Selection Co-Production Market 2018
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Festival JULIUS 2014
www.cineclubvic.com Programació setembre / desembre 2014 Shane Carruth (2013) Shane Carruth Upstream Color. Color. Upstream Sessions de dimarts. 22h C 16 de setembre C 23 de setembre F 30 de setembre C 7 d’octubre Borgman 4a Mostra Internacional Homenatge Eli Wallach 10.000 KM Alex van Warmerdam de Cinema Etnogràfic El bueno, el feo y el malo Carlos Marques-Marcet Il buono, il brutto, il cattivo Holanda-Bèlgica, 2013 Family Tour Catalunya-Espanya, 2014 Liliana Torres Sergio Leone Catalunya, 2013 Itàlia-Espanya-Alemanya, 1966 F 14 d’octubre C 21 d’octubre C 28 d’octubre C 4 de novembre 25 aniversari Dia Mundial de la Salut Mental Per estrenar De cavalls i homes Hross í oss Haz lo que debas Oh Boy Joven y alocada Do the Right Thing Jan Ole Gerster Marialy Rivas Benedikt Erlingsson Spike Lee Alemanya, 2012 Xile, 2012 Islàndia-Alemanya-Noruega, 2013 EUA, 1989 C 11 de novembre C 18 de novembre F 25 de novembre C 2 de desembre Gangs of Wasseypur. Part 1 Gangs of Wasseypur. Part 2 Centenari Primera Guerra Mundial Upstream Color Anurag Kashyap Anurag Kashyap Capitán Conan Shane Carruth Índia, 2012 Índia, 2012 Capitán Conan EUA, 2013 Bertrand Tavernier França, 1996 F 9 de desembre F 16 de desembre Sessió especial Julius 2014 Centenari Primera Guerra Mundial El hombre que mató a Bon Nadal Joyeux Noël Liberty Valance The Man Who Shot Liberty Valance Christian Carion John Ford Fra-Al-Ang-Bel, 2005 EUA, 1962 Totes les pel·lícules es projectaran a l’Espai de Teatre i Cinema - ETC (Passeig de la Generalitat, 46 de Vic) Sessions de dijous. -
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. -
725 19 - 25 September 2014 20 Pages Rs 50
#725 19 - 25 September 2014 20 pages Rs 50 BIKRAM RAI Taking power into our own hands ut of reach of national transmission lines, rural Nepalis have stopped waiting for the government to come to them. They are Oharnessing small streams and generating their own electricity from micro-hydro plants managed by local cooperatives. More than 2,500 micro-hydro plants are in operation throughout the country RED supplying 40 MW of electricity to local grids. This winter when the capital suffers 14 hours of power cuts daily, many parts of rural Nepal will be lit up at night. Shyam Nakarmi (above) makes turbines to power PANDA small hydropower plants at his workshop in Banepa. BY SUNIR PANDEY ALERT Nepal is home to one-tenth of the 10,000 endangered red pandas left in the wild in Asia. A successful conservation effort in eastern Nepal shows Thinking small how local communities can help protect a species that is threatened by Improving the efficiency of the estimated 35,000 traditional habitat loss and hunting. September 20 is Red Panda Day, and will be water mills across the country could empower rural Nepal. marked with the slogan, ‘Conserve Locally, Educate Globally’. BY KUNDA DIXIT IN KAVRE PAGE 16-17 BY SONAM TASHI LAMA IN TAPLEJUNG PAGE 10-11 2 EDITORIAL 19 - 25 SEPTEMBER 2014 #725 POLITICS IN A VACUUME he sight of the country’s prime minister on a mobile An all-party consensus would be ideal, of course, but phone publicly beseeching the leader of an outcast failing that the NC-UML should show that they have what Tpolitical party to come for negotiations sums up the it takes to push it to a vote. -
Dossier-De-Presse-L-Ombrelle-Bleue
Splendor Films présente Synopsis Dans un petit village situé dans les montagnes de l’Himalaya, une jeune fille, Biniya, accepte d’échanger son porte bonheur contre une magnifique ombrelle bleue d’une touriste japonaise. Ne quittant plus l’ombrelle, l’objet L’Ombrelle semble lui porter bonheur, et attire les convoitises des villageois, en particulier celles de Nandu, le restaurateur du village, pingre et coléreux. Il veut à tout prix la récupérer, mais un jour, l’ombrelle disparaît, et Biniya bleue mène son enquête... Note de production un film de Vishal Bhardwaj L’Ombrelle bleue est une adaptation cinématographique très fidèle à la nouvelle éponyme de Ruskin Bond. Le film a été tourné dans la région de l’Himachal Pradesh, située au nord de l’Inde, à la frontière de la Chine et Inde – 2005 – 94 min – VOSTFR du Pakistan, dans une région montagneuse. La chaîne de l’Himalaya est d’ailleurs le décor principal du film, le village est situé à flanc de montagne. Inédit en France L’Ombrelle bleue reprend certains codes et conventions des films de Bollywood. C’est pourtant un film original dans le traitement de l’histoire. Alors que la plupart des films de Bollywood durent près de trois heures et traitent pour la plupart d’histoires sentimentales compliquées par la religion et les obligations familiales, L’Ombrelle bleue s’intéresse davantage aux caractères de ses personnages et à la nature environnante. AU CINÉMA Le film, sorti en août 2007 en Inde, s’adresse aux enfants, et a pour LE 16 DÉCEMBRE vedettes Pankaj Kapur et Shreya Sharma. -
Psychoanalysis of Female Characters in Vishal Bharadwaj's Trilogy
© 2019 JETIR June 2019, Volume 6, Issue 6 www.jetir.org (ISSN-2349-5162) Psychoanalysis of Female Characters in Vishal Bharadwaj’s Trilogy Maqbool, Omkara and Haider Shikha Rani, Research Scholar MJP Rohilkhand University Bareilly Alka Mehra Assistant Professor Government Degree College Bisalpur MJP Rohilkhand University Bareilly Abstract: Freud’s theory of psychology that he referred as psychoanalysis has been accepted and extended in analyzing literature and other arts too. Freud believes that literature and other arts are like dreams and psycho symptoms which contain imaginative fancies, so literature and other arts are capable to fulfill wishes that are commonly restricted by social standards and norms. My research paper is an attempt to focus on the psychoanalysis of female protagonists in Bharadwaj’s worldwide acclaimed movies ‘Maqbool’, ‘Omkara’ and ‘Haider’ which are an adaptation of Shakespeare’s famous tragedies ‘Macbeth’, ‘Othello’ and ‘Hamlet’. These female characters are just like puppet in grip of unconscious urges. This study further analysis human’s helplessness under the arrest of its uncontrolled passions. Through this study, I want to find out the strong and weak unconscious fancies of Nimmi, Dolly and Gazala and their fight against their own id, ego and superego which brutally influenced them mentally as well as physically. Nimmi who is a complex character, struggles as a mistress of don and as a beloved of Maqbool. Dolly suffers mentally due to male’s suspicious nature and patriarchal society whereas Gazala tries to make conciliation with her second marriage and with her adult obsessive son. Keyword: psychoanalysis, sex complex obsessive, conflict. Shakespeare’s plays have been adapted all over the world due to his universality and cosmopolitan nature. -
Madaari Mania Hits North America
www.WeeklyVoice.com BOLLYWOOD Friday, June 21, 2019 | B-9 Madaari Mania Hits North America Enter to win Movie Passes TORONTO: Madaari Mania is hit- ting fans from the across the world with millions of hits from people of all de- mographics and crossing all age barri- ers. Sung by Vishal Dadlani and Nikhita Gandhi and music by Amit Trivedi, the Madaari song, that has everyone swinging and tapping their toes, is from the ilm The Extraordinary Journey of the Fakir that will be released in cin- and wa emas in Canada June 21. Renowned South Indian actor Dha- nush stars as the lead in the internation- al ilm co-produced by France, India and Belgium. Directed by Ken Scott, the ilm also features Berenice Bejo, Barkhad Abdi, Erin Moriarty and Abel Jafri as well as Gérard Jugnot, Ben A scene from the ilm “The Extraordinary Journey of the Fakir.” Miller, Sarah-Jeanne Labrosse, and Who played Jamuna in Stefano Cassetti. written by Puértolas and Luc Bossi But he is also a character who most Dhanush plays Ajatashatru Lavash who is also producing through his Par- viewers can identify with, because he Dilip Kumar’s ‘Ganga Patel, a poor boy who grows up to be is-based company Brio Films. Other is truly philosophical about life - and a street magician and embarks on an co-producers include Vamonos Films, doesn’t hesitate to take off on a mind- Jamuna?’ extraordinary voyage across Europe in Little Red Car Films, Scope Pictures, blowing adventure. search of his estranged father. M! Capital Ventures, Impact Films and Dancing: It’s an art that is an integral Email to: [email protected] During his trip, he inds love in a Golden Ratio Films. -
Magazine1-4Final.Qxd (Page 2)
Comical and illogical...Page 4 SUNDAY, NOVEMBER 27, 2016 INTERNET EDITION : www.dailyexcelsior.com/magazine Why disrespect....Page 3 TALWARA goes organic Dr. Banarsi Lal Jammu and Kashmir is a mountainous state in which Jammu region is predominantly sub-tropical while Kashmir and Ladakh regions are temperate. The total geographical area of Jammu & Kashmir state is 2, 22, 236 sq. km and its population is 1, 25, 48,926 as per 2011 Census. Agriculture is the mainstay of Jammu and Kashmir state. This sector provides employment to about 70 per cent of the state population. Agriculture contributes about 65 per cent of the state revenue which signi- fies the overdependence of the state on agriculture. The average size of land holding of the state is only 0.67 hectare against 1.33 hectares' land holding size on national basis. Organic farming is picking up pace in the state and there is need of awareness and trainings of farmers for organic farming. J&K has huge potential for organic farming as the large area in the state is already under semi- organic cultivation in hilly districts of the state due to the lack of availability of chemical fertilizers in these areas and the farmers of these areas avoid to apply the chemical fertilizers. Basmati rice of R. S. Pura, rajmash of Bhaderwah, pota- to of Gurez and Machil and red rice of Tangdar, Kupwara, ginger and turmer- ic of Pouni, Reasi are major exportable organic products in the state and have the potential to fetch more returns in the market. Organic farming means holis- tic production systems which refer earth friendly methods for cultivation and food processing. -
DEFINATION the Capacity and Willingness to Develop, Organize
DEFINATION The capacity and willingness to develop, organize and manage a business venture along with any of its risks in order to make a profit. The most obvious example of entrepreneurship is the starting of new businesses. In economics, entrepreneurship combined with land, labor, natural resources and capital can produce profit. Entrepreneurial spirit is characterized by innovation and risk-taking, and is an essential part of a nation's ability to succeed in an ever changing and increasingly competitive global marketplace. Differences Between Women and Men Entrepreneurs When men and women start companies, do they approach the process the same way? Are there key differences? And how do those differences affect the success of the business venture? As a woman in the start-up community, I am frequently asked about women entrepreneurs. A popular question is: How are they different from men? There have been many studies of entrepreneurs and start-ups, and I’ve read a number of them. Many of them seem to me to fall short, because the researchers, not being entrepreneurs themselves, lack an in-depth understanding of the entrepreneurial mind. The result is often a lot of statistics that fail to enlighten readers about entrepreneurial behavior and motivation. So what follows are my personal opinions. They are not based on formal research, but on my own observations and interactions with other women entrepreneurs. 1. Women tend to be natural multitaskers, which can be a great advantage in start-ups. While founders typically have one core skill, they also need to be involved in many different aspects of their business. -
Nowadays, the Meaning of Comedy Is Changed: Krushna Abhishek Krushna Abhishek Is Known for His Comic Roles in the films and TV
TM Volume 5 I Issue 08 I March 2020 I Film Review p27 John Abraham to produce well-known social entrepreneur Revathi Roy’s biopic p06 Social values and cinema p25 Nowadays, the meaning of Sanjay Dutt sets the bar high as the quintessential villain. Check the list! comedy is changed: p08 KRUSHNA ABHISHEK #BOLLYWOODTOWN CONTENTSCONTENTS ¡ Sanjay Dutt sets the bar high as the ¡ Karisma Kapoor along with ACE quintessential villain. Check the list! Business Awards to felicitate Achievers p08 p20 p34 Small Screen ¡ John Abraham to produce well-known social entrepreneur p30 Revathi Roy’s biopic Fashion & Lifestyle p06 ¡ "Now people are curious and they want to watch such films", Fatima Sana Shaikh spills beans on the shift in Bollywood p14 ¡ Social values and cinema p25 ¡ Himansh Kohli on break up with Neha Kakkar: She would cry on shows and people would blame me! p16 p10 Cover Story ¡ Film Review p27 From the publisher's desk Editor : Tarakant D. Dwivedi ‘Akela’ Editor-In-Chief : Yogesh Mishra Dear Readers, Sr. Columnist : Nabhkumar ‘Raju’ The month of February was an average month for many of the filmmakers. Spl. Correspondent : Dr. Amit Kr. Pandey (Delhi) Movies released in the month were- Shikara, Malang, Hacked, Love Aaj Kal, Graphic Designer : Punit Upadhyay Bhoot Part One: The Haunted Ship, Shubh Mangal Zyada Saavdhan, The Sr. Photographer : Raju Asrani Hundred Bucks, Thappad, Guns of Banaras, Doordarshan and O Pushpa I Hate Tears etc. COO : Pankaj Jain Hardly few of the movies did an average business on box office, rest of the Executive Advisor : Vivek Gautam movie could not do well on box office. -
Management Discussion & Analysis
18 Balaji Telefilms Limited Annual Report 2012-13 MANAGEMENT DISCUSSION & ANALYSIS INDUSTRY REVIEW INDIAN ECONOMY The global economy faced another challenging year in 2012 as it continued to recover slowly following the global financial crisis of 2008. Slow US economic recovery, European sovereign debt crisis, moderating growth in China and other emerging economies continued to hold back the global GDP growth rates. As per a World Bank report ‘Global Economic Prospects’ released in January 2013, global economic growth was subdued at 2.3% in 2012. It is expected to remain flat in 2013 followed by a gradual increase to 3.1% and 3.3% in 2014 and 2015, respectively. 19 In addition to the weak global also likely in the global economy digital production techniques. New scenario, the Indian economy faced in 2013, prospects for the Indian content distribution platforms such as several internal macro-economic economy look better and real GDP broadband and digital cinema, direct- challenges such as high fiscal growth is expected to be in the range to-home (DTH) and digital cable deficit, large current account deficit, of 6.1% to 6.7% in FY2013 - 14. broadcasting, sophisticated electronic significant rupee depreciation, high devices etc. have resulted in the inflation, high interest rates and INDIAN MEDIA & emergence of new business models consequent slowdown in core sectors and revenue streams in the industry. as well as corporate and infrastructure ENTERTAINMENT Further, an increasing penetration of investments. The Indian GDP thus INDUSTRY multiplexes and entry of domestic as grew at only 5% in FY2012-13, the The Indian M&E industry, one of the well as international corporate houses lowest in the last decade. -
Sex, Songs and the Desi Feminist Noir1
NCJCF 12 (1+2) pp. 97–111 Intellect Limited 2014 New Cinemas: Journal of Contemporary Film Volume 12 Numbers 1 & 2 © 2014 Intellect Ltd Article. English language. doi: 10.1386/ncin.12.1-2.97_1 Krupa shandilya Amherst College The long smouldering night: sex, songs and the desi feminist noir1 absTracT Keywords This article argues that the films Ishqiya/Romance (Chaubey, 2010) and Dedh film noir Ishqiya/Romance 1.5 (Chaubey, 2014) by Abhishek Chaubey, represent a new genre feminism of films, namely the ‘desi feminist noir’, which is characterized by all the elements of Ishqiya film noir, such as the murky distinction between good and evil, the lawlessness of the Dedh Ishqiya streets and the femme fatale. However, in these films the figure of the femme fatale is Bollywood used to forward explicitly feminist trajectories of love, romance and sex. I give a brief queer desire history of romantic coupling in Hindi cinema, and analyse the films’ departure from these articulations of romance. Next, I focus on a song sequence from each of the films to explicate the desi feminist femme fatale’s subversion of the romantic conven- tions of the Hindi film song and her inauguration of a new aesthetic of romance. In conclusion, I consider the implications of this new genre for Bollywood cinema. This article argues that the films Ishqiya/Romance (Chaubey, 2010) and Dedh 1. Many thanks to Crystal Parikh, Naomi Schiller, Ishqiya/Romance 1.5 (Chaubey, 2014) represent a new genre of films, namely Jini Kim Watson and the ‘desi feminist noir’. The ‘desi feminist noir’ is characterized by all the Joseph Keith for their elements of film noir, such as the murky distinction between good and evil, invaluable comments on an early draft of the lawlessness of the streets and the femme fatale. -
The Changing Role of Women in Hindi Cinema
RESEARCH PAPER Social Science Volume : 4 | Issue : 7 | July 2014 | ISSN - 2249-555X The Changing Role of Women in Hindi Cinema KEYWORDS Pratima Mistry Indian society is very much obsessed with cinema. It is the and Mrs. Iyer) are no less than the revered classics of Ray or most appealing and far reaching medium. It can cut across Benegal. the class and caste boundaries and is accessible to all sec- tions of society. As an art form it embraces both elite and Women have played a number of roles in Hindi movies: the mass. It has a much wider catchment area than literature. mythical, the Sati-Savitri, the rebel, the victim and victimizer, There is no exaggeration in saying that the Indian Cinema the avant-garde and the contemporary. The new woman was has a deep impact on the changing scenario of our society in always portrayed as a rebel. There are some positive portray- such a way as no other medium could ever achieve. als of rebels in the Hindi movies like Mirch Masala, Damini, Pratighat, Zakhm, Zubeida, Mritudand and several others. Literature and cinema, the two art forms, one verbal in form The definition of an ideal Indian woman is changing in Hindi and the other visual, are not merely parallel but interactive, Cinema, and it has to change in order to suit into a changing resiprocative and interdependent. A number of literary clas- society. It has been a long hundred years since Dadasaheb sics have been made popular by the medium of cinema. Phalke had to settle for a man to play the heroine in India’s first feature film Raja Harishchandra (1913) and women in During its awesome journey of 100 years, the Indian Cinema Hindi cinema have come a long way since then.