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Tamil cinema (also referred to as the Cinema of Tamil Nadu, the Tamil film industry, or Chennai film industry) is the Chennai–based Tamil language filmmaking industry of the South Indian state of Tamil Nadu. It is based in the Kodambakkam district of Chennai, where several Tamil language feature films are produced, which has led to a colloquial reference to it as Kollywood (Tamil: கோலிவுட் kōlivūṭ), a portmanteau of the words Kodambakkam and Hollywood.

Silent movies were produced in Chennai since 1916 and the era of talkies dawned in 1931 with the film Kalidas. By the end of the 1930s, the State of Madras legislature passed the Entertainment Tax Act 1939. Tamil Nadu cinema has had a profound effect on the film making industries of India, with Chennai becoming a hub for the filmmaking industries of other languages, including Sri Lankan cinema and Sri Lankan Tamil cinema in the 1900s. Tamil–language films are further made in other countries.

Today, Tamil films are distributed to various theatres around the world such as in Sri Lanka, Singapore, South Korea, Malayasia, Mauritius, South Africa, Western Europe, North America, and other significant Tamil diaspora region

Bollywood (Hindi: बॉलीवुड) is the informal term popularly used for the Hindi-language film industry based in Mumbai, India. The term is often incorrectly used to refer to the whole of Indian cinema; it is only a part of the Indian film industry.^[1] Bollywood is the largest film producer in India and one of the largest centers of film production in the world.^[2][3][4] The name is a portmanteau of Bombay (the former name for Mumbai) and Hollywood, the center of the American film industry.^[5]

Bollywood is more properly referred to as Hindi cinema, though frequent use of poetic Urdu words is fairly common. There has been a growing presence of Indian English in dialogue and songs as well. It is not uncommon to see films that feature dialogue with English words and phrases, or even whole sentences.^[6]

Hollywood is a district in Los Angeles, California, United States, situated west-northwest of Downtown Los Angeles.^[1] Due to its fame and cultural identity as the historical center of movie studios and movie stars, the word "Hollywood" is often used as a metonymy of American cinema. The nickname Tinseltown refers to the glittering, superficial nature of Hollywood and the movie industry.^[2] Today, much of the movie industry has dispersed into surrounding areas such as the Westside neighborhood,^[3] but significant auxiliary industries, such as editing, effects, props, post-production and lighting companies, remain in Hollywood, as does the backlot of Paramount Pictures.

Many historic Hollywood theaters are used as venues and concert stages to premiere major theatrical releases and host the Academy Awards. It is a popular destination for nightlife, and tourism and is home to the Hollywood Walk of Fame.

Although it is not the typical practice of the city of Los Angeles to establish specific boundaries for districts or neighborhoods, Hollywood is a recent exception. On February 16, 2005, California Assembly Members Goldberg and Koretz introduced a bill to require California to keep specific records on Hollywood as though it were independent. For this to be done, the boundaries were defined. This bill was unanimously supported by the Hollywood Chamber of Commerce and the Los Angeles City Council. Assembly Bill 588 was approved by the Governor on August 28, 2006, and now the district of Hollywood has official borders. The border can be loosely described as the area east of Beverly Hills and West Hollywood, south of Mulholland Drive, Laurel Canyon, Cahuenga Boulevard, and Barham Boulevard, and the cities of Burbank and Glendale, north of Melrose Avenue and west of the Golden State Freeway and Hyperion Avenue. This includes all of Griffith Park and Los Feliz—two areas that were hitherto generally considered separate from Hollywood by most Angelenos. The population of the district, including Los Feliz, as of the 2000 census was 167,664 and the median household income was $33,409 in 1999.[4]

This very success has bred enemies as well as imitators. Authoritarians left and right, religious fundamentalists and cultural conservatives — whether in China, India, Pakistan, Bangladesh or France — look warily at American film imports as conveyors of value disease.

But over the long run — suggests a provocative study by the Burkle Center for International Relations at the University of California,Los Angeles, the world need not fret too much. Should dynamic globalization indeed prove a two-way export-import street, other stars eventually will shine just as brightly.

The most likely candidate to challenge Hollywood for the lead is Asia. India and China together boast not only one-third of the world's population (the United States has 4 percent) but have thriving film and television industries.

Whereas Hollywood releases about 250 commercial films a year, India alone cranks out 800 to 900, though not many of the big-ticket variety which is the U.S. forte. Cinematic output and creativity also are rising in the Philippines, Iran, South Korea, Taiwan, Japan, Singapore and of course, Hong Kong. The Chinese film "Crouching Tiger, Hidden Dragon" has grossed more than $100 million in the United States alone — the first foreign-language film to take in that kind of cash.

Consider surprising Iran, which many in the West dismiss as little more than a closed-minded Mars. Indeed, almost all of the cinematic products of our Hollywood infidels are banned there. But the unintended consequence of the mullahs' megalomania — or narrow-mindedness — has been to nurture an indigenous film industry that has people everywhere buzzing. Suddenly, Iranian films are hot. "The White Balloon," "The Apple" and "Children of Heaven" stir audiences everywhere. A few years ago, the Iran-made tragedy "The Taste of Cherries" copped Cannes' coveted Palm d'Or.

Should such trends worry the United States, where the film industry is such a pivotal portion of the economy? On the contrary, argues the UCLA study, "The Potential Role of the Media in Preventing Deadly Conflicts":

The increasing Asianization of the film business could represent globalization at its most desirable. Exposing a broader sector of the U.S. audience to divergent cultural and political perspectives could prove of enormous value. Rather than experiencing a fearsome and reductive "clash of civilizations," we would get a truly cosmopolitan world entertainment media (e.g., more movies might even show serious problems being solved without guns or bombs).