National Film Award for Best Cinematography | |
---|---|
National award for contributions to non-feature films | |
Sponsored by | National Film Development Corporation of India |
Reward(s) |
|
First awarded | 1990 |
Last awarded | 2022 |
Most recent winner | Siddharth Diwan |
Highlights | |
Total awarded | 80 |
First winner |
|
The National Film Award for Best Cinematography is one of the National Film Awards presented annually by the National Film Development Corporation of India. It is one of several awards presented for non-feature films and awarded with Rajat Kamal (Silver Lotus).
The award was instituted in 1990, at 38th National Film Awards and awarded annually for short films produced in the year across the country, in all Indian languages. Since the 70th National Film Awards (2022), the primary/main cinematographer is eligible to the award, thus eliminating the existing Cameraman and Laboratory Processing sub-categories. [1]
Award includes 'Rajat Kamal' (Silver Lotus) and cash prize. Following are the award winners over the years:
Indicates a joint award for that year |
List of award recipients, showing the year (award ceremony), film(s), language(s) and citation | ||||||
---|---|---|---|---|---|---|
Year | Cameraman(s) | Laboratory Processing | Film(s) | Language(s) | Citation | Refs. |
1990 (38th) | Santosh Sivan | Prasad Film Laboratories | Mohiniyattam | English | For evocative, lyrical beauty with which the camera has painted the dancer and her milieu. | [2] |
Victor Banerjee | Prasad Film Laboratories | Where No Journeys End | English | For the dramatic manner in which the Indian landscape unfolds, seducing the viewer with timeless beauty of India. | ||
1991 (39th) | Shekar Dattari | Prasad Film Laboratories | Silent Valley: An Indian Rain forest | English | For the arduous and patient coverage of the flora and fauna of the Silent Valley in Kerala over a period of one-and-a-half years and for giving an intimate portrait of the environment, recorded under difficult conditions. | [3] |
1992 (40th) | Soumendu Roy | Adlabs | Sucitra Mitra | Bengali | For capturing on celluloid the many moods of the Bengal landscape and picturisation of the famous singer Suchitra Mitra. | [4] |
1993 (41st) | Piyush Shah | – | Moksha | Bengali | For documenting a tragic reality with all its moods and emotions. | [5] |
1994 (42nd) | Anoop Jotwani | Vijay Color Lab | Rasayatra | •Hindi •English | For his fastidious interpretation through lighting, and the fluidity of his camera operation. | [6] |
1995 (43rd) | Rafey Mehmood | Adlabs | Tarana | Hindi | For the beautiful images achieved through fascinating camera movements, excellent lighting, composition in tandem with music. | [7] |
1996 (44th) | Hari Nair | Prasad Film Laboratories | Sham's Vision | English | For his brilliant use of light and shade, to bring to life even inanimate objects in the film. | [8] |
1997 (45th) | Ashok Dasgupta | – | The Trail | English | This experimental film deals with the decolonisation of the mind through its strong and artistic visual images. | [9] |
1998 (46th) | Ranjan Palit | Prasad Film Laboratories | In The Forest Hangs a Bridge | English | For his perception of images to define a style that illustrates the harmony in the film. | [10] |
1999 (47th) | Mankada Ravi Varma | Prasad Film Laboratories | Kalamandalam Gopi | Malayalam | For the imaginative and excellent visual quality rendered with consistency. | [11] |
2000 (48th) | Prasann Jain | Adlabs | Rasikpriya | •Hindi •English | For capturing images that speak in tones of light and shade, thereby giving life to the lyrical form of the film. | [12] |
2001 (49th) | Nilotpal Sarkar | Prasad Film Laboratory | Jorasanko Thakurbari | English | For imaginatively capturing images in light and shade, through smooth movements to bring life to the historical house of the Tagores'. | [13] |
Irom Maipak | Prasad Kalinga Lab | The Monpas of Arunachal Pradesh | English | For his fascinating style of framing under uncontrolled situations. | ||
2002 (50th) | No Award | [14] | ||||
2003 (51st) | Ranjan Palit | Prasad Film Laboratory | Kaya Poochhe Maya Se | Hindi | For a cinematic observation of myriad shades of humanity and breathtaking chiaroscuro of light and shade. | [15] |
K. G. Jayan | Prasad Film Laboratory | The 18 Elephants: 3 Monologues | Malayalam | For sound design which evokes a vision of a world far, far away from the madding crowd, which oscillates between the silences and nature's pristine sounds. | ||
2004 (52nd) | Manoj Raymond Lobo | Adlabs | Girni | Marathi | For a short film which is highly enriched through excellent visual choreography. | [16] |
2005 (53rd) | Paramvir Singh | Adlabs | Parsiwada, Tarapore Present Day | •English • Gujarati | For its visually poetic depiction of the decadent Parsi community, with imaginative use of great lighting and compositions. | [17] |
2006 (54th) | Rajendra Janglay | – | Raga of River Narmada | – | For stretching the technical possibilities of videography and capturing the varying moods of river Narmada. | [18] |
Sanjay V. | ||||||
2007 (55th) | Savita Singh | – | Kramasha | Hindi | For her arresting use of lenses and lighting in the creation of a strange and magical world, full of a certain atmospheric dampness and mistiness, further enhanced by a consistent exhibition of striking cinematic compositions. | [19] |
2008 (56th) | Shariqva Badar Khan | Filmlab | Three of Us | – | For providing with amazing discipline and sensitivity, an intimate insight into the lives of a small family, living in a confined space, with exquisite use of composition, rhythm, lensing and lighting. | [20] |
Jaya Krishna Gummadi | Adlabs | When This Man Dies | •Hindi •English | For using highly sophisticated texture and tonal work, with deep anticipation into the flow and narrative of the film, the cinematography strives to redefine ways of image making and experience. | ||
2009 (57th) | Deepu S. Unni | Adlabs | Gaarud | •Hindi •Marathi | For brilliant craftsmanship, intelligent lensing in aesthetically recreating the ambience and the diverse pulsating life in a semi-urban lodge. | [21] |
2010 (58th) | Murali G. | Filmlab | Shyam Raat Seher | •Hindi •English | For imaginative yet minimal, a balanced and evocative cinematography creates a character out of a city night atmosphere, setting the space and mood for the living characters in their journey beyond the real, nearing mythical. | [22] |
2011 (59th) | S. Nallamuthu | – | Tiger Dynasty | English | For photographing with stunning images tigers and other wildlife animals in their natural habitat and giving us visuals which are both unique and poetic. | [23] |
2012 (60th) | Abhimanyu Dange | Reliance MediaWorks | Kaatal | Marathi | For meticulous and confident image making that immensely augment the story telling. | [24] |
Raja Shabir Khan | – | Shepherds of Paradise | •Gojri •Urdu | For simple, stark and sometimes breathtaking cinematography under the most difficult weather conditions, where some images linger on long after the film is over. | ||
2013 (61st) | Kavin Jagtiani | Reliance MediaWorks | Mandrake !Mandrake ! | Hindi | For exhibiting a wide spectrum of hues, both colour and black and white, while picturising the action in a dark warehouse full of unlikely light sources as also for the simulation of a silent era film with amusing trick photography. | [25] |
2014 (62nd) | Indraneel Lahiri | – | Aamaar Katha: Story of Binodini | Bengali | For its stunning and sensual visual imagery that brings the story of Binodini alive. | [26] |
2015 (63rd) | Amartya Bhattacharyya | – | Benaras: The Unexplored Attachments | Bengali | Poetry of visuals leaving a lasting imprint. | [27] |
2016 (64th) | Alpesh Nagar | – | Kalpvriksha | Hindi | The mysterious beauty of the narrative comes alive through artful camerawork. | [28] |
Vishal Sangwai | Adnyat | English | The camera paints a rich and colourful canvas for a narrative that is both grim and tragic. | |||
2017 (65th) | Appu Prabhakar | – | Eye Test | An exploration in tonalities and contrast, woven with memories and vision. | [29] | |
Arnold Fernandes | Dawn | Potent imagery bordering on darkness and hope. | ||||
2018 (66th) | Ajay Bedi | – | The Secret Life of Frogs | – | For its consistent, relentless and splendid work in formidable circumstances, of visually capturing the life cycle and habitat of an endangered amphibian. | |
The National Film Award for Best Bengali Feature Film is one of the National Film Awards presented annually by the National Film Development Corporation of India. It is one of several awards presented for feature films and awarded with Rajat Kamal. Since the 70th National Film Awards, the name was changed to "Best Bengali Feature Film".
The National Film Award for Best Malayalam Feature Film is one of the National Film Awards presented annually by the National Film Development Corporation of India. It is one of several awards presented for feature films and awarded with Rajat Kamal. Since the 70th National Film Awards, the name was changed to "Best Malayalam Feature Film".
The National Film Award for Best Feature Film in English is one of the National Film Awards of India presented annually by the Directorate of Film Festivals, the organisation set up by Ministry of Information and Broadcasting. It is one of several awards presented for feature films and awarded with Rajat Kamal.
The National Film Award for Best Debut Film of a Director is one of the National Film Awards presented annually by the National Film Development Corporation of India. It is one of several awards presented for non-feature films and awarded with Golden Lotus.
The National Film Award for Best Anthropological/EthnographicFilm was 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 was one of several awards presented for feature films and awarded with Rajat Kamal.
The National Film Award for Best Biographical Film was 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 was one of several awards presented for non-feature films and awarded with Rajat Kamal.
The National Film Award for Best Scientific Film was 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 was one of several awards presented for non-feature films and awarded with Rajat Kamal.
The National Film Award for Best Promotional Film was 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 was one of several awards presented for non-feature films and awarded with Rajat Kamal.
The National Film Award for Best Film on Social Issues was 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 was one of several awards presented for non-feature films and awarded with Rajat Kamal.
The National Film Award for Best Non-Feature Environment/Conservation/Preservation Film was one of the National Film Awards presented annually by the Directorate of Film Festivals, the organization set up by Ministry of Information and Broadcasting, India. It was one of several awards presented for non-feature films and awarded with Rajat Kamal.
The National Film Award for Best Exploration/Adventure Film was 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 was one of several awards presented for non-feature films and awarded with Rajat Kamal.
The National Film Award for Best Investigative Film was 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 was one of several awards presented for non-feature films and awarded with Rajat Kamal.
The National Film Award for Best Short Film is one of the National Film Awards presented annually by the National Film Development Corporation of India. It is one of several awards presented for non-feature films and awarded with Rajat Kamal.
The National Film Award for Best Non-Feature Film on Family Welfare was 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 was one of several awards presented for Non-Feature Films and awarded with 'Rajat Kamal'.
The National Film Award for Best Sound Design is one of the National Film Awards presented annually by the National Film Development Corporation of India. It is one of several awards presented for non-feature films and awarded with Rajat Kamal.
The National Film Award for Best Editing is one of the National Film Awards presented annually by the National Film Development Corporation of India. It is one of several awards presented for non-feature films and awarded with Rajat Kamal.
The National Film Award – Special Jury Award was 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.
The National Film Award for Best Make-up is one of the National Film Awards presented annually by the National Film Development Corporation of India. It is one of several awards presented for feature films and awarded with Rajat Kamal.
The 56th National Film Awards, presented by Directorate of Film Festivals, the organisation set up by Ministry of Information and Broadcasting in India to celebrate the best of Indian Cinema released in the year 2008.
The 51st National Film Awards, presented by Directorate of Film Festivals, the organisation set up by Ministry of Information and Broadcasting, India to felicitate the best of Indian Cinema released in the year 2003.