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Bollywood's Periphery: Child Stars and Representations of Childhood in Hindi Films
Shakuntala Banaji Bollywood's periphery: child stars and representations of childhood in Hindi films Book section Original citation: Originally published in Bollywood's periphery: child stars and representations of childhood in Hindi films. In: O'Connor, Jane and Mercer, John, (eds.) Childhood and Celebrity. Routledge, London, UK. ISBN 9781138855274 © 2016 The Author This version available at: http://eprints.lse.ac.uk/65482/ Available in LSE Research Online: February 2017 LSE has developed LSE Research Online so that users may access research output of the School. Copyright © and Moral Rights for the papers on this site are retained by the individual authors and/or other copyright owners. Users may download and/or print one copy of any article(s) in LSE Research Online to facilitate their private study or for non-commercial research. You may not engage in further distribution of the material or use it for any profit-making activities or any commercial gain. You may freely distribute the URL (http://eprints.lse.ac.uk) of the LSE Research Online website. This document is the author’s submitted version of the book section. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. Title: Bollywood's periphery: child stars and representations of childhood in Hindi films Author: Shakuntala Banaji, Introduction The three research questions which I explore in this chapter ask: How do international accounts of children’s role on screen and child performance -
Mumbai Macbeth: Gender and Identity in Bollywood Adaptations Rashmila Maiti University of Arkansas, Fayetteville
University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 8-2018 Mumbai Macbeth: Gender and Identity in Bollywood Adaptations Rashmila Maiti University of Arkansas, Fayetteville Follow this and additional works at: http://scholarworks.uark.edu/etd Part of the Asian Studies Commons, Comparative Literature Commons, and the Literature in English, British Isles Commons Recommended Citation Maiti, Rashmila, "Mumbai Macbeth: Gender and Identity in Bollywood Adaptations" (2018). Theses and Dissertations. 2905. http://scholarworks.uark.edu/etd/2905 This Dissertation is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected], [email protected]. Mumbai Macbeth: Gender and Identity in Bollywood Adaptations A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Comparative Literature and Cultural Studies by Rashmila Maiti Jadavpur University Bachelor of Arts in English Literature, 2007 Jadavpur University Master of Arts in English Literature, 2009 August 2018 University of Arkansas This dissertation is approved for recommendation to the Graduate Council. M. Keith Booker, PhD Dissertation Director Yajaira M. Padilla, PhD Frank Scheide, PhD Committee Member Committee Member Abstract This project analyzes adaptation in the Hindi film industry and how the concepts of gender and identity have changed from the original text to the contemporary adaptation. The original texts include religious epics, Shakespeare’s plays, Bengali novels which were written pre- independence, and Hollywood films. This venture uses adaptation theory as well as postmodernist and postcolonial theories to examine how women and men are represented in the adaptations as well as how contemporary audience expectations help to create the identity of the characters in the films. -
Yash Chopra the Legend
YASH CHOPRA THE LEGEND Visionary. Director. Producer. Legendary Dream Merchant of Indian Cinema. And a trailblazer who paved the way for the Indian entertainment industry. 1932 - 2012 Genre defining director, star-maker and a studio mogul, Yash Chopra has been instrumental in shaping the symbolism of mainstream Hindi cinema across the globe. Popularly known as the ‘King of Romance’ for his string of hit romantic films spanning over a five-decade career, he redefined drama and romance onscreen. Born on 27 September 1932, Yash Chopra's journey began from the lush green fields of Punjab, which kept reappearing in his films in all their splendour. © Yash Raj Films Pvt. Ltd. 1 www.yashrajfilms.com Yash Chopra started out as an assistant to his brother, B. R. Chopra, and went on to direct 5 very successful films for his brother’s banner - B. R. Films, each of which proved to be a significant milestone in his development as a world class director of blockbusters. These were DHOOL KA PHOOL (1959), DHARMPUTRA (1961), WAQT (1965) - India’s first true multi-starrer generational family drama, ITTEFAQ (1969) & AADMI AUR INSAAN (1969). He has wielded the baton additionally for 4 films made by other film companies - JOSHILA (1973), DEEWAAR (1975), TRISHUL (1978) & PARAMPARA (1993). But his greatest repertoire of work were the 50 plus films made under the banner that he launched - the banner that stands for the best of Hindi cinema - YRF. Out of these films, he directed 13 himself and these films have defined much of the language of Hindi films as we know them today. -
Volume-13-Skipper-1568-Songs.Pdf
HINDI 1568 Song No. Song Name Singer Album Song In 14131 Aa Aa Bhi Ja Lata Mangeshkar Tesri Kasam Volume-6 14039 Aa Dance Karen Thora Romance AshaKare Bhonsle Mohammed Rafi Khandan Volume-5 14208 Aa Ha Haa Naino Ke Kishore Kumar Hamaare Tumhare Volume-3 14040 Aa Hosh Mein Sun Suresh Wadkar Vidhaata Volume-9 14041 Aa Ja Meri Jaan Kishore Kumar Asha Bhonsle Jawab Volume-3 14042 Aa Ja Re Aa Ja Kishore Kumar Asha Bhonsle Ankh Micholi Volume-3 13615 Aa Mere Humjoli Aa Lata Mangeshkar Mohammed RafJeene Ki Raah Volume-6 13616 Aa Meri Jaan Lata Mangeshkar Chandni Volume-6 12605 Aa Mohabbat Ki Basti BasayengeKishore Kumar Lata MangeshkarFareb Volume-3 13617 Aadmi Zindagi Mohd Aziz Vishwatma Volume-9 14209 Aage Se Dekho Peechhe Se Kishore Kumar Amit Kumar Ghazab Volume-3 14344 Aah Ko Chahiye Ghulam Ali Rooh E Ghazal Ghulam AliVolume-12 14132 Aah Ko Chajiye Jagjit Singh Mirza Ghalib Volume-9 13618 Aai Baharon Ki Sham Mohammed Rafi Wapas Volume-4 14133 Aai Karke Singaar Lata Mangeshkar Do Anjaane Volume-6 13619 Aaina Hai Mera Chehra Lata Mangeshkar Asha Bhonsle SuAaina Volume-6 13620 Aaina Mujhse Meri Talat Aziz Suraj Sanim Daddy Volume-9 14506 Aaiye Barishon Ka Mausam Pankaj Udhas Chandi Jaisa Rang Hai TeraVolume-12 14043 Aaiye Huzoor Aaiye Na Asha Bhonsle Karmayogi Volume-5 14345 Aaj Ek Ajnabi Se Ashok Khosla Mulaqat Ashok Khosla Volume-12 14346 Aaj Hum Bichade Hai Jagjit Singh Love Is Blind Volume-12 12404 Aaj Is Darja Pila Do Ki Mohammed Rafi Vaasana Volume-4 14436 Aaj Kal Shauqe Deedar Hai Asha Bhosle Mohammed Rafi Leader Volume-5 14044 Aaj -
Bollywood Lens Syllabus
Bollywood's Lens on Indian Society Professor Anita Weiss INTL 448/548, Spring 2018 [email protected] Mondays, 4-7:20 pm 307 PLC; 541 346-3245 Course Syllabus Film has the ability to project powerful images of a society in ways conventional academic mediums cannot. This is particularly true in learning about India, which is home to the largest film industries in the world. This course explores images of Indian society that emerge through the medium of film. Our attention will be focused on the ways in which Indian society and history is depicted in film, critical social issues being explored through film; the depicted reality vs. the historical reality; and the powerful role of the Indian film industry in affecting social orientations and values. Course Objectives: 1. To gain an awareness of the historical background of the subcontinent and of contemporary Indian society; 2. To understand the sociocultural similarities yet significant diversity within this culture area; 3. To learn about the political and economic realities and challenges facing contemporary India and the rapid social changes the country is experiencing; 4. To learn about the Indian film industry, the largest in the world, and specifically Bollywood. Class format Professor Weiss will open each class with a short lecture on the issues which are raised in the film to be screened for that day. We will then view the selected film, followed by a short break, and then extensive in- class discussion. Given the length of most Bollywood films, we will need to fast-forward through much of the song/dance and/or fighting sequences. -
Chapter 1, Version A
INCLUSIVE EDUCATION AND SCHOOL REFORM IN POSTCOLONIAL INDIA Mousumi Mukherjee MA, MPhil, Calcutta University; MA Loyola University Chicago; EdM University of Illinois, Urbana-Champaign Submitted in total fulfilment of the requirements for the degree of Doctor of Philosophy Education Policy and Leadership Melbourne Graduate School of Education University of Melbourne [5 June 2015] Keywords Inclusive Education, Equity, Democratic School Reform, Girls’ Education, Missionary Education, Postcolonial theory, Globalization, Development Inclusive Education and School Reform in Postcolonial India i Abstract Over the past two decades, a converging discourse has emerged around the world concerning the importance of socially inclusive education. In India, the idea of inclusive education is not new, and is consistent with the key principles underpinning the Indian constitution. It has been promoted by a number of educational thinkers of modern India such as Vivekananda, Aurobindo, Gandhi, Ambedkar, Azad and Tagore. However, the idea of inclusive education has been unevenly and inadequately implemented in Indian schools, which have remained largely socially segregated. There are of course major exceptions, with some schools valiantly seeking to realize social inclusion. One such school is in Kolkata, which has been nationally and globally celebrated as an example of best practice. The main aim of this thesis is to examine the initiative of inclusive educational reform that this school represents. It analyses the school’s understanding of inclusive education; provides an account of how the school promoted its achievements, not only within its own community but also around the world; and critically assesses the extent to which the initiatives are sustainable in the long term. -
Futureworks Delivers Quality Remote Colour Grading for Amazon Prime's
COLOUR GRADING RAHUL PURAV FUTUREWORKS DELIVERS QUALITY REMOTE COLOUR GRADING FOR AMAZON PRIME’S TANDAV WEB SERIES Remote Production is increasingly becoming prevalent in the post- production business. Tandav, an Amazon web series relied on FutureWorks Media to deliver remote production. Rahul Purav, Senior Colourist & Director of Imaging at FutureWorks Media Ltd and the team of artists delivered the colour grading for Tandav using FilmLight’s Baselight grading software and the monitoring was done using Dolby PRM 4200 monitor. BROADCAST AND FILM 15 JANUARY - FEBRUARY 2021 COLOUR GRADING Tandav is an Indian web series on Amazon Prime Video, directed by Ali Abbas Zafar. Saif Ali Khan portrays the role of a powerful politician in the series that started streaming from 15 January 2021 on Amazon Prime Video. This nine-episode series features Sunil Grover, Tigmanshu Dhulia, Dimple Kapadia, Mohammed Zeeshan Ayyub, Dino Morea, and Anup Soni. Rahul Purav, Senior Colourist & Director of Imaging at Future Works Media Ltd shares his insight on the challenges he faced on the colour grading Tandav and how he executed a seamless look for the whole series. “It was a challenging project with a specific teal and orange palette, travelling through elegant palaces down to the rustic dark neighbourhood exposing various environments and situations. Tandav depicts a strong visual language directed by Ali Abbas Zafar and captured by Karol Stadnik. One of the most notable feature of this project was that the entire grading was done remotely... Karol was in Warsaw and Ali was in his hometown. We could only achieve this with a carefully crafted and aligned visual workflow. -
Clare M. Wilkinson-Weber
Clare M. Wilkinson-Weber TAILORING EXPECTATIONS How film costumes become the audience’s clothes ‘Bollywood’ film costume has inspired clothing trends for many years. Female consumers have managed their relation to film costume through negotiations with their tailor as to how film outfits can be modified. These efforts have coincided with, and reinforced, a semiotic of female film costume where eroticized Indian clothing, and most forms of western clothing set the vamp apart from the heroine. Since the late 1980s, consumer capitalism in India has flourished, as have films that combine the display of material excess with conservative moral values. New film costume designers, well connected to the fashion industry, dress heroines in lavish Indian outfits and western clothes; what had previously symbolized the excessive and immoral expression of modernity has become an acceptable marker of global cosmopolitanism. Material scarcity made earlier excessive costume display difficult to achieve. The altered meaning of women’s costume in film corresponds with the availability of ready-to-wear clothing, and the desire and ability of costume designers to intervene in fashion retailing. Most recently, as the volume and diversity of commoditised clothing increases, designers find that sartorial choices ‘‘on the street’’ can inspire them, as they in turn continue to shape consumer choice. Introduction Film’s ability to stimulate consumption (responding to, and further stimulating certain kinds of commodity production) has been amply explored in the case of Hollywood (Eckert, 1990; Stacey, 1994). That the pleasures associated with film going have influenced consumption in India is also true; the impact of film on various fashion trends is recognized by scholars (Dwyer and Patel, 2002, pp. -
Shah Rukh Khan from Wikipedia, the Free Encyclopedia "SRK" Redirects Here
Shah Rukh Khan From Wikipedia, the free encyclopedia "SRK" redirects here. For other uses, see SRK (disambiguation). Shah Rukh Khan Shah Rukh Khan in a white shirt is interacting with the media Khan at a media event for Kolkata Knight Riders in 2012 Born Shahrukh Khan 2 November 1965 (age 50)[1] New Delhi, India[2] Residence Mumbai, Maharashtra, India Occupation Actor, producer, television presenter Years active 1988present Religion Islam Spouse(s) Gauri Khan (m. 1991) Children 3 Signature ShahRukh Khan Sgnature transparent.png Shah Rukh Khan (born Shahrukh Khan, 2 November 1965), also known as SRK, is an I ndian film actor, producer and television personality. Referred to in the media as "Baadshah of Bollywood", "King of Bollywood" or "King Khan", he has appeared in more than 80 Bollywood films. Khan has been described by Steven Zeitchik of t he Los Angeles Times as "perhaps the world's biggest movie star".[3] Khan has a significant following in Asia and the Indian diaspora worldwide. He is one of th e richest actors in the world, with an estimated net worth of US$400600 million, and his work in Bollywood has earned him numerous accolades, including 14 Filmfa re Awards. Khan started his career with appearances in several television series in the lat e 1980s. He made his Bollywood debut in 1992 with Deewana. Early in his career, Khan was recognised for portraying villainous roles in the films Darr (1993), Ba azigar (1993) and Anjaam (1994). He then rose to prominence after starring in a series of romantic films, including Dilwale Dulhania Le Jayenge (1995), Dil To P agal Hai (1997), Kuch Kuch Hota Hai (1998) and Kabhi Khushi Kabhie Gham.. -
HM 30 DECEMBER Page 10.Qxd
www.himalayanmail.com 10 JAMMU ☯ WEDNESDAY ☯ DECEMBER 30S, 2020 ENTERTAINMENT The Himalayan Mail Amazon Prime Video piques curiosity as it drops a hint about Pooja Hegde wraps the year with work as she shoots the much-awaited new season of The Family Man! for Radheshyam, see her story below! iving the fans of ooja Hegde has The Family Man a been making head- Greason to rejoice, Plines across the Amazon Prime Video today country for the line up of dropped the first poster of major films the actress has the Season 2 of the Amazon in her bag currently. With Original. The intriguing 2020 coming to a hectic teaser poster shows us a end, the talented actress picture of a time bomb with seems quite happy to be the time saying 2021. The wrapping the year with New Year will see Srikant work. Tiwari (Manoj Bajpayee) Pooja took to her social and Sharib Hashmi (JK Tal- media to share a photo of pade) taking on a bigger her getting ready for the and deadlier mission. Along shoot of her Pan-India film, with keeping up with a Radheshyam opposite high-pressure job and keep- Prabhas. She is seen happily ing his country safe, Srikant smiling while getting her Tiwari will also be seen jug- hair done for the shoot as gling between his role as a she captioned the photo, father and a husband. "For one last time in 2020.. Ever since the release of ?? #radheshyam" while also the Season 1, The Family tagging her hair stylist. Man has received immense The actress had been love and accolades from shooting all of December across the globe. -
Page 7.Qxd (Page 1)
JAMMU | WEDNESDAY | APRIL 28, 2021 JB ENTERTAINMENT JAMMU BULLETIN 7 Aashka Goradia quits showbiz: ‘Would Dhanush film Jagame Thandhiram will rather call it moving on to a different phase’ start streaming on Netflix from this date hanush-starrer ashka Goradia has shocked did that when I took up acting two Jagame Thandhiram fans and television audience decades back, and I gave it my all. will be released on by deciding to quit acting to Right now, yes it’s a tough decision D A Netflix on June 18, the pursue her entrepreneurial dreams. and choices are always tough. I am not Having started her make-up brand a just walking away from a career I built streaming giant announced few years back, the actor wants to from the scratch but also the city, on Tuesday evening. Sharing focus on the same in a bid to take it to memories, relationships — I will miss a new poster of the movie in a new level. Calling it a ‘three year everything but I have always believed which a smiling Dhanush is plan’ as of now, Aashka however calls that you have to stride to make a mark seen sporting shades, Netflix it a ‘moving on’ decision rather than in your career,” she replied with a wrote, “Suruli oda aatatha ‘quitting’. The Maharana Pratap actor smile. paaka naanga ready! Neenga shared, “I don’t think you can give up And if you are wondering what ready ah? something that has been such an would Aashka Goradia miss the most, #JagameThandhiram coming important phase in your life. -
“Forget My Creative Expression, I Can Tell Other Stories, but Can You Imagine Being a Part of a Society That Thinks That You Should Not Exist?” – Zoya Akthar
“Forget my creative expression, I can tell other stories, but can you imagine being a part of a society that thinks that you should not exist?” – Zoya Akthar blogs.lse.ac.uk/southasia/2015/04/10/forget-my-creative-expression-ill-talk-about-something-else-but-can-you- imagine-being-a-part-of-a-society-that-thinks-that-you-should-not-exist-zoya-akthar/ 2015-4-10 In March Zoya Akhtar, eminent Bollywood filmmaker who is known for making films that are critically acclaimed and commercially successful such as Luck By Chance and Zindagi Na Milegi Dobara, attended the Economic Forum of LSE Conference to speak about Indian cinema and what makes the box office and industry tick. During her visit, she spoke to Sharanya Shriram about the BBC ’India’s Daughter’ documentary, censorship, and the representation of sexuality in Indian cinema. In a previous interview you had mentioned that as a woman you are more aware of the way you etch out female characters because you have a feel for how the general male audience in India perceives certain images of women, so would you, as a female writer and director from India, have approached the BBC documentary India’s Daughter in a different way? You could take any filmmaker on the planet, and it would have been a different documentary. It’s your personality, and not just where you’re from that affects how you approach a movie. As a filmmaker closer to home, yes, I would have addressed certain things differently, but the again maybe I wouldn’t have had the stomach for certain aspects.