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101 3 Contributions of Walter Ducat and Vasudev Kanitkar This
3 Contributions of Walter Ducat and Vasudev Kanitkar 7KLV GLVFRXUVH RQ ZRUNV FDUULHG RXW E\ &RORQHO:DOWHU'XFDW 5( DQG9DVXGHY %DSXML Kanitkar in Deccan region enhance on their graph of work they executed and collaborative landmark at the summit of their career they produced in Poona. There is an attempt to establish DQGXQYHLO:DOWHU'XFDW¶VFRQWULEXWLRQLQWKHGHYHORSPHQWRIERWKELJJHUDQGVPDOOVFDOHWRZQVLQ Deccan region such as Pune, Kolhapur, Ahmadnagar, Ahmedabad, Gokak and so on. Probably this GRFXPHQWDWLRQDQGDQDO\VLVRI:DOWHU'XFDW¶VVHUYLFHLQWKHUHJLRQWU\WRSHUFHLYHKLVLQYROYHPHQW in architectural developments in the late nineteenth century at various levels as engineer, urban designer, town planner, irrigation expert and designer of minor projects those are milestones in colonial urban landscapes. This discussion will perhaps support his collaborative works with different agencies and local contractors in the process of actual implementation of several projects. Different social forces such as local intellectuals and reformists during revolts in 19th century against the colonial architectural expansions lead to a different manifestation in the perceptible form. Language, climate, cultural variations turn out to be advantages and hurdles at the same time for WKHQHZ³WHFKQRFUDWLFUHJLPH´2QWKHRWKHUKDQGVHWSDUDPHWHUVRIPDQXDOVWUHDWLVHSURIHVVLRQDO papers and major involvement of local artisans and contractors probably tried to contribute to the DUFKLWHFWXUDOYRFDEXODU\ZLWKWKHLUPRGL¿HG,QGLJHQRXVVROXWLRQVLQORFDOFRQWH[W7KLVGLVFXVVLRQ ZLOOSUREDEO\WU\WRHODERUDWHPRUHRQ:DOWHU'XFDW¶VZRUNEHLQJD³SURGXFWRI$GGLVFRPEH´273 -
Catafid2010.Pdf
LES VARIÉTÉS partenaire de la 21e édition du FIDMARSEILLE 5 salles classées art & essai / recherche | café - espace expositions 37, rue Vincent Scotto - Marseille 1er | tél. : 04 91 53 27 82 Sommaire / Contents PARTENAIRES / PARTNERS & SPONSORS 005 ÉDITORIAUX / EDITORIALS 006 PRIX / PRIZES 030 JURYS / JURIES 033 Jury de la compétition internationale / International competition jury 034 Jury de la compétition française / French competition jury 040 Jury GNCR, jury Marseille Espérance, jury des Médiathèques GNCR jury, Marseille Espérance jury and Public libraries jury 046 SÉLECTION OFFICIELLE / OFFICIAL SELECTION 047 Éditorial / Editorial 048 Film d’ouverture / Opening film 052 Compétition internationale / International competition 053 Compétition premier / First film competition 074 Compétition française / French competition 101 ÉCRANS PARALLÈLES / PARALLEL SCREENS 117 Rétrospective Ritwik Ghatak 119 Anthropofolies 125 Du rideau à l’écran 157 Paroles et musique 177 Les sentiers 189 SÉANCES SPÉCIALES / SPECIAL SCREENS 221 TABLES RONDES - RENCONTRES / ROUND TABLES - MASTER CLASSES 231 FIDMarseille AVEC / FIDMarseille WITH 235 VIDÉOTHÈQUE / VIDEO LIBRARY 241 FIDLab 251 ÉQUIPE, REMERCIEMENTS, INDEX TEAM, ACKNOWLEGMENTS, INDEXES 255 C.A. et équipe FIDMarseille / FIDMarseille management committee and staff 256 Remerciements / Thanks to 257 Index des films / Film index 258 Index des réalisateurs / Filmmaker index 260 Index des contacts / Contact index 261 Partenaires / Partners & sponsors Le Festival International du Documentaire de Marseille -
Raja Ravi Varma 145
viii PREFACE Preface i When Was Modernism ii PREFACE Preface iii When Was Modernism Essays on Contemporary Cultural Practice in India Geeta Kapur iv PREFACE Published by Tulika 35 A/1 (third floor), Shahpur Jat, New Delhi 110 049, India © Geeta Kapur First published in India (hardback) 2000 First reprint (paperback) 2001 Second reprint 2007 ISBN: 81-89487-24-8 Designed by Alpana Khare, typeset in Sabon and Univers Condensed at Tulika Print Communication Services, processed at Cirrus Repro, and printed at Pauls Press Preface v For Vivan vi PREFACE Preface vii Contents Preface ix Artists and ArtWork 1 Body as Gesture: Women Artists at Work 3 Elegy for an Unclaimed Beloved: Nasreen Mohamedi 1937–1990 61 Mid-Century Ironies: K.G. Subramanyan 87 Representational Dilemmas of a Nineteenth-Century Painter: Raja Ravi Varma 145 Film/Narratives 179 Articulating the Self in History: Ghatak’s Jukti Takko ar Gappo 181 Sovereign Subject: Ray’s Apu 201 Revelation and Doubt in Sant Tukaram and Devi 233 Frames of Reference 265 Detours from the Contemporary 267 National/Modern: Preliminaries 283 When Was Modernism in Indian Art? 297 New Internationalism 325 Globalization: Navigating the Void 339 Dismantled Norms: Apropos an Indian/Asian Avantgarde 365 List of Illustrations 415 Index 430 viii PREFACE Preface ix Preface The core of this book of essays was formed while I held a fellowship at the Nehru Memorial Museum and Library at Teen Murti, New Delhi. The project for the fellowship began with a set of essays on Indian cinema that marked a depar- ture in my own interpretative work on contemporary art. -
Why the Portuguese Told the British That Brazil Was Just a Hop, Skip and Jump Away from Bombay
URMI CHANDA-VAZ K Indologist cultureexpress.in Why the Portuguese told the British that Brazil was just a hop, skip and jump away from Bombay An exhibition of woodcuts and lithographs tells the city's history in 46 prints Mumbai is a fast-paced city in more ways than one. With the daily movement of its millions, its cultural and geographical landscape are quickly morphed. One place to witness the story of its rapidly changing colours is the Prints Gallery at the Chhatrapati Shivaji Maharaj Vastu Sangrahalaya or CSMVS, at Fort, Mumbai. The exhibition therein is titled Bombay to Mumbai: Door of the East with its Face to the West. While the gallery opened in 2015, its catalogue was released only in March, by Dr Anne Buddle, the Collections Advisor of National Galleries of Scotland. The collection in this gallery is curated by Pauline Rohatgi and Dr Pheroza Godrej, both well known for their work in art and local history. Together, they have put together a sizable collection of prints, which are veritable historical treasures. After years of curating, exhibiting and publishing them, Rohatgi and Godrej decided to give the prints on a long term lease, so they could be seen by a wider audience and maintained by the Gallery. “The idea came about in 2007 or 2008, when the CSMVS had its first International exhibition based on the Indian life and landscape,” said Dr Godrej. The collection was put together in association with Sabyasachi Mukherjee, the director general of CSMVS, who promised to make permanent space in the museum for the collection. -
Durable Housing Alternative for Dharavi
2018 Durable housing alternative for Dharavi Imre Lokhorst and Floriaan Troost V6 Isendoorn College 20-12-2018 Page of content Summary 4 Introduction 5 Aim 6 Sub-aims 6 Hypothesis 6 List of requirements 7 Theory 8 Geographical context 8 Location 8 Population 8 Climate 9 Flooding risks 12 The effect of the climate on the houses in Dharavi 13 Economic situation 14 Social situation 15 Employment opportunities 15 Education 15 Education in Dharavi 16 Cultural situation 17 Language 17 Religion 17 Historical context Mumbai 18 History of Mumbai 18 Slum development in general 18 History of the developments in Dharavi 19 Political situation 20 FSI 21 Expensive ground 22 Political parties and Dharavi 22 The thoughts of Mumbai’s inhabitants about Dharavi 22 Current houses in Dharavi 23 Current living conditions in Dharavi 24 Theory of the design 25 Construction 25 1 Materials 25 Design 27 30 Foundation 32 Materials 32 Design 33 Walls 34 Materials 34 Design 36 Roof 40 Materials 40 Design 41 Water system 42 Materials 42 Design 42 Floors 43 Materials 43 Design 43 How we improve the living conditions with our design 43 Possible organizations we could approach 44 Financial plan 45 Costs 45 Experimental section 46 Materials and equipment’s 46 Materials for the construction 46 Materials for the foundation 46 Materials for the walls 47 Materials for the roof 47 Method 47 Method for the construction 47 Method for the foundation 58 Method for the walls 60 Method for the roof 60 Results 62 Observations 62 Construction 62 2 Numbers 65 Construction 65 Foundation 66 Roof 70 Conclusion 72 Answer to the main research question 72 Answers to the sub questions 72 The design 73 Discussion 73 Hypotheses-check 74 Did we meet the requirements 74 Estimation of magnitude of the errors 74 Continuation research 75 References 75 3 Summary This research paper is about a durable housing alternative for the slums in Dharavi. -
Please Turn Off Cellphones During Screening March 6, 2012 (XXIV:8) Satyajit Ray, the MUSIC ROOM (1958, 96 Min.)
Please turn off cellphones during screening March 6, 2012 (XXIV:8) Satyajit Ray, THE MUSIC ROOM (1958, 96 min.) Directed, produced and written by Satyajit Ray Based on the novel by Tarashankar Banerjee Original Music by Ustad Vilayat Khan, Asis Kumar , Robin Majumder and Dakhin Mohan Takhur Cinematography by Subrata Mitra Film Editing by Dulal Dutta Chhabi Biswas…Huzur Biswambhar Roy Padmadevi…Mahamaya, Roy's wife Pinaki Sengupta…Khoka, Roy's Son Gangapada Basu…Mahim Ganguly Tulsi Lahiri…Manager of Roy's Estate Kali Sarkar…Roy's Servant Waheed Khan…Ujir Khan Roshan Kumari…Krishna Bai, dancer SATYAJIT RAY (May 2, 1921, Calcutta, West Bengal, British India – April 23, 1992, Calcutta, West Bengal, India) directed 37 films: 1991 The Visitor, 1990 Branches of the Tree, 1989 An Elephant God (novel / screenplay), 1977 The Chess Players, Enemy of the People, 1987 Sukumar Ray, 1984 The Home and 1976 The Middleman, 1974 The Golden Fortress, 1974 Company the World, 1984 “Deliverance”, 1981 “Pikoor Diary”, 1980 The Limited, 1973 Distant Thunder, 1972 The Inner Eye, 1971 The Kingdom of Diamonds, 1979 Joi Baba Felunath: The Elephant Adversary, 1971 Sikkim, 1970 Days and Nights in the Forest, God, 1977 The Chess Players, 1976 The Middleman, 1976 Bala, 1970 Baksa Badal, 1969 The Adventures of Goopy and Bagha, 1974 The Golden Fortress, 1974 Company Limited, 1973 Distant 1967 The Zoo, 1966 Nayak: The Hero, 1965 Kapurush: The Thunder, 1972 The Inner Eye, 1971 The Adversary, 1971 Sikkim, Coward, 1965 Mahapurush: The Holy Man, 1964 The Big City: 1970 Days -
A Postcolonial Iconi-City: Re-Reading Uttam Kumar's Cinema As
South Asian History and Culture ISSN: 1947-2498 (Print) 1947-2501 (Online) Journal homepage: http://www.tandfonline.com/loi/rsac20 A postcolonial iconi-city: Re-reading Uttam Kumar’s cinema as metropolar melodrama Sayandeb Chowdhury To cite this article: Sayandeb Chowdhury (2017): A postcolonial iconi-city: Re-reading Uttam Kumar’s cinema as metropolar melodrama, South Asian History and Culture, DOI: 10.1080/19472498.2017.1304090 To link to this article: http://dx.doi.org/10.1080/19472498.2017.1304090 Published online: 28 Mar 2017. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rsac20 Download by: [1.38.4.8] Date: 29 March 2017, At: 01:44 SOUTH ASIAN HISTORY AND CULTURE, 2017 http://dx.doi.org/10.1080/19472498.2017.1304090 A postcolonial iconi-city: Re-reading Uttam Kumar’s cinema as metropolar melodrama Sayandeb Chowdhury School of Letters, Ambedkar University, Delhi, India ABSTRACT KEYWORDS Since the early years of India’s emergence into a ‘post-colony’, the Bengali cinema; Calcutta; possibilities of the popular in Bengali cinema had to be renegotiated modernity; melodrama; within the complex registers offered by a severely decimated cultural stardom economy of the region. It could be claimed that by early 1950s, Bengali cinema’s negotiation of a linguistic and spatial equivalent of ‘disputed’ and ‘lost’ nation led to it trying to constantly spatialize Calcutta, offering several possibilities to reinterpret the metropolar visuality in and of the postcolonial city. Calcutta provided Bengali cinema a habitation, a meta- phor of modernity and a spatial equivalent of a nation. -
Été Indien 10E Édition 100 Ans De Cinéma Indien
Été indien 10e édition 100 ans de cinéma indien Été indien 10e édition 100 ans de cinéma indien 9 Les films 49 Les réalisateurs 10 Harishchandrachi Factory de Paresh Mokashi 50 K. Asif 11 Raja Harishchandra de D.G. Phalke 51 Shyam Benegal 12 Saint Tukaram de V. Damle et S. Fathelal 56 Sanjay Leela Bhansali 14 Mother India de Mehboob Khan 57 Vishnupant Govind Damle 16 D.G. Phalke, le premier cinéaste indien de Satish Bahadur 58 Kalipada Das 17 Kaliya Mardan de D.G. Phalke 58 Satish Bahadur 18 Jamai Babu de Kalipada Das 59 Guru Dutt 19 Le vagabond (Awaara) de Raj Kapoor 60 Ritwik Ghatak 20 Mughal-e-Azam de K. Asif 61 Adoor Gopalakrishnan 21 Aar ar paar (D’un côté et de l’autre) de Guru Dutt 62 Ashutosh Gowariker 22 Chaudhvin ka chand de Mohammed Sadiq 63 Rajkumar Hirani 23 La Trilogie d’Apu de Satyajit Ray 64 Raj Kapoor 24 La complainte du sentier (Pather Panchali) de Satyajit Ray 65 Aamir Khan 25 L’invaincu (Aparajito) de Satyajit Ray 66 Mehboob Khan 26 Le monde d’Apu (Apur sansar) de Satyajit Ray 67 Paresh Mokashi 28 La rivière Titash de Ritwik Ghatak 68 D.G. Phalke 29 The making of the Mahatma de Shyam Benegal 69 Mani Ratnam 30 Mi-bémol de Ritwik Ghatak 70 Satyajit Ray 31 Un jour comme les autres (Ek din pratidin) de Mrinal Sen 71 Aparna Sen 32 Sholay de Ramesh Sippy 72 Mrinal Sen 33 Des étoiles sur la terre (Taare zameen par) d’Aamir Khan 73 Ramesh Sippy 34 Lagaan d’Ashutosh Gowariker 36 Sati d’Aparna Sen 75 Les éditions précédentes 38 Face-à-face (Mukhamukham) d’Adoor Gopalakrishnan 39 3 idiots de Rajkumar Hirani 40 Symphonie silencieuse (Mouna ragam) de Mani Ratnam 41 Devdas de Sanjay Leela Bhansali 42 Mammo de Shyam Benegal 43 Zubeidaa de Shyam Benegal 44 Well Done Abba! de Shyam Benegal 45 Le rôle (Bhumika) de Shyam Benegal 1 ] Je suis ravi d’apprendre que l’Auditorium du musée Guimet organise pour la dixième année consécutive le festival de films Été indien, consacré exclusivement au cinéma de l’Inde. -
Modernisms in India
Modernisms in India Modernisms in India Supriya Chaudhuri The Oxford Handbook of Modernisms Edited by Peter Brooker, Andrzej Gąsiorek, Deborah Longworth, and Andrew Thacker Print Publication Date: Dec 2010 Subject: Literature, Literary Studies - 20th Century Onwards, Literary Studies - Postcolonial Literature Online Publication Date: Sep 2012 DOI: 10.1093/oxfordhb/9780199545445.013.0053 Abstract and Keywords This article examines the history of modernism in India. It suggests that though the dis tinctions between modernity, modernization, and modernism are particularly complicated in the case of India, they remain crucial to a historical understanding of the ‘modern’ in all its senses. The article argues that the characteristic feature of Indian modernism in In dia is that it is manifestly social and historical rather than a hypostasis of the new as in the West. It contends that modernisms in India are deeply implicated in the construction of a secular national identity at home in the world, and in this respect answer a historical need to fashion a style for the modern as it is locally experienced. Keywords: modernism, India, modernization, modernity, national identity, hypostasis THE distinctions between modernity, modernization, and modernism are particularly com plicated in the case of India, but remain crucial to a historical understanding of the ‘mod ern’ in all its senses. Modernity, as a social and intellectual project, and modernization, as its means, are associated with the influence in India of Europe and of Enlightenment ra tionality from the eighteenth century onwards. Modernism, as an aesthetic, is far more limited in period and scope. Nevertheless, just as recent cultural criticism has proposed the existence of ‘alternative modernities’1 not native to the West, so too our attention has been drawn to ‘alternative modernisms’, or ‘modernisms at large’.2 The question of peri odicity, as of location, is complicated by the historical fact that modernism as an aesthetic was simultaneously restricted and elitist, and international and democratic. -
Bandra Book Aw.Qxp
ON THE WATERFRONT Reclaiming Mumbai’s Open Spaces P.K. Das & Indra Munshi This is dummy text pls do not read please do not read this text. This is Dummy text please do not read this text. this is dummy text This is dummy text pls do not read please do not read this text. This is Dummy text please do not read this text. this is dummy text ISBN: 12345678 All rights reserved. No part of this book may be reproduced, stored in retrieved system, or transmitted in any form or by any means, electronic, mechanical, photocopying or recording, or otherwise, without the prior permission of the publisher. 2 Contents 5 Preface 7 Declining open spaces in Mumbai Lack of planning for the city Encroachments New open spaces 29 Abuse of Mumbai’s waterfront How accessible is the waterfront? Is the waterfront protected? Landfill and its consequences State of the mangroves Coastal pollution 65 Bandra’s activism: Evolving an agenda The making of Bandra Its seafront Struggles to protect the seafront 89 Reclaiming the waterfront Planning for the promenades Popularising the waterfront Issues arising from Bandra’s experience 137 Democratising public spaces Conclusion 151 Appendix 159 Maps 3 4 Preface What began as a story of Bandra’s activism to reclaim and democratise its waterfront grew into a study of Mumbai’s dwindling public spaces, especially the seafront. This book draws from our expertise in sociology, architecture and urban planning and, above all, our commitment to millions of people who suffer as a result of the degradation of our urban environment and for whom Mumbai means noise, pollution and congestion. -
Bulletin De L'association Des Anciens Élèves De L'institut National Des
Bulletin de l’association des anciens élèves de l’Institut national des langues et civilisations orientales proposition_bulletin.indd 1 13/12/06 2:29:48 issn 0752-8477 Les opinions exprimées dans les articles n’engagent que les auteurs proposition_bulletin.indd 2 13/12/06 2:29:48 Association des anciens élèves Le Bulletin Décembre 2006 Institut national des langues et civilisations orientales proposition_bulletin.indd 3 13/12/06 2:29:49 Editorial............................................................................... 5 Actualité.............................................................................. 7 H. Marchal : Nouveaux regards sur les arts lointains .......................................9 P. Lamant : A propos du Musée du quai Branly : un regard ........................... 15 J. Perrin : Compte-rendu de : B. Dupaigne : « Le scandale des arts premiers » ............................................ 17 Carnets.de.route................................................................ 21 M.-J. Tubiana : Carnets de route au Dar For 1965-1970 (Bonnes feuilles) ................................................................... 23 Littérature.......................................................................... 35 N. Guy : Ivan Kraus, biographie et panorama de son œuvre ......................... 37 I.Kraus : Grand-père au cinéma (texte tchèque et traduction) .................. 41 D. Halbout : Hâfez de Chiraz ...................................................................... 47 Histoire............................................................................. -
Cinefan 2006
Cinefan 2006 By Ron Holloway Fall 2006 Issue of KINEMA CINEFAN NEW DELHI FESTIVAL 2006 When I asked an informed critic for an opinion as to which was the most important film festival in India today, he named Osian’s Cinefan in a close tie with the Trivandrum International Film Festival - with the caveat, of course, that Cinefan in New Delhi primarily presents Asian cinema, while Trivandrum (aka Triruvananthapuram, to use the official name) in Kerala opens its doors wide to international film fare.As for the long-running International Film Festival in India (IFFI), a government-sponsored affair based in Goa for the past couple of years, I was told that it ranked third at best, although a larger attendance was recorded last year. In other words, Goa, a resort city populated mostly by tourists from home and abroad, has had to work hard to attract a movie-mad Indian public from across the country. Two other festivals were also thrown into the melee: Kolkata (Calcutta) and Mumbai (Bombay), both feeding upon major production centres with long traditions for supporting auteur directors. Some other Indian film festivals were named in passing - the Mumbai International Festival of Documentaries, Shorts, and Animation Films, for instance. And there’s also a growing film festival in Pune, where the country’s National Film Archive and National Film School are located. Under the tireless leadership of Osian’s Neville Tuli (founder-chairman) and Cinefan’s Aruna Vasudev (founder-director), the 8th Osian’s Cinefan Festival of Asian Cinema in New Delhi (14-23 July 2006) set new standards of Asian cinema excellence.