End Term Assignment: Analysis of an Organization which is not a Business

Submitted in partial fulfilment of the requirements of the course

ELEPHANTS AND CHEETAHS: SYSTEMS, STRATEGY AND

BOTTLENECKS

CENTRAL BOARD OF FILM

CERTIFICATION

Submitted to: Prof. Saral Mukherjee

Academic Associate: Ms. Anjali Abichandani

Submitted By:
Praneel Jain (18357)

Date:
1st November, 2019

INDIAN INSTITUTE OF MANAGEMENT, AHMEDABAD

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Contents

# Topic Page #

Executive Summary 3
1. Introduction- Central Board of Film Certification 4
2. Why was CBFC chosen as the topic? 4
3. Why does CBFC exist? 5
3.1. The Need for Film Censorship 5
3.2. What does CBFC try to achieve? 5
4. What are the doors closed by CBFC? 6
5. How does CBFC recruit, train and develop its members? 8
6. Who are the beneficiaries? Are there competitors or enemies? 8
7. What is the operations strategy adopted by CBFC? 9
8. How is the performance of CBFC evaluated? 11
9. Is CBFC autopoietic? 11
10. Does CBFC innovate? 12
11. How has CBFC grown over time? 12
12. What is the essence of CBFC? 13
Exhibits 14
References 16

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Executive Summary

Central Board of Film Certification (CBFC) is a statutory body under the Ministry of Information and
Broadcasting, Government of India. Governed by the Cinematograph Act, 1952, CBFC regulates the
public exhibition of films as per its provisions and guidelines. With the approval of CBFC and only
after obtaining a certificate from the Board can any film be exhibited in India. The beneficiaries of
CBFC are the film makers or the production houses, with distributors, exhibitors and the audience being
indirect beneficiaries.

CBFC exists to fulfil the need of film censorship- regulating content for a medium that has the potential
to impact and affect the public. It tries to achieve three main objectives- be the statutory link between
the film makers and the audience, conduct a transparent certification process, and act as a guiding
agency to the film makers.

CBFC, by choosing its way of functioning, has closed several alternate doors that makes the
organization unique. Some of the doors closed are- a centralized reviewing system, being flexible with
respect to the written guidelines and post certification changes, providing a one-tier review system, and
a liberal organizational culture.

Analyzing CBFC on the 8 dimensions of operations strategy, it is observed that it follows a Lag
Strategy, has decentralized facilities or regional offices for certifying films, has labour intensive
operations with a minimal support of technology in its process, has a partnership orientation, has a rigid
organizational culture, no specific skills needed in members, satisfaction of film makers considered a
measure of quality and plans its operations based on the bandwidth of its members. It is also observed
that the capacity of the system is the bottleneck, which if addressed, can improve the efficiency and
output of the system.

CBFC is also found to be autopoietic, though conditionally. Its autopoietic nature depends on the law
and regulations governing the film censorship in India, and if these are relaxed, the existence or the
need of CBFC can come into question. Moreover, CBFC has evolved with time in response to the
changes in the socio-cultural environment in India, and needs to reinvent itself further going ahead.

Though CBFC follows the guidelines diligently and hence there is limited scope of innovation, it has
innovated on two fronts- adopting technology to make the certification process much more transparent,
and inviting external experts for their advice on the films before certifying. These innovations have
helped in improving the functioning of CBFC to a large extent.

Lastly, it is observed that CBFC has the soul of a protector. It, at the same time, safeguards the
sovereignty and culture of India, the Fundamental Right to Expression and Speech of the film makers,
and the mental peace and happiness of the audience.

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1. Introduction- Central Board of Film Certification

Central Board of Film Certification (CBFC), previously known as Central Board of Film Censors till
June 1, 1983, is a statutory body under the Ministry of Information and Broadcasting, Government of
India. Governed by the Cinematograph Act, 1952, CBFC regulates the public exhibition of films as per
the provisions and guidelines of the said act. With the approval of CBFC and only after obtaining a
certificate from the Board can any film be exhibited in India. Hence, in essence, CBFC is the film
exhibition watchdog akin to what Food and Drugs Administration is for the pharmaceutical industry in
USA or what Telecom Regulatory Authority of India is for the Indian telecom industry. CBFC currently
issues 4 kinds of certificates:

 U: Unrestricted Public Exhibition

 U/A: Unrestricted Public Exhibition, but with a caution for parental guidance for Children
under 12 years of age
 A: Restricted only to Adults
 S: Restricted to any specialized audience, for example, doctors or scientists

These certificates are not only restricted to films made in India, but also foreign language films and
dubbed films which are exhibited in India.

2. Why was CBFC chosen as the topic?

Every organization, be it a business or a not-for-profit, has many layers and facets that make it unique.
In the entire EC course, we saw a lot of organizations and how they functioned, and tried to identify
what their soul or the essence was. It was interesting to look at these organizations from the perspective
of the elements of nature. However, most of these organizations were mostly businesses, and I wanted
to look at an organization which is not a business and apply the concepts learnt during the course to that
organization to gain a new perspective about the chosen organization. I thought it would be interesting
to look at a government institution, particularly a statutory body, from the lens developed through the
EC course, and hence coupled with my deep interest in films, I chose the Central Board of Film
Certification. I always wanted to analyse how the film statutory body worked, and there is no better
way to analyse it other than the concepts studied in the EC course. Through this analysis, I also want to
inculcate and ingrain the course concepts by applying it in the context of an organization type (a
regulatory authority) which hasn’t been studied or taught before.

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3. Why does CBFC exist?

3.1 The Need for Film Censorship

In India, Freedom of Speech and Expression is a constitutional right. A citizen of India can express
his/her opinions and thoughts freely through speech, print or even films. But even the constitution
subjects this right to “reasonable restriction” to uphold “sovereignty of the state, public order, decency
or morality”. According to the Supreme Court of India, “a movie motivates thought and action and
assures a high degree of attention and retention. It makes its impact simultaneously arousing the visual
and aural senses.”

Films are a medium with a wide reach and has the ability to stir masses at the same time. Movies are
the source of primary entertainment for many, and there are over 2000 films made and exhibited every
year in India. Each film has its own story and its own manner of execution, largely influenced by the
vision of the director. Every director has a different though process, a different opinion, and a different
way of looking at things. Hence, the director, through his films, has the ability to push his own opinions
and sway the public towards them through the combination of lights, act and speech. Moreover, the
influencing is not only limited to the directors. There are “fans” of the movie stars, and considering
them their idols, they have the potential to act how the characters played by their idols are acting on
screen. Salman Khan has gone on record saying he doesn’t want to play negative characters as his fans
idolize him and might act in the way he is acting on screen. This gullibility of the audience is accentuated
more through films as it is both an audio-visual medium, making the impact far stronger than a printed
word. Films have an impact on the everyday lives too- there are fashion trends that pick up after being
used in a film, or dialogues are mouthed depending on the situations even after the films are out of
theatres. With such potential for impacting and disrupting the common public life, film censorship is a
necessity and this is where the CBFC comes in.

3.2 What does CBFC try to achieve?

Vision: CBFC has a clear vision- to ensure the guidelines of the Cinematograph are met and, through
that, good and healthy entertainment is provided to the general public. CBFC focuses on ensuring that
the films exhibited are responsible towards the Indian state and audiences are given a clean and harmless
source of entertainment. CBFC also tries to achieve the following:

 A Statutory Link between the Film Makers and the Public: The foremost objective that CBFC
tries to achieve is being the statutory filter between what the film makers have made and if it is right
for the audience or not. It tries to exercise its discretion in certifying the films and recommending
the cuts to be made in the interest of the audience, diligently following the guidelines and the
provisions laid out in the Cinematograph Act. Sometimes the guidelines hamper the creative freedom

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 of the film maker, which has so happened in the past with films like PK and Udta Punjab. But with
time, CBFC has tried to be responsive to the social change and not let the artistic freedom be unduly
hampered in the process of regulating the film content.

 Transparent Certification Process: CBFC tries to achieve a transparent certification process. The
certification process has a clear timeline, with detailed lead times for each step, right from
scrutinizing the application to issuing the certificate. The process involves scrutiny at two levels- the
Examining Committee is the first checkpoint which examines and issues the certificate. If the
examining committee rejects the application, a Revising Committee comes into the picture which is
composed of an entirely different set of members with different backgrounds, thus looking at the
film with a fresh perspective. The members of both EC and RC are selected randomly using a
computerized software, thus minimizing the human interference in selection of the committee. If the
Revising Committee rejects the application, the film makers have been given the right to escalate
the matter to an Appellate Tribunal, and later to High Courts and the Supreme Court of India.

 Guiding Agency to Film Makers: CBFC tries to create awareness among the film makers about
the current trends in the Indian Film Industry through workshops, meetings and seminars. There are
a number of guidelines laid out in the Cinematograph Act for film content, and it is the duty of CBFC
to help the film makers be aware of those guidelines while producing their content, so that the film
is acceptable to exhibit for the general audience with the appropriate certificate. The Board also from
time to time conducts national surveys to assess how different genres are impacting the public mind,
and shares this finding with the film makers for their benefits.

4. What are the doors closed by CBFC?

Every organization chooses its way of functioning and its strategy, and in the process, closes doors to
alternate ways of functioning. This gives rise to a distinctive culture within the organization, making
certain aspects of the organization unique and different from others. Each door chosen closes other
alternate doors, and CBFC has also closed certain doors in the following manner:

 Regionalization or Decentralization of Certification Process: CBFC has nine regional offices

(refer Exhibit 1) which are responsible for scrutinizing the film and issuing certificates. Each
regional office has its own jurisdiction and the films produced or imported in that jurisdiction is
certified by that particular regional office. Thus, there is a high degree of decentralization in
operations of CBFC, with the regional officer having complete authority over the film’s certification.

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 Thus, by choosing a decentralized approach to certification, CBFC has closed doors to centralized
operation, or issuing of certificates by a central authority or head office for each film.

 Following Written Guidelines: CBFC is bound to diligently follow the written guidelines with
respect to a film’s content and in doing so, has closed doors to making new guidelines or amending
the existing guidelines with changing times. These written guidelines are a deviation counteracting
mutual causal process that prevent CBFC from “innovating” its process of scrutinizing and
examining the film contents.

 Top Down Hierarchy: Being a government regulatory institution, CBFC too follows a bureaucratic
form of decision making, with directions flowing top-down. This gives rise to a hierarchical culture
within the organization with power lying at the top and little discretion in the bottom rungs. While
it is decentralized in its certification process, the final decision-making power lies with the Board
members, thus closing doors to a more inclusive culture in the organization.

 Inflexibility towards Changes post Certification: The Act doesn’t have any provision and
guidelines on recertification of films. CBFC, through its own discretion, doesn’t recertify films. For
example, if a film has been certified “A”, it won’t be recertified to “U/A” or “U” even if the film
maker is willing to change the content suitable for another certificate. CBFC also doesn’t allow
change in titles after certification is obtained. Thus, CBFC closes doors to be flexible with respect
to changes in films post certification.

 Certifying only Films/Advertisements for Theatrical Exhibition: CBFC only restricts itself to
certifying films and advertisements that are exhibited in theatres. TV content, digital content and
audio/music are not under the purview of CBFC. Thus, CBFC manages to keep its entire focus only
on certifying films. Thus, all its administrative actions including recruiting, training and
development are all centred around the skill sets and the knowledge needed to examine and certify
films.

 Providing a two-tier review system: CBFC provides a two-tier review system- the first tier
involves the Examining Committee, and the second tier, which involves the Revising Committee
with an entirely different set of members, comes into the picture if Examining Committee has
rejected the application. This gives a “safety net” to the film maker and increases his/her chances of
obtaining a certificate from CBFC before the film’s release. As scrutinizing and examining the film
is a human-dependent task, certain biases associated with the examiner’s opinions and interpretation
of the guidelines are bound to creep in. Thus CBFC, with its two-tier system, closes doors to a one-
tier review system and reduces chances of misjudgements in certifying films (both type I and type II
errors) due to human biases.

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5. How does CBFC recruit, train and develop its members?

Recruitment: CBFC consists of a Board with 25 members and an advisory panel of 60 members. Each
of the 9 regional offices is headed by a Regional Officer. The Board is appointed for a time period not
exceeding three years and the advisory panel is appointed for a time span not exceeding two years. Re-
appointment of members is permissible. Each of these members are appointed by the government,
specifically the Ministry of Information and Broadcasting. The members of the Board and the Advisory
Panels are from various backgrounds ranging from art, law, education, social sciences, films etc. thus
bringing in different perspectives and viewpoints while examining films. Appointing members of
different backgrounds, intellectually and culturally, is a deviation amplifying mutual causal process
followed by the Ministry of Information & Broadcasting aimed at bringing different kinds of subject
expertise within the organization for different kinds of films. However, there are no minimum
educational qualification requirements for appointment to CBFC.

Training & Development: CBFC undertakes a scheme “Training for Human Resources Development”
every year. CBFC trains its Board, Regional Officers and Advisory Panels on the guidelines for
examining the film content as specified in the Cinematograph Act. Since CBFC is bound to strictly
follow these guidelines, it is of utmost importance that each member within CBFC is very well aware
of it and applies them judiciously while reviewing a film. Separate workshops are also arranged at each
of the regional offices for the advisory panel members to discuss the issues involved in examination of
films and emphasizing the need for discipline and code of conduct. In essence, the guidelines training
at CBFC is a deviation counteracting mutual causal process as training is done to ensure no deviations
are done from the written guidelines while examining a film. Apart from the core training on the
guidelines, CBFC also undertakes training of its officials in support functions such as Administration,
Accounts, Budgeting, Maintenance of Records, E-governance, IT skills, Vigilance and RTI matters.

6. Who are the beneficiaries? Are there competitors or enemies?

CBFC is a statutory link between the film-makers and the audience. It can be considered akin to a two-
sided platform wherein on one side are the film makers or the production houses and on the other side
are the audiences. Below is a brief discussion on the beneficiaries of CBFC:

 Film Makers or Production Houses: These are the primary beneficiaries of CBFC. CBFC certifies
both long and short films. Hence, the makers and the production houses of these films are direct
beneficiaries of CBFC. Film makers apply to obtain a certificate, and CBFC approves and issues the
certificate. Only after issuing the certificate can any film maker or a production house exhibit its
films to the general public. Apart from the certification, CBFC also conducts surveys on the current

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 trends in the film industry and shares the same with the film makers. Hence, the film makers are also
beneficiaries of information from the CBFC which help them in choosing a relevant subject for their
future projects. Film makers are also trained by the CBFC on the Cinematograph Act guidelines to
make them more aware about what kind of content will be or will not be approved by the CBFC.

 Audience or the General Public: These are indirect beneficiaries as CBFC doesn’t interact with
the general public directly. However, due to the examination and scrutiny of films, audience benefits
as it is not subjected to content (psychologically disturbing, violent etc.) that can hamper their mental
peace or disrupt their daily workings.

 Distributors and Exhibitors: These are also indirect beneficiaries of CBFC. According to the law,
only certified films can be distributed and exhibited. The deals of distribution and exhibition are
locked before the certificate is obtained. Hence, the business of film distributors (eg. Eros, AA films
etc.) and the exhibitors (PVR, Inox etc.) are very much dependent on films obtaining a certificate
and hence dependent on CBFC. Since there is no direct interaction between CBFC and
exhibitors/distributors, they are indirect beneficiaries of CBFC.

Production
CBFC Distributor Exhibitor Audience
House

Fig. Distribution of Certified Films in India

Competitors/Enemies: Since CBFC is a government statutory body, there are no competitors. Only
CBFC has the power and the discretion to certify films for distribution and theatrical exhibition.

7. What is the operations strategy adopted by CBFC?

The operations strategy for CBFC, as laid down by the 8 dimensions, is as follows:

 Capacity: The Human Resources are the capacity at CBFC as the amount of work of examining and
certifying films that can be accomplished is highly dependent on CBFC’s manpower. CBFC
augments its manpower in line with the increasing workload. There have been cases of inefficiencies

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 due to shortage of manpower as the workload increased, which were handled by a reactive hiring of
more people. Hence, CBFC follows a Lag Strategy as workload (the demand) exceeds the capacity.
 Facility: CBFC operates through nine regional offices that are its facilities to examine and certify
films. It follows a decentralized approach wherein all the regional offices have their own jurisdiction
and discretion, overseen by a head office. CBFC “specializes” in certifying only the films for
theatrical exhibition, both long and short. It doesn’t certify content for TV, digital platforms or
music, and hence its entire focus lies on certifying films.
 Scope: CBFC not only certifies films for the film makers, it also conducts surveys and shares the
current trends with them for their benefit. In addition to this, it holds workshops for them to
understand the guidelines laid out in the Act so that the film makers are aware of what content would
be or wouldn’t be approved. Moreover, CBFC provides a two-tier review system so that film makers
get a better judgement in the certification process. Hence, CBFC has a partnership orientation.
 Technology: There is no particular product as such as CBFC is a regulatory body. For the
certification process, CBFC has recently set up an online certification system called “e-
cinepramaan” aimed at achieving ease of doing business and a transparent certification process with
real-time monitoring and status checks. Moreover, the operations of CBFC are labour intensive
requiring a very high degree of human intervention and judgement as an entire film required to be
certified needs to be watched and scrutinized by a CBFC member.
 Workforce: The recruitment is handled by the I&B ministry. There are no specific criteria to recruit
members, however, a diversity is maintained with respect to the backgrounds of the members.
Performance measurement is done basis the process lead times and no. of pending applications.
 Organization: There is a high degree of top-down hierarchy, with a bureaucratic culture making
this organization rigid. There is a Board comprising of upto 25 members led by a Chairman. There
are 60 members in the advisory panel who are responsible for examining the films assisted by the
regional officers. The Regional Officers report to the CEO, making the span of control for the CEO
to be 9 regional officers and 2 other administrative staff. There is no fixed span of control for the
Regional Officers. In regions of high workload, such as Mumbai and Chennai, additional Regional
Officers (1-2 in number) report to the Regional Officer. (Refer Exhibit 2 for Org. Structure)
 Quality: It’s difficult to measure quality in case of a regulatory body such as CBFC. The quality can
be measured according to the satisfaction level of the film maker with the decisions of CBFC. For
example, in case of Udta Punjab, CBFC certified the film after 89 cuts, which didn’t go well with
the producer, who later approached the high court and got the film passed with just 1 cut. Hence, the
satisfaction level of the film makers with CBFC’s process and decision is a good quality parameter.
 Planning: CBFC plans its operations based on the applications received and the bandwidth of its
regional officers and advisory panels. To examine a film application, members are assigned at
random based on their availability.

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Bottleneck: Based on the system-constraint duality, this system also has a constraint. The bottleneck
here is the capacity of the system driven by the available bandwidth of the CBFC members. Close to
20,000 certificates are issued annually by just 9 regional officers and 60 advisory panel members.
Delays are a common occurrence due to high workload per member, which can be avoided once the
capacity is increased and new members are hired, thus making capacity a bottleneck.

8. How is the performance of CBFC evaluated?

The performance of CBFC is assessed using the following means:

Audit: CBFC is driven by the guidelines and the provisions of the Cinematograph Act. Hence, deviation
from such provisions is a parameter employed to assess the performance of CBFC. Audits are conducted
to assess the gaps in the system. Audit scrutinizes the actions taken by CBFC members with respect to
(including but not limited to):

 Altering the order of applications (CBFC follows a first-come-first-serve style)

 Timeline of issuing a certificate (68 days is the lead time from application to certificate issuing
as per guidelines)
 Recertification of Films (Recertification not permissible)
 Certification of Imported Films (Separate process followed by CBFC for such films)
 Revalidation of Certificates (needs complete examination again)

MIS system: CBFC has a robust MIS system in place that evaluates the performance of CBFC by
tracking the applications. A daily MIS report is generated at a regional level that displays the pendency
of applications and its status at each level.

9. Is CBFC autopoietic?

CBFC is a government regulatory body, which is empowered to certify films before they are exhibited
theatrically. Law demands that each film maker get the approval of CBFC before distributing and
showcasing his films to the general audience. Till this law exists, film makers will continue to obtain
the “services” of CBFC. Thus, taking a relation-static view, the interactions between the film makers
and CBFC will continue. CBFC Board is appointed for 3 years and the advisory panel members are
appointed for 2 years. They form the components of CBFC. These components have changed frequently
since CBFC was established in 1951. Thus, CBFC is not dependent on its components, it is the
interactions that make CBFC autopoietic. However, this existence depends a lot on the regulations set
by the government and the Constitution, and if those regulations are relaxed in the future, the existence

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of CBFC may come in question. Hence, it is logical to conclude that CBFC is autopoietic only till the
law and regulations requiring film certification exist.

10. Does CBFC innovate?

CBFC is driven by the guidelines and the provisions of the Cinematograph Act. Thus, its core operations
involve a deviation counteracting mutual causal process. Innovations on the other hand are deviation
amplifying mutual causal process. Hence, CBFC doesn’t engage in innovations very frequently.
However, its imperative to discuss a couple of innovations that CBFC has done despite being so focused
on countering the deviations in its working:

e-cinepramaan: CBFC has embraced the power of technology by bringing in the Online Certification
System called “e-cinepramaan”. This will help CBFC run a transparent certification process with real-
time monitoring and status check of applications. This will also help them measure their performance
more effectively, thus improving their efficiency and in response, the final outcome. Thus e-
cinepramaan will work as a deviation amplifying mutual causal process.

Expert Advice: The certification process is either done by the two-member Examining Committee or
the five-member Revising Committee. However, in a few cases, CBFC has also invited external parties
for their opinions before certifying the film. For example, in the case of Rang De Basanti, they invited
the then Defence Minister of India for his opinions on the film’s content. In case of The Da Vinci Code,
they invited the members of the Catholic Bishops’ Conference of India in case there were any
objections. This helps them take a fair decision, thus improving their quality of decision-making. This
is no where in the guidelines, and hence this is also a deviation amplifying mutual causal process.

11. How has CBFC grown over time?

CBFC has grown in response to the social change. With liberalization kicking in and India opening up
to the global economy, CBFC also changed its position and became more liberal. In 1975, Sholay’s
climax was changed because CBFC objected to the use of excessive violence. Satyam Shivam Sundaram
ran into problems due to its bold scenes in 1978. Nowadays, films such as Gangs of Wasseypur or
Murder franchise are accepted by the CBFC without much hassle. Yes, there are a share of controversies
(Udta Punjab, Lipstick Under My Burkha etc.). But CBFC has evolved as audience has become more
acceptable and receptive towards content that were considered unsuitable for the Indian culture in the
past.

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CBFC has also grown from an organization point of view. It has become more inclusive towards women
with women constituting one-third of the members and the advisory panels. It has become more
transparent by instituting an online certification system. It provides a fair judgement process to the film
makers by switching to a two-tier review system as against the yesteryear’s one-tier review system.

Thus, CBFC has changed as an organization. It has evolved its approach from being an organization
directing film makers to do what is “morally right” to becoming more liberal and receptive towards the
change in the social and cultural environment in India. It has also improved its administrative processes.
However, with the advent of the digital medium, CBFC needs to revamp into a much more liberal body
ensuring creative freedom of the film-makers are not hampered. If CBFC doesn’t reinvent itself like it
did in the past, more and more filmmakers might opt the digital platform than the big screen, leading to
a decline in the film industry in the near future.

12. What is the essence of CBFC?

In my opinion, the essence or the soul of CBFC is that of a protector- it safeguards the sovereignty and
culture of the Indian state by scrutinizing and certifying films- the most affective and effective medium
to impact and sway the opinions of the general public. Through regulating the film content, CBFC also
protects the audience so that they are not affected mentally by what they see on screen and their peace
and happiness remains as is. At the same time, it strives to protect the Right to Freedom of Expression
and Speech of the film-maker by functioning in a way that their creative and artistic freedom is not
hampered and their opinions are not subdued.

Thus, CBFC strives to keep a balance between what is morally right and what is constitutionally right,
protecting the interests of multiple stakeholders at the same time- the country, the Constitution, the film
makers and the audience.

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Exhibits

Exhibit 1: CBFC Regional Offices and their Jurisdictions

(Source: https://shodhganga.inflibnet.ac.in/bitstream/10603/186548/9/10_chapter%205.pdf.pdf)

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Exhibit 2: CBFC Organizational Structure

(Source: CBFC website)

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References

1. https://www.cbfcindia.gov.in
2. http://www.legalservicesindia.com/article/2490/The-Role-of-Central-Board-of-Film-
Certification.html
3. https://iiprd.wordpress.com/tag/central-board-of-film-certification/
4. https://cag.gov.in/sites/default/files/audit_report_files/Union_Civil_Complaince_Report_11_
2016_Chapter-11.pdf
5. http://164.100.47.193/lsscommittee/Public%20Accounts/16_Public_Accounts_121.pdf
6. https://www.cbfcindia.gov.in/main/CBFC_English/Attachments/Information%20under%20R
TI%20ACT.pdf
7. https://mib.gov.in/sites/default/files/Shyam_Benegal_committee_Report.pdf
8. https://shodhganga.inflibnet.ac.in/bitstream/10603/186548/9/10_chapter%205.pdf.pdf
9. https://www.youthkiawaaz.com/2019/07/cbfc-and-the-curious-case-of-film-censorship-in-
india/
10. https://iasscore.in/national-issues/analysis-of-working-of-censor-board-in-india
11. https://www.researchgate.net/publication/318446682_CASE_STUDY_FILM_CENSORSHIP
_IN_INDIA
12. https://www.cbfcindia.gov.in/main/CBFC_English/Attachments/AR_2016-17_English.pdf
13. https://indiankanoon.org/doc/111777232/
14. https://economictimes.indiatimes.com/industry/media/entertainment/we-changed-sholays-
climax-because-of-cbfc-ramesh-sippy/articleshow/19742616.cms

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