Raja Harishchandra is a 1913 Indian silent film directed and produced by Dadasaheb Phalke. It is often considered the first full-length Indian feature film. 

Release date: 21 April 1913 (India)

Director: Dadasaheb Phalke

Producer: Dadasaheb Phalke

Screenplay: Dadasaheb Phalke

Languages: English, Hindi

The film depicts the story of a Hindu King Harishchandra, the 36th king of the Solar Dynasty. The Hindu sage Vishwamitra reminds Harishchandra of his promise of donating his kingdom, given to the sage in his dream. Known for abiding his promises, Harishchandra donates as desired by sage.

His wife Shaivya suggested that he sell her to get some money. After some hesitation, Harishchandra accepted the proposal and sold her to an elderly man. Their child would not let go of his mother, so it was decided that he would accompany his mother (and an extra payment was made for him)

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The Arab cinema did not flourish before the national independence of each of them, and even after, the films production of the Arab cinema was restricted to short-length films. However, there were exceptions for some of them. For example, Egypt scored the highest number in producing films for cinema amongst Arabs and produced more than 2,500 feature films. During the 1950s and 1960s Lebanon produced 180 feature films. Two full-length Kuwaiti films were produced at the end of 1970s, and a full-length Bahraini film was produced in 1989.Syria produced around 150 films, Tunisia approximately 130, 100 films produced from each of Algeria and Iraq, Morocco almost 70, and Jordan’s productions were less than 12.

The first Arabic-language film to ever be nominated is The Battle of Algiers. It is an Italian-Algerian historical war film from Italian writer and director Gillo Pontecorvo, shot in Algeria. It was nominated for Best Foreign Language Film in 1967 and then for Best Screenplay and Best Director in 1969.

Though The Academy Awards began in 1929, the history of Arab cinema at the Oscars doesn’t start until the 29th ceremony, held in 1957, after the Best Foreign Language Film category was introduced. Up until 1956, foreign-language films had been honored with the Special Achievement Award. As of 2020, the category has been renamed Best International Feature Film. Because of this, there is no presence of Arab films, nor of many international films at all, in the Oscars prior to the late 1950s.

Arab cinema or Arabic cinema (Arabic: السينما العربية‎, romanized: al-sīnemā al-ʿArabīyah) refers to the cinema of the Arab world.

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Chunhyang-Jeon is the first Korean movie.

Some name a filming of Chunhyang-Jeon (Korean: 춘향전) in 1921 (released in 1922) as the first Korean feature film. The traditional story, Chunhyang, was to become Korea’s most-filmed story later. It was possibly the first Korean feature film, and was certainly the first Korean sound film, color film and widescreen film.

Cinema came into Korea in the early 20th century under Japanese colonialism. “The Righteous Vengeance,” a mix of film and theater, was widely seen as the very first Korean movie when it came out in 1919. After the Korean War in the 1950s, cinema continued to grow despite the challenges of poverty and state censorship.

According to various stats, Korea has one of the most robust film industries in the world (Film industry ), and when you consider that the other nations that rank among the top of these lists have much bigger populations (revenue potential), budget and longer film history, only thing that’s keeping Korean film industry …

South Korean films enjoyed a “Golden age” during the late 1950s, and 1960s, but by the 1970s had become generally considered to be of low quality. Nonetheless, by 2005 South Korea became a nation that watched more domestic than imported films in theatres due somewhat to laws placing limits on the number of foreign films able to be shown per theatre per year,  but mostly due to the growth of the Korean entertainment industry which quadrupled in size during this period.

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At first, the Lumières had no idea what to do with their creation, but they caused a sensation when their first film, La Sortie de l’usine Lumière à Lyon, was presented at a meeting of the Société d’encouragement pour l’industrie nationale in Paris on 22nd March 1895.

France can, with some justification, claim to have invented the whole concept of cinema. Film historians call The Arrival of a Train at La Ciotat Station, the 50-second film by the Lumière brothers first screened in 1895, the birth of the medium.

In reality, French cinema today is no more regularly innovative than any other national cinema. … France’s greatest screen stars show an astonishing durability. The biggest names in French cinema are versatile in a way that their Hollywood counterparts rarely equal.

France had more than 5.9 thousand screens in 2017, the highest number among all the countries in Europe. Even though France has an important cinema industry and produces a large amount of films every year, it seems that the public prefer American movies.

French cinema used to be known for its auteurs. This reputation survives, but French film-makers have now introduced modern trends and up to date techniques within the French tradition. Their films provide foreign distributors with an alternative to US titles. “France has always been the cradle of cinema…”