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National Film Award for Best Cinematography
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| National Film Award for Best Cinematography | |
|---|---|
| National award for contributions to Indian Cinema | |
| Sponsored by | Directorate of Film Festivals |
| Formerly called | Award for excellence in Cinematography (1967–1976) |
| Reward(s) |
|
| First awarded | 1967 |
| Last awarded |
|
| Most recent winner |
|
| Highlights | |
| Total awarded |
|
| First winner |
|
The National Film Award for Best Cinematography is one of the National Film Awards presented annually by the Directorate of Film Festivals, the organisation set up by Ministry of Information and Broadcasting, India. It is one of several awards presented for feature films and awarded with Rajat Kamal (Silver Lotus).
The award was instituted in 1967, at 15th National Film Awards and awarded annually for films produced in the year across the country, in all Indian languages. Till 34th National Film Awards, awards were given for Black-and-white as well as Color motion picture film. Since 37th National Film Awards, Laboratory Processing are also awarded under the same category.
Multiple Winners
4 wins : K. K. Mahajan, Avik Mukhopadhyay, Santosh Sivan
3 wins : Soumendu Roy, Apurba Kishore Bir, Madhu Ambat, Venu
2 wins : Ramachandra, Balu Mahendra, Ashok Mehta, Sudeep Chatterjee
Recipients
Award includes 'Rajat Kamal' (Silver Lotus) and cash prize. The only female who has won this award is Anjuli Shukla, who won the award for her debut film, Kutty Srank (2010). Prasad Film Lab has been awarded eight times for the laboratory processing. Following are the award winners over the years:
* |
Indicates Black-and-white feature film |
| List of award recipients, showing the year (award ceremony), film(s), language(s) and citation | ||||||
|---|---|---|---|---|---|---|
| Year | Recipient(s) | Laboratory Processing | Film(s) | Language(s) | Citation | Refs. |
| 1967 (15th) |
Ramachandra | – | Bambai Raat Ki Bahon Mein | Hindi | – | [1] |
| M. N. Malhotra | – | Hamraaz | Hindi | – | ||
| 1968 (16th) |
Nariman Irani | – | Saraswatichandra | Hindi | – | [2] |
| K. S. Prasad | – | Thillana Mohanambal | Tamil | – | ||
| 1969 (17th) |
K. K. Mahajan | – | Sara Akash | Hindi | – | [3] |
| Marcus Bartley | – | Shanti Nilayam | Tamil | – | ||
| 1970 (18th) |
K. K. Mahajan | – | Uski Roti | Hindi | – | [4] |
| Radhu Karmakar | – | Mera Naam Joker | Hindi | – | ||
| 1971 (19th) |
Nando Bhattacharya | – | Anubhav | Hindi | – | [5] |
| Ramachandra | – | Reshma Aur Shera | Hindi | – | ||
| 1972 (20th) |
Mankada Ravi Varma | – | Swayamvaram | Malayalam | – | [6] |
| K. K. Mahajan | – | Maya Darpan | Hindi | – | ||
| 1973 (21st) |
Apurba Kishore Bir | – | 27 Down | Hindi | – | [7] |
| Soumendu Roy | – | Ashani Sanket | Bengali | – | ||
| 1974 (22nd) |
K. K. Mahajan | – | Chorus | Bengali | – | [8] |
| Soumendu Roy | – | Sonar Kella | Bengali | – | ||
| 1975 (23rd) |
B. S. Lokanath | – | Apoorva Raagangal | Tamil | – | [9] |
| Ishan Arya | – | Muthyala Muggu | Telugu | – | ||
| 1976 (24th) |
P. S. Nivas | – | Mohiniyaattam | Malayalam | – | [10] |
| S. Ramachandra | – | Rishya Shringa | Kannada | – | ||
| 1977 (25th) |
Balu Mahendra | – | Kokila | Kannada |
For smooth, crisp and immaculate camera work; for the clear, sensitive and discreet portrayal of beings in the first flush of youth; for seizing with a certain lyrical grace their romantic yearnings, their gay abandon, their zest and effervescence, their charming narcissism; for using the camera creatively to project their languid world of gossamer dreams out of which they are roused by the bitter harshness of reality. |
[11] |
| Soumendu Roy | – | Shatranj Ke Khilari | Hindi |
For capturing in meticulous detail the opulent splendor of the court of Wajid Ali Shah; for using color with discrimination and taste to evoke the distinctive decadent flavour of the period and to provide psychological insights into the characters; for projecting the action through a framework of shifting perspectives, thereby providing a movable feast for the eyes, for establishing by pointed contrast the somber hues and subdued functionalism of the environment of General Outram, emphasising by such means the furtive manoeuvring for power; for using the camera to create a visual tapestry, rich in the clash of conflicting events, ideologies and responsibilities. | ||
| 1978 (26th) |
Shaji N. Karun | – | Thampu | Malayalam |
For using the camera as a silent witness to the ironies of life. The reaction shots of circus audience taken unawares are in the best tradition of cinema-verite camera style. |
[12] |
| Govind Nihalani | – | Junoon | Hindi |
For eloquent camera work which is equally effective both in romantic passages and battle sequences. The camera faultlessly brings out all the colour hues in various locations and differing light conditions. | ||
| 1979 (27th) |
Kamal Nayak | – | Neem Annapurna | Bengali | – | [13] |
| Rajan Kinagi | – | Shodh | Hindi | – | ||
| 1980 (28th) |
Sivan | – | Yagam | Malayalam |
For depicting the grim and tense mood of the film, admirably depicting mellowed moments in the film with charm. |
[14] |
| Ashok Kumar | – | Nenjathai Killathe | Tamil |
For brilliantly creating salient features of each character with the help of superb camera control and effective use of lighting and for significantly contributing to the mood of the film. | ||
| 1981 (29th) |
Shripati R. Bhat | – | Mooru Darigalu | Kannada |
For projecting the mood of the film in a vivid manner. |
[15] |
| Ashok Mehta | – | 36 Chowringhee Lane | English |
For the technical excellence, for highlighting the tonality, texture and nuances of the story and for an outstanding work as a cameraman. | ||
| 1982 (30th) |
Balu Mahendra | – | Moondram Pirai | Tamil |
For the brilliant use of vivid imagery to create variety of moods. |
[16] |
| 1983 (31st) |
B. Bindhani | – | Neeraba Jhada | Oriya |
For recording the stark realities of rural life in austere images. |
[17] |
| Raj Shekhar | ||||||
| Madhu Ambat | – | Adi Shankaracharya | Sanskrit |
For succeeding in capturing visually the spirit of the theme. | ||
| 1984 (32nd) |
Jehangir Choudhary | – | Holi | Hindi | – | [18] |
| 1985 (33rd) |
Subrata Mitra | – | New Delhi Times | Hindi |
For inspired camera work which brings out the delicate nuances of light and shade resulting in a strong visual presentation. |
[19] |
| 1986 (34th) |
Venu | – | Namukku Parkkan Munthiri Thoppukal | Malayalam |
For the lyrical and brilliant visual presentation. |
[20] |
| Amma Ariyan |
For his powerful and disturbing black and white photography. | |||||
| 1987 (35th) |
P. C. Sreeram | – | Nayakan | Tamil |
For the precise interpretation in lighting and camera operation adding a very vital dimension to the narrative. |
[21] |
| 1988 (36th) |
Apurba Kishore Bir | – | Daasi | Telugu |
For high technical excellence and creative participation in evolving the basic statement. |
[22] |
| 1989 (37th) |
Virendra Saini | Adlabs | Salim Langde Pe Mat Ro | Hindi |
For the high technical skills shown in evoking the special ethos of the film. |
[23] |
| 1990 (38th) |
Santosh Sivan | Vijay Colour Lab | Perumthachan | Malayalam |
For heightening the mood of the film with the highest visual standards. |
[24] |
| 1991 (39th) |
Apurba Kishore Bir | Prasad Film Lab | Aadi Mimansa | Oriya |
For achieving high degree of accomplishment in painting the film with light, imparting a sensuous quality to the texture and feel of the film. |
[25] |
| 1992 (40th) |
Venu | Prasad Film Lab | Miss Beatty's Children | English |
For his masterely, unobtrusive and technically excellent camera work. |
[26] |
| 1993 (41st) |
Venu | Prasad Film Lab | Ponthan Mada | Malayalam |
For the masterly use of the camera, in order to capture the feel of the background, setting, atmosphere of the subject and making use of striking visuals to communicate the theme. |
[27] |
| 1994 (42nd) |
K. V. Anand | Gemini Color Lab | Thenmavin Kombath | Malayalam |
In recognition of the outstanding cinematography executed with sincerity, imagination and flexibility. Fluid camera movements, praise compositions, and use of light are the highlights of this visual experience. |
[28] |
| 1995 (43rd) |
Santosh Sivan | Gemini Color Lab | Kaalapani | Malayalam |
For bringing out the flavour and authenticity of a period with a remarkable use of lights, shades and colours. |
[29] |
| 1996 (44th) |
Mrinal Kanti Das | Prasad Film Lab | • Adajya • Rag Birag |
Assamese |
For his versatile, imaginative and superb combinations and mood lighting. |
[30] |
| 1997 (45th) |
Santosh Sivan | Prasad Film Lab | Iruvar | Tamil |
For maintaining a consistent style and pattern that does justice to the period and scale that the narrative deals with. |
[31] |
| 1998 (46th) |
Santosh Sivan | Gemini Color Lab | Dil Se.. | Hindi |
His camera travels across spectacular landscapes and architecture and through bustling humanity with great seductive charm, colours and moods are created with equal ease in a film which sets a high standard of cinematic perfection. |
[32] |
| 1999 (47th) |
Anil Mehta | Adlabs | Hum Dil De Chuke Sanam | Hindi |
For a wide range of tonal variations achieved by the cinematographer to express the changing moods of this musical in a given space and time. |
[33] |
| 2000 (48th) |
Ashok Mehta | Prasad Film Lab | Moksha | Hindi |
For providing wide range of tonal variation and outstanding compositions to cater to the changing moods of the film's narrative. |
[34] |
| 2001 (49th) |
Ramachandra Halkare | Prasad Film Lab | Dweepa | Kannada |
For his excellent camerawork that captures the agrarian milieu with strong visual metaphors. His work stands out for its deft handling of the situation, social vignettes and characters. |
[35] |
| 2002 (50th) |
Abhik Mukhopadhyay | Rainbow Color Lab | Patalghar | Bengali |
For creating the distinctive and elegant visual ambience of the film that is excellently in tune with the mood of the story. |
[36] |
| 2003 (51st) |
Abhik Mukhopadhyay | Rainbow Color Lab | Bhalo Theko | Bengali |
For enriching the narrative with tranquility and beauty. |
[37] |
| 2004 (52nd) |
Mahesh Aney | Adlabs | Swades | Hindi |
For his lens that captures the rural Indian landscape with reality and harshness. |
[38] |
| 2005 (53rd) |
Madhu Ambat | Prasad Film Lab | Sringaram | Tamil |
For the technical brilliance which is evident in the framing, lighting and execution throughout the film. |
[39] |
| 2006 (54th) |
Gautam Ghose | Rainbow Colour Lab | Yatra | Hindi |
For creating evocative moods and capturing the nuances of a feudal system changing to modern times. |
[40] |
| 2007 (55th) |
Zdroj:https://en.wikipedia.org?pojem=National_Film_Award_for_Best_Cinematography||||||