the time (with seconds) and date

Most watches with LED displays required that the user press a button to see the time displayed for a few seconds, because LEDs used so much power that they could not be kept operating continuously. Usually the LED display color would be red. Watches with LED displays were popular for a few years, but soon the LED displays were superseded by liquid crystal displays (LCDs), which used less battery power and were much more convenient in use, with the display always visible and no need to push a button before seeing the time. The first LCD watch with a six-digit LCD was the 1973 Seiko 06LC, although various forms of early LCD watches with a four-digit display were marketed as early as 1972 including the 1972 Gruen Teletime LCD Watch, and the Cox Electronic Systems Quarz

From the 1980s onward, digital watch technology vastly improved. In 1982 Seiko produced a watch with a small television screen built in, and Casio produced a digital watch with a thermometer as well as another that could translate 1,500 Japanese words into English. In 1985, Casio produced the CFX-400 scientific calculator watch. In 1987 Casio produced a watch that could dial your telephone number and Citizen revealed one that would react to your voice. In 1995 Timex released a watch which allowed the wearer to download and store data from a computer to his wrist. Some watches, such as the Timex Datalink USB, feature dot matrix displays. Since their apex during the late 1980s to mid 1990s high technology fad, digital watches have mostly devolved into a simpler, less expensive basic time piece with little variety between models.

Despite these many advances, almost all watches with digital displays are used as timekeeping watches. Expensive watches for collectors rarely have digital displays since there is little demand for them. Less craftsmanship is required to make a digital watch face and most collectors find that analog dials (especially with complications) vary in quality more than digital dials due to the details and finishing of the parts that make up the dial (thus making the differences between a cheap and expensive watch more evident).

Functions

The Rolex Submariner, an officially certified chronometer

All watches provide the time of day, giving at least the hour and minute, and usually the second. Most also provide the current date, and often the day of the week as well. However, many watches also provide a great deal of information beyond the basics of time and date. Some watches include alarms. Other elaborate and more expensive watches, both pocket and wrist models, also incorporate striking mechanisms or repeater functions, so that the wearer could learn the time by the sound emanating from the watch. This announcement or striking feature is an essential characteristic of true clocks and distinguishes such watches from ordinary timepieces. This feature is available on most digital watches.

A complicated watch has one or more functions beyond the basic function of displaying the time and the date; such a functionality is called a complication. Two popular complications are the chronograph complication, which is the ability of the watch movement to function as a stopwatch, and the moonphase complication, which is a display of the lunar phase. Other more expensive complications include Tourbillon, Perpetual calendar, Minute repeater, and Equation of time. A truly complicated watch has many of these complications at once (see Calibre 89 from Patek Philippe for instance). Some watches can both indicate the direction of Mecca and have alarms that can be set for all daily prayer requirements.^{[citation needed]} Among watch enthusiasts, complicated watches are especially collectible. Some watches include a second 12-hour display for UTC (as Pontos Grand Guichet GMT).

The similar-sounding terms chronograph and chronometer are often confused, although they mean altogether different things. A chronograph has a stopwatch complication, as explained above, while a chronometer watch has a high quality mechanical or a thermo-compensated quartz movement that has been tested and certified to operate within a certain standard of accuracy by the COSC (Contrôle Officiel Suisse des Chronomètres). The concepts are different but not mutually exclusive; so a watch can be a chronograph, a chronometer, both, or neither.

Timex Datalink USB Dress edition from 2003 with a dot matrix display; the Invasion video game is on the screen

Many computerized wristwatches have been developed, but none have had long-term sales success, because they have awkward user interfaces due to the tiny screens and buttons, and a short battery life. As miniaturized electronics became cheaper, watches have been developed containing calculators, tonometers, barometers, altimeters, video games, digital cameras, keydrives, GPS receivers and cellular phones. In the early 1980s Seiko marketed a watch with a television in it. Such watches have also had the reputation as unsightly and thus mainly geek toys. Several companies have however attempted to develop a computer contained in a wristwatch (see also wearable computer).

Braille watches have analogue displays with raised bumps around the face to allow blind users to tell the time. Their digital equivalents use synthesised speech to speak the time on command.

Uses

Fashion

A sapphire cabochon on the crown of a men's dress watch

Wristwatches are often appreciated as jewelry or as collectible works of art rather than just as timepieces. This has created several different markets for wristwatches, ranging from very inexpensive but accurate watches (intended for no other purpose than telling the correct time) to extremely expensive watches that serve mainly as personal adornment (featuring jewel bearings to hold gemstones) or as examples of high achievement in miniaturization and precision mechanical engineering.

Traditionally, men's dress watches appropriate for informal (business), semi-formal, and formal attire are gold, thin, simple, and plain, but recent conflation of dressiness and high price has led to a belief among some that expensive rugged, complicated, or sports watches are also dressy because of their high cost. Some dress watches have a cabochon on the crown and many women's dress watches have faceted gemstones on the face, bezel, or bracelet. Some are made entirely of facetted sapphire .

Many fashion and department stores offer a variety of less-expensive, trendy, "costume" watches (usually for women), many of which are similar in quality to basic quartz timepieces but which feature bolder designs. In the 1980s, the Swiss Swatch company hired graphic designers to redesign a new annual collection of non-repairable watches.

Most companies that produce watches specialize in one or some of these markets. Companies such as Patek Philippe, Blancpain and Jaeger-LeCoultre specialize in simple and complicated mechanical dress watches; companies such as Omega SA, Ball Watch Company, TAG Heuer, Breitling, Panerai and Rolex specialize in rugged, reliable mechanical watches for sport and aviation use. Companies such as Casio, Timex, and Seiko specialize in watches as affordable timepieces or multifunctional computers.

Counterfeit watches which mimic expensive fashions watches are estimated to cost the watchmaker industry US$1 billion per year.

Space

The Omega Speedmaster, selected by U.S. space agencies

Zero gravity environment and other extreme conditions encountered by astronauts in space requires the use of specially tested watches. On April 12, 1961, Yuri Gagarin wore a Shturmanskie (a transliteration of Штурманские which actually means "navigator's") wristwatch during his historic first flight into space. The Shturmanskie was manufactured at the First Moscow Factory. Since 1964, the watches of the First Moscow Factory have been marked by the trademark "ПОЛЕТ", transliterated as "POLJOT", which means "flight" in Russian and is a tribute to the many space trips its watches have accomplished. In the late 1970s, Poljot launched a new chrono movement, the 3133. With a 23 jewel movement and manual winding (43 hours), it was a modified Russian version of the Swiss Valjoux 7734 of the early 1970s. Poljot 3133 were taken into space by astronauts from Russia, France, Germany and Ukraine. On the arm of Valeriy Polyakov, a Poljot 3133 chronograph movement-based watch set a space record for the longest space flight in history.

Astronaut Nancy J. Currie wears the Timex Ironman Triathlon Datalink model 78401 during STS 88

During the 1960s, a large range of watches were tested for durability and precision under extreme temperature changes and vibrations. The Omega Speedmaster Professional was selected by NASA, the U.S. space agency. Heuer became the first Swiss watch in space thanks to a Heuer Stopwatch, worn by John Glenn in 1962 when he piloted the Friendship 7 on the first manned U.S. orbital mission. The Breitling Navitimer Cosmonaute was designed with a 24-hour analog dial to avoid confusion between AM and PM, which are meaningless in space. It was first worn in space by U.S. astronaut Scott Carpenter on May 24, 1962 in the Aurora 7 mercury capsule. Since 1994 Fortis is the exclusive supplier for manned space missions authorized by the Russian Federal Space Agency. China National Space Administration (CNSA) astronauts wear the Fiyta^[21] spacewatches. At BaselWorld, 2008, Seiko announced the creation of the first watch ever designed specifically for a space walk, Spring Drive Spacewalk. Timex Datalink is flight certified by NASA for space missions and is one of the watches qualified by NASA for space travel. The various Datalink models were used both by cosmonauts and astronauts.