Assamese cinema is cinema in the Assamese language, watched primarily in Assam, India. The industry was born in 1935 when Jyoti Prasad Agarwala released his movie Joymoti. Since then Assamese cinema has developed a slow-paced, sensitive style, especially with the movies of Bhabendra Nath Saikia and Jahnu Barua.

However despite its long history, and its artistic successes, for a state that has always taken its cinema seriously, Assamese cinema has never really managed to make the breakthrough on the national scene despite its film industry making a mark in the National Awards over the years. Although the beginning of the 21st century has seen Bollywood-style Assamese movies hitting the screen, the industry has not been able to compete in the market, significantly overshadowed by the larger industries such as Bollywood.

The origins of Assamese cinema can be traced back to the dreams and imagination of a revolutionary visionary Rupkonwar Jyotiprasad Agarwala, who was also a distinguished poet, playwright, composer and freedom fighter. He was instrumental in the production of the first Assamese Film Joymati in 1935, under the banner of Chitralekha Movietone. Due to the lack of trained technicians, Jyotiprasad, while making his maiden film, had to shoulder the added responsibilities as the script writer, producer, director, choreographer, editor, set and costume designer, lyricist and music director. The film, completed with a budget of 60,000 rupees was released on 10 March 1935. The picture failed miserably. Like so many early Indian films, the negatives and complete prints of Joymati are missing. Some effort has been made privately by Altaf Mazid to restore and subtitle whatever is left of the prints. Despite the significant financial loss from Joymati, the second picture Indramalati was filmed between 1937 and 1938 finally released in 1939.

Assam /əˈsæm/ (Assamese: অসম) also, rarely, Assam Valley and formerly the Assam Province (British India), is a northeastern state of India and is one of the most culturally and geographically distinct regions of the country^{[citation needed]}. Assam was one of the original provinces of the British ruled Indian sub-continent and among the original provinces of present day India, having a legislature that dates back to 1937. However, present day Assam has undergone numerous territory alignment changes, with its state map being altered more than any other province's. Known for exquisite natural resources, geography and its important role in India's freedom struggle; Assam has its capital as Dispur, an especialized city circuit region located on the outskirts of its largest metropolis, Guwahati.

Assam is particularly famous for its natural beauty. The landscape includes tea gardens, the river Brahmaputra, and many historical monuments and temples. Swami Vivekananda once said that, "next only to Kashmir, Assam is the most beautiful place in India" A state with an abundance of forest, Assam also has five national parks, around half a dozen other wildlife sanctuaries, and is home to two-thirds of the population of the unique one-horned rhino. When it comes to wildlife, Assam too has successfully conserved the one-horned Indian rhinoceros from near extinction, along with the tiger and numerous species of birds, and it provides one of the last wild habitats for the Asian elephant. It is becoming an increasingly popular destination for wildlife tourism, and Kaziranga and Manas are both World Heritage Sites.

Hemanga Biswas (Bengali: হেমাঙ্গ বিশ্বাস) was an exponent of the Bengali folk music(Lokgeet), including Bhatiali originally popular among the fishermen of Bangladesh. He was born in 14, January 1912 and died on November 1987.[1] Since his name was originally in Bengali, it can also be spelt as Hemang Biswas or Hemango Biswas.

Hemanga Biswas wrote and sung some popular songs in Bengali. Once a fierce debate ensued between Hemango Biswas and Salil Choudhury on the way of translating the ideal of people's art: [2]

In the meeting of commission on music in Bombay Conference of IPTA, difference of opinion arose between two exponents of people's culture, Hemango Biswas and Salil Choudhury. Hemango Biswas, who was setting most of his lyrics to folk tunes, was in favour of relying only on folk tunes for mass songs with an eye to take it to the peasant masses. Salil Choudhury, on the contrary was of the view of blending folk tunes with harmony of western music. He went to the extent of making oblique remark to Com. Biswas to give up traveling by train, as that is a gift of western civilization and accept bullock cart that is used by the peasant masses. Com. Biswas, in reply accused Com. Choudhury of propounding formalism in people's art. During later part of his life, however Com. Biswas could realize shortcoming of his position and went on to compose mass songs with diverse experimentation. It may be mentioned here that during the debate in Bombay Conference, both Com. Biswas and Com. Choudhury touched upon certain important aspect of people's culture, which was not dealt with till then, but ultimately entire exercise ended in personal accusations.