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Trends of Pakistani Films: an Analytical Study of Restoration of Cinema
Trends of Pakistani films: An analytical study of restoration of cinema Fouzia Naz* Sadia Mehmood** ABSTRACT People prefer to go to the cinema as compared to theaters because of its way of execution and performance. Background music, sound effects, lights, direction attract people, and its demonstrations relate people to their lives. It is true that films have a unique and powerful connection between human behavior and societal culture. Pakistani film industry faced the downfall and now it is doing its best to make the films on international standards. In this research article, the background of Pakistani cinema and causes of downfall will be discussed. The main idea of this research article is to identify and study the development of Pakistani film industry. Qualitative and quantitative data collection will be used as the research method of this research. This research article helps in observing different mass media theory based on Pakistani cinema. Moreover, it will be explained what filmmakers critiques and people say regarding revival or restoration. Keywords: downfall, revival, the impact of the Pakistani film industry, Lollywood *Assistant professor, Mass Communication, University of Karachi) **Assistant professor, Mass Communication, University of Karachi) 33 Jhss, Vol. 8, No. 2 , July to December, 2017 The definition of cinema can be explained as “another word of moving a picture”1This is the place where films are shown to the public. Most of the people who are not into the arts get confused in cinema and theater. The theater is the building where live performance is performed2. The similarity between cinema and theaters are both of them execute act and created for public entertainment. -
M.A Urdu and Iqbaliat
The Islamia University of Bahawalpur Notification No. 37/CS M.A. Urdu and Iqbaliat (Composite) Supplementary Examination, 2019 It is hereby notified that the result of the following External/Private candidates of the Master of Arts Composite Supplementary Examination, 2019 held in Feb, 2021 in the subject of Urdu and Iqbaliat has been declared as under: Maximum Marks in this Examination : 1100 Minimum Pass Marks : 40 % This notification is issued as a notice only. Errors and omissions excepted. An entry appearing in it does not in itself confer any right or privilege independently to the grant of a proper Certificate/Degree which will be issued under the Regulations in due Course. -4E -1E Appeared: 3515 Passed: 1411 Pass Percentage: 40.14 % Roll# Regd. No Name and Father's Name Result Marks Div Papers to reappear and chance II IV V VII XI 16251 07-WR-441 GHZAL SAIIF Fail SAIF-U-LLAH R/A till A-22 III V VII 16252 09-IB.b-3182 Mudssarah Kousar Fail Muhammad Aslam R/A till S-22 II IV V VI VII 16253 2012-WR-293 Sonia Hamid Fail Abdul Hamid R/A till S-22 III V VI VII VIII IX 16254 2013-IWS-46 Ifra Shafqat Fail Shafqat Nawaz R/A till S-22 III VI VII VIII IX 16255 2012-IWS-238 Fahmeeda Tariq Fail Tariq Mahmood R/A till S-22 II VII VIII IX XII XIII 16256 2019-IUP(M-II)- Rehana Kouser Fail 00079 Dilber Ali R/A till S-22 IV V VI VII IX 16257 2012-WR-115 Faiza Masood Fail Masood Habib Adil R/A till S-22 III IV V VI VII 16258 02-WR-362 Nayyer Sultana Fail Rahmat Ali R/A till S-22 III IV VI VII VIII IX 16259 2015-WR-151 Rafia Parveen Fail Noor Muhammad -
Koppal-Davanagere-Tumkur- Approved List Bidaai-201920
Bidaai-201920 Koppal-Davanagere-Tumkur- Approved List REG NAME OF THE Name of the Account SL.NO. TALUK Holder Amount NO BENEFICIARY Father/Mother 1 79/2018-19 Gangavthi KHAJABNI KHAJABANI 25000 2 92/208-19 KOPPAL YASMEEN SHAHAJADIBI 25000 3 128/18-19 KOPPAL ASMA BEGUM SHAHIDA BEGUM 25000 4 82/18-19 KOPPAL MABOOBI RAMJA BEE 25000 5 76/18-19 KOPPAL RIZVANA KHAM SALIMA BEGAM 25000 6 78/18-19 KOPPAL RESHMA MODINA BI 25000 7 88/18-19 KOPPAL BIBI ASHIYA BEGUM BIBI BEGUM K HABEEBA 25000 8 83/19-19 KOPPAL MARDAN BEE IMAMSAB 25000 9 99/18-19 KOPPAL AYISHA BANU NILOFAR 25000 10 107/18-19 KOPPAL YASMEEN BANU BI 25000 11 129/18-19 KOPPAL CHAND BI IMAM SAB 25000 12 122/18-19 KOPPAL TASLEEM BANU SHAKILA BANU 25000 13 85/18-19 KOPPAL RUKSANA PIRAMBI 25000 14 101/18-19 KOPPAL YASMEEN BANU JAIRABEE GUDDADAR 25000 15 115/18-19 KOPPAL SANIHA TABASUM SANIHA TABASSUM 25000 16 127/18-19 KOPPAL HEENA TAZ BABUSAB DAMBAL 25000 17 96/18-19 KOPPAL RUBIYA BEGUM SHAHAJAD BEGUM 25000 18 108/18-19 KOPPAL SABEEHA BANU KHAJABANI MAJEERA 25000 19 89/2018-19 KOPPAL RUKSHANA BEGUM Rukshana Begum 25000 20 120/2018-19 KOPPAL NISHAMA FATHIMA Raheema Begum 25000 21 136/2018-19 KOPPAL Ashabee KHAJA BEE 25000 MAMTAJBI BASHUSAB 22 80/2018-19 KOPPAL Sabina Begum 25000 VALIKAR 23 106/2018-19 KOPPAL Yasmeen Kasim Sab 25000 24 79/2018-19 KOPPAL Mohaseena Nafees Hafiza bi 25000 25 84/2018-19 KOPPAL Navina Begum Mabusab Yenni 25000 26 91/2018-19 KOPPAL Shamina Begum Fathimabi 25000 27 132/2018-19 KOPPAL Yasmeen Arifa Begum 25000 28 121/2018-19 KOPPAL Parveen Mamataj Begum 25000 29 134/2018-19 -
UMBC UGC New Course Request: HIST 386: Hindus, Muslims, and Their Others: Identities in India & Pakistan Amy Froide Froide@U
UMBC UGC New Course Request: HIST 386: Hindus, Muslims, and their Others: Identities in India & Pakistan Date Submitted: 9/4/19 Proposed Effective Date: Spring 2020 Name Email Phone Dept Dept Chair Amy Froide [email protected] 410-455- History or UPD 2033 Other Contact COURSE INFORMATION: Course Number(s) Hindus, Muslims, and their Others: The Construction of Identities in India and Formal Title Pakistan Transcript Title (≤30c) India and Pakistan from 1857-Present Recommended Course Preparation Lower level SS course Prerequisite NOTE: Unless otherwise indicated, a prerequisite is N/A assumed to be passed with a “D” or better. # of Credits Must adhere to the UMBC Credit Hour 3.0 Policy Repeatable for Yes X No additional credit? Max. Total Credits 3.0 This should be equal to the number of credits for courses that cannot be repeated for credit. For courses that may be repeated for credit, enter the maximum total number of credits a student can receive from this course. E.g., enter 6 credits for a 3 credit course that may be taken a second time for credit, but not for a third time. Please note that this does NOT refer to how many times a class may be retaken for a higher grade. Grading Method(s) X Reg (A-F) Audit Pass-Fail PROPOSED CATALOG DESCRIPTION (Approximately 75 words in length. Please use full sentences.): This course explores the complexities of the categories of Hindus, Muslims, and their Others from the mid- 19th century to the present in South Asia (the regions that would become India, Pakistan, and Kashmir). -
Women Performing Artists in Colonial India There Were Few Women Painters in Colonial India
I. (A) Personal Details Role Name Affiliation Principal Investigator Prof. Sumita University of Allhabad Parmar Paper Coordinator Prof Rekha Pande University of Hyderabad Author Dr. Archana Verma Independent Scholar Content Reviewer (CR) Prof Rekha Pande University of Hyderabad Language Editor (LE) Prof. Sumita University of Allhabad Parmar (B) Description of Module Items Description of Module Subject Name Women’s Studies Paper Name Women and History Module Name/ Title, Women performers in colonial India description Module ID Paper- 3, Module-30 Pre-requisites None Objectives To explore the achievements of women performers in colonial period Keywords Indian art, women in performance, cinema and women, India cinema, Hindi cinema Women Performing Artists in Colonial India There were few women painters in Colonial India. But in the performing arts, especially acting, women artists were found in large numbers in this period. At first they acted on the stage in theatre groups. Later, with the coming of cinema, they began to act for the screen. Cinema gave them a channel for expressing their acting talent as no other medium had before. Apart from acting, some of them even began to direct films at this early stage in the history of Indian cinema. Thus, acting and film direction was not an exclusive arena of men where women were mostly subjects. It was an arena where women became the creators of this art form and they commanded a lot of fame, glory and money in this field. In this module, we will study about some of these women. Nati Binodini (1862-1941) Fig. 1 – Nati Binodini (get copyright for use – (https://commons.wikimedia.org/wiki/File:Binodini_dasi.jpg) Nati Binodini was a Calcutta based renowned actress, who began to act at the age of 12. -
Analisis Semiotik Terhadap Film in the Name of God
ANALISIS SEMIOTIK TERHADAP FILM IN THE NAME OF GOD Skripsi Diajukan untuk Memenuhi Persyaratan Memperoleh Gelar Sarjana Komunikasi Islam (S. Kom. I) Oleh Hani Taqiyya NIM: 107051002739 JURUSAN KOMUNIKASI DAN PENYIARAN ISLAM FAKULTAS ILMU DAKWAH DAN ILMU KOMUNIKASI UNIVERSITAS ISLAM NEGERI SYARIF HIDAYATULLAH JAKARTA 2011 M/1432 H LEMBAR PERNYATAAN Dengan ini saya menyatakan bahwa: 1. Skripsi ini merupakan hasil karya asli saya yang diajukan untuk memenuhi salah satu penyataan memperoleh gelar strata 1 di UIN Syarif Hidayatullah Jakarta. 2. Semua sumber yang saya gunakan dalam penulisan ini telah saya cantumkan sesuai dengan ketentuan yang berlaku di UIN Syarif Hidayatullah Jakarta. 3. Jika di kemudian hari terbukti bahwa karya ini bukan hasil karya asli saya atau merupakan hasil jiplakan dari karya orang lain, maka saya bersedia menerima sanksi yang berlaku di UIN Syarif Hidayatullah Jakarta. Ciputat, Mei 2011 Hani Taqiyya ABSTRAK Hani Taqiyya Analisis Semiotik Terhadap Film In The Name of God Pasca kejadian Serangan 11 September 2001 lalu, wajah dunia Islam kian menjadi sorotan. Gencarnya media-media yang mengatakan bahwa otak serangan itu adalah teroris muslim, membawa khalayak kepada konstruksi identitas agama Islam sebagai agama yang penuh dengan kekerasan dan radikalisme. Apalagi setelah beberapa serangan lain yang mengatasnamakan perbuatan tersebut sebagai perbuatan jihad, karena dilakukan atas nama Allah SWT dan untuk menegakkan agama Islam. Sehingga, tidak kata yang lebih populer menyimbolkan kekerasan dan teror atas nama Islam di atas selain jihad, padahal konsep jihad yang seperti itu tidak sesuai dengan agama Islam yang rahmatan lil ‟alamin. Bukan hanya media cetak saja, film sebagai salah satu media massa juga menggambarkan hal tersebut dengan cara yang berbeda. -
A Tribute to Iconic Sabiha Khanum (1935-2020)
E-CineIndia April-June 2020 ISSN: 2582-2500 Tribute Aijaz Gul A Tribute to Iconic Sabiha Khanum (1935-2020) First lady of Silver Screen of Pakistan Sabiha His first wife, Jamila Begum, was a house- Khanum passed away in the United States on wife). Sabiha and Santosh, together became June 13 at the age of eighty-five. the most likeable, romantic and bankable cou- ple of film trade. Their casting together was a sure bet for ringing box office cash regis- Born as Mukhtar Begum, she spent her child- ter. She was now teaming only with Santosh. hood in Gujrat. She began her career as stage Sabiha also produced successful Punjabi film artist in Butt Shikhan in Lahore. She moved Naji (1959) in which she repeated the role of into films with debut in Beli (1950), direct- mentally unstable woman, played earlier by ed by Masood Pervaiz in 1950 with Santosh her in Gumnam. She won tremendous appre- Kumar and Shahina. Director Anwar Kemal ciation for both these roles. Pasha, notable director from the fifties and sixties, found out the real talent in her. Her teaming with Santosh Kumar under Anwar Since, songs are an integral part of our films Kamal Pasha, resulted in some of the most (at times even when they don’t belong there), memorable films: Ghulam (1953), Gumnam Sabiha Khanum holds the credit of over a doz- (1954), Qatil (1955) and Sarfarosh (1956). In en memorable melodies filmed on her. It was Late-fifties, she got married to Santosh Kumar first Iqbal ‘Bano’ and Munawar Sultana who (this was Santosh Kumar’s second marriage. -
PPAF Disability Project Phase 3
PPAF Disability Project for Rehabilitation of PWDs Phase 3 in Rawalakot, District Poonch PROJECT COMPLETION REPORT June 2012 Monitoring, Evaluation & Research Section National Rural Support Programme Copyright © National Rural Support Programme - June 2012 We would like to thank the Rawalakot office, SSS Section and Management for their support in data collection, research, and interviews during the compilation of this report. PPAF Disability Project for Rehabilitation of PWDs Phase 3 in Rawalakot, District Poonch All rights reserved, but development organisations which are working in the rural areas specially non-profit organisations working for capacity building can use this material for the benefit of poor rural communities. It is requested that please acknowledge the effort made by NRSP. No parts of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means electronic, mechanical, photocopying, recording for the commercial or profit making purpose or otherwise without the written permission of the National Rural Support Programme. Authored by: Ahmad Hasan, Senior Programme Officer - MER Supervised by: Muhammad Tahir Waqar (Programme Manager - MER) Design & Layout: Mansoor Abid Printed at PanGraphics (Pvt) Ltd., Islamabad PPAF Disability Project for Rehabilitation of PWDs Phase 3 - Table of Contents Table of Contents Acronyms 2 Foreword 3 Background context of Disability 4 Project Background 6 Community Based Rehabilitation Approach 7 Project Objectives 8 Project Targets 9 Implementation -
Emergent Cinema of Pakistan
Bāzyāft-30 (Jan-Jun 2017) Urdu Department, Punjab University, Lahore 13 Emergent Cinema of Pakistan Ahmad Bilal ABSTRACT: Pakistan and India shared a common history, language and cultural values, so the form of the film is also similar. The biggest challenge for Pakistan film industry (Lollywood), since partition in 1947, was to achieve a form that can formulate its unique identity. Indian films had been facing an official ban from 1960s to 2007, which initially had helped the local film industry, as, in 1970s and 80s, it was producing more than 100 films per year. However, the ban had diminished the competition and become the biggest reason of the decline of Pakistani film. The number of films and their production value had been deteriorating in the last two decades. In 2007, the official screening Indian films have been allowed by Pakistani authorities. It, on the one side, has damaged the traditional films, “established cinema”, of Pakistan, and on the other side, it has reactivated the old question of distinctive cultural face of Pakistan. Simultaneously, the technology has been shifted from analogue to digital, which have allowed young generation of moviemakers to experiment with the medium, as it is relatively economical. The success of Khuda Kay Liay (2007) and Bol (2011) have initiated a new kind of cinema, which is termed as “emergent cinema” by this research. This paper investigates emergent cinema to define its elements and to establish its relation with the established cinema of Pakistan. It also discloses the link of emergent cinema with the media liberation Act of 2002, which has allowed a range of subjects. -
Annual Report 2016
Annual Report 2016 Center for Communication Programs Pakistan “ Using communication to save and improve lives ” 02 ANNUAL REPORT 2016 03 A fast growing organization excelling “in the study and practice of development communication ” Annual Report 2016 4 04 ANNUAL REPORT 2016 05 Contents 07 08 10 12 Message Center at a Glance Center down the Leadership memory lane… 16 18 20 21 Team Center Ongoing Initiatives Partnerships Programs Completed Forged 24 25 26 28 Major Publications Major Media Public events in Finances Products 2016 Abbreviations and Acronyms AusAID Australian Agency for International Development CCP Center for Communication Programs Center Center for Communication Programs Pakistan CEJ Center for Excellence in Journalism DFID Department for International Development EE Entertainment Education EVA Empowerment Voice and Accountability for Better Health and Nutrition FATA Federally Administered Tribal Areas HCC Health Communication Component HIV/AIDS Human immunodeficiency virus infection and acquired immune deficiency syndrome IPC Inter Process Communication JHCCP Johns Hopkins Center for Communication Programs JHU Johns Hopkins University JSI John Snow, Inc. KP Khyber Paktunkhwa LHW Lady Health Worker MD Momina Duraid Productions MNCH Maternal Newborn Child Health MoU Memorandum of Understanding NCA National College of Arts NGO Non-Governmental Organization NMNCH National Maternal Newborn Child Health NRSP National Rural Support Program Packard Foundation David and Lucile Packard Foundation PAIMAN Pakistan Initiative for Mother -
Title ID Titlename D0043 DEVIL's ADVOCATE D0044 a SIMPLE
Title ID TitleName D0043 DEVIL'S ADVOCATE D0044 A SIMPLE PLAN D0059 MERCURY RISING D0062 THE NEGOTIATOR D0067 THERES SOMETHING ABOUT MARY D0070 A CIVIL ACTION D0077 CAGE SNAKE EYES D0080 MIDNIGHT RUN D0081 RAISING ARIZONA D0084 HOME FRIES D0089 SOUTH PARK 5 D0090 SOUTH PARK VOLUME 6 D0093 THUNDERBALL (JAMES BOND 007) D0097 VERY BAD THINGS D0104 WHY DO FOOLS FALL IN LOVE D0111 THE GENERALS DAUGHER D0113 THE IDOLMAKER D0115 SCARFACE D0122 WILD THINGS D0147 BOWFINGER D0153 THE BLAIR WITCH PROJECT D0165 THE MESSENGER D0171 FOR LOVE OF THE GAME D0175 ROGUE TRADER D0183 LAKE PLACID D0189 THE WORLD IS NOT ENOUGH D0194 THE BACHELOR D0203 DR NO D0204 THE GREEN MILE D0211 SNOW FALLING ON CEDARS D0228 CHASING AMY D0229 ANIMAL ROOM D0249 BREAKFAST OF CHAMPIONS D0278 WAG THE DOG D0279 BULLITT D0286 OUT OF JUSTICE D0292 THE SPECIALIST D0297 UNDER SIEGE 2 D0306 PRIVATE BENJAMIN D0315 COBRA D0329 FINAL DESTINATION D0341 CHARLIE'S ANGELS D0352 THE REPLACEMENTS D0357 G.I. JANE D0365 GODZILLA D0366 THE GHOST AND THE DARKNESS D0373 STREET FIGHTER D0384 THE PERFECT STORM D0390 BLACK AND WHITE D0391 BLUES BROTHERS 2000 D0393 WAKING THE DEAD D0404 MORTAL KOMBAT ANNIHILATION D0415 LETHAL WEAPON 4 D0418 LETHAL WEAPON 2 D0420 APOLLO 13 D0423 DIAMONDS ARE FOREVER (JAMES BOND 007) D0427 RED CORNER D0447 UNDER SUSPICION D0453 ANIMAL FACTORY D0454 WHAT LIES BENEATH D0457 GET CARTER D0461 CECIL B.DEMENTED D0466 WHERE THE MONEY IS D0470 WAY OF THE GUN D0473 ME,MYSELF & IRENE D0475 WHIPPED D0478 AN AFFAIR OF LOVE D0481 RED LETTERS D0494 LUCKY NUMBERS D0495 WONDER BOYS -
Feminism, Hegemony and Empowerment in Pakistani Selected Films Pjaee, 18(8) (2021)
FEMINISM, HEGEMONY AND EMPOWERMENT IN PAKISTANI SELECTED FILMS PJAEE, 18(8) (2021) FEMINISM, HEGEMONY AND EMPOWERMENT IN PAKISTANI SELECTED FILMS Qaisar Khan1, Kalimullah Khan2, Mudassir Hussain3, Sher Akbar4, Sundus Khan5 1Senior Assistant Professor, Department of Media Studies, Bahria University Islamabad. 2Department of Business Administration, Kardan University, Kabul, Afghanistan. 3,5MS Research Scholar, Department of Media Studies, Bahria University, Islamabad. 4Department of Management Sciences, COMSATS University Islamabad. Qaisar Khan , Kalimullah Khan , Mudassir Hussain , Sher Akbar , Sundus Khan , Feminism, Hegemony And Empowerment In Pakistani Selected Films , Palarch’s Journal Of Archaeology Of Egypt/Egyptology 18(8). ISSN 1567-214x. KeyWords: Urdu Cinema, Gender Roles, Feminism, Hegemony, Empowerment. Abstract: This paper examines hegemony and women empowerment in three selected Pakistani films produced in 2011 onwards. Why the films break and mend masochism at a time with a portrayal of socio-politically dominated women that challenge patriarchy after 2011. To find out how these films portray socio-politically dominated women that challenge Patriarchy. Quantitative methods used to find out how significantly the role of female characters assigned and what the statistics and frequencies indicate women empowerment and hegemony. The paper found women empowerment as 7.8% women out of 13.3% are decision makers, self-expression as 3.4% followed by education and demand for justice as 1.1% each. While hegemony found as out of 84.8% scenes 23.6% women are oppressed due to the class system which is 3.0% where injustice is 19.8% due to patriarchy which is 18.4%. The paper recommends that the male run entertainment industry that targets male audiences should avoid masochism for commercial 1205 FEMINISM, HEGEMONY AND EMPOWERMENT IN PAKISTANI SELECTED FILMS PJAEE, 18(8) (2021) purposes for the sake of the essence of cinematic norms and spirits, so that women's portrayal of empowerment can help socio-political and culture awareness.