Dhvani, the power of suggestion, has been held as the most powerful poetic tool by Indian aestheticians. It is the chief instrument through which we achieve impersonality and experience rasa.

Appayyadīkṣita, in his work Citramīmāṃsā, cites a single verse that exemplifies dhvani:

As with other elements that were borrowed by cinema from various realms of existing art forms like poetry, ballads, epics, novels and drama, history as a theme, too, made inroads into the world of celluloid. Like cinemas that have epics, mythology, legend, and adventure as themes, historical themes or “period drama” (as it is now called) are attractive both to the filmmaker and viewer for the scope, scale, and canvas they offer.

In its original and purest form, Hinduism is a sanatana dharma, loosely translated as ‘eternal truth’ or ‘timeless religion’ or ‘eternal way of life’ or ‘timeless ethic.’ It is drawn from nature and thus unrestricted by space-time constraints. However, in the several applications of sanatana dharma, we adopt specific spatiotemporal frames.

Hinduism is the major religion of India with a worldwide following of over a billion people. In its original and purest form, it is a sanatana dharma (loosely translated as ‘eternal truth’ or ‘timeless religion’) that represents at least 7,000 years of contemplation, tradition, and continuous development in India. One who follows Hinduism is called a ‘Hindu’ (the term originally referred to a person who lived beyond the Sindhu river, i.e. in undivided India).