DOCSLIB.ORG

Virgin Country

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Virgin Country indiascope LOCOMOTIF S. PRASANNARAJAN SEEDHI BAAT ON AAJ TAK Virgin Country “Nudity in films makes me feel very sad” ACTOR AND RAJYA SABHA MEMBER HEMA MALINI SPOKE Welcome to the sovereign republic of to Editor PRABHU CHAWLA about politics, films and family. Tamil Nadu, morally protected by the Q. How do you manage to look so young? chastity belt, where the newest martyr on A. Secrets should never be disclosed. But I can tell you the stake is the sinner who sang the virtues that it is due to yoga and dance. of temptation. She, the diva of deviance, Q. Is dance still your first love? has corrupted the virgin country with her A. I came into films because of dance. After some time I carnal rhapsodies and ignited the basest instincts of the left films and after a 20 years’ gap worked again in Baghban. young and the pure. Let the scarlet letter of cultural Q. What was the response to Baghban? adultery shine on her, a burning reminder to potential A. Very good. A lot of old people said they fell in love with sexual arsonists and other depraved dregs of a society their spouses all over again after seeing the film. draped in kancheevaram morality. How could she, the Q. Tamil filmmakers say you are through with films. once indulged—and adored—screen goddess, spout A. Whatever they say is their assessment. If they had not such groin-stirring gospels … how could she, the one rejected me then, I would not have been here. who was deified in lifetime by the star-starved, de-san- Q. What did you learn from your first film? ctify herself in such a brazen fashion? It all sounds A. When the Tamil film industry rejected me, I took familiarly absurd. And Khushboo’s Mary Magdalene Sapno Ka Saudagar as a challenge. I worked very hard. moment magnifies the social hypocrisy and the impo- Later I worked with many big directors like Lekh Tandon, tence of dissent—and a lot more. This morality play, in Vijay Anand and Subodh Mukherjee. which the Temptress Outcast is pitted against the Vir- Q. I understand your mother was very strict with you. ginity Police with a voyeuristic and wishy-washy audi- A. I think every artist ence in rapt submission, is being staged in a place where should have a guardian on passion is overabundant in public space, and where the the shooting spot. aesthetic of the political class is kitsch, and where vul- Q. Half the heroes of garity begins in the movie hall, which also happens to be the film industry then a kind of incubator for salvation were after you. Why did politics of dark-glasses-and-fur- you choose Dharmendra? cap vintage. Khushboo, a brave A. I married him be- woman with a mind not confis- cause I liked him the most. cated, shattered the idyll, and the Q. What made you join truth revealed was naked. the BJP? In retrospect, Khushboo did A. Its leaders and its not get one endorsement she de- ideology. served, and she deserved it all the Q. Why are you not more because witch-hunters, aggressive in politics like armed with brooms, were on the Sholey’s Basanti? YASBANT NEGI street. It should have come from SAURABH SINGH A. I am a fresher in politics. I want to use my popularity J. Jayalalithaa, erstwhile victim, inspiring survivor and to take up issues like female foeticide. currently the empress. Behind her cardboard-size Q. Are you Sita or Gita in politics? mythology lies an old story of denial, struggle and tri- A. I think a politician should have a little bit of both. umph. She was the “other woman” who was almost Q. Which film actor do you like the most? thrown out of her mentor’s cortège. In the beginning A. There are many: Amitabh Bachchan, Shatrughan there was poignancy in her tale; she was the wronged Sinha, Shashi Kapoor, Rajesh Khanna, Dev Anandji .... I am woman who refused to give in. A word of solidarity from very lucky to have worked with them. her would have made a big, redeeming difference. More Q. What do you think about nudity in present films? than a sister act, it would have been a political gesture A. I feel very sad. Everything is changing with the time. as daring as the essential Jayalalithaa. As a wimpish Q. What is your dream? fraternity and a cowardly commentariat abandoned an A. My dream is about (my daughter) Esha. I hope she actor for her 600-word heresy, and as the politics of would get good films and make a big name. My daughter pseudo-morality in its desperation made the endan- Aahna also wants to work in films. I also want two hand- gered Tamil chastity an inflammatory item, Jayalalithaa some sons-in law. could have once more played the woman who killed the Seedhi Baat is telecast on Aaj Tak at 9.30 p.m. stereotype. It is not social conservatism but the pornog- every Sunday and 10.30 a.m. every Monday raphy of morality politics that has put Khushboo on a Full text of the interview at: show trial. Rebels are alone only in the beginning. 18 INDIA TODAY ◆ DECEMBER 12, 2005.
Load more

Recommended publications
  • Part 05.Indd
    PART MISCELLANEOUS 5 TOPICS Awards and Honours Y NATIONAL AWARDS NATIONAL COMMUNAL Mohd. Hanif Khan Shastri and the HARMONY AWARDS 2009 Center for Human Rights and Social (announced in January 2010) Welfare, Rajasthan MOORTI DEVI AWARD Union law Minister Verrappa Moily KOYA NATIONAL JOURNALISM A G Noorani and NDTV Group AWARD 2009 Editor Barkha Dutt. LAL BAHADUR SHASTRI Sunil Mittal AWARD 2009 KALINGA PRIZE (UNESCO’S) Renowned scientist Yash Pal jointly with Prof Trinh Xuan Thuan of Vietnam RAJIV GANDHI NATIONAL GAIL (India) for the large scale QUALITY AWARD manufacturing industries category OLOF PLAME PRIZE 2009 Carsten Jensen NAYUDAMMA AWARD 2009 V. K. Saraswat MALCOLM ADISESHIAH Dr C.P. Chandrasekhar of Centre AWARD 2009 for Economic Studies and Planning, School of Social Sciences, Jawaharlal Nehru University, New Delhi. INDU SHARMA KATHA SAMMAN Mr Mohan Rana and Mr Bhagwan AWARD 2009 Dass Morwal PHALKE RATAN AWARD 2009 Actor Manoj Kumar SHANTI SWARUP BHATNAGAR Charusita Chakravarti – IIT Delhi, AWARDS 2008-2009 Santosh G. Honavar – L.V. Prasad Eye Institute; S.K. Satheesh –Indian Institute of Science; Amitabh Joshi and Bhaskar Shah – Biological Science; Giridhar Madras and Jayant Ramaswamy Harsita – Eengineering Science; R. Gopakumar and A. Dhar- Physical Science; Narayanswamy Jayraman – Chemical Science, and Verapally Suresh – Mathematical Science. NATIONAL MINORITY RIGHTS MM Tirmizi, advocate – Gujarat AWARD 2009 High Court 55th Filmfare Awards Best Actor (Male) Amitabh Bachchan–Paa; (Female) Vidya Balan–Paa Best Film 3 Idiots; Best Director Rajkumar Hirani–3 Idiots; Best Story Abhijat Joshi, Rajkumar Hirani–3 Idiots Best Actor in a Supporting Role (Male) Boman Irani–3 Idiots; (Female) Kalki Koechlin–Dev D Best Screenplay Rajkumar Hirani, Vidhu Vinod Chopra, Abhijat Joshi–3 Idiots; Best Choreography Bosco-Caesar–Chor Bazaari Love Aaj Kal Best Dialogue Rajkumar Hirani, Vidhu Vinod Chopra–3 idiots Best Cinematography Rajeev Rai–Dev D Life- time Achievement Award Shashi Kapoor–Khayyam R D Burman Music Award Amit Tivedi.
    [Show full text]
  • Sync Sound and Indian Cinema | Upperstall.Com 29/02/12 2:30 PM
    Sync Sound and Indian Cinema | Upperstall.Com 29/02/12 2:30 PM Open Feedback Dialog About : Wallpapers Newsletter Sign Up 8226 films, 13750 profiles, and counting FOLLOW US ON RECENT Sync Sound and Indian Cinema Tere Naal Love Ho Gaya The lead pair of the film, in their real life, went in the The recent success of the film Lagaan has brought the question of Sync Sound to the fore. Sync Sound or Synchronous opposite direction as Sound, as the name suggests, is a highly precise and skilled recording technique in which the artist's original dialogues compared to the pair of the are used and eliminates the tedious process of 'dubbing' over these dialogues at the Post-Production Stage. The very first film this f... Indian talkie Alam Ara (1931) saw the very first use of Sync Feature Jodi Breakers Sound film in India. Since then Indian films were regularly shot I'd be willing to bet Sajid Khan's modest personality and in Sync Sound till the 60's with the silent Mitchell Camera, until cinematic sense on the fact the arrival of the Arri 2C, a noisy but more practical camera that the makers of this 'new particularly for outdoor shoots. The 1960s were the age of age B... Colour, Kashmir, Bouffants, Shammi Kapoor and Sadhana Ekk Deewana Tha and most films were shot outdoors against the scenic beauty As I write this, I learn that there are TWO versions of this of Kashmir and other Hill Stations. It made sense to shoot with film releasing on Friday.
    [Show full text]
  • Has the Advent of Social Media Ended the Culture of Superstardom in Bollywood?
    IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 22, Issue 11, Ver. 8 (November. 2017) PP 43-44 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org Has the advent of social media ended the culture of superstardom in Bollywood? Urvi Parikh1 Ravindra Katyayan2 1Research Scholar, JJT University, Vidyanagari, Jhunjhunu, Rajasthan – 333001 2Research Guide, JJT University, Vidyanagari, Jhunjhunu, Rajasthan – 333001 [[email protected]]. Abstract: Superstar as a term is synonymous with Bollywood. The glamorous world of Bollywood has witnessed the rise of several stars, making a mark with their talent, charm and charisma. While some manage to swoon the audience over their looks, there are some who sweep them off their feet and are tagged as the Superstars of Bollywood! From Dilip Kumar to Shah Rukh Khan, B-town has many names in this list of superstars. But lately, we only have stars. The culture of superstar has become redundant. Reason? May be the advent of social media. With easy accessibility and direct contact with a star over social media has brought down the curiosity that once existed around the film stars. The kind of stardom that has been enjoyed by the likes of Rajesh Khanna, Dilip Kumar, Amitabh Bachchan, Shah Rukh Khan, Salman Khan, Aamir Khan, Akshay Kumar and Ajay Devgn, is missing with the actors of the newer generation. Keywords: Bollywood, Social Media, Shah Rukh Khan, Amitabh Bachchan, Salman Khan, Superstars of Bollywood, Twitter ----------------------------------------------------------------------------------------------------------------------------- ---------- Date of Submission: 09-11-2017 Date of acceptance: 23-11-2017 ----------------------------------------------------------------------------------------------------------------------------- ---------- I. INTRODUCTION Indian cinema has completed a century since the first film was made by Dadasaheb Phalke back in 1917.
    [Show full text]
  • LIST of ORDINARY MEMBERS S.No
    LIST OF ORDINARY MEMBERS S.No. MemNo MName Address City_Location State PIN PhoneMob F - 42 , PREET VIHAR 1 A000010 VISHWA NATH AGGARWAL VIKAS MARG DELHI 110092 98100117950 2 A000032 AKASH LAL 1196, Sector-A, Pocket-B, VASANT KUNJ NEW DELHI 110070 9350872150 3 A000063 SATYA PARKASH ARORA 43, SIDDHARTA ENCLAVE MAHARANI BAGH NEW DELHI 110014 9810805137 4 A000066 AKHTIARI LAL S-435 FIRST FLOOR G K-II NEW DELHI 110048 9811046862 5 A000082 P.N. ARORA W-71 GREATER KAILASH-II NEW DELHI 110048 9810045651 6 A000088 RAMESH C. ANAND ANAND BHAWAN 5/20 WEST PATEL NAGAR NEW DELHI 110008 9811031076 7 A000098 PRAMOD ARORA A-12/2, 2ND FLOOR, RANA PRATAP BAGH DELHI 110007 9810015876 8 A000101 AMRIK SINGH A-99, BEHIND LAXMI BAI COLLEGE ASHOK VIHAR-III NEW DELHI 110052 9811066073 9 A000102 DHAN RAJ ARORA M/S D.R. ARORA & C0, 19-A ANSARI ROAD NEW DELHI 110002 9313592494 10 A000108 TARLOK SINGH ANAND C-21, SOUTH EXTENSION, PART II NEW DELHI 110049 9811093380 11 A000112 NARINDERJIT SINGH ANAND WZ-111 A, IInd FLOOR,GALI NO. 5 SHIV NAGAR NEW DELHI 110058 9899829719 12 A000118 VIJAY KUMAR AGGARWAL 2, CHURCH ROAD DELHI CANTONMENT NEW DELHI 110010 9818331115 13 A000122 ARUN KUMAR C-49, SECTOR-41 GAUTAM BUDH NAGAR NOIDA 201301 9873097311 14 A000123 RAMESH CHAND AGGARWAL B-306, NEW FRIENDS COLONY NEW DELHI 110025 989178293 15 A000126 ARVIND KISHORE 86 GOLF LINKS NEW DELHI 110003 9810418755 16 A000127 BHARAT KUMR AHLUWALIA B-136 SWASTHYA VIHAR, VIKAS MARG DELHI 110092 9818830138 17 A000132 MONA AGGARWAL 2 - CHURCH ROAD, DELHI CANTONMENT NEW DELHI 110010 9818331115 18 A000133 SUSHIL KUMAR AJMANI F-76 KIRTI NAGAR NEW DELHI 110015 9810128527 19 A000140 PRADIP KUMAR AGGARWAL DISCO COMPOUND, G.T.
    [Show full text]
  • IEPF Suspense A/C – Shares Due to Be Transferred
    LAKSHMI ELECTRICAL CONTROL SYSTEMS LIMITED LIST OF SHAREHOLDERS NOT CLAIMED DIVIDEND DURING LAST 7 YEARS AND DETAILS OF RELATED SHARES TO BE TRANSFERRED BY THE COMPANY TO IEPF SUSPENSE ACCOUNT SLNO FOLIO/DEMAT ID NAME DIV09 DIV10 DIV11 DIV12 DIV13 DIV14 DIV15 VALID SHARES 1 00009 PRADEEP NAGINDAS CHRISTIAN 133.00 159.00 239.00 265.00 106.00 265.00 371.00 53 2 00032 KALPANA 258.00 309.00 464.00 515.00 206.00 515.00 721.00 103 3 00044 MURUGAPPAN 8.00 9.00 14.00 15.00 6.00 15.00 21.00 3 4 00049 SANJAY RANCHHODBHAI PATEL 500.00 600.00 900.00 1000.00 400.00 1000.00 1400.00 200 5 00067 DAXA CAPITAL MARKET & CONSULTANCY P LTD 15.00 18.00 27.00 30.00 12.00 30.00 42.00 6 6 00101 RITA KATIRA 15.00 18.00 27.00 30.00 12.00 30.00 42.00 6 7 00102 SUBHASH KATIRA 15.00 18.00 27.00 30.00 12.00 30.00 42.00 6 8 00114 SRINIVASAN 15.00 18.00 27.00 30.00 12.00 30.00 42.00 6 9 00129 CHOCKALINGAM 15.00 18.00 27.00 30.00 12.00 30.00 42.00 6 10 00222 HAROON 250.00 300.00 450.00 500.00 200.00 500.00 700.00 100 11 00227 MADHU KRISHNA KARKERA 15.00 18.00 27.00 30.00 12.00 30.00 42.00 6 12 00230 CHARI 125.00 150.00 225.00 250.00 100.00 250.00 350.00 50 13 00294 ESOOF ESMAIL BADAT 8.00 9.00 14.00 15.00 6.00 15.00 21.00 3 14 00310 BHAIRAVAN 515.00 618.00 927.00 1030.00 412.00 1030.00 1442.00 206 15 00407 PRAKASH SHARMA 5.00 6.00 9.00 10.00 4.00 10.00 14.00 2 16 00514 SURYA PRABHA AHUJA 8.00 9.00 14.00 15.00 6.00 15.00 21.00 3 17 00618 SANJEEV KUMAR JOSHI 8.00 9.00 14.00 15.00 6.00 15.00 21.00 3 18 00742 SURESH KUMAR BHAIYA 5.00 6.00 9.00 10.00 4.00 10.00 14.00 2 19 00759
    [Show full text]
  • Responses to 100 Best Acts Post-2009-10-11 (For Reference)
    Bobbytalkscinema.Com Responses/ Comments on “100 Best Performances of Hindi Cinema” in the year 2009-10-11. submitted on 13 October 2009 bollywooddeewana bollywooddeewana.blogspot.com/ I can't help but feel you left out some important people, how about Manoj Kumar in Upkar or Shaheed (i haven't seen that) but he always made strong nationalistic movies rather than Sunny in Deol in Damini Meenakshi Sheshadri's performance in that film was great too, such a pity she didn't even earn a filmfare nomination for her performance, its said to be the reason on why she quit acting Also you left out Shammi Kappor (Junglee, Teesri MANZIL ETC), shammi oozed total energy and is one of my favourite actors from 60's bollywood Rati Agnihotri in Ek duuje ke Liye Mala Sinha in Aankhen Suchitra Sen in Aandhi Sanjeev Kumar in Aandhi Ashok Kumar in Mahal Mumtaz in Khilona Reena Roy in Nagin/aasha Sharmila in Aradhana Rajendra Kuamr in Kanoon Time wouldn't permit me to list all the other memorable ones, which is why i can never make a list like this bobbysing submitted on 13 October 2009 Hi, As I mentioned in my post, you are right that I may have missed out many important acts. And yes, I admit that out of the many names mentioned, some of them surely deserve a place among the best. So I have made some changes in the list as per your valuable suggestion. Manoj Kumar in Shaheed (Now Inlcuded in the Main 100) Meenakshi Sheshadri in Damini (Now Included in the Main 100) Shammi Kapoor in Teesri Manzil (Now Included in the Main 100) Sanjeev Kumar in Aandhi (Now Included in Worth Mentioning Performances) Sharmila Togore in Aradhana (Now Included in Worth Mentioning Performances) Sunny Deol in Damini (Shifted to More Worth Mentioning Performances) Mehmood in Pyar Kiye Ja (Shifted to More Worth Mentioning Performances) Nagarjun in Shiva (Shifted to More Worth Mentioning Performances) I hope you will approve the changes made as per your suggestions.
    [Show full text]
  • 21 Aug Page 07.Qxd
    SWAPNIL SANSAR, ENGLISH WEEKLY,LUCKNOW, 28,MARCH, (07) Tragedy Queen of Indian Cinema Contd.From Page no.06 the film's music and lyrics were by Roshan and Sahir to August, Meena Kumari was in the hands of Dr. Sheila Sherlock.Upon Ludhianvi and noted for songs such as "Sansaar Se Bhaage Phirte Ho" and recovery, Meena Kumari returned to India in September 1968 and on the fifth "Mann Re Tu Kaahe". Ghazal directed by Ved-Madan, starring Meena Kumari day after her arrival, Meena Kumari, contrary to doctors' instructionsAAfter their and Sunil Dutt, was a Muslim social film about the right of the young generation marriage, Kamal Amrohi allowed Meena Kumari to continue her actiresumed to the marriage of their choice. It had music by Madan Mohan with lyrics by work. Suffering from cirrhosis of the liver, although Meena Kumari temporarily Sahir Ludhianvi, featuring notable filmi-ghazals such as "Rang Aur Noor Ki recovered but was now much weak and thin. She eventually shifted her focus Baraat", performed by Mohammed Rafi and "Naghma O Sher Ki Saugaat" on more 'acting oriented' or character roles. Out of her last six releases namely performed by Lata Mangeshkar. Main Bhi Ladki Hoon was directed by A. C. Jawab, Saat Phere, Mere Apne, Dushman, Pakeezah & Gomti Ke Kinare, she Tirulokchandar. The film stars Meena Kumari with newcomer Dharmendra. only had a lead role in Pakeezah. In Mere Apne and Gomti Ke Kinare, although Critical acclaim (1962) Sahib Bibi Aur she didn't play a typical heroine role, but her character was actually the central Ghulam (1962) character of the story.
    [Show full text]
  • Cherubic Baby
    The time evolution of iconographic conventions in the public sphere is a fascinating thing. Of course it is obvious that a more relevant sphere of enquiry is the origin of specific iconographic patterns and their semiotic significance. But that is something for the semioticians and culture theorists of the popular to decipher. I am instead fascinated by how these conventions evolve-why some things don’t change while others change radically in a fairly short time frame? Anyone passing through a small town in North India can’t help notice the proliferation of fruit juice sellers. I am not talking about the seasonal sugarcane juice sellers but instead fixed shops which run through the year. These establishments, which came into being in a big way in the late seventies-early eighties, were aided by two technological developments-one, the introduction of the “mixie” at affordable prices and second the availability of fruits and vegetables from distant parts of the country because of the transport revolution. The mixie, in reality a pseudo food processor became common as a kitchen appliance only when relatively cheap local clones began to be sold. The fruit juice seller would sell mango milk shakes and some other juices during the summers, “mausami” juice through the year (since this has an almost totemic hold on our psyche as “the” health drink) and carrot and pomegranate juice in the winters. It is important to realize that until the introduction of packaged fruit juices, juice was considered a relative luxury-one had seasonal fruit at home but juice was something for the ailing (anyone would recall the cluster of fruit juice sellers outside of hospitals- and papaya vendors of course!).
    [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]
  • Bromance in Bollywood: Is It Dismantling Homohysteria and Homophobia?
    Global Media Journal-Indian Edition; Volume 12 Issue1; June 2020. ISSN:2249-5835 Bromance in Bollywood: Is it dismantling homohysteria and homophobia? Mausumi Bhattacharyya, Ph.D. Associate Professor Centre for Journalism & Mass Communication Visva-Bharati University, Santiniketan - 731235, India & Indian Council of Social Science Research (ICSSR) Post-Doctoral Fellow (June 2017- May 2019) at Jamia Millia Islamia University, New Delhi Abstract Traditionally Hindi films produced by Bollywood are not known to have taken an empathetic view of the plight of India’s queer community. Projecting them as subjects of mockery, as aberrations and villainous have been the predominated approach of filmmakers. Given the power of the medium, such thoughts have percolated and influenced outlook of majority towards the gender minority. Yet there have been the odd films which contrast this oft adopted approach of Bollywood filmmakers. Though gender scholars have engaged in homoerotic reading of such films and unearthed underlying homosexual subtexts, feasibility of a different discourse about such films stands strong. By analysing films like Silsila, Dosti, Sholay, Dil Chahta Hai, Zindegi Na Milegi Dobara and Rang De Basanti this article relooks at tenability of homoerotic subtexts of these films. Specifically employing the theoretical framework of bromance, a form of homosocial bonding between individuals of the same sex, this article counters the conclusion of scholars about blurring of homosociality and homoeroticism in respect to characters portrayed in the selected films. This article argues that bromance films, made during the 20th century and thus far in 21st century, attempts to dismantle homohysteria and homophobia. Intentions of such filmmakers were to sensitize viewers about romantic same- sex bonding, not necessarily falling within the purview of sexual attraction or homosexuality.
    [Show full text]
  • National Conference
    I.T.S. Engineering College & COMMUNE Jointly announce COMMUNE CACCS 2012 “COMMUNE Conference on Advancements in Communication & Computing Systems” (March 24-25, 2012) Visit us at: www.thecommune.info, E-Mail us at: [email protected] Venue: I.T.S. Engineering College, Knowledge Park III, Gr. Noida COMMUNE - The technical society founded in 2007 by I.T.S Group of Institutions started in the year 1995 with a academicians, researchers and practicing engineers, steps single campus at Mohan Nagar, Ghaziabad and then had spread ahead with its key objective of enhancing the research its wings to create the second campus in the year 2000 at capabilities in India by stimulating a highly interactive Muradnagar and two more campuses at Gr. Noida in the year environment through its platform to exchange the state-of-art 2006. The Group now has 8 institutions, more than 700 full technologies and amalgamating the highly technical expertise time faculty members and 8000 strong students fraternity. from the academia and industry. COMMUNE team has been formulated concentrating on the I.T.S Engineering College, a part of I.T.S Group of Institutions inclusion of professionals from the academia as well as came into functioning in 2006 at Knowledge Park, Gr. Noida. industry. Online infrastructure has been framed for managing Presently, this college is running B.Tech. programme in various events such as conferences/seminars/workshops Computer Science & Engg., Electronics & Communication considering the online submission of papers, thorough review Engg., Electrical & Electronics Engg., Mechanical Engg. and processes, publications and pre and post event communication Information Technology.
    [Show full text]
  • Your Gateway to the Film Industry
    MIT SCHOOL OF FILM & TELEVISION at Raj Kapoor Memorial, Pune MITSFT - your Gateway to the Film Industry www.mitsft.in PDF compression, OCR, web optimization using a watermarked evaluation copy of CVISION PDFCompressor VISION MIT School of Film and Television, MIT School of Film and Television, Rajbaug, Pune is committed to providing Rajbaug, Pune envisages a 'niche position' advanced training and thus nurturing for Indian films, film m‘ akers and ‘ knowledge-driven visionary filmmakers ‘ ‘ technicians in the world of cinema, where who will have great potential and creative they will be considered as a benchmark of SION abilities and who will make the finest films quality all across the globe. in world cinema, while exhibiting their talent in all departments of film making. MIS 1) RajbaugCONTENTS – The Garden of The King...........................................................................................................04 16) Art Direction and Production Design...........................................................................................................30 2) Raj Kapoor Memorial...............................................................................................................................07 17) Television Production.................................................................................................................................32 3) Raj Kapoor – The Legend, The Man..........................................................................................................08 18) Admission Procedure................................................................................................................................33
    [Show full text]