DOCSLIB.ORG

Jadbm.Com Conceptual Article

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Jadbm.Com Conceptual Article Jadbm.com Conceptual Article LITERATURE TO FILMS: INDIAN CONTEXT Aishwarya Chatterjee1 1Senior Faculty, Department of Media Studies, Institute of Leadership, Entrepreneurship and Development, Kolkata. ABSTRACT The journey of Indian cinema has been noted and studied several times. Indian cinema has itself been a revolution. The movie making perception in India is beyond parameters. The regional and the Hindi film industry, in India is one of the biggest contributors to the Indian economy. The concept of playwriting and storyline has many factors. Indian films scripts portrays human emotion, action, romance, crime, horror, mystery, violence and many other interesting moods. This paper deals with the trend, which is not really new to Indian or International movie making. This work attempts to find out diverse range of novels or any other literary texts which have been adapted to make Indian films. The list of Indian films which have been adopted from books is included in this paper. This paper also tries to discuss about the audience of a particular age group and their choice over such novel based movies. The survey has indicated this popularity trend. Some of the popular novels which have been adopted into movies have been discussed in this paper. Research has shown that most of the filmmakers find adapting the novels into films a better option to get more viewership. Some Shakespeare classics, Jane Austen classics and Sherlock Holmes have been remade countless times, and yet continue to garner a positive audience around the world in several languages. KEYWORDS Indian Cinema, Novels, Adaptation, Literature, Films, Authors. HOW TO CITE THIS ARTICLE: Chatterjee A. Literature to films: Indian context. J. Advances Bus. Management 2016;2(2):110-114, DOI: 10.14260/jadbm/2016/27 INTRODUCTION Devdas (Sarat Chandra Chattopadhyay’s classic novel Cinema, the large screen is considered as the mirror of the adapted into the films thrice – 1936, 1955 & 2002), 3 idiots, society, reflecting various happenings and issues in the society Omkara and so on. through live characters. The live characters of cinema are either from the reflection of real life, or from the pages of any HYPOTHESIS novel. The past India is very different from the present time in Every Study has some Objectives which the Researcher which we are living. With the advancements and upgradation has to Prove. The Hypothesis for this Paper is discussed as of technology adopted by cinema makers has shown a great below improvement, which gives a chance to many creative film 1. Cinema has an impact either strong or weak on the makers, to put forward their interesting ways of re-presenting masses. literature content. Like literature, cinema has produced much, 2. Cinema is the mirror of the society. which touches the innermost layers of human emotion. So, 3. Cinema is a medium between literature and society, for cinema and literature together can make a big difference. It is the exchange of information and views. believed that only Western filmmakers are drawn towards 4. Cinema puts forward various existing novels with several novels and have an urge to adapt them into films. However, issues in front of the audience. stories have influenced film making directly or indirectly time 5. Novels have created their own position in the world of and again. Stories from the Indian mythology like Raja Harish cinema. Chandra (which became the first ever motion picture in 6. Novels and cinema go parallel today. Bollywood), Ramayana, Mahabharata have been continually adapted into motion pictures. Rather, these stories form the Globalisation of cinema has brought-in magnitudinal crux of any film’s story. Speaking about the recent trend in changes in, exchange of information and entertainment. India films, impeccably Prakash Jha’s Rajneeti inculcated Cinema picks up the themes from existing society and even stories from Mahabharata. Relating to the current and the then from society reflected in books. political scenario is a treat in the film. Raj Kumar Santoshi’s Lajja, is a recreation of Sita from Ramayana, which reiterated Brief History of Indian Cinema the condition of a woman. On the other hand, classic examples The history of Indian Cinema goes back to the nineteenth of novel adaptation would be Guide (references taken from century. In 1896, the very first film shot by the Lumiere R.K. Narayan’s The Guide); Sahib Bibi Aur Ghulam (Bimal Brothers was shown in Mumbai (Then Bombay). But history Mitra’s novel was made into a movie by the same name, in was actually created by Harish Chandra. It was the Beginning Bengali & Hindi respectively). of Bollywood. Father of Indian Cinema; Dadasaheb Phalke released the first ever full-length feature film ‘Raja Financial or Other, Competing Interest: None. Harishchandra’ in 1913. The silent film was a commercial Submission 29-04-2016, Peer Review 05-05-2016, success. Acceptance 12-05-2016, Published 18-05-2016. Corresponding Author: The initial growth of the Indian Film Industry was not as Aishwarya Chatterjee, fast as that of Hollywood. Films based on mythological and Diganta Apartment, historical facts and episodes from Mahabharata and Ramayana Flat No. 11, dominated the 20s, but Indian audiences also welcomed 1/98, Bijoygarh, Jadavpur, Kolkata-700032. Hollywood movies, especially the action films. E-mail: [email protected] DOI: 10.14260/jadbm/2016/27 J. Advances Bus. Management/eISSN-2395-7441/pISSN-2395-7328/Vol. 2/Issue 02/ Apr-June 2016 Page 110 Jadbm.com Conceptual Article Beginning of the Talkies cinema, it has far more other responsibilities as it impacts the The first ever Indian talkie film ‘Alam Ara’ by Ardeshir Irani mind of the audiences. was screened in Bombay (1931). The first song recorded was ‘De de khuda ke naam par’ by W.M. Khan. Literature to Films The ever changing trend in the Indian film industry has gone Growth of Regional Films through several experiments. The concepts have shifted from The regional film industry also made its own mark. The first romance to conflicts, family dramas to social issues, and also it Bengali feature film ‘Nal Damyanti’ (1917) was produced by has been noticed that there have been a good amount of Indian J.F. Madan. Soon after, in 1919, the screening of the first silent movies whose scripts were adapted from popular novels. South Indian feature film named ‘Keechaka Vadham’ was done. Literary text like short stories or popular novels is an easy The first ever talkie film in Bengali was ‘Jamai Shashti’ (1931), way out for filmmakers to create movies. This trend can not produced by Madan Theatres Ltd. H.M. Reddy’s ‘Kalidass’ was only produce a mass following, but also mint loads of money, the first Tamil talkie released in Madras (Oct 1931). Apart yet to present it artistically, is not a meek man’s task. It is not from Bengali and South Indian languages, regional films were an easy task to change a novel into a movie script when it also made in Assamese, Oriya, Punjabi, Marathi, and many comes to visual portraying. What does exactly change when more. In 1932, V. Shantaram’s ‘Ayodhecha Raja’ was the first the novel is being compressed into a three-hour long film? It is Marathi film. the perception of the audience. The viewers need not put in effort to imagine things; they A New Era was Born can see it on screen. At times, compressing the story to fit in The birth of modern Indian Film industry took place around the time length may clutter the essence of the story; that is 1947. Filmmakers like Satyajit Ray and Bimal Roy made why, at times, novel adaptations may lead to poor box office movies focusing on the survival and daily miseries of the lower results. Although many adaptations, till date have turned out class. The historical and mythological subjects took a back seat to be a success at the Box Office, yet the novel remains a priced and, the films with social messages began to dominate the possession for the readers. Literature adaptation has industry. In the 1960s, new directors like Ritwik Ghatak, witnessed success, as well as a failure in the box office. Mrinal Sen, and others started dealing with the real problems Now the adopted films need to be discussed. As of the common Indians. They directed some outstanding mentioned earlier, the literary text adaptation is not a new movies that enabled the Indian film industry to carve a niche trend for Indian cinema. As it is known to all, India is rich in in the International film scenario. cultural and literary content; there is a variety of literature, which is found in several regional languages. Umrao Jaan Golden Age in the History of the Cinema which was based on Mirza Hadi Ruswa’s Urdu novel and The 1950s and 1960s are considered to be the golden age in Masoom which was based on Erich Segal’s Man, Woman and the history of the cinema and saw the rise of some memorable Child were adopted into very popular films. Pinjar (Amrita actors. Music and songs became an integral part of Indian Pritam’s novel by the same name). movies. Indian films gained a unique look as compared to The Namesake (Jhumpa Lahiri’s novel by the same name), international films. The Blue Umbrella (Ruskin Bond’s novel by the same name), Maqbool (the film drew references from Shakespeare’s Bollywood – The Pioneer of Masala Movies Macbeth), Parineeta (Sarat Chandra Chattopadhyay’s classic By 1970s, Indian cinema saw the advent of Masala movies in by the same name), Black Friday (based on Black Friday – The Bollywood. The audiences were captivated and mesmerised by True Story of the Bombay Bomb Blasts, a book by S.
Load more

Recommended publications
  • 2. a Superhit Goddess
    Ganesh, lord of auspicious beginnings and father of goddess Santoshi Ma. A Superhit Goddess Jai Santoshi Maa and Caste Hierarchy in Indian Films Part One Philip Lutgendorf “Audiences were showering coins, perennials of its vast output, yet they quarter of national cinematic output) flower petals and rice at the screen constitute one of the least-studied enjoys the largest audience in appreciation of the film. They aspects of this comparatively under- throughout the Indian subcontinent entered the cinema barefoot and set studied cinema. Indeed, I will venture and beyond. Sholay (“Flames”) and up a small temple outside…. In that for scholars and critics, Deewar (“The Wall”), were both Bandra, where mythological films mythologicals have generally been heavily-promoted “multi-starrers” aren’t shown, it ran for fifty weeks. It “hard to see.” Yet DeMille’s words belonging to the then-dominant genre was a miracle”. —Anita Guha, also belie the fact that most sometimes referred to as the masala (actress who played goddess mythologicals—like most commercial (“spicy”) film: a multi-course cinematic Santoshi Ma; cited in Kabir films of any genre—flop at the box banquet incorporating suspenseful office. The comparatively few that drama, romance, comedy, violent 2001:115). have enjoyed remarkable and action sequences, and song and Genre, Film & Phenomenon sustained acclaim hence merit study dance. Both were expensive and Cecil B. DeMille’s famously both as religious expressions and as slickly made by the standards of the cynical adage, “God is box office,” successful examples of popular art and industry, and both featured Amitabh may be applied to Indian popular entertainment.
    [Show full text]
  • A Study on Screen Adaptations from Literature with Reference to Chetan
    Journal of Advanced Research in Journalism & Mass Communication Volume 5, Issue 1&2 - 2018, Pg. No. 1-6 Peer Reviewed Journal Research Article A Study on Screen Adaptations from Literature with Reference to Chetan Bhagat’s Novel Manmeet Kaur1, Divya Rastogi Kapoor2 1,2Assistant Professors, Delhi Metropolitan Education, Sector-62, Noida. DOI: https://doi.org/10.24321/2395.3810.201801 Abstract In order to cater a huge audience, film makers from all over the world have adopted literature writings for movie making. The key purpose of these screen adaptations lies in giving visual appeal to the black and white words of the author’s writings. Furthermore, there are restricted readers for different genres and subject of novel and literature respectively. But film making satisfies the hunger of a large heterogeneous audience with the element of ‘entertainment’. The idea of screen adaptations dates back years ago when people had limited options for entertainment and recreational activities. The study is based on movies made in Bollywood which have been inspired by the writings of novelists. This is a qualitative research in which Chetan Bhagat’s novel ‘Five Point Someone’ and ‘2 States’have been take up by Bollywood film makers to make movies ‘3 Idiots’ and ‘2 States’ respectively. The research methodology will be content analysis that how writer’s experience with words can make movie audience fall for it through the adaptations. Keywords: Audience, Content analysis, Novels, Screen adaptations, Bollywood film maker, 2 States, five point someone Introduction cult, classic, animated and soon2(i). In the year 2013, we have celebrated 100 years of Indian cinema which was Film spectators/audiences are important in making a started with the vision and passion of Dadasaheb Phalke, movie a grand success.
    [Show full text]
  • DT Page 01 Feb 15.Indd
    www.thepeninsulaqatar.com MARKETPLACEMAR | 6 FASHION | 8 ENTERTAINMENTENT | 1111 Counting the steps Knitwear wonders Fitoor: No ‘great’eat’ to health and from Japanese expectations fromrom success designers this adaptationn MONDAY 15 FEBRUARY 2016 Email: [email protected] thepeninsulaqatar @peninsulaqatar @peninsula_qatar Dogs have the innate ability to keep the public safe. Canines working for US Customs and Border Protection snuffle around luggage coming off baggage carousels, searching for such banned goods as fresh produce, exotic wildlife, undeclared currency and illicit drugs. SNIFFING OUT CRIME P | 4-5 MONDAY 15 FEBRUARY 2016 | 03 CAMPUS IIS bids adieu to senior students Ideal Indian School (IIS) bid farewell to the outgoing students of class XII with much pomp and show recently. The evenings were charged with emotions where the students recounted their days in the school and thanked their alma mater for moulding them into responsible human beings. Principal Syed Shoukath Ali wished them good luck and reminded them of their responsibilities as students and future citizens of the world. The names of the students honoured with special awards for their outstanding performance in curricular and extracurricular activities were announced. The Principal gave away the awards to the winning students. EMS student wins big in Doha Dash nglish Modern School (EMS) student Habiba Shallouf emerged winner in the age Egroup 3 to 8 years in the Doha Dash on National Sport Day. Running is the passion of Habiba and she has run in the Doha Dash DPS-MIS holds farewell for senior students every National Sport Day since she was 5. Habiba doesn’t just run alone! DPS–Modern Indian School organised a farewell party for its students of Grade XII She runs with her sister and her par- who will be leaving the school in March.
    [Show full text]
  • Bollywood Sounds
    Bollywood Sounds Bollywood Sounds The Cosmopolitan Mediations of Hindi Film Song Jayson Beaster-Jones 1 1 Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Oxford is a registered trademark of Oxford University Press in the UK and certain other countries. Published in the United States of America by Oxford University Press 198 Madison Avenue, New York, NY 10016 © Oxford University Press 2015 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by license, or under terms agreed with the appropriate reproduction rights organization. Inquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above. You must not circulate this work in any other form and you must impose this same condition on any acquirer. Library of Congress Cataloging-in-Publication Data Beaster-Jones, Jayson. Bollywood sounds : the cosmopolitan mediations of Hindi film song / Jayson Beaster-Jones. pages cm Includes bibliographical references and index. ISBN 978–0–19–986254–2 (pbk.
    [Show full text]
  • Unit 2 Radio, Television and Cinema
    UNIT 2 RADIO, TELEVISION AND CINEMA 2.0 Objectives 2.1 Introduction 2.2 Origin and Development of Radio in India 2.2.1 The Indian Broadcasting Company 2.2.2 All India Radio 2.2.3 First Three Plans 2.2.4 Chanda Committee 2.25 Code for Broadcasteis 2.2.6 Verghese Committee 2.2.7 The Present Status 1 2.2.8 Audiena Research I 2.2.9 Radio's Effectiveness 23 Origin and Deveiopment of Television in India Ii I 2.3.1 TV Comes to India 2.3.2 SITE 2.3.3 Commercial Servia I 2.3.4 National Broadcest Trust I 23.5 Development in the Eighties 2.3.6 Joshi Committee ! 2.3.7 Video Boom 2.3.8 Cable TV 2.3.9 Effectiveness of Doordarshan 2.4 Origin and Development of Films in India 2.4.1 The Beginning 2.4.2 Film mesto India 2.4.3 The Silent Era 2.4.4 The Talkie 2.4.5 Government Oiganizations 2.4.6 Need for Good Films 2.5 Let Us Sum Up 2.6 Glossary 2.7 Further Reading 2.8 Check Your Pmgms : Model Answers 2.0' OBJECTIVES After going through this unit, you should be able to : trace the development of radio, TV and film over the yeam ae a media of maw cbmrnunication; describe the reach and effectiveness of mdio, TV and film as media of mass communication; compare the development of radio, TV and film in India. 2.1 INTRODUCTION In unit 1 we traced the origin and development of the Indian press.
    [Show full text]
  • Kai Po Che 2015 Tamil Movie Hd Download
    1 / 2 Kai Po Che! 2015 Tamil Movie Hd Download kai po che Full Movie Download 720p 1080p900 MB tamil rockers moviesflix hd quality download with subtitles 2013 sushant singh. 2015 Tamil Movie Hd .... Available to download. Genres. Movies Based on Real Life, Indian Movies, Hindi-Language Movies, Bollywood Movies, Dramas, Sports Dramas, Sports Movies. This movie is. ... Tedhi Medhi Crazy Lagaan Soorma Mumbai Meri Jaan Kai Po Che! ... Netflix supports the Self-Regulatory Principles for Online Behavioral .... Aug 2, 2013 - Presenting the first look of upcoming hindi movie ROY starring Ranbir Kapoor, Arjun Rampal, Jacqueline ... Roy Movie Poster | Ranbir Kapoor, Arjun Rampal, Jacqueline Fernandez ... Celebrity Biographies2015 MoviesMp3 Song DownloadJacqueline FernandezStar RatingIndian ... Film review: 'Kai Po Che!. Dec 24, 2020 - The previous year was a good year for crime movies in both ... New Movie 2015 - Bollywood with video ~ Paroletainment Hd Movies Online ... Kai Po Che poster by raj khatri, via Behance Best Bollywood Movies, Bollywood Actors ... Watch Dangal (2016) : Full Movie Online Free Dangal Is An Extraordinary .... ... decided to part their ways in 2015. Sushant made his silver screen debut in 2013 with Kai Po Che and since then he never looked back. His 2014 film Shuddh .... jism full movie hd download ... hot scene in kai po che. 5:44. hot scene in kai po che. tamil actress hot sex videos download ... hindi hot short film 2015 latest. (Note: The default playback of the video is HD VERSION. ... Download HD Video ... Sushant Singh Rajput on completing 8 Years of film Kai Po Che. ... saxi mp4 hd movies comw priyamani xvideo comw tamil girls open blouse and ..
    [Show full text]
  • Yakshagana Plays Based on Mahabharata
    Yakshagana Plays Based on Mahabharata No Prasanga Name Author 1. Akshayambara Vilasa Thalengala Shambhatta 2. Anusalva Garva Bhanga matthu Niladhwajana Kalaga Ajjana Gaddhe Shankaranarayana 3. Abhaya Pradhana Dr D Sadashiva Bhatta 4. Abhimanyu Kalaga matthu Saindhava Vadhe 5. Abhimanyu Kalaga Parameshwara 6. Abhimanyu Kalaga Venkatesha V Pai 7. Ashwaththama Kiriya Balipa Narayana Bhagavatha 8. Ashwamedha Jwale Hosthota Manjunatha Bhagavatha 9. Ashwamedha Parva Kudreppadi Ishwara 10. Ashwamedha Parva Shivarama Hegade Bale Gaddhe 11. Adhiparva Sam. M. V. Hegade 12. Indrakeelaka Vishnu Ramaputra 13. Indhrakeelaka Devidasa 14. Uttharada Paurusha Puttanna, Mangalore 15. Uddhalaka Sheni Gopalakrishna Bhat [or Vishma Dampatya] 16. Ubhaya kula Billoja Bottakere Purushottama Poonja 17. Ekalavya Pandeshwara Kadappa 18. Ekalavya Hosthota Manjunatha Bhatta 19. Eni Bandhana Panduranga Ananta Shenoy 20. Airavata Parthisubba 21. Kanakangi Kalyana Nityananda Avadhoota 22. Karna Kshama Yachana Babu Kudthadka [Or Drona Senadhipatya] 23. Karna Pattabhisheka Seethanadi Ganapayya Shetty 24. Karna Parva Gerasoppe Shanth(ppa)yya 25. Karna Parva Venkatachala Bhatta,Keremane 26. Karna Ratnavathi M G Baravani 27. Karnarjunara Kalaga Venkata 28. Kitnaraja Parsango Badakabailu Parameshwarayya 29. Keechaka Vadham Naraharikeshava Bhatta, Chipageri 30. Kunti Swayamvara Seetanadhi Ganapayya Shetty 31. Kurukshetra Adura Balakila Vishnayya 32. Krishna Garudi Kota Srinivasa Nayaka 33. Krishnarjunara Kalaga Halemakkirama 34. Krishnarjunara Kalaga Mulki Ramakrishna 35. Krishnarjunara Kalaga Peruvadi Sankayya Bhagavata 36. Krishnarjunara Kalaga Balipa Narayana Bhagavata 37. Khandava Vana Dahana Ajjana Gadde Ganapayya Bhagavata 38. Gandugali Bhimasena Seetandi Ganapayya Shetty 39. Gadhaparva Subbanna Shastri, Chakrakodi 40. Gadhaparva Balipa Narayana Bhagavatha 41. Gandhari Anantaram Bangadi 42. Geetopadesha Malpe Ramadasa Samaga 43. Guru Drona Korgi Suryanarayana Upadhyaya 44. Ghatotkacha Janma M G Baravani 45.
    [Show full text]
  • Hindi DVD Database 2014-2015 Full-Ready
    Malayalam Entertainment Portal Presents Hindi DVD Database 2014-2015 2014 Full (Fourth Edition) • Details of more than 290 Hindi Movie DVD Titles Compiled by Rajiv Nedungadi Disclaimer All contents provided in this file, available through any media or source, or online through any website or groups or forums, are only the details or information collected or compiled to provide information about music and movies to general public. These reports or information are compiled or collected from the inlay cards accompanied with the copyrighted CDs or from information on websites and we do not guarantee any accuracy of any information and is not responsible for missing information or for results obtained from the use of this information and especially states that it has no financial liability whatsoever to the users of this report. The prices of items and copyright holders mentioned may vary from time to time. The database is only for reference and does not include songs or videos. Titles can be purchased from the respective copyright owners or leading music stores. This database has been compiled by Rajiv Nedungadi, who owns a copy of the original Audio or Video CD or DVD or Blu Ray of the titles mentioned in the database. The synopsis of movies mentioned in the database are from the inlay card of the disc or from the free encyclopedia www.wikipedia.org . Media Arranged By: https://www.facebook.com/pages/Lifeline/762365430471414 © 2010-2013 Kiran Data Services | 2013-2015 Malayalam Entertainment Portal MALAYALAM ENTERTAINMENT PORTAL For Exclusive
    [Show full text]
  • Galaxy: International Multidisciplinary Research Journal the Criterion: an International Journal in English Vol
    AboutUs: http://www.the-criterion.com/about/ Archive: http://www.the-criterion.com/archive/ ContactUs: http://www.the-criterion.com/contact/ EditorialBoard: http://www.the-criterion.com/editorial-board/ Submission: http://www.the-criterion.com/submission/ FAQ: http://www.the-criterion.com/fa/ ISSN 2278-9529 Galaxy: International Multidisciplinary Research Journal www.galaxyimrj.com The Criterion: An International Journal in English Vol. 11, Issue-VI, December 2020 ISSN: 0976-8165 A Study on Differences and Similarities Between Novels and Movies of Chetan Bhagat Karishma J. Gamar Research Scholar Hemchandracharya North Gujarat University, Patan. & Dr. K. R. Prasad Supervisor Principal Smt. Mangalaben Chunilal Desai Arts & Commerce College, Prantij, Sabarkantha Article History: Submitted-31/10/2020, Revised-26/12/2020, Accepted-30/12/2020, Published-31/12/2020. Abstract: In order to cater a huge audience, film makers from all over the world have adopted literature writing for movie making. The study is based on movies made in Bollywood which have been inspired by the writing of novelists. Chetan Bhagat not only a book writer he is a film maker and produced in the cine world. All his novels became a huge success and many of them were made into movies. Some movies hit the screen and some failed. This paper attempt to analyse a differences and similarities, review, feedback of his books and adapted movies. Keywords: Crux, Climax, Acceptability, Adaptations, Screenplay, Directed, Movie Imaginative, Terrified. Introduction Literary works of various types and from various period can be compared with films based on them. The Researcher is able to recognize the similarities and differences between these two media and discover the literary qualities inherent in almost all genres cinema.
    [Show full text]
  • UPCOMING THEATRICAL -2021 7.Xlsx
    UPCOMING THEATRICAL RELEASES as on 1 March 2021 Date Movie Title Language Cast Director March 04th Mar Chaos Walking English Tom Holland, Daisy Ridley Doug Liman 04th Mar The Priest Malayalam Mammootty, Manju Warrier Jofin T Chacko 05th Mar Hiralal Malayalam Swatawata Chatterjee, Kharaj Mukherjee Arun Roy 05th Mar Raya And The Last Dragon English Kelly Marie Tran, Awkafina Don Hall, Carlos Lopez 05th Mar Judas And The Black Messiah English Daniel Kaluuya, LaKeithStanfield, Jesse Plemons Shaka King 05th Mar Hero Kannada & Dub Rishab Shetty, Ganavi Laxman, Pramod Shetty M Bharath Raj 05th Mar Anbirkiniyal Tamil Keerthi Pandian, Arun Pandiyan Gokul 05th Mar Nenjam Marappathillai Tamil S J Suryah, Regina Cassandra Selvaraghavan 05th Mar Mirugaa/Garjana Tamil, Telugu Raai Laxmi, Srikanth Krishnamachari J.Parthiban 05th Mar A1 Express Telugu Sundeep Kishan, avayna Tripati Jeevan 05th Mar Climax Telugu Rajendra Prasad, Sasha Singh Bhavani Shankar Kaipa 05th Mar Shaadi Mubarak Telugu Sagar RK Naidu, Drishya Raghunath Padmasri 11th Mar Roohi Hindi Rajkummar Rao, Janhvi Kapoor Hardik Mehta 11th Mar Roberrt Kannada & Dub Darshan, Jagapathi Babu Tharun Sudhir 11th Mar Nayattu Malayalam Rahul Madhav, Richa Panai P Chandrakumar 11th Mar Tsunami Malayalam Aju Varghese Jean Paul Lal 11th Mar Gaali Sampath Telugu Sree Vishnu, Rajendra Prasad Anish 11th Mar Jathi Ratnalu Telugu Naveen Polisetty, Faria Anudeep K V 11th Mar Sreekaram Telugu Sharwanand, Priyanka Kishore Reddy 11th Mar Puaada Punjabi Ammy Virk, Soonam Bajwa Rupinder Chahal 12th Mar The King's
    [Show full text]
  • This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G
    This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. The Aesthetics of Emotional Acting: An Argument for a Rasa-based Criticism of Indian Cinema and Television PIYUSH ROY PhD South Asian Studies The University of Edinburgh 2016 1 DECLARATION This thesis has been composed by me and is my own work. It has not been submitted for any other degree or professional qualification. Piyush Roy 25 February 2017 2 For Thakuba (Aditya Prasanna Madhual), Aai (Malatilata Rout), Julki apa and Pramila Panda aunty II संप्रेषण का कोई भी माध्यम कला है और संप्रेषण का संदेश ज्ञान है. जब संदेश का उद्येश्य उत्तेजना उत्पन करता हो तब कला के उस 셂प को हीन कहते हℂ. जब संदेश ननश्वार्थ प्रेम, सत्य और महान चररत्र की रचना करता हो, तब वह कला पनवत्र मानी जाती है II ननदेशक चंद्रप्रकाश निवेदी, उपननषद् गंगा, एप.
    [Show full text]
  • Contribution of Music Trinity
    Contribution of Music Trinity (Proceedings of the National Seminar - 2018) Editor Dr. V Premalatha Central University of Tamil Nadu Thiruvarur 2020 ISBN: 978-93-5407-985-6 Contribution of Music Trinity (Proceedings of the National Seminar -2018) (A Collection of Peer reviewed papers presented at the National Seminar on Karnataka Music, in February 2018, organised by the Department of Music, Central University of Tamil Nadu, Thiruvarur). Edited by Dr. V Premalatha Head, Department of Music Dean, School of Performing Arts and Fine Arts Central University of Tamil Nadu, Thiruvarur. Published by Central University of Tamil Nadu, Thiruvarur. Editorial Board (Peer - Reviewers) 1. Dr. V Premalatha 2. Prof Ritha Rajan 3. Prof Mandapaka Sarada 4. Dr. R S Jayalakshmi 5. Dr. Arati N Rao First Edition - 2020 © Central University of Tamil Nadu Thiruvarur Contribution of Music Trinity (Proceedings of the National Seminar -2018) Edited by Dr. V Premalatha Head, Department of Music Dean, School of Performing Arts and Fine Arts Central University of Tamil Nadu, Thiruvarur Published by Central University of Tamil Nadu, Thiruvarur 2020 Dr. V Premalatha Dean, School of Performing Arts and Fine Arts Head, Department of Music Central University of Tamil Nadu Thiruvarur - 610005 Editorial Note Thiruvarur is known to be a holy land of Music and is the birth place of the Trinity of South Indian Classical Music. The Department of Music was established at the Central University of Tamil Nadu, Thiruvarur in the year 2016-17, which happened to be the 250th birth anniversary of Sri Tyagaraja, one of the Trinity of Music. A National seminar on the “Contribution of Trinity to Karnataka music” was organised in February 2018.
    [Show full text]