. The Cinema of Pakistan or Pakistani cinema (: پاکِستانی سینما) refers to the in. Pakistan is home to several film studios centres, primarily located in its two largest cities -. Pakistani cinema has played an important part in, and in recent years has begun flourishing again after years of decline, delivering entertainment to audiences in and abroad. Several film industries are based in Pakistan, which tend to be regional and niche in nature.
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Over 10,000 have been produced in Pakistan since 1948, as well as over 8000, 6000 and 2000 feature-length films. The first film ever produced was in 1930, directed by in Lahore. The first Pakistani-film produced was, directed by Daud Chand in 1948. Between 1947 and 2007, Pakistani cinema was based in, home to the nation's largest film industry (nicknamed ). Pakistani films during this period attracted large audiences and had a strong cult following, was part of the cultural mainstream, widely available and imitated by the masses. During the early 1970s, Pakistan was the world's fourth largest producer of feature films. However, between 1977 and 2007, the film industry of Pakistan went into decline due to, strengthening of and an overall lack of quality.
Throughout the 1980s and 1990s, the film industry went through several periods of ups and downs, a reflection of its dependency on state funding and incentives. By 2000, the film industry in Lahore had collapsed and saw a gradual shift of Pakistani actors, actresses, producers and filmmakers from Lahore to Karachi. By 2007, the wounds of Pakistan's collapsed film industry began to heal and Karachi had cemented itself as the centre of Pakistani cinema.
Quality and new technology led to an explosion of alternative form of Pakistani cinema. The shift has been seen by many as the leading cause for the 'resurgence of Pakistani cinema'. Despite the industry crisis starting in the mid-1980s, Pakistani films have retained much of their distinctive identity. Since the shift to Karachi, Pakistani films have once again began attracting a strong.
Contents. History Silent era (1929-1946) The history of cinema in Pakistan began in 1929, when set up a studio and production company under the name of (later renamed ), which would become the foundation stone for the Lahore film industry. After scouting for locations, he settled for their offices to be established at Ravi Road. The dim-lit area presented with much difficulties and shootings were only possible in the day-light, but nevertheless the area had some very important landmarks like the Ravi Forest and the tombs of and his wife. It is reported that the team working at the studios would commute on and even lost equipment once while traveling on the bumpy roads on the horse-drawn carriage. However basic and crude their working conditions, Kardar believed in his work and in 1930 he produced the first silent film in ( Mysterious Eagle), under his studio's banner.
The film had mild success at cinemas, but prominently established Lahore as a functioning film industry. Kardar vowed on not acting in any other film and instead focusing on direction. Immediately afterwards, the studio released the film Sarfarosh ( Brave Heart) in 1931, with playing the lead role with more or less the same cast as in the previous film. This production proved equally appealing, but was able to stir noise about the Lahore film industry. Roop Lal Shori, who was a resident of Brandreth Road in, upon hearing of Lahore's growing film industry, returned to his hometown and produced ( Life After Death) in 1932, which would firmly ground the film industry in Lahore.
In 1946, set up in on Multan Road. The following year, was established by, which would go on to become the largest film production and distribution company in Pakistan. Independence and growth (1947–1958). An award-winning playback singer In 1947, after Pakistan was created out of India; Lahore became the hub of cinema in Pakistan. Upon independence, there was a shortage of funds, filming equipment which initially paralysed the film industry.
With hardships faced, the first Pakistani feature film, released on 7 August 1948, premiering at the Parbhat Theatre in Lahore. Over the next few years, films that were released reached mediocre success until the release of on. Do Ansoo became the first film to attain a 25-week viewing making it the first film to reach status. Recovery was evident with 's directorial debut Chanwey releasing on. The film became the first to be directed by a female director. Syed Faqir ahmad Shah produced his first production 1952. Though 'Jagga Daku' Saqlain Rizvi was the director, the film could not get much appreciation due to violence shown in it.
As cinema viewership increased, Sassi released on by Eveready Pictures reached status staying on screens for 50-weeks. Legendary playback singer started his career in April 1955 after singing his first song in Pakistan 'Bander Road Se Kemari'. Umar Marvi released on became the first Pakistani film made in the.
To celebrate the success of these endeavours, film journalist Ilyas Rashidi launched an annual awarding event on 17 July 1958. Named, the event is since then considered Pakistan's premier awarding event celebrating outstanding performance in various categories of filmmaking.
The Golden Age (1959–1977). Was Pakistani cinema's most recognizable actor in the 60s and 70s. The 1960s is often cited as being the golden age of Pakistani cinema. Many stars were introduced during this period who would go on to become cinema legends on the. As black-and-white became obsolete, Pakistan saw the introduction of first colour films.
Some that share the status of being firsts are Munshi Dil's in the early 1960s, 's Sangam (first full-length coloured film) released on, and (first coloured cinema scope film). In 1962 Shaheed was released which introduced the to Pakistanis in cinemas and became an instant hit. In 1962, Pakistan's most versatile actor debuted in Charagh Jalta Raha. It was premiered by on 9 March 1962 at Nishat Cinema in. In September 1965, following the war between Pakistan and India, all Indian films were completely banned.
A light ban had existed since 1952 in and since 1962 in, but was exercised rigorously after the War of 1965. Pakistani cinemas did not suffer much from the decision to remove the films and instead received better attendances. Realising the potential, stepped into the industry. His persona led people to call him the 'chocolate hero' and in essence, he became the and of Pakistan.
In 1966, was released and became one of the most cherished Urdu films to ever release. The film is said to have given birth to, by introducing playback singing legends like composer and singer. The film became the first to complete a 75-week screening at cinemas throughout the country attaining a status. Another rising star during this period was, who received instant stardom with his debut film in 1967.
The same year, he would act in another film of a different genre. Horror films were introduced with the release of, making it the first Pakistani film to display an tag on its posters. Meanwhile, Eastern Films Magazine, a tabloid edited by Said Haroon, became the most popular magazine for film buffs in Pakistan. The magazine had a question and answer section titled 'Yours Impishly' which the sub-editor took inspiration for from 's page in India's magazine.
Tabloids like these got their first controversial covers with the release of on, which became Pakistan's first feature-film with an adults-only tag. It ran for only three-to-four days at the box office. More controversial yet would be the offering of distribution rights in the Middle East to the Palestinian guerrilla organisation, by the writer, producer, and director Riaz Shahid for his film released on.
It depicted the activities of the organisation. Towards the late 1960s and early 1970s, political turmoil once again returned with the East Pakistan conflict brewing. Amidst concerns, the film Dosti, released on and turned out to be the first indigenous Urdu film to complete 101 weeks of success at the box office, dubbing it the first recipient of a. As political uncertainty took charge of the entertainment industry, filmmakers were asked to consider sociopolitical impacts of their films as evident by the fact that the makers of, released on, were asked to change the lyrics with a reference to Misr, Urdu for Egypt, that might prove detrimental to diplomatic relations of Egypt and Pakistan. So vulnerable was the film industry to the changing political landscape that in 1976, an angry mob set fire to cinema in just before the release of the first film, Hamalo Mah Gunj.
Javed Jabbar's, released on, was Pakistan's first venture into English film-making. The Urdu version did not do well at the box office. Signs of trouble slowly began in the cinema industry as VCRs and piracy became an issue.
Decline (1977–2000). Terror and Gundasa Culture in Lollywood Pakistani cinema entered into a decline during the regime of, who began to Islamicise the country. One of the first victims of this sociopolitical change was Pakistani cinema. Imposition of new registration laws for film producers requiring filmmakers to be degree holders, where not many were, led to a steep decline in the workings of the industry.
The government forcibly closed most of the cinemas in Lahore. New were introduced, further decreasing cinema attendances. Other factors such as and had a negative affect on the growth of the industry., released on, marked a distinct symbolic break between the so-called liberal years and the increasingly conservative cum revolutionary regime. The film stayed in cinemas for over 400 weeks, with its last screening at 'Scala' in where it ran for more than four years. It is considered the most popular film ever. Films dropped from a total output of 98 in 1979, of which 42 were in Urdu, to only 58 films of which 26 were in Urdu in 1980.
The film industry by now was on the verge of collapse as people began turning away from cinema. The filmmakers that remained in the industry, employed flaccid story lines to produce cult classics like in 1979, telling the story of a -carrying protagonist waging a blood-feud with a local gangster. Growing censorship policies against displays of affection, rather than violence, came as a blow to the industry. As a result, violence-ridden Punjabi films prevailed and overshadowed Urdu cinema. The middle class neglected the 'increasingly dilapidated and rowdy cinemas'. This film sub-culture came to be known as the gandasa culture. In and became iconic figures of this culture.
In, filmmakers were able to get around the censor policies and filled their films with soft-core pornography to increase viewership. This was done by the backing by powerful politicians. The once romantic and lovable image of Pakistani cinema in the 1960s and 70s had transformed into a culture of violence and vulgarity by the 1980s. This ironically came while the government under ZIa ul Haq's regime was attempting to 'Islamise' the country Being an actress associated with the current crop of productions became an understandable taboo and many middle-class people began shunning these films. Nevertheless, the influx of refugees from, who were denied entertainment in their own country, kept Pashto cinema alive while Punjabi cinema was fueled by young single men from the rural areas of Punjab. In 1983, legendary actor Waheed Murad died and was yet another blow to the cinema industry.
Some claim he committed suicide while the media attributed his death to his disheartened view in the wake of Pakistani cinema's collapse. The director of his unfinished film Hero, employed 'cheat shots' to complete the film and released to sold out cinemas across the country. This enthusiasm soon disappeared and not even Pakistan's first science fiction film, in 1989, directed by employing elaborate special effects, could save the industry.
It received an award at the and even in Egypt and Korea, but sadly was shelved in Pakistan. Collapse (1990–2002) At the start of the 1990s, Pakistan's film industry was gripped with certain doom. Of the several dozen studios across the country, only 11 were operational producing around 100 films annually. By now the annual output dropped to around 40 films, all produced by a single studio.
Other productions would be independent of any studio usually financed by the filmmakers themselves. This number would lower further as studios went towards producing short-plays and television commercials.
The death of Waheed Murad in 1983 was only the start of the demise of iconic cinema stars of the 60s which further led to decreased interest. Quit from playback signing, was murdered in 1996, director put her career on hold to attended to family life while Nazrul Islam died. Controversy raged over the 1998 film, produced by and directed. Objections were raised over the choice of actor as the protagonist depicting and inclusion of Indian as archangel Gabriel in the cast combined with the experimental nature of the script. Imran Aslam, editor of, said the author wrote the script in a 'haze of '.
By 1999, a surge of new films began releasing. Haathi Meray Saathi produced and distributed by Eveready Pictures celebrated its Golden Jubilee bringing audience back to the cinema for 66 weeks. Other hits were 's 1995 film, Saeed Rizvi's Sarkata Insaan and his 1997 film Tilismih Jazira. 1998 saw the release of Noor's, a Punjabi film that grossed Rs180 million.
In 1999, a Russian-Pakistani joint venture was produced and 's. Other notable productions of the late 90s included, and, which attempted to get away from formulaic and violent story lines. It was predicted that Pakistani cinema would have a revival. However, the public did not respond and low attendance at cinemas were recorded as the shunned these films.
The industry was pronounced dead by the start of the new millennium. By the early 2000s 'an industry that once produced an average of 80 films annually was now struggling to even churn out more than two films a year'. Partial successes were recorded with and 's grossing over Rs200 million. Revival and resurgence By 2003, young filmmakers in Karachi began experimenting with film and released low budget films to demonstrate that high quality content could be produced in Pakistan using limited resources. Cinema houses were declining in all major cities and a revival of cinema was being echoed throughout the media. With privatization of television stations in full swing, a new channel began airing old Pakistani films as well as newer low budget productions. During this period, a celebrated Indian director, visited Pakistan looking for talent - particularly singers who could lend their voices to his upcoming films in India.
His visit to Pakistan was to coincide with the third where he screened his film in. Bhatt would later hire for the soundtrack of his film and Pakistani actress to play a lead-role in one of his films. By 2005, a gradual shift had begun whereby was replacing as the film hub of the country. Many film makers, producers, directors shifted to Karachi to avail new opportunities.
In August 2007, directed and released - it became a surprise instant success at the box office and brought the middle class back to the cinemas due to its controversial theme of addressing Pakistan's social problems. The film was also released internationally, including India, where it became the first Pakistani film released there after four decades. The release of Khuda Kay Liye is seen by many as the revival of cinema in Pakistan and the cementing of Karachi as the Pakistani film and showbiz capital. Despite optimism of a solid revival, progress continued to be slow. Alongside, the 'Pakistan New Cinema Movement' was launched in 2009 with around 1400 members which facilitated networking to stimulate newer film productions.
Several films were released after Khuda Kay Liye which saw limited success including Shaan Shahid's directorial project Chup, Syed Noor's Price of Honor, Iqbal Kashmiri's Devdas, Syed Faisal Bukhari's Saltanat, Reema Khan's Love Mein Ghum., Bhai Log' and Mehreen Jabbar's. However it was to the rescue again with this 2011 film which brook box office records in Pakistan. New wave Shoaib Mansoor's seemed to have officially 'revived' the cinema of Pakistan.
2013 brought with it seven Pakistani films that were theatrically released in Pakistan, and led commentators to ponder whether it was time to announce the heralding of a 'new wave' of Pakistani cinema. Since 2011 from the digital scene two films have stood out with box office success as; followed.
However, as some commentators cautioned, declaring a film a 'hit' or a 'flop' is determined by the relationship of the budget spent and box office returns of a film and therefore several of the top-grossing films of Pakistan were technically not a 'hit'. Nonetheless, the lack of box office returns of a Pakistani film has less to do with the film itself but more to do with the severely limited number of screens in Pakistan. Another film, Zinda Bhaag (Run for your Life, 2013) has been critically acclaimed with reviewers calling it 'the best film to have come out of modern-day Pakistani cinema' and a 'new metaphor for Pakistani cinema' that 'bode(d) well for the possibility of noteworthy Pakistani imports in years to come'. Went on to be Pakistan's official submission to the Oscars (Foreign Film Category), the first after a gap of fifty years but did not make the final shortlist nominees.
The resurgence of new Pakistani film productions centres around the use of digital equipment and makes use of cheaper distribution with DCP compliant cinemas which started to convert around 2011, increasing rapidly to 2014 with around 30 cinemas nationwide. Shoaib Mansoor's Khuda Kay Liye (2007) and Bol (2011) seemed to have ushered in the revival of Pakistani cinema.
By 2013, several Pakistani films were theatrically released - the first time in over a decade. It led commentators to speculate whether it was time to announce the heralding of a 'new wave' of Pakistani cinema. Proved to be a great year for Pakistani cinema. In March, (meaning Pitch black) was the first to be released in Pakistan in over 20 years.
Directed by Azfar Jafri and written by, the film starred, Qazi Jabbar, and Ahmed Ali Akbar. The film was about a patient who uses black magic against unsuspecting relatives. The film collected over ₨2.65 crore (US$260,000) at the box office.
The following month, an -language political directed by, was released starring Salmaan Peerzada, and also made a special appearance. The film was a political drama exploring the subject of political corruption in Pakistan. Since the flower 'Chambaili' (lily flower) is the national flower of Pakistan, the film-makers' intentions were to encourage patriotism and nationalism in Pakistan. The film made ₨20 million (US$190,000) at the box office.
( Wār; IPA:, meaning 'The ') was the winner of 2013. The - directed by and written and produced by featured, and Kamran Lashari.
At the time of its release, it became the Pakistani film ever. This was broken by 2015 release of.
The film depicts events surrounding the in, including the in in 2009. Several other films were also released between April to October including directed by, directed by, directed by, by and by Mansoor Mujahid.
Main Hoon Shahid Afridi was an - film directed by and produced by and Shahzad Nasib. The film starred, and in the lead roles., and also played important roles in the film, whilst and made special appearances. The film earned ₨22 million (US$210,000) in its first week of release. However, as some commentators cautioned, declaring a film a 'hit' or a 'flop' is determined by the relationship of the budget spent and box office returns of a film and therefore several of the top-grossing films of Pakistan were technically not a 'hit'. Nonetheless, the lack of box office returns of a Pakistani film has less to do with the film itself but more to do with the severely limited number of screens in Pakistan. ( Run For Your Life) has been critically acclaimed with reviewers calling it 'the best film to have come out of modern-day Pakistani cinema' and a 'new metaphor for Pakistani cinema' that 'bode(d) well for the possibility of noteworthy Pakistani imports in years to come'.
Went on to be Pakistan's official submission to the, the first after a gap of fifty years but did not make the final shortlist nominees. The resurgence of new Pakistani film productions centres around the use of digital equipment and makes use of cheaper distribution with DCP compliant cinemas which started to convert around 2011, increasing rapidly to 2014 with around 30 cinemas nationwide. Proved to be an equally great year, with ( Unidentified Persons) taking the 2014 box office.
The Pakistani was co-written and directed by as his. The film starred, with supporting cast of,. The story follows Shakeel (Sheikh), Farhaan (Mustafa) and Moon (Haider), three poor struggling individuals who chase every possible means of becoming rich, all getting into trouble as they struggle to fulfill their desires and ambitions through questionably moral ways. Other films released in 2014 included directed by Steven Moore, directed by, directed by, and directed by Jami. picked off from the momentum of 2014 and 2013. (meaning twist) was a directed and written by, produced by Eman Syed. Jalaibee was a joint production of and Redrum Films in association with Sermad Films and Jaswal Films.
The film starred prominent TV actors and in lead roles along with, Uzair Jaswal, Wiqar Ali Khan, Sabeeka Imam. Jalaibee was the first Pakistani film to be shot with the camera. And was about the intertwined stories of numerous characters who are all struggling with their problems, and who somehow connect on a unifying level. The film collected ₨5 million (US$47,000) before its release as had bought 10,000 tickets in advance. The film had a good number of public previews came out well on them collecting ₨1 million (US$9,500) which is biggest preview collections ever in Pakistan. In total, the film collected ₨7.50 (US$710,000) at domestic box office and around ₨3 (US$280,000) overseas, taking lifetime gross to ₨10.5 (US$1.0 million) at the end of April.
In May, Pakistan's first was released. Three brave ones) was produced and directed. It was the first instalment in the franchise and was co-produced by (a joint-venture of ). 3 Bahadur became Pakistan's first computer-animated feature-length film. The film focuses on three eleven-year-old friends, who rise from the unlikeliest of places to save their community from the evils that plague it. The film is set in a fictional town called Roshan Basti (town of light). Equipped with courage and super powers, they battle against the odds and stand up to injustice to restore peace and harmony in their once thriving community and live a very happy life.
The film was theatrically released. It became the highest-grossing animated film at the local box office breaking the previous record of.
It grossed ₨6.63 (US$630,000) after 50 days of successful run in cinemas and became 7th highest-grossing film in Pakistani cinema history. Between July – September, a number of films were released beginning with ( Without Crying). The directed by and starred,. One of the movie's songs is directed. The film was based on the original novel by and released worldwide on 18 July 18, 2015, the day of. Bin Roye was praised by the critics. It broke all records on international markets becoming one of the highest grossing Pakistani films.
The film Bin Roye was later adapted into a television series with the, that premiered on on October 2, 2016. Its success was followed by which became the highest grossing film of 2015 and breaking all box office records on domestic markets. The year saw some of the most critical acclaimed Pakistani films including. Thes film raised the standards for Pakistani films. Continued the momentum of new age Pakistani cinema - was released on 1 January starring, and, along with veterans. The film opened to a highly successful box office weekend and went on to run for several weeks, making it the third highest-grossing films of 2016 earning 22.50 crores in total. And both opened on Eid weekend, becoming the first and second highest-grossing films of 2016.
With 24 and 17.5 crores at the local box office and 30 crores at the international box office. This year also saw a controversial film which was banned by the Pakistan Censor Board which claimed that it shows the politics of Pakistan in an entirely bad light. The year 2017 saw a little dropout from the previous year as most of the films emerged as a flop at the box office but it also experienced a major boost after the release of which broke all the previous records and stole the title of the highest grossing film ever from Jawani Phir Nahi Ani earning more than 50 crores in total. Whereas much awaited film,which marked the return of was also banned because it revolved around the taboo topic of rape but due to the public outcry it was released. Whereas the film directed by Farhan Alam was showcased at Madrid Film Festival before getting released in Pakistan and won several accolades.
The year ended with Shaan Shahid's Directorial Debut and the remake of Mahesh Bhatt's 1970 Arth, and an unofficial remake of South-Indian film. The film Arth was bashed by the critics and emerged as a flop at the box office earning around only 1.5 crores whereas the film Chupan Chupai was criticised for copying an Indian Film but fared well at the box office earning 7 crores. The year 2018 started with a film directed by the famous director of Janaan and Siyaah. The film struggled at the box office for weeks and emerged as a hit earning 9.35 crores locally and 17.10 crores in total. Its released was followed by a highly successful animated film named which earned 5.37 crores at the box office.
The film also saw a clash from another local release, Pakistan's second horror film, but the film tanked at the box office. Their release was followed by the critically acclaimed film directed by Asim Abbasi.The film is known to be the game changer for Pakistani Cinema earning 12 crores and earning Asim Abbasi a Best Director award for Asim Abbasi at UK Asian Film Festival.
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Its release was follwed by another critically acclaimed biographical film based on the life of Zenith Irfan, a motorcyclist who travelled on motorbike from Lahore to Hunza on Motorcycle, but the film couldnot earn much and drowned at the box office earning 2-3 crores in total. Lollywood saw 4 release together on Eid-ul-Fitr 2018 which as a result tanked at the box office without the film of critically acclaimed Directors Meenu and Farjad named.
In july 2018, film directed by Ahsan Rahim and 's Pakistani Debut was released which broke all the opening records and becoming one of the few films which crossed 30 crore mark domestically and joined 40 crore club. Following its release 3 big films are currently running in the cinemas one marks the return of MD Productions (the makers of ) titled as which has crossed the 35 crore mark, the other marks the return of Famous duo Nabeel and Fizza (makers of and ) titled which has approximately grossed 15 crores, and third marks the return of the biggest film series which has already grossed 53.45 crores and has become the highest grossing Pakistani film ever. Two animated films are stated for released which one is coming out in October and the other is supposed to come out in December. Regional industries.
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Sharif Nayyar (1965). (1966). Ehtisham (1967). Hassan Tariq (1968). (1969). Hassan Tariq (1970).
Sharif Nayyar (1971). Nazrul Islam (1972). Ali Afaqi (1973). Nazrul Islam (1974). Shabab Kiranvi (1975). S.
Suleman (1976). Nazrul Islam (1977). (1978). Masood Pervaiz (1979). Javed Fazil (1980). (1981). Hassan Tariq (1982).
Javed Fazil (1983). Hassan Askari (1984).
Javed Fazil (1985). Iqbal Kashmiri (1986).
Iqbal Kashmiri (1987). Javed Fazil (1988). (1989). Hasnain (1990). Hasnain (1991).
(1992). (1993).
(1994). (1995). (1996).
(1997). (1998). Hassan Askari (1999).
Hassan Askari (2000). (2001). (2002). (1957). (1958). (1959).
(1960). (1961).
(1962). (1963). (1964).
(1965). Shaukat Akbar (1966). Saaqi (1967). (1968).
(1969). (1970). Masood Akhtar (1971). (1972). Munawwar Saeed (1973). (1974).
(1975). (1976). Rehan (1977). (1978).
(1979). (1980). (1981). S. Hashmi (1982). (1983). (1984).
(1985). (1986). (1987). Naimat Sarhadi (1988). Asif Khan (1989). Afzal Ahmed (1990). (1991).
Arshad Mehmood (1992). Aurangzeb Laghari (1993). (1994).
(1995). Arbaaz Khan (1996). (1997). Sohail Khan (1998). (1999).
Raza Riaz (2000). Not Awarded (2001). (2002). (1959). (1960).
(1961). (1962). (1963). (1964). (1965). (1966). (1967).
(1968). (1969). (1970). (1971). (1972).
(1973). (1974). (1975). (1976). (1977). (1978).
(1979). (1980). (1981). (1982).
(1983). (1984). (1985). (1986). (1987).
(1988). (1989). (1990). and (1991).
and Tarannum Naz (1992). and Shamsa Kanwal (1993). and Shamsa Kanwal (1994). and Saira Nasim (1995). and Saira Nasim (1996). and (1997). and Saira Nasim (1998).
and (1999). Saima Jehan and Saira Nasim (2000). (1960). (1961). (1962). (1963).
(1964). (1965). (1966). (1967). (1968).
(1969). (1970). (1971). (1972).
(1973). (1974). (1975).
(1976). (1977). Ghulam Abbas (1978). (1979). (1980). Ghulam Abbas (1981). (1982).
(1983). (1984). (1985).
(1986). (1987).
(1988). (1989).
(1990). (1991). (1992). and Ghulam Abbas (1993). Tehseen Javed and Ghulam Abbas (1994). Anwar Rafi and Ghulam Abbas(1995). (1996).
Anwar Rafi (1997). Anwar Rafi and Ameer Ali (1998). (1999). (2000).