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9. Internationales Berlin Forum 22.2.-3.3. Des Jungen Films 1979
29. internationale filmfestspiele berlin 9. internationales berlin forum 22.2.-3.3. des jungen films 1979 INTERVIEW überwindet der Film die Grenzen von Zeit und Raum, um zu einer universellen Wahrheit zu gelangen. Am Ende des Films wird der junge Held aus seiner gewohnten Um• Land Indien 1971 gebung herausgeholt und von einem unsichtbaren Zuschauer einem Produktion Mrinal Sen Verhör unterworfen; auf provokative Fragen gibt er unsichere Ant• worten. Und schließlich kommt der Moment des Urteils — über die Welt und ihre Werte. Regie Mrinal Sen Mrinal Sen Buch Mrinal Sen, nach einer Erzählung von Ashish Burman Biofilmographie Kamera K.K. Mahajan Mrinal Sen wurde 1923 geboren. „Ich kam auf Umwegen zum Film. Musik Vijay Raghava Rao Ich habe Physik studiert, interessierte mich für akustische Phäno• mene, und um diese eingehender zu untersuchen, arbeitete ich nach Schnitt Gangadhar Naskar Beendigung meines Studiums in einem Filmstudio. Als ich dann in der Nationalbibliothek in Kalkutta meine Arbeit fortsetzte, begann Darsteller ich auch Filmliteratur zu lesen — Schriften Sergej Eisensteins, die Ranjit Mullick Ranjit Mullick Arbeit seines Schülers Wladimir Nilsen, die Aufsätze Wsewolod Sekhar Chatterjee Sekhar Chatterjee Pudowkins. Die Mutter Karuna Banerjee Dann habe ich andere Sachen versucht, habe Korrektur gelesen und Mithu (die Schwester) Mamata Banerjee Artikel geschrieben und war kurze Zeit bei einer Theaterkooperati• Bulbul ve, dem 'Indian People's Theatre Movement'. (die Freundin) Bulbul Mukerjee Ich begann für eine Zeitung der Kommunistischen Partei, deren Mit• arbeiter ich war, Filmrezensionen zu schreiben." Die im Film verwendete Telephonnummer ist Mrinal Sens 1952 veröffentlichte Sen ein Buch über Charlie Chaplin. Um sich eigene Telephonnummer finanziell über Wasser zu halten, wurde er Vertreter einer Arznei• mittelfirma, ein Beruf, „für den ich vollkommen ungeeignet war". -
13366 MM Vol. XXIII No. 11.Pmd
Registered with the Reg. No. TN/CH(C)/374/12-14 Registrar of Newspapers Licenced to post without prepayment for India under R.N.I. 53640/91 Licence No. TN/PMG(CCR)/WPP-506/12-14 Publication: 15th & 28th of every month Rs. 5 per copy (Annual Subscription: Rs. 100/-) WE CARE FOR MADRAS THAT IS CHENNAI INSIDE • Short ‘N’ Snappy • Help Corporation Schools • Kilpauk kindles • Four pages on Madras Week • Tamil journalism Vol. XXIII No. 11 MUSINGS September 16-30, 2013 The vanishing story at Ripon Buildings. The annexe built in the 1950s is a joy to behold while the later Vista additions are terrible and falling apart. From the point of view of a eritage buildings, always quick demolition of the erst- property owner not overly con- Han endangered lot in our while Southern Railway book- cerned about heritage, building city, are faced with a new threat ing office, which by any stan- a new structure to hide the old – being hidden behind modern dard was a heritage building makes much sense. The hidden high-rises, built on spaces sur- (but was not in the Padma- building can wither away due to rounding them and originally nabhan Committee report lack of maintenance and even intended to give an approach and so did not qualify as one). collapse, without anyone notic- vista and an impressive setting. There are many more such ing, thereby making space for Thanks to realestate hungry examples. still newer buildings. A tough owners, unimaginative archi- Heritage Conservation Com- There are several reasons tects and an indifferent admin- mittee can choose to object but why new buildings have to be istration, most of the familiar in our case we have a largely hi- built, all understandable – ours heritage structures we know are bernating and comatose com- is a space-starved city, institu- soon going to become lost to mittee, which prefers to look tions need to modernise and view. -
Oct-Dec-Vidura-12.Pdf
A JOURNAL OF THE PRESS INSTITUTE OF INDIA ISSN 0042-5303 October-DecemberJULY - SEPTEMBER 2012 2011 VOLUMEVolume 3 4 IssueISSUE 4 Rs 3 50 RS. 50 In a world buoyed by TRP ratings and trivia, QUALITY JOURNALISM IS THE CASUALT Y 'We don't need no thought control' n High time TAM/TRP era ended n The perils of nostalgia n You cannot shackle information now n Child rights/ child sexual abuse/ LGBT youth n Why I admire Justice Katju n In pursuance of a journalist protection law Responsible journalism in the age of the Internet UN Women: Promises to keep Your last line of defence n Alternative communication strategies help n The varied hues of community radio Indian TV news must develop a sense of The complex dynamics of rural Measuring n Golden Pen of Freedom awardee speaks n Soumitra Chatterjee’s oeuvre/ Marathi films scepticism communication readability n Many dimensions to health, nutrition n Tributes to B.K. Karanjia, G. Kasturi, Mrinal Gore Assam: Where justice has eluded journalists Bringing humour to features Book reviews October-December 2012 VIDURA 1 FROM THE EDITOR Be open, be truthful: that’s the resounding echo witch off the TV. Enough of it.” Haven’t we heard that line echo in almost every Indian home that owns a television set and has school-going children? “SIt’s usually the mother or father disciplining a child. But today, it’s a different story. I often hear children tell their parents to stop watching the news channels (we are not talking about the BBC and CNN here). -
Routledge Handbook of Indian Cinemas the Indian New Wave
This article was downloaded by: 10.3.98.104 On: 28 Sep 2021 Access details: subscription number Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: 5 Howick Place, London SW1P 1WG, UK Routledge Handbook of Indian Cinemas K. Moti Gokulsing, Wimal Dissanayake, Rohit K. Dasgupta The Indian New Wave Publication details https://www.routledgehandbooks.com/doi/10.4324/9780203556054.ch3 Ira Bhaskar Published online on: 09 Apr 2013 How to cite :- Ira Bhaskar. 09 Apr 2013, The Indian New Wave from: Routledge Handbook of Indian Cinemas Routledge Accessed on: 28 Sep 2021 https://www.routledgehandbooks.com/doi/10.4324/9780203556054.ch3 PLEASE SCROLL DOWN FOR DOCUMENT Full terms and conditions of use: https://www.routledgehandbooks.com/legal-notices/terms This Document PDF may be used for research, teaching and private study purposes. Any substantial or systematic reproductions, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The publisher shall not be liable for an loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. 3 THE INDIAN NEW WAVE Ira Bhaskar At a rare screening of Mani Kaul’s Ashad ka ek Din (1971), as the limpid, luminescent images of K.K. Mahajan’s camera unfolded and flowed past on the screen, and the grave tones of Mallika’s monologue communicated not only her deep pain and the emptiness of her life, but a weighing down of the self,1 a sense of the excitement that in the 1970s had been associated with a new cinematic practice communicated itself very strongly to some in the auditorium. -
05 Work Plan and Methodology
Work Plan and Methodology Chapter I: Introduction to Indian English Drama Chapter II: Portrayal of Political Power in Girish Karnad Chapter III: Portrayal of Political Power in Vijay Tendulkar Chapter IV: Portrayal of the Political Power in Habeeb Tanveer Chapter V: Portrayal of the Political Power in Utpal Dutt Chapter VI: Conclusion The first chapter- Introduction will take a survey of Indian drama written in Sanskrit, folk languages and regional languages. It will also take into account the slow growth in Indian English drama in pre-independence and post-independence times. The second chapter- Portrayal of Political Power in Girish Karnad’s plays will analyze the portrayal of political power as a force in the play affects functioning of all the systems. The third chapter- Portrayal of Political Power in the Plays of Vijay Tendulkar will record the visible and invisible influence of political power in the each every matter and also how it is self-destructive. The fourth chapter- Portrayal of the Political Power in the plays of Habeeb Tanveer will portray the invisible but rigid structure of the political power and what means political power uses to achieve its ends. The fifth chapter- Portrayal of Political Power in the Plays of Utpal Dutt works in the destructive way in society. The last chapter Conclusion will take into stock the conclusions drawn from the portrayal and analysis of this significant social institution in Indian English drama and will aim at prove their relevance to the present times. The research methodology employed herein will be exploratory, interpretative and analytical in nature. -
Download (Binaural and Ambisonics B-Format Files)
Cover Page The handle http://hdl.handle.net/1887/47914 holds various files of this Leiden University dissertation Author: Chattopadhyay, B. Title: Audible absence: searching for the site in sound production Issue Date: 2017-03-09 Part II: Articles The following 6 articles are published in this dissertation in their original form (i.e. as they were published, accepted or submitted in peer-reviewed journals). I have chosen to insert short postscripts or comments on the first page of each article and besides added some comments here and there inside the articles on the basis of new insights gained throughout my research process, serving as clarification or to critically comment on them and connect them to each other as well as to the topics discussed in the Introduction and Conclusion. These blue and green-colored postscripts establish the context in which the articles can be considered part of the main body of research for this dissertation. 45 46 Article 1: Chattopadhyay, Budhaditya (2017). “The World Within the Home: Tracing the Sound in Satyajit Ray’s Films.” Music, Sound, and the Moving Image Autumn issue (Accepted). This article deals with the first historical phase of sound production in India, as explained in the Introduction, namely: analogue recording, synchronized sound, and monaural mixing (1931– 1950s). Satyajit Ray emerged during this period and made full use of these techniques; hence, his work with sound is used as a benchmark here when studying this specific period of sound production. The article examines the use of ambient sound in the early years of film sound production, highlighting two differing attitudes, the first markedly vococentric and music-oriented, the second applying a more direct sound aesthetics to create a mode of realism. -
FF543 Cover1.Cdr
Freedom First Between Ourselves It was all quiet on the morning of Saturday August 11 as I travelled The Liberal Magazine to my office. Being the second Saturday of the month many offices were closed and so were Maharashtra government offices and traffic was light. Number 543 – September 2012 Around 3.30 p.m. I decided to call it a day and go home in a taxi. And within minutes realised something was wrong when we were stopped by a policeman. Advisory Board: The traffic was chaotic. And then we saw three or four motor bikes with Mr. Sharad Bailur pillion riders whizzing past defying the police. Meanwhile rumours spread Mr. A. V. Gopalakrishnan like wildfire that there was massive rally of 50,000 plus Muslims at Azad Mr. Firoze Hirjikaka Maidan and there was mayhem in and around CST railway terminus. There Mr. Ashok Karnik was fear on the faces of those heading home and no one to reassure them Mr. Farrokh Mehta ‘Don’t worry we are here’. Mr. Jehangir Patel There cannot be a greater failure of governance than this. Mr. Nitin G. Raut When I read of thousands of north-easterners fleeing Bangalore for Brig. S. C. Sharma (retd.) the safety of their homes or refugee camps in Assam or Meghalaya or Manipur Mr. Kunwar Sinha a thousand plus miles away, it was because they no longer believed the Mr. Sameer Wagle State could protect them. They were on their own. Four days later we saw the President of India who manoeuvred his way to the Presidency deliver Editor: meaningless homilies. -
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. -
Daily Current Affairs Capsule 31St December 2018
Daily Current Affairs Capsule 31st December 2018 1. Sheikh Hasina's party wins Bangladesh election Awami League, led by Prime Minister Sheikh Hasina wins the Parliamentary elections. Hasina's ruling party Awami League won 287 of the 298 seats for which results have been declared for the 300-strong parliament. While the main opposition alliance dominated by the Bangladesh Nationalist Party (BNP) secured just six seats. The main opposition led by the Bangladesh Nationalist Party rejected the election and called for a fresh vote in the country of 165 million people. Points to Remember The Bangladesh Awami League, often simply called the Awami League or BAL, is one of the two major political parties of Bangladesh. It is the country's current governing party, after winning a majority in the 2014 election. 2. PM Inaugurates International Rice Research Institute’s South Asia Regional Centre Prime Minister Narendra Modi inaugurated the International Rice Research Institute South Asia Regional Centre (IRRI SARC) in Varanasi. It is the sixth campus of IRRI SARC. The institute will complement the government’s effort to double farmer’s income by 2022. The International Rice Research Institute (IRRI) is a dynamic and rapidly evolving organization which focuses on solving complex global problems through vibrant, rice-based agri-food systems. Points to Remember It will serve as a hub for rice research and training in South Asia and SAARC region. The IRRI SARC will aid in improving crop production, seed quality and the nutritional value of rice. It is headquartered in Los Baños, Laguna in the Philippines. 3. -
EVENT Year Lib. No. Name of the Film Director 35MM DCP BRD DVD/CD Sub-Title Language BETA/DVC Lenght B&W Gujrat Festival 553 ANDHA DIGANTHA (P
UMATIC/DG Duration/ Col./ EVENT Year Lib. No. Name of the Film Director 35MM DCP BRD DVD/CD Sub-Title Language BETA/DVC Lenght B&W Gujrat Festival 553 ANDHA DIGANTHA (P. B.) Man Mohan Mahapatra 06Reels HST Col. Oriya I. P. 1982-83 73 APAROOPA Jahnu Barua 07Reels EST Col. Assamese I. P. 1985-86 201 AGNISNAAN DR. Bhabendra Nath Saikia 09Reels EST Col. Assamese I. P. 1986-87 242 PAPORI Jahnu Barua 07Reels EST Col. Assamese I. P. 1987-88 252 HALODHIA CHORAYE BAODHAN KHAI Jahnu Barua 07Reels EST Col. Assamese I. P. 1988-89 294 KOLAHAL Dr. Bhabendra Nath Saikia 06Reels EST Col. Assamese F.O.I. 1985-86 429 AGANISNAAN Dr. Bhabendranath Saikia 09Reels EST Col. Assamese I. P. 1988-89 440 KOLAHAL Dr. Bhabendranath Saikia 06Reels SST Col. Assamese I. P. 1989-90 450 BANANI Jahnu Barua 06Reels EST Col. Assamese I. P. 1996-97 483 ADAJYA (P. B.) Satwana Bardoloi 05Reels EST Col. Assamese I. P. 1996-97 494 RAAG BIRAG (P. B.) Bidyut Chakravarty 06Reels EST Col. Assamese I. P. 1996-97 500 HASTIR KANYA(P. B.) Prabin Hazarika 03Reels EST Col. Assamese I. P. 1987-88 509 HALODHIA CHORYE BAODHAN KHAI Jahnu Barua 07Reels EST Col. Assamese I. P. 1987-88 522 HALODIA CHORAYE BAODHAN KHAI Jahnu Barua 07Reels FST Col. Assamese I. P. 1990-91 574 BANANI Jahnu Barua 12Reels HST Col. Assamese I. P. 1991-92 660 FIRINGOTI (P. B.) Jahnu Barua 06Reels EST Col. Assamese I. P. 1992-93 692 SAROTHI (P. B.) Dr. Bhabendranath Saikia 05Reels EST Col. -
To Get the File
The Indian Emergency 231 THE INDIAN EMERGENCY 9 Aesthetics of State Control A confirmed plagiarist speaks of some of the FFC’s significant produc- tions as third-rate copies of third-rate foreign films. A globe-trotting socialite whose sole claim to be a critic is her access to people and places (and who ecstacizes over Manoj Kumar’s Shor) aids the big sharks by her learned associations. A self-confessed amateur, applau- ded for his bold themes, speaks of films as ‘formal exercises’ when they are not in his own blundering idiom. Others disguise their con- cern for financial return (on both ‘public’ and ‘private’ money!) in terms of mass communication. Yet another old hand at bringing humanism to the box office in outrageous costumes advises the gov- ernment to nationalize cinema before it finances films which make an attempt at speaking a radical language. Utopian ideas always subvert their own declared purpose. Even in the unlikely event of nationalization, given the honesty of our bureaucrats and the social- ism of our system, one can visualize what new monsters will emerge. Some of these suggestions and comments may, indeed, be well inten- tioned, but it is becoming increasingly difficult to sift out the cinema’s enemies from its friends. – Kumar Shahani (1974) 1 Most of these stories featured the then Information and Broadcasting Minister, Vidya Charan Shukla. D.R. Mankekar The June 1975 declaration by Indira Gandhi’s government of a ‘grave and Kamala Mankekar (1977: 81) write: ‘With the vulnerable film emergency [whereby] the security of India . threatened by exter- industry [V.C.] Shukla played ducks and drakes. -
Date of AGM(DD-MON-YYYY) 06-SEP-2013
CINL24231MH1950PLC008311 Company Name PFIZER LIMITED Date Of AGM(DD-MON-YYYY) 06-SEP-2013 Sum of unpaid and unclaimed dividend 5874709 Sum of interest on unpaid and unclaimed dividend 0 Sum of matured deposit 0 Sum of interest on matured deposit 0 Sum of matured debentures 0 Sum of interest on matured debentures 0 Sum of application money due for refund 0 Sum of interest on application money due for refund 0 First Name Middle Name Last Name Father/Husb Father/Husba Father/Husband Address Country State District PINCode Folio Number of Investment Type Amount Proposed Date of and First nd Middle Last Name Securities Due(in Rs.) transfer to IEPF Name Name (DD-MON-YYYY) B SEETHARAM SHETTY NA VIJAYA CLINIC, INDIA KARNATAKA KARKALA DAKSHINA 574154 P0119236 Amount for unclaimed 9325.00 11-OCT-2019 CHARANTHIPETE KAN and unpaid dividend MULKI, MANGALORE TALUK DAKSHINA KANNADA DIST BAMBRANA SHEELA VITTAL SHETTY LATE DR KAUP VITTAL W/O YOTI DR K INDIA KARNATAKA MANGALORE 575001 P0065399 Amount for unclaimed 5700.00 11-OCT-2019 SHETTY VITTAL SHETTY and unpaid dividend VITTAL VIHAR 102 1ST FLOOR MANASA APT LOBO LANE BANDOOR MANGALORE AMAR NATH MISSER LATE BISSESWAR NATH MISSER 183 MAHATMA INDIA WEST BENGAL KOLKATA 700007 P0074549 Amount for unclaimed 6050.00 11-OCT-2019 GANDHI ROAD and unpaid dividend KOLKATA CHITTA SANKAR DAWN LATE MR D N DAWN 25-B. C.I.T.ROAD INDIA WEST BENGAL KOLKATA 700014 P0025570 Amount for unclaimed 5650.00 11-OCT-2019 SCHEME L II. and unpaid dividend CALCUTTA-14. AMITA BHATTACHARJE NA CD-124 SECTOR 1 INDIA WEST BENGAL KOLKATA