Bihar Board Class 10 English Book Solutions Chapter 4 in Hindi | What is Wrong With Indian Film

जय हिन्द दोस्तों, आज इस पोस्ट के माध्यम से बिहार बोर्ड कक्षा 10th के अंग्रेजी बुक (Bihar Board Class 10 English Book Solutions Chapter 4 in Hindi) के चैप्टर 4 "What is Worng With Indian Film" (भारतीय फिल्‍म की कमी) के प्रत्‍येक पंक्ति के व्‍याख्‍या को देखेंगे, पढ़ेंगे साथ ही चैप्टर 4 का प्रश्न उत्तर देखेंगे। जिसके लेखक Satyajit Ray हैं।

Bihar Board Class 10 English Book Solutions Chapter 4 in Hindi | What is Wrong With Indian Film

SATYAJIT RAY, born on May 2, 1921, was a well known film director of India. He earned international recognition for his talent in film-making and direction. Best known for his ‘Pather Panchali, ‘Aparajto’, ‘Charulata’ and ‘Shatranj Ke Khilari’, he won awards at international film festivals in Venice, Cannes and Berlin. Ray used to compose music for his own films.

2 मई 1921 को जन्मे सत्यजीत रे भारत के जाने-माने फिल्म निर्देशक थे। उन्होंने फिल्म निर्माण और निर्देशन में अपनी प्रतिभा के लिए अंतरराष्ट्रीय स्तर पर पहचान बनाई। अपनी 'पाथेर पांचाली', 'अपराजितो', 'चारुलता' और 'शतरंज के खिलाड़ी' के लिए जाने जाने वाले सत्यजीत रे को वेनिस, कान और बर्लिन में अंतर्राष्ट्रीय फिल्म समारोहों में पुरस्कार मिले। रे अपनी फिल्मों के लिए खुद ही संगीत तैयार करते थे।

He was also a story writer, illustrator and book designer. Oxford University conferred on him an honorary doctorate degree, an honour which very few people have received. In the present essay, taken from his book Our Films, Their Films, he examines the nature of our films and points out their defects. He is extremely critical of the quality of our film-making, direction as well as content.

वह एक कहानीकार, चित्रकार और पुस्तक डिजाइनर भी थे। ऑक्सफोर्ड यूनिवर्सिटी ने उन्हें मानद डॉक्टरेट की उपाधि से सम्मानित किया, एक ऐसा सम्मान जो बहुत कम लोगों को मिला है। अपनी पुस्तक अवर फिल्म्स, देयर फिल्म्स से लिए गए इस निबंध में उन्होंने हमारी फिल्मों की प्रकृति की जांच की है और उनकी खामियों को इंगित किया है। वह हमारी फिल्म निर्माण, निर्देशन और विषय-वस्तु की गुणवत्ता के बारे में बेहद आलोचनात्मक हैं।

WHAT IS WRONG WITH INDIAN FILMS

One of the most significant phenomena of our time has been the development of the cinema from a-turn-of the-century mechanical toy into the century’s most potent and versatile art form.

हमारे समय का सबसे महत्वपूर्ण चीज सिनेमा का विकास है जो एक खिलौने से बढ़कर आज एक मजबूत और अलग पहचान बना चुका है।

Today, the cinema commands the respect accorded to any other form of creative expression. It combines in various measures the functions of poetry, music, painting, drama, architecture and a host of other arts, major and minor. It also combines the cold logic of science.

आज सिनेमा दूसरे किसी कला से कम आदरणीय नहीं है। ये कविता, संगीत, चित्रकला, नाटक और कई बड़े और छोटे कला के रूप को जोड़ता है। ये विज्ञान को भी जोड़ता है।

India took up film production surprisingly early. The first short film was produced in 1907 and the first feature in 1913. By the twenties it had reached the status of big business.

अजीब बात है पर भारत में फिल्‍म उत्पादन जल्‍दी शुरू हुआ। पहला शॉर्ट फिल्‍म 1907 में और पहली फिल्‍म 1913 में बनाया गया। बीस के दशक तक ये एक बड़े व्‍यापार का रूप ले चूका था।

It is easy to tell the world that film production in India is quantitatively second only to Hollywood; for that is a statistical fact. But can the same be said of its quality? Why are our films not shown abroad? Is it solely because India offers a potential market for her own products? Or, are we just plain ashamed of our films?

ये कहना आसान है कि भारत में फिल्म व्यापार हॉलीवुड से दूसरे स्थान पर है। क्योंकि ये एक डाटा से सत्य है। लेकिन क्या यही इसके गुणों के बारे में कहा जा सकता है? हमारे फिल्म विदेशों में क्यों नहीं दिखाए जाते हैं ? सिर्फ इसलिए क्योंकि हम अपने ही ग्राहकों के लिए उत्पादन करते हैं। या हमें शर्म है अपने फिल्मों पर।

To anyone familiar with the relative standards of the best foreign and Indian films, the answers must come easily. Let us face the truth. There has yet been no Indian film, which could be acclaimed on all counts. Where other countries have achieved, we have only attempted and that too not always with honesty.

जो भी भारतीय और विदेशी फिल्मों को जानते हैं उनके लिए ये जवाब ढूढ़ना आसान है। सत्य ये बात करते हैं। हमने अबतक ऐसा कोई – फिल्म नहीं बनाया जो सर्वगुण सम्पन्न हो जो दूसरे देशों ने प्राप्त कर लिया है, हम उसे कोशिश ही कर रहे हैं वो भी ईमानदारी से नहीं।

No doubt this lack of maturity can be attributed to several factors. The producers will tell you about that mysterious entity ‘the mass’, which goes in for this sort of thing’, the technicians will blame the tools and the director will have much to say about the wonderful things he had in mind but could not achieve because of the conditions’.

निसंदेह ये कमी बहुत तत्वों पर आधारित है। प्रायोजक जवाब देते हैं कि ‘हमें सब के बारे में सोचना पड़ता है।’ टेक्नीशीयन औजार पर । आरोप लगाते हैं, निर्देशक के मन में बहुत कुछ रहता है पर वो परस्थितियों से बन्धे रहते हैं।

In India it would seem that the fundamental concept of a coherent dramatic pattern existing in time was generally misunderstood.

भारत में ऐसा लगता है कि सिनेमा बनाने का व्यवस्थित तरीका जो पहले हुआ करता था अब गलत तरीके से उसे समझा जाता है।

Often by a queer process of reasoning, movement was equated with action and action with melodrama. The analogy with music failed in our case because Indian music is largely improvisational.

अकसरहा तौर तरीकों से चलना-फिरने को कार्य से जोड़ा गया और कार्य को भावनात्मक नाटक से। हमारा संगीत इसलिए असफल रहा क्योंकि हम उसे नाटक के साथ जोड़ देते हैं।

Almost every passing phase of the American cinema has had its repercussion on the Indian films. Stories have been written based on Hollywood successes and the cliches preserved with care. Even where the story has been a genuinely Indian one, the background music has revealed an irrepressible penchant for the jazz idiom.

हमेशा अमरीकी फिल्मों का असर भारत पर पड़ता है। हॉलीवुड पर आधारित कई फिल्म बने हैं और उनके तत्वों को ठीक से रखा भी गया है। कभी अगर कहानी भारतीय भी होती है तो उसके पीछे संगीत से वो असर दिखता है।

It should be realised that the average American film is a bad model, if only because it depicts a way of life so utterly at variance with our own. Moreover, the high technical polish, which is the hallmark of the standard Hollywood product, would be impossible to achieve under existing Indian conditions. What the Indian cinema needs today is not more gloss, but more imagination, more integrity, and a more intelligent appreciation of the limitations of the medium.

ये अहसास होना चाहिए कि औसतन अमरीकी फिल्म एक खराब उदाहरण है। क्योंकि इसकी कहानी हमसे बहुत अलग होते हैं। उच्च तकनीक जिसके लिए हॉलीवुड जाना जाता है, भारत के तत्कालीन हाल में मिलना मुश्किल है। आज भारतीय सिनेमा को सिर्फ चमक-धमक नहीं चाहिए लेकिन बेहतर कल्पना, बेहतर एकता और बुद्धि वाला सोंच जो भाषा के घेराव को रोके।

After all we do possess the primary tools of filmmaking. The complaint of the technicians notwithstanding, mechanical devices such as the crane shot and the process shot are useful, but by no means indispensable. What our cinema needs above everything else is a style, an idiom, a sort of iconography of cinema, which would be uniquely and recognisably Indian.

आखिर हमारे पास फिल्म बनाने का प्राथमिक औजार है। तकनीकी समस्याएँ जायज है पर ऐसा नहीं है कि उसके बगैर काम नहीं चलेगा। कई जगहों पर अपनी बुद्धि से हम इसे इस्तेमाल करते भी हैं। आज हमारे सिनेमा को जरूरत है एक ऐसे माध्यम की जिससे हमारा सिनेमा पूर्णतः भारतीय रहे।

The majority of our films are replete with such ‘visual dissonances’. But the truly Indian film should steer clear of such inconsistencies and look for its material in the more basic aspects of Indian life, where habit and speech, dress and manners, background and foreground, blend into a harmonious whole.

हमारी ज्यादातर फिल्में अलग-अलग धुनों के संगीत से भरी हुई है। लेकिन सच्ची भारतीय फिल्मों को भारत की सच्ची जिन्दगी, सच्चा रहन-सहन, बात-चीत का तरीका को सही तरीके से मिला कर दिखाना चाहिए।

It is only in a drastic simplification of style and content that hope for the Indian cinema resides. At present, it would appear that nearly all the prevailing practices go against such a simplification.

हमें पूर्णत: साधारण होना होगा इसी से भारतीय फिल्म की छाप बचेगी। आज ऐसा लगता है कि सब कुछ इसके विपरीत ही है।

Starting a production without adequate planning, sometimes even without a shooting script, penchant for convolutions of plot and counter plot rather than the strong, simple unidirectional narrative: the practice of sandwiching musical numbers in the most unlyrical situations, the habit of shooting indoors in a country which is all landscape, and at a time when all other countries are turning to the documentary for inspiration – all these stand in the way of the evolution of a distinctive style.

बिना सही प्लानिंग के परियोजना शुरू करना, कभी बिना कहानी के ही आगे बढ़ना, कभी कुछ प्लॉट पे प्लॉट बदलना, कभी बिना निर्देशन के कहानी सुनाना, संगीत को जोड़ना - तोड़ना घर के अन्दर ही सारी शुटींग करना, दूसरे देश जब प्रेरणा के लिए डाक्युमेन्टरी देख रहे हैं, इस सब के कारण एक अलग पहचान नहीं बन पाता है।

There have been rare glimpses of an enlightened approach in a handful of recent films. IPTA’s ‘Dharti-ke-Lal’ is an instance of a strong simple theme put over with style. honesty and technical competence. Shankar’s ‘Kalpana’, an inimitable and highly individual experiment shows a grasp of filmic movement, and a respect for tradition.

ये विकास का झलक कुछ फिल्मों में दिखा है। आई०पी०टी०ए० का ‘धरती के लाल’ एक उदाहरण है। स्टाईल, ईमानदारी और तकनीक का। ‘शंकर की कल्पना’ एक व्यक्ति के अनुभव को दिखाती है और संस्कृति को इज्जत देती है।

The raw material of the cinema is life itself. It is incredible that a country which has inspired so much painting , music and poetry should fail to move the filmmakers. He has only to keep his eyes open, and his ears. Let him do so.

सिनेमा का कच्चा माल जीवन ही है। ये अमाननीय है कि जिस देश में एक से एक पेन्टर, कवि और कलाकार हैं वो फिल्म बनाने वालों को नहीं ला पा रही है। उसे बस अपना आँख और कान खुले रखना है। उसे ये करने दो।

Chapter 4 Solutions Questions and Answers

A.Work in small groups and discuss the following: 

1. Have you seen any film recently?

 

Answer - Yes, I watched “[Film’s Name]” recently. The world-building and cinematography in this stunningly gorgeous representation of the science fiction novel are truly remarkable. I was intrigued by the plot the entire time, and the acting was excellent. All in all, I would heartily suggest it as a memorable cinematic experience.

2. Tell the name of any film which you like most. Point out its salient features.

Answer - One movie I really love is “[Film’s Name].” It’s got a really interesting story that keeps you hooked from start to finish. The characters are so well-developed, and you really feel like you know them by the end of the movie. Plus, the way it looks is just amazing! The scenes are shot in a really beautiful way that makes everything feel real. And the actors do such a great job bringing their characters to life. The music in the movie adds even more excitement to the whole thing. Overall, “[Film’s Name]” is just an awesome movie that you won’t forget after watching it!

B.1.1. Write 'T' for true and 'F' for false statement.

1. The Cinema commands the respect accorded to any other form of creative expression.

 

Ans - T

2. The Cinema doesn't combine the cold logic of science. 

Ans - F

3. Film production in India is quantitatively second only to Hollywood. 

Ans - T

4. India has achieved what other countries have achieved. 

Ans - F

5. Indian music is largely improvisational.

Ans - T

B.1.2. Study the lesson carefully and complete the following sentences on the basis of your reading: 

1. By the twenties it had reached ....... of big business. 

2. Why were our film not shown .........

3. The technicians will ........ the tools. 

4. The first feature was shot in .........

5. The ........ with music failed in our case.

Ans.

1. the status
2. abroad
3. blame
4. 1913
5. analogy

B.1.3 Answer the following questions very briefly:

1. Who has written this essay?

Ans. Satyajit Ray has written this essay.

2. Which is the most potent and versatile art form?

Ans. The cinema is the most potent and versatile art form.

3. Were Indian films shown abroad a few decades ago?

Ans. No, Indian films weren’t shown abroad a few decades ago.

4. When was the first short film produced?

Ans. The first short was produced in the year of 1907.

B.2.1 Complete the following sentences on the basis of the unit you have studies:

1. Stories have been written ………….. on Hollywood success.
2. It should be realized that the average American film is a bad ……..
3. After all, we do …………. the primary tools of filmmaking.
4. The …………… of our films are replete with ‘visual dissonances’.
5. But the truly Indian film should …………. Clear of such inconsistencies.
6. There …………….. rare glimpses of an enlightened approach in a handful of recent films.

Answer - 

1. based
2. model
3. posses
4. majority
5. steer
6. have been

B.2.2. Answer the following questions briefly:

1. Have average American films been a bad model? Give one reason.

Ans. Yes, American films have been a bad model. American films show a way of life that is very different from what people experience in India. This means that the stories, characters, and situations in American films might not relate well to Indian audiences or reflect their own lives accurately.

2. Mention one thing/feature which Indian films need?

Ans. One thing that Indian films need is to develop their own unique style or identity. This means they should have a way of telling stories and presenting visuals that are distinctively Indian, reflecting the culture, traditions, and values of the country.

3. Do Indian film makers possess the primary tools of filmmaking?

Ans. Yes, Indian filmmakers do have the basic tools needed to make movies. This includes things like cameras, lights, sound equipment, and editing software. These tools are essential for creating films, and Indian filmmakers have access to them to bring their stories to life on screen.

C.1. Long Answer Questions

1. “What our cinema needs above everything else is a style, an idiom, a sort of iconography of cinema, which would be uniquely and recognisably Indian.” How far does this apply to Indian cinema today? Discuss.

Ans. In today’s Indian cinema, the call for a uniquely Indian style remains relevant. While some filmmakers have started to explore indigenous narratives and aesthetics, many mainstream films still heavily borrow from Western influences. Despite this, there’s a growing presence of independent and regional cinema that ventures into diverse themes and experimental techniques, adding depth to the industry. However, a significant portion of Indian cinema continues to prioritize commercial success over artistic originality. Thus, while progress is evident, there’s still a need for greater commitment to developing a truly distinctive and authentic Indian cinematic identity.

2. Should cinema be looked upon as a form of creative expression? Give reasons.

Ans. Yes, cinema should be seen as a form of creative expression because it brings together storytelling, visuals, music, and acting to convey ideas and emotions. It allows creators to communicate messages and explore themes in ways that deeply impact viewers. Additionally, filmmaking encourages collaboration and innovation, fostering creativity among artists. Through cinema, diverse stories and cultures are shared, promoting understanding and empathy. Overall, cinema serves as a powerful medium for artists to express themselves and for audiences to engage with compelling narratives and experiences.

3. Do you think that Indian films have certain basic weaknesses? Illustrate your answer, citing examples from the films you have seen.

Ans. Yes, Indian films often have some basic weaknesses. For example, many Bollywood movies rely too much on melodrama, making the emotions seem exaggerated and feature exaggerated emotional scenes and predictable storylines, which can detract from the overall impact of the film. Additionally, some films have overly complicated plots that can confuse viewers. Another issue is the tendency to follow Hollywood trends too closely, resulting in unoriginal storytelling. However, there are exceptions like “Court” and “Ship of Theseus,” which offer fresh and thought-provoking narratives. These films show that Indian cinema has the potential to overcome its weaknesses and produce more original and compelling works.

4. What is the most dominant influence on Indian Films?

Ans. Indian movies are heavily influenced by Hollywood. They take ideas and styles from American films and try to use them in their own movies. But sometimes, this isn’t a good thing. American films might not match well with Indian culture, and it’s hard to make movies in India as polished as Hollywood ones. Even though Indian filmmakers like to look at Hollywood for ideas, they have a tough time copying everything because of differences in culture and the resources available. So, while Hollywood has a big impact on Indian cinema, it’s not always easy for Indian movies to follow its example.

5. What aspects of the American films do our films imitate? Is it justified in our context?

Ans. Indian movies often copy things from American films, like how they tell stories, write scripts, and use background music. For example, they might use similar storytelling techniques such as love triangles and dramatic twists. They also tend to follow Hollywood’s way of writing scripts, sometimes even copying storylines or characters. Additionally, they might use Western-style background music, like jazz, which might not always fit with Indian stories. While copying from Hollywood can sometimes make Indian movies more popular, it’s important to make sure that it doesn’t make them lose their unique Indian flavor.Whether it’s justified for Indian movies to copy Hollywood is up to personal opinion and depends on different things. Taking ideas from successful international movies can make Indian movies more popular and help them do well around the world. But if Indian movies just copy Hollywood without thinking about what’s important to Indian culture, they might end up feeling like they don’t have their own identity.

C.3. Composition

1. Write a letter to the Director of Doordarshan requesting him to give you an opportunity to participate in the weekly T.V. Program which interests you very much. Mention why you find yourself suitable for such a program.

Ans.

[Your Name]
[Your Address]
[City, State, Zip Code]

[Date]

The Director
Doordarshan
[Address]
[City, State, Zip Code]

Subject: Request for Opportunity to Participate in Weekly TV Program

Dear Director,
I am writing to express my keen interest in participating in the weekly TV program [Name of the Program], which airs on Doordarshan. Having been an avid viewer of the program for quite some time now, I am inspired by its content, format, and the positive impact it has on its audience.As a passionate advocate for preserving the unique identity of Indian cinema, I have been inspired by Ray’s call for filmmakers to embrace indigenous storytelling and aesthetics, in the chapter “What is Wrong with Indian Films.” In light of this, I am eager to contribute to programs that promote originality and cultural authenticity, such as the weekly TV program [Name of the Program] aired on Doordarshan.

With a background in [mention your profession or relevant experience], I am confident in my ability to offer meaningful insights and perspectives that align with the values espoused by Ray. My dedication to upholding the integrity of Indian cinema and my enthusiasm for [mention the topic or theme of the program] make me well-suited for participation in [Name of the Program].

I would be honored to have the opportunity to discuss my potential contribution to the program further. Thank you for considering my request. I look forward to the possibility of collaborating with you in promoting the rich cultural heritage of Indian cinema.

Yours sincerely,
[Your Name]

2. Write your impression of a Hindi film which you have seen recently.

Ans. Recently, I had the opportunity to watch the Hindi film “Dangal,” and I must say, it left a lasting impression on me. The film revolves around the true story of Mahavir Singh Phogat, a former wrestler who trains his daughters Geeta and Babita to become world-class wrestlers. What struck me most about “Dangal” was its powerful storytelling and strong performances by the cast, particularly Aamir Khan in the lead role. The film skillfully tackles themes of gender equality, determination, and the pursuit of dreams against all odds. Moreover, the wrestling sequences were incredibly well-executed, adding to the authenticity of the narrative.

D. WORD STUDY

D.1. Dictionary use

Ex. 1. Correct the spelling of the following words:
Varsetile, inavetable, potencial, repelite, phinonomena

Ans.

1. Versatile
2. Inevitable
3. Potential
4. Replete
5. Phenomena.

Ex. 2. Frame your own sentences using the following words:
creation, potential, solely, queer, gloss, adequate, incredible

Answer - 

1. The painting was his creation, showcasing his artistic talent.
2. She showed great potential in her studies, impressing her teachers.
3. Success isn’t solely about luck; hard work plays a big part too.
4. He felt a queer sensation in his stomach before giving the speech.
5. The magazine cover had a glossy shine, catching everyone’s attention.
6. She made sure to have adequate snacks for the road trip.
7. The view from the top of the hill was incredible, with endless fields stretching out below.

D.2.

Ex. 1. Match the words or phrases in Column A with the meanings given in column B.

Answer -

1. Conferred- Given (degree etc.)
2. Architecture- Art and science of building
3. Indispensable- Essential
4. Evolution- Process of developing
5.Gloss- Smooth bright surface
6. Iconography- Art of painting

D.3.

Ex.1. Read the lesson carefully and find out five sentences in which phrases have been used. Now use those phrases in sentences of your own.

Answer - 

1. one of the most – Madhya Pradesh is one of the most populated states of India.
2. Took up – He took up his father’s family business as his profession
3. A host of – A host of the show was reported to be behaving rudely with others
4. After all – After all, one cannot escape from fate!
5. A sort of – A sort of fear gripped him especially whenever he drove as a result of his accident.

E. GRAMMAR (Adverb Clauses of Conditions)

Ex. 1 Look at the following sentences:

• If you get late, you will miss the train.
• You will not succeed unless you work hard.

In the examples given above “If you get late” ad “unless you word hard” are conditions. So, this clause is called the Adverb Clause of Condition.

Now study the examples given below: – Clauses of Condition are underlined.

1. If you make a promise, you must keep it.
2. In case it rains, I shall not go out. Adverb clause of condition begins with if with, unless in case, so long as, provided that etc.

Ex 1.1. Make five sentences using –

unless, provided, in case, so long as

Answer - 

1. Unless you study hard, you won’t pass the exam.
2. Provided you finish your chores, you can go out with your friends.
3. In case of an emergency, please call 911.
4. So long as you follow the rules, you can stay in the library.
5. Unless it’s sunny tomorrow, we’ll have to cancel the picnic.

Ex 1.2 Fill in the blanks with “should” or “ought to”

1. We……………. Help our neighbors.
2. He ………………. Speak the truth.
3. Everybody ………………. Trust his friends.
4. She ………………… read this novel.
5. You …… work for the welfare of the country.

Answer - 

1. We ought to help our neighbors.
2. He should speak the truth.
3. Everybody ought to trust his friends.
4. She ought to read this novel.
5.You should work for the welfare of the country.

Ex1.3 Read the following sentences carefully:

1. You ought to go immediately.
2. She ought to apologize for her behavior.
3. Do you think I should go?
4. You should write a letter and find out when he is coming.

‘should’ and ‘ought to’ have some moral connotations, ‘ought to’ is stronger and indicates moral obligation whereas ‘should’ indicates a recommendation. It is used in giving or asking for advice.

Now make five sentences with ‘ought to’ and ‘should’

Answer - 

1. You ought to apologize for your mistake; it’s the right thing to do.
2. He should study more if he wants to improve his grades.
3. We ought to respect our elders.
4. You should wear a helmet while riding a bike for safety.
5. Students ought to listen to their teachers in class.

Ex.1.4. Read the following sentences carefully:

Read the lines of the test from 6 to 15 and frame as many questions as you can, using ‘wh’ words or auxiliaries. One example has been done for you.
Which was the first short film produced?

Answer -

1. When was the first short film produced?
2. Who produced the first short film?
3. What was the subject of the first short film?
4. Were there any notable actors in the first short film?
5. Where was the first short film produced?

G. TRANSLATION

Translate the following sentences into Hindi/your mother tongue.

1. India took up film production surprisingly early.

2. Why were our films not shown abroad?
3. Let us face the truth.
4. The technician will blame the tools.
5. It should be realized that the average American film is a bad model.
6. What does our cinema need?
7. Let him do so.
8. He has only to keep his eyes open.

Answer -

1. भारत ने आश्चर्यजनक रूप से जल्दी ही फिल्म निर्माण शुरू कर दिया।
2. हमारी फिल्में विदेशों में क्यों नहीं दिखाई गईं?
3. आइए सच्चाई का सामना करें।
4.तकनीशियन उपकरणों को दोष देगा।
5.यह महसूस किया जाना चाहिए कि औसत अमेरिकी फिल्म एक बुरा मॉडल है।
6.हमारे सिनेमा को क्या चाहिए?
7.उसे ऐसा करने दो।
8.उसे केवल अपनी आँखें खुली रखनी हैं।

उम्मीद है, आपको बिहार बोर्ड के सभी अध्याय का सही और सटीक जानकारी इस वेबसाइट पर देखने को मिला होगा, जिससे आपको अपने पढाई की तैयारी में सही ढंग से मदद मिला होगा।

यदि आपको बिहार बोर्ड कक्षा 10 के इंग्लिश बुक से सम्बंधित कोई समस्या आती है, तो आप हमें कमेंट के माध्यम से पुछ सकते है, हम आपको इसका जबाब जरुर देंगे। आपका बहुत - बहुत धन्‍यवाद।