电影自诞生以来，便逐渐成为许多国家民族工业的重要组成部分，并在传承各国民族文化、形塑国族共同体方面发挥着重要的作用。但因为政治、经济、文化等方面的原因，尤其是新自由主义以来的经济全球化，开放市场的民族电影越来越受到好莱坞电影的压制，好莱坞电影不仅侵占各民族电影的市场份额、掠夺利润，更通过银幕形象、故事、明星等文化符号输送美国价值观、侵蚀当地传统文化，威胁本土价值观的传承与演进。尤其是进入新世纪以来，全球化进程日益推进，互联网的发展、移动客户端的普及，好莱坞电影在全球攻城掠地的势头更猛，全球的民族电影发展步履蹒跚，民族电影发展很早便成为全球的难题。当下，在开放的市场中，只有中国、印度、日本、韩国、土耳其的民族电影能够在本土市场取得超过进口电影的份额；但中国、日本、韩国、土耳其仅仅是过半而已。而印度，其民族电影长时间保持世界电影最高产量、本土市场份额高达90%左右，这些醒目的成绩让印度民族电影傲然挺立在世界电影之林。在全球范围内，在对好莱坞电影完全开放的情况下，印度民族电影能够做到一枝独秀，其原因自然值得认真总结。 本论文从历史积淀、产业格局、商业电影的叙事模式、民族文化景观、外向发展等角度出发，对印度电影进行多角度研究。正是通过这种多维的研究，本文得出了印度电影形成了独特的、可持续的民族电影发展路径。 印度民族电影发展路径可以归纳为： 百余年连续的、独立的、不断壮大的发展史为当下印度电影的发展提供了一个良好的历史积淀，有能力保持高产量的电影生产，保证市场的内容供应，吸引住比较稳定的庞大观众群，进而为民族电影即便在开放后也能够轻松战胜进口片，为民族电影的未来发展提供坚实的基础。 以《电影法》为核心的法制体系，以分级委员会为核心的政府管理体系，巨星主导、传承有序的明星谱系，多语种/多基地的电影生态，强劲的电影生产力，庞大的电影观众群等，这些因素构筑了一个开放且坚实的印度民族电影产业基础。 印度电影的超长时长为其歌舞奇观、通俗情节剧、恒定的主题、类型矩阵等成熟的商业类型片民族特色发挥创造了空间，也是其民族电影能够赢得大众喜爱和消费的美学基础。 印度电影是“不可思议的印度”的文化映射和景观呈现，宗教、种姓、女性、针砭社会、离散等领域是印度电影中显著的文化景观，折射出印度社会鲜明的特征，共同构筑成观众眼中的印度。印度民族的文化景观能够让印度电影增强抵制好莱坞电影的侵袭，助力印度民族电影可持续性健康发展。 印度电影没有困囿于本土，也在努力寻求外向发展，寻求海外的输出。在全球化的进程中，印度电影更是作为印度国族共同体建构的重要力量，在印度软实力输出方面也发挥着重要作用。从利润追求到软实力输出，印度电影在全球具有非常强的指标性意义，是其他民族电影发展的重要参照。 印度民族电影的独特建构，为全球提供了好莱坞之外的一个民族电影极有价值的发展路径。印度和中国一起为世界提供了民族电影发展的可能，如果两国电影深度合作，将在全球提供承载亚洲方法和亚洲价值观的亚洲电影崛起的可能样本，将深度改变世界电影版图。

Since it was born, Film has gradually become an important part of the national industry in many countries, and it plays an important role in inheriting the national culture of various countries and shaping the national state. However, due to political, economic and cultural reasons, especially the economic globalization since neo-liberalism, national movies in open markets have increasingly been suppressed by Hollywood movies. Hollywood movies not only invade the market share of various national films, plunder the profits but also convey American values, erode local traditional and threat the inheritance and evolution of local values through cultural symbols such as screen images, stories and stars. In particular, since the beginning of the 21st century, the globalization process has been advancing. With the development of the Internet and the popularity of mobile client, Hollywood films have become more and more aggressive in the global development. The development of national movies around the world has been faltering. As a result, the development of national films has long been a global problem. Now, in the open market, only national films of China, India, Japan, Korea, and Turkey can gain more market share than imported movies in the local market; but China, Japan, South Korea, and Turkey are just more than half. In India, its national films have kept the highest output of the world's movies and local market share up to 90% for a long time. These striking achievements have made Indian national films stand proudly in the family of world films. On a global scale, Indian cinema is capable of outshining others when it is completely open to Hollywood movies, the reason of which is naturally worth serious summary. This thesis takes a comprehensive view of Indian cinema from the perspectives of historical accumulation, industrial pattern, narrative mode of commercial films, national cultural landscape, and outward development. Analyzing the reasons why the ethnic films can develop in a long-term and healthy way and what has made it possible to get the advantages which Indian films have the highest proportion of global output and a high market share in national movie. More than a hundred years of development history provides a good historical accumulation for the development of current Indian cinema and enable Indian cinema to maintain high-yield film production, thereby ensuring the supply of content in the market, attracting a relatively stable and large audience, helping national films easily defeat the imported films and providing a solid foundation for their future development even after opening up. The legal system with the Film Act as the core, the government management system with the rating committee as the core, the superstar-dominated, orderly inherited star lineage, multi-lingual/multi-base film ecology, strong movie productivity and huge movie audience etc. which have built an open and solid foundation for the Indian national movie industry. The long duration of Indian cinema has created space for ethnic features of mature commercial style films such as song and dance spectacle, popular melodrama, constant theme, and type matrix, and is also the aesthetic basis for its national film to win popularity and consumption. Indian cinema is the cultural mapping and landscape presentation of "Inconceivable India". Religions, castes, women, social criticism and dispersion are prominent cultural landscapes in Indian cinema, which reflect the distinct characteristics of Indian society and together form India in the eyes of the audience. The cultural landscapes of the Indian nation enable Indian films to increase their capability to resist the invasion of Hollywood movies and help the sustainable development of Indian national films. Indian films are not trapped in domestic. Meanwhile, they are also striving to seek outward development and overseas output. In the process of globalization, Indian films, as a vital force, contribute to construction of the Indian community and play an important role in India’s output of soft power. From the pursuit of profits to the export of soft power, Indian cinema has a very strong indicative meaning in the world and is an essential reference for the development of other national films. The unique construction of Indian national films provides the world with an extremely valuable other development path for national films except Hollywood. Together, India and China offer the world possibilities of the development of national films. If there is a deep cooperation between the two countries, they will provide the possible samples of the rising of Asian films which carry Asian methods and Asian values, and will profoundly change the world's film landscape.