December 2010.P65

Total Page:16

File Type:pdf, Size:1020Kb

December 2010.P65 HYDERABAD FILM CLUB NEWS LETTER DECEMBER 2010 Editor : Bh.S.S. Prakash Reddy Vol.XXlV Issue : 10 Rs. 2 POSTMEN IN THE MOUNTAINS RNI No. 44862/86 Registered as a News Paper BOOK-PACKET (Printed Matter) If undelivered, please return to : The Secretary, HYDERABAD FILM CLUB, 103, Padmavathi Mansion, Gayathri Nagar, S.R.Nagar (P.O.) Hyderabad - 500 038. email : [email protected] PROGRAMME at Sri Sarathi Studios Preview Theatre, Ameerpet 14-12-2010 6.30 p.m. : 7 YEARS Tuesday (France/2006/Color/86 mins.) in collaboration with Alliance Francaise of Hyderabad 18-12-2010 6.30 p.m. : HARISCHANDRACHI FACTORY GIE Saturday (Marathi/2009/Color/128 mins.) 22-12-2010 6.30 p.m. : G I E Wednesday (Indonesia/2005/Color/147 mins.) 28-12-2010 6.30 p.m. : POSTMEN IN THE MOUNTAINS Tuesday (China/2003/Color/97 mins.) 5 HYDERABAD FILM CLUB 5 103, Padmavathi Mansion, Gayathri Nagar, S.R. Nagar (P.O.), Hyderabad - 500 038. Cell : 09391020243 RENEWAL & ENROLMENT NOTICE - 2011 SINGLE COUPLE Renewal Fee Rs. 600 Rs. 700 Fresh Enrolment (Inclusive of Admission Fee) Rs. 750 Rs. 850 LIFE MEMBERSHIP Rs. 4,000 RENEWAL OF MEMBERSHIP IS DONE SUBJECT TO THE FOLLOWING CONDITIONS : 1. Old Identity Card should be surrendered along with Photograph. (If Photograph is in multilated condition, a fresh Photograph should be given). 2. Renewal form should be filled up if there is any change in address. 3. Members desirous of renewing their membership by post must do so by remitting the prescribed amount by Crossed DEMAND DRAFT drawn in favour of HYDERABAD FILM CLUB to the above address along with the present membership card indicating change of address if any. 4. Existing single members desirous of taking couple membership in 2011 should give fresh application along with 2 passport size JOINT PHOTOGRAPHS. An admission fee of Rs. 100/- will be collected for the spouse of the member. 5. Fresh enrolment will be done on production of 2 passport size photographs (single / joint) along with application and prescribed fee. 5 NO HALF - YEARLY MEMBERSHIP FOR FIRST HALF (JANUARY TO JUNE) 5 RENEWALNO HALF & ENROLMENT - YEARLY MEMBERSHIP IS DONE ONLY FOR ON FIRST SCREENING HALF (JANUARY DAYS AT THETO JUNE) VENUE RENEWAL & ENROLMENT IS DONE ONLY ON SCREENING DAYS AT THE VENUE DECEMBER 2010 7 YEARS GIE (7 ans) (Indonesia/2005/Color/147 mins.) (France/2006/Color/86 mins.) Directed by : Riri Riza Director : Jean-Pascal Hattu Written by : Riri Riza Cast : Valérie Donzelli , Bruno Todeschini, Cyril Cast : Nicholas Saputra, Wulan Guritno, Robby Troley, Pablo de la Torre, Nadia Kaci Tumewu A devoted young woman becomes ensnared in Soe Hok Gie is an activist who lived in the sixties. a web of sexuality and betrayal in Jean-Pascal Hattu’s Set in the darkest era of Indonesian modern history, consistently unpredictable and finely wrought char- acter study. A vividly realistic psychosexual drama, the film’s sharp emotional honesty heralds a distinct new voice from a promising young director. 7 Years opens with Maite ironing clothes, but for whom, and why with such tension? Hattu soon reveals that Maite’s husband Vincent (a brooding Bruno Todeschini) is in prison for an unspecified crime, and that she has promised to wait for him and attend to his laundry (if not his conjugal needs) during his incarceration. On one of her weekly visits, Maite meets Jean, an oddly inquisitive and boldly flirtatious (as only the French can be) prison warden, and soon the two commence a joyless affair. Seemingly smitten with Maite, Jean, GIE is an interpretation of what happened based on his journal. He is a history student when his world stretches between politics and personal life. A critical young man, he sounds his great concerns about his collapsing nation. Yet, he is sensitive and romantic. He loves to explore the mountains, to admire the great beauty of nature. His life is a clash between the high drama of national political events and the small world in a gesture of kindness to his lover, eases up on her of friendship and romance. He is falling apart when husband behind bars; the two become pals and even he sees that his constant battle for justice and truth engage in some homoerotic shower talk. The men’s gives labor to another dictatorial regime, and caused particularly unusual Stockholm Syndrome relation- the massacre of millions suspected communists, in- ship is further complicated when Maite begins to ques- cluding his childhood friend. He continues to fight but tion Jean’s motives: Is he really in love with her, or is his uncompromised idealism drives people away. His Vincent playing some sort of behind-bars game by best friends left him. The woman he loves rejects goading his warden to make the moves on his gull- him. From time to time, nature is a place where Gie ible wife? st finds peace and it’s where his life comes to an end. 1 Asian Film Festival of Tenali - 2010 Gie dies on the summit of the highest mountain in Tenali Cultural Film Society, Tenali is Java, just a day before his 27th birthday. organizing 1st Asian Film Festival of Tenali - 2010 from 4th to 8th December, 2010 at Ramakrishna AWARDS Theatre, by screening 5 films every day at 9 am , * Official entry from Indonesia for Best Foreign Language 11am, 2.30pm, 5pm & 7 pm. The festival show Film at the 78th Academy Awards . casing about 28 films of 15 countries. * In competition in the ASEAN category at the 2006 Bangkok The inaugural Function will be held on 4th International Film Festival. December at 5pm by showing Andhra Pradesh * Awarded Best Film at the 2005 Indonesian Film Festival. State Governments Golden Nandi Award - 2009 Best film "Sontha Ooru". ATTENTION PLEASE !! Eminent film makers from Telugu Film Members are requested to send their industry are attending the Festival. There will be email ID to [email protected] with their an Open Forum everyday from 1.30pm to 2.30pm full name and Membership Number DECEMBER 2010 HARISHCHANDRACHI FACTORY POSTMEN IN THE MOUNTAINS (2009/Marathi/Color/128 mins.) (China /2003/Color/93 mins.) Directed by : Paresh Mokashi Directed by : Huo Jianqi Written by : Paresh Mokashi Written by : Si Wu Music by : Narendra Bhide Music : Wang Xiaofeng Camera : Amalendu Choudary Cast : Ten Rujun, Liu Ye Cast : Nandu Madhav, Vibhavaari Deshpande, Mohit Gokhale, Atharva Karve, Dilip The film is set in the mountainous regions of the Joglekar, Ketan Karande, Dhiresh Joshi western Hunan province in the early 1980s. At the Harishchandrachi Factory depicting the struggle film’s start, a young man (Liu Ye) begins his first jour- of Dadasaheb Phalke in making Raja Harishchandra ney as a postman at the mountainous rural areas of the aforesaid regions. His father (Ten Rujun), a vet- eran postman forced to retire due to a bad knee, de- cides to accompany him together with the family’s faithful dog, Buddy. The father walks his son through the nitty-gritty of the job, and the son realizes the mailman job entails not just the sending of letters. He witnesses his father’s deep friendship with the villagers, and partici- pates in a wedding celebration with the Dong people. The film includes a number of memory flashbacks, as well as many pop songs played on the son’s tran- sistor radio (including Michael Learns to Rock’s “That’s Why You Go Away”, which is an anachronism given that the film is set in the early 1980s). AWARDS Golden Rooster Awards, 1999 in 1913, India’s first feature film, thus the birth of Indian = Best Actor - Ten Rujun cinema. = Best Film Harishchandrachi Factory is the directorial debut Awards of the Japanese Academy, 2002 of Paresh Mokashi who won the Best Director award = Best Foreign Film (nominated) at Pune International Film Festival, where the film was Mainichi Film Concours, 2002 shown. In September 2009, it was selected as India’s = Best Foreign Language Film official entry to Academy Award in the Best Foreign Montréal World Film Festival, 2002 Language Film Category. = People’s Choice Award The film is the story about the beginning of the = Grand Prix des Amériques (nominated) Indian film industry, set in 1913, when two business partners fall out resulting in one leaving the company. As the family struggle to survive Phalke (Nandu Printing Courtesy Madhav) decides to make his own silent motion pic- ture along with the support of his family. He travels to navya printers, Rajbhavan Road, Somajiguda, England to learn about the new medium and after he Hyderabad - 500 082 . Ph : 040 - 23314147 returns brings together a team of actors and techni- cians to produce his first film about the story of Raja Printed, Published and Edited by Bh.S.S.Prakash Reddy, Secretary, Harishchandra. Through all the hard work the movie Hyderabad Film Club, becomes a hit thus marking the beginning of one of 103, Padmavathi Mansion, Gayathri Nagar, the world’s biggest film industry. Hyderabad- 500 038. Cell : 09391020243 Processing and Printing at Navya Printers, Hyderabad-82. DECEMBER 2010.
Recommended publications
  • Syllabus for M.Sc. (Film Production)| 1
    Syllabus for M.Sc. (Film Production)| 1 Detailed Syllabus for Master of Science (Film Production) (Effective from July 2019) Department of Advertising & Public Relations Makhanlal Chaturvedi National University of Journalism and Communication B-38, Press Complex, M.P. Nagar, Zone-I, Bhopal (M.P.) 462 011 Syllabus for M.Sc. (Film Production)| 2 MAKHANLAL CHATURVEDI NATIONAL UNIVERSITY OF JOURNALISM AND COMMUNICATION (DEPARTMENT OF ADVERTISING AND PUBLIC RELATIONS) Master of Science (Film Production) (Effective from July 2019) Marks Distribution Subject Theory Practic Intern Total Credit al al CCC-1 Evolution of Cinema 80 00 20 100 6 CCC-2 Origin and Growth of Media 80 00 20 100 6 Introduction to Socio CCC-3 80 00 20 100 6 Economic Polity Sem - I CCE-1 Art of Cinematography 50 30 20 OR OR 100 6 CCE-2 Storyboarding 50 30 20 OE-1 Understanding Cinema 25 15 10 50 3 CCC-4 Drama & Aesthetics 50 30 20 100 6 CCC-5 Lighting for Cinema 50 30 20 100 6 CCC-6 Audiography 50 30 20 100 6 Sem - II CCE-3 Art of Film Direction 50 30 20 OR OR 100 6 CCE-4 Film Journalism 50 30 20 OE-2 Ideation and Visualization 25 15 10 50 3 CCC-7 Multimedia Platform 50 30 20 100 6 Editing Techniques & CCC-8 50 30 20 100 6 Practice CCC-9 Film Research 50 30 20 100 6 Sem - III Screenplay Writing for CCE-5 50 30 20 Cinema OR 100 6 OR CCE-6 50 30 20 Advertisement Film Making OE-3 Film Society & Culture 40 00 10 50 3 CCC-10 Film Business & Regulations 80 00 20 100 6 CCC-11 Cinematics 50 30 20 100 6 CCC-12 Project Work on Film Making 00 80 20 100 6 Sem - Literature & Cinema CCE-7 80 00 20 IV OR OR 100 6 Film Management & CCE-8 80 00 20 Marketing OE-4 Documentary Film Making 25 15 10 50 3 Syllabus for M.Sc.
    [Show full text]
  • Kering and the Festival De Cannes Will Present the Fifth Women in Motion Award to Actress Gong Li
    Kering and the Festival de Cannes will present the fifth Women In Motion Award to actress Gong Li The Young Talents Award will be presented to director Eva Trobisch François-Henri Pinault, Chairman and CEO of Kering, Pierre Lescure, President of the Festival de Cannes, and Thierry Frémaux, Festival General Delegate, will present the Awards at the official Women In Motion dinner on Sunday May 19, 2019. Hai Feng © Gong Li, an iconic figure of Chinese cinema, has gained truly global renown during a remarkable, most singular career. She is the first Chinese actress to have achieved success at the major international festivals, such as Berlin, Venice and Cannes, where her performances have won great critical acclaim. Her prominence in the movie industry and her strong personality have also led to her presiding at many of the world’s film festivals. She has played central leading roles, bringing life and success to the works of famous directors such as Zhang Yimou, Chen Kaige and Michael Mann, among others. Her name will be forever linked to the Festival de Cannes, especially for her unforgettable performances in Zhang Yimou’s Grand Prix winner To Live and Chen Kaige’s Palme d’Or, Farewell My Concubine. Renowned for her great independence of mind, Gong Li constantly frees herself from stereotypes and only accepts the roles of very strong women. When she refused the role of James Bond girl in Tomorrow Never Dies, she declared: "The presentation of the female character was not complex enough to give me the material to fully express myself.
    [Show full text]
  • IFFLA Showcases Film As a Powerful Creative Force. India Journal. April
    IFFLA Showcases Film as A Powerful Creative Force indiajournal.com /filmi-buzz/iffla-showcases-film-as-a-powerful-creative-force 4/23/2015 The 13th annual Indian Film Festival of Los Angeles(IFFLA) not only honored gifted, daring film makers but was a unique blend of narrative, social commentary, humor, and unusual perspectives on life. Chaired by visionary , Christin Marouda the Festival is inarguably the most influential. non profit organization devoted to recognizing cinematic perspectives from India and the Indian diaspora. This year Marouda collaborated with Artistic Director Jasmine Jaisinghani and Producer Rukmani Bachal.The films represented 10 different languages from six countries ranging from Hindi and Tamil to English, Spanish and German. They were enthralling, funny, moving and chronicled the masters of film art bridging the gap between the two largest entertainment industries in the world Hollywood and India. One hopes that these films with no star power or big budgets will be taken up by distributors who will recognize the creativity , talent, skill, ambition and commitment of the filmmakers who shoot in a backyard, in a lonely field, a slum, a crowded road, or a cramped studio. The Festival was five Days of pure film pleasure with packed auditoriums and appearances by film makers and actors. Here are a few films worth mentioning. ‘Labor Of Love’ An eloquent and extraordinary film with nuanced performances(Ritwick Chakrborty, Basabdutta Chatterjee) and directed by the brilliant Aditya Vikram Sengupta. He is also the screenwriter, editor and cinematography credits go to him and Mahendra Shetty. There is no dialogue. With swaggering self confidence ,the Director demands us to listen to merely the sounds of their lives.
    [Show full text]
  • List of Films Considered the Best
    Create account Log in Article Talk Read View source View history Search List of films considered the best From Wikipedia, the free encyclopedia Main page This list needs additional citations for verification. Please Contents help improve this article by adding citations to reliable sources. Featured content Current events Unsourced material may be challenged and removed. (November Random article 2008) Donate to Wikipedia Wikimedia Shop While there is no general agreement upon the greatest film, many publications and organizations have tried to determine the films considered the best. Each film listed here has been mentioned Interaction in a notable survey, whether a popular poll, or a poll among film reviewers. Many of these sources Help About Wikipedia focus on American films or were polls of English-speaking film-goers, but those considered the Community portal greatest within their respective countries are also included here. Many films are widely considered Recent changes among the best ever made, whether they appear at number one on each list or not. For example, Contact page many believe that Orson Welles' Citizen Kane is the best movie ever made, and it appears as #1 Tools on AFI's Best Movies list, whereas The Shawshank Redemption is #1 on the IMDB Top 250, whilst What links here Star Wars Episode V: The Empire Strikes Back is #1 on the Empire magazine's Top 301 List. Related changes None of the surveys that produced these citations should be viewed as a scientific measure of the Upload file Special pages film-watching world. Each may suffer the effects of vote stacking or skewed demographics.
    [Show full text]
  • CENTRE for ENGLISH STUDIES SYLLABUS at a GLANCE Semester I
    CENTRE FOR ENGLISH STUDIES SYLLABUS AT A GLANCE Semester I Course Type Course No. Course Title Credits ENG 403 Literature of the British Renaissance 4 Core ENG 404 Literature of the Neoclassical Period 4 ENG 421 Indian Writing in English 4 ENG 422 Introduction to Linguistics 4 ENG 426 Social Movements and Literature 4 Optional ENG 427 Graphic Narrative 4 ENG 428 Life Writing 4 ENG 429 Theory and Practice of Women’s Writing 4 Project ENG 441 Project Work I 2 Total Required Number of Credits Per Semester 18 Semester II Course Type Course No. Course Title Credits ENG 453 Literature of the Romantic Period 4 Core ENG 454 Literary Criticism 4 ENG 471 Modern Indian Literature in English 4 Translation ENG 472 Introduction to ELT 4 ENG 474 Nation and Literature 4 Optional ENG 476 Visual Culture 4 ENG 477 Traditions of Republicanism: Ideas, Practices, 4 and Institutions ENG 478 Multiculturalism and Canadian Literary 4 Imagination Project ENG 491 Project Work II 2 Total Required Number of Credits Per Semester 18 1 Page Semester III Course Type Course No. Course Title Credits ENG 503 Literature of the Victorian Period 4 Core ENG 504 Key Directions in Literary Theory 4 ENG 526 Comparative Literary Studies 4 ENG 527 Discourse Analysis 4 ENG 528 Literatures of the Margins 4 Optional ENG 529 Film Studies 4 ENG 530 Literary Historiography 4 ENG 531 Race in the American Literary Imagination 4 ENG 532 Asian Literatures 4 Project ENG 541 Project Work III 2 Total Required Number of Credits Per Semester 18 Semester IV Course Type Course No.
    [Show full text]
  • Tabla 1:Festivales Y Premios Cinematográficos
    Tabla 1:Festivales y premios American Choreography Arts and Entertainment Critics cinematográficos Awards, USA Awards, Chile http://www.imdb.com/Sections/ American Cinema Editors, USA Artur Brauner Award Awards/Events American Cinema Foundation, Ashland Independent Film USA Festival American Cinematheque Gala Asia-Pacific Film Festival 2300 Plan 9 Tribute Asian American Arts 30th Parallel Film Festival American Comedy Awards, Foundation 7 d'Or Night USA Asian American International American Film Institute, USA Film Festival - A – American Independent Film Asianet Film Awards Festival Aspen Filmfest A.K.A. Shriekfest American Indian Film Festival Aspen Shortsfest ABC Cinematography Award American Movie Awards Association for Library Service ACTRA Awards American Screenwriters to Children AFI Awards, USA Association, USA Athens Film Festival, Georgia, AFI Fest American Society of USA AGON International Meeting of Cinematographers, USA Athens International Film Archaeological Film Amiens International Film Festival ALMA Awards Festival Athens International Film and AMPIA Awards Amnesty International Film Video Festival, Ohio, USA ARIA Music Awards Festival Athens Panorama of European ARPA International Film Amsterdam Fantastic Film Cinema Festival Festival Atlanta Film Festival ASCAP Film and Television Amsterdam International Atlantic City Film Festival Music Awards Documentary Film Festival Atlantic Film Festival ASIFA/East Animation Festival Anchorage International Film Atv Awards, Spain ATAS Foundation College Festival Aubagne International
    [Show full text]
  • City Research Online
    City Research Online City, University of London Institutional Repository Citation: Nadavulakere, S.S. (2008). International Film Festivals as Field-Configuring Events. (Unpublished Doctoral thesis, City University London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/8591/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] International Film Festivals as Field-Configuring Events ShivasharanS. Nadavulakere Thesis submitted in fulfillment of the requirementsfor PhD in Management City University, London Faculty of Management Cass Business School October 2008 I'\ To Anushri, my love Chapter Contents Page Dedication ii ....................................................................................... List Tables & Figures of ....................................................
    [Show full text]
  • Download Download
    Kervan – International Journal of Afro-Asiatic Studies n. 21 (2017) Item Girls and Objects of Dreams: Why Indian Censors Agree to Bold Scenes in Bollywood Films Tatiana Szurlej The article presents the social background, which helped Bollywood film industry to develop the so-called “item numbers”, replace them by “dream sequences”, and come back to the “item number” formula again. The songs performed by the film vamp or the character, who takes no part in the story, the musical interludes, which replaced the first way to show on the screen all elements which are theoretically banned, and the guest appearances of film stars on the screen are a very clever ways to fight all the prohibitions imposed by Indian censors. Censors found that film censorship was necessary, because the film as a medium is much more popular than literature or theater, and therefore has an impact on all people. Indeed, the viewers perceive the screen story as the world around them, so it becomes easy for them to accept the screen reality and move it to everyday life. That’s why the movie, despite the fact that even the very process of its creation is much more conventional than, for example, the theater performance, seems to be much more “real” to the audience than any story shown on the stage. Therefore, despite the fact that one of the most dangerous elements on which Indian censorship seems to be extremely sensitive is eroticism, this is also the most desired part of cinema. Moreover, filmmakers, who are tightly constrained, need at the same time to provide pleasure to the audience to get the invested money back, so they invented various tricks by which they manage to bypass censorship.
    [Show full text]
  • 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.
    [Show full text]
  • Le Indie Del Cinema
    Se il termine Bollywood è ormai familiare, meno note sono MAIN SPONSOR CONVERSATIONS probabilmente le avventurose circostanze che hanno reso WITH possibile la nascita di un’industria cinematografica divenuta CONTEMPORARY così imponente come quella indiana. INDIA sogno e realtà, tra conscio e subconscio si confonde nella febbrile A colmare questa lacuna è il primo titolo di questa immaginazione di Kalyappan ubriaco. La caratterizzazione stessa rassegna, La fabbrica di Harishchandra (2010), che racconta è piena di contrasti: la corda del boia, che uccide il condannato, come Dhundiraj Govind Phalke (1870-1944, superando ha il potere di curare i malati, dicotomia sottolineata in tutto il l’insuperabile, sia riuscito nel 1913 a realizzare il suo sogno: film. Il passare del tempo ha un ruolo cruciale La corda del boia dare all’India un proprio cinema. che si accorcia, i solchi che si allungano sul viso devastato di Ma torniamo a Bollywood: il termine, invece di indicare Kaliyappan e l’eterea qualità del flauto dell’orfano evocano un soltanto il cinema hindi popolare, prodotto a Bombay (ora senso di atemporalità quanto indicano l’inesorabilità della marcia Mumbai), è diventato sinonimo di cinema indiano tout court. Info del Tempo. Sono questi momenti di magia che rendono il cinema Invero, la realtà è un pochino più complessa. L’India, infatti, [email protected] di Adoor una tale sfida. Ma impongono anche pressanti domande [email protected] allo spettatore.” (Saibal Chatterjee, da Hindustan Times) è una Unione di stati federali, ognuno dei quali, come gli Le Indie www.unive.it/cfz stati europei, si distingue per la sua storia, la sua cultura e la sua lingua (o più di una).
    [Show full text]
  • Behind Film Performance in China's Changing Institutional Context
    Asia Pac J Manag DOI 10.1007/s10490-016-9501-0 Behind film performance in China’s changing institutional context: The impact of signals Caroline Elliott1 & Palitha Konara 2 & Haiyi Ling3 & Chengang Wang4 & Yingqi Wei 5 # The Author(s) 2017. This article is published with open access at Springerlink.com Abstract Grounded in signaling theory, this paper investigates the signals reflecting product quality, innovativeness, reputation and cultural background which influence film performance, that is, film survival (duration on cinema screen) and box office success, in China’s changing institutional context. This market has grown substantially and still possesses potential for further development. However, China’s unique institu- tional context presents challenges. By examining an expanded range of potential signals, two of which have not previously been examined in the literature, namely imported films and enhanced format film formats such as 3D and IMAX, we develop a conceptual framework and argue that signaling theory needs to be combined with institutional context. Similar to findings for film industries in other countries, we find quality and reputational signals including budget, star power, sequels, and online * Yingqi Wei [email protected] Caroline Elliott [email protected] Palitha Konara [email protected] Haiyi Ling [email protected] Chengang Wang [email protected] 1 Aston Business School, Aston University, Birmingham B4 7ET, UK 2 Business School, University of Huddersfield, Huddersfield HD1 3DH, UK 3 Foresea Life Insurance Co., Ltd., Shenzhen, China 4 School of Management, Bradford University, Bradford BD9 4JL, UK 5 Business School, Leeds University, Leeds LS2 9JT, UK Elliott C.
    [Show full text]
  • Films and Videos on Tibet
    FILMS AND VIDEOS ON TIBET Last updated: 15 July 2012 This list is maintained by A. Tom Grunfeld ( [email protected] ). It was begun many years ago (in the early 1990s?) by Sonam Dargyay and others have contributed since. I welcome - and encourage - any contributions of ideas, suggestions for changes, corrections and, of course, additions. All the information I have available to me is on this list so please do not ask if I have any additional information because I don't. I have seen only a few of the films on this list and, therefore, cannot vouch for everything that is said about them. Whenever possible I have listed the source of the information. I will update this list as I receive additional information so checking it periodically would be prudent. This list has no copyright; I gladly share it with whomever wants to use it. I would appreciate, however, an acknowledgment when the list, or any part, of it is used. The following represents a resource list of films and videos on Tibet. For more information about acquiring these films, contact the distributors directly. Office of Tibet, 241 E. 32nd Street, New York, NY 10016 (212-213-5010) Wisdom Films (Wisdom Publications no longer sells these films. If anyone knows the address of the company that now sells these films, or how to get in touch with them, I would appreciate it if you could let me know. Many, but not all, of their films are sold by Meridian Trust.) Meridian Trust, 330 Harrow Road, London W9 2HP (01-289-5443)http://www.meridian-trust/.org Mystic Fire Videos, P.O.
    [Show full text]