Hindi
Empowered Committee recommends re-drafting of Cinematograph Act 1952
NEW DELHI: The empowered Committee under the chairmanship of retired Punjab and High Court Chief Justice Mukul Mudgal has submitted a fresh draft of the Cinematograph Act 1952 to incorporate its recommendations related to certification of films and piracy issues.
In its report submitted to Information and Broadcasting Minister Manish Tewari today, the Committee has also dealt with issues such as advisory panels, guidelines for certification and issues such as portrayal of women, obscenity and communal disharmony, classification of Films and jurisdiction of the Film Certification Appellate Tribunal (FCAT).
The Committee also gave its views on advisory panels in different parts of the country to the Central Board of Film Certification; apart from ways to deal with video piracy.
A thorough review of the Cinematograph Act has also been undertaken in the light of developments over the last six decades.
The Censorship Guidelines were last amended on 6 December 1991. The Board presently consists of non-official members and a chairman (all of whom are appointed by Central Government) and functions with headquarters at Mumbai. It has nine Regional offices/Advisory Panels, one each at Mumbai, Kolkata, Chennai, Bangalore, Thiruvananthapuram, Hyderabad, New Delhi, Cuttack and Guwahati. The Regional Offices are assisted in the examination of films by Advisory Panels. The members of the panels are nominated by Central Government by drawing people from different walks of life for a period of two years.
The committee was constituted by the Ministry on 4 February 2013 and held several meetings during its eight-month tenure with various stakeholders. These meetings were held in Chennai, Delhi, Mumbai and Kolkata. Eminent persons connected with the film sector were invited by the Committee to present their views. The Committee also held discussions with members and officials of CBFC, officials of the Animal Welfare Board of India, Chairperson of BCCC, representatives of the Film Federation of India, the Films and Television Producers Guild of India and the Multiplex Association of India.
Other members of the Committee are former I and B Secretary Uday Kumar Varma; FCAT Chairman Lalit Bhasin; former CBFC Chairperson Sharmila Tagore; eminent film lyricist Javed Akhtar; CBFC Chairperson Leela Samson; South Indian Film Chamber of Commerce Secretary and former Film Federation of India President L Suresh; Supreme Court advocate Ms Rameeza Hakim, and I and B Joint Secretary (Films) Raghvendra Singh who was the member convener.
Hindi
Remembering Gyan Sahay, the lens behind film, television and advertising
From a puppet rabbit selling poppadums to Hindi cinema, he framed it all.
MUMBAI: There are careers, and then there are canvases. Gyan Sahay, the veteran cinematographer, director, and producer who passed away on 10 March 2026 in Mumbai, had one of the latter. Over several decades in the Indian film and television industry, he turned lenses, lights, and the occasional puppet rabbit into something approaching art.
A graduate of the Film and Television Institute of India (FTII) in Pune, Sahay built his reputation as a director of photography across a career that stretched from the early 1970s all the way to the digital age. He was the kind of craftsman who understood that a well-composed shot is not merely a technical achievement but a quiet act of storytelling.
For most Indians of a certain age, however, Sahay will forever be the man behind the rabbit. His direction of the iconic long-running television commercial for Lijjat Papad, featuring its now-legendary puppet bunny, gave the country one of its most cheerfully persistent advertising images. It was the sort of work that sneaks into the national subconscious and takes up permanent residence.
His big-screen credits as cinematographer include Anokhi Pehchan (1972), Pagli (1974), Pas de Deux (1981), and Hum Farishte Nahin (1988). In 1999, he stepped behind a different kind of camera altogether, making his directorial debut with Sar Ankhon Par, a drama that featured Vikas Bhalla and Shruti Ulfat, with a cameo by Shah Rukh Khan for good measure.
On television, Sahay was particularly prized for his command of multi-camera production setups, a skill that made him a go-to technician for large-scale shows and reality programmes. In an industry that has never been especially patient with complexity, he was the calm hand on the rig.
In later life, Sahay turned teacher. He participated regularly in masterclasses and Digi-Talks, often hosted by organisations such as Bharatiya Chitra Sadhna, sharing hard-won wisdom on cinematography, the comedy of timing in a shot, and the sweeping changes brought by the shift from celluloid to digital. He was also said to have been involved in a project concerning a biographical film on Infosys co-founder N.R. Narayana Murthy.
Tributes from the film industry poured in following the news of his passing, with colleagues remembering him as a senior cameraman who served as a rare bridge between two entirely different eras of Indian cinema. That is, perhaps, the finest thing one can say of any craftsman: he kept up, and he brought others along with him.
