The CBFC was established in 1952 under the Cinematograph Act of 1952.

The CBFC's primary objective is to regulate film content in India, ensuring that it complies with the country's laws and cultural values.

The CBFC issues four categories of film certification: U (unrestricted public exhibition), A (restricted to adults), UA (unrestricted public exhibition with parental guidance), and S (restricted to specialized audiences).

Violence is the most common reason for a film to be censored in India, as the CBFC aims to protect viewers from excessive or gratuitous violence.

In K.A. Abbas v. Union of India (1995), the Supreme Court held that film censorship must be reasonable and not arbitrary, and that it cannot be used to suppress legitimate artistic expression.

Bandit Queen, a 1994 biographical film directed by Shekhar Kapur, was banned by the CBFC due to its depiction of violence and sexuality.

Voluntary censorship refers to the practice of filmmakers censoring their own work to avoid potential problems with the CBFC or to comply with societal norms.

Censorship has fostered a culture of self-censorship among Indian filmmakers, as they often avoid exploring controversial or sensitive topics to prevent potential conflicts with the CBFC.

Censorship does not lead to improved film quality, as it often restricts filmmakers' ability to explore complex and challenging themes.

Proponents of censorship argue that it is necessary to protect viewers, especially children, from harmful content such as violence, sexuality, and vulgarity.

Opponents of censorship argue that it violates the fundamental right to freedom of expression, which is enshrined in the Indian Constitution.

In recent years, filmmakers have become more vocal in their opposition to censorship and have increasingly challenged censorship decisions in court, leading to some landmark rulings.

The rise of digital platforms has made it more difficult for the CBFC to enforce censorship, as films can be easily accessed online without going through the traditional distribution channels.

The future of censorship in Indian cinema is uncertain, as it is a complex issue with no easy solutions. It is likely that censorship will continue to be a contentious issue, with ongoing debates about its necessity and effectiveness.