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Understanding Meaningful Cinema
[ VOLUME 5 I ISSUE 3 I JULY– SEPT 2018] E ISSN 2348 –1269, PRINT ISSN 2349-5138 Understanding Meaningful Cinema Dr. Debarati Dhar Assistant Professor, Vivekananda School of Journalism and Mass Communication Vivekananda Institute of Professional Studies, New Delhi. Received: June 23 , 2018 Accepted: August 03, 2018 Introduction: Cinephilia Cineastes say that films help the audience to reflect on the divergent cultures and justify the presence of multi-cultural, multi-ethnic audience in view of this divergence. The language of cinema continues to evolve in a living tradition and the filmmakers trace the ever-changing language of this medium from the silent era to the talkies, from the days when screen went from black and white and got colorized. Emotional appeal, subtlety in its communication and most importantly throwing a new light on the world, as we know it counted a lot to the audience. Filmmakers now work across the spectrum of media including painting, novels, theatre and opera. In the global cinema, in general, the production has become more accessible today, the qualitative aspects have sadly given way to quantity and so, films often miss emotional and spiritual richness. The world is a closer place today. Perhaps it is cinema that helps to blur the boundaries. The concept of film as a commercial art form started in fifties. The fifties and sixties are generally known as the golden period of Indian cinema not only because masterpieces were being made, but because of the popularity of the songs of that era. One of the distinctive features of Indian cinema is its narrative structure. -
Pickle● Jan 20-26, 2007 ● New Delhi ● India
From theindianentertainment.com ● Volume No: I-16 pickle● Jan 20-26, 2007 ● New Delhi ● India The animation film is directed by Singeetam Srinivasa Rao GHATOTHKACH The production work of the Rs 15-crore Gattu was done in Phillipines, UK, Singapore and India t is a special summer for Indian cinema this year. In 1957, we saw the creation of classic Telugu film Maya Bazar. Fifty years later, as part of the Golden Jubilee celebration of Maya Bazar, the magic is Ibeing recreated with animation film Ghatothkach, the latest from the Singeetam Srinivasa Rao stable (Mayuri, Aditya 369, Bhairava Dweepam, Pushpak, Son Of Alladin) and produced by Hyderabad-based Sun Animatics (Rao is the Chairman). With a mix of classic & CGI animation, the 100- minute Ghatothkach is being done in Hindi & English with voice track in five Indian lan- guages -– Telugu, Tamil, Kannada, Malayalam and Bengali. The Rs 15-crore film, cur- rently under post production (at Digiquest and other studios), is slated for release in April-May 2007. The production work of the film was done at Philippines, Singapore and United Kingdom. Owell Mina is the animation director (The Legend of the Dragon, Little Amadeus) and the story board director is Danny Mila Miles (The Legend of Zorro). “The animated film portrays the operations in Philippines and the USA. The story childhood of Ghatothkach begins when baby Ghatothkach starts showing his in modern format (You magical powers from the crib. Son of Bhim the Pandav can find Gattu in malls and Hidimbi the demon princess, magic is an inheri- The Master of and escalators). -
Contagious Disease and Commercial Cinema: a Study of Selected Films for Their Impact on Health Literacy
Global Media Journal-Indian Edition; Volume 12 Issue1; June 2020. ISSN:2249-5835 Contagious Disease and Commercial Cinema: A Study of Selected Films for Their Impact on Health Literacy Subinita Paul Assistant Professor of B.Voc in Journalism And Mass Communication University of Kalyani (www.klyuniv.ac.in) Abstract Cinema being the highest form of entertainment has rarely presented the world of infectious diseases. Even if it has, the plot has been ruined by the presence of unrealistic creatures, politicising the use of bio-weapon. Only the biographies of some famous scientists or to develop the history of great epidemics and pandemics, the infectious diseases somewhat got attention marginally. The current pandemic situation has correctly pointed out to us, that how much health literacy is lacking in both rural as well as in urban society. Therefore commercial films, being made for and accepted by anyone without barrier, how much effectively ascertain towards the health literacy on infectious disease, is a fascinating topic to research further. This paper will try to find out how much commercial films, based on viral infections and contagious diseases, actually contribute towards the health literacy and awareness of the audience. Introduction The film, being the unique type of amusement, has consistently been a mirror for the general public. There is continuously a ceaseless discussion, that whether film shows the real happenings of the general public, or it just moves the general public to think the same. As Aristotle said, that, fiction is of great philosophical interest than history. Because, “History represents things as they are, while fiction represents how they might be and ought to be”. -
'The Debt Collector' Is an Interesting, Yet Messy Showcase for Scott Adkins
13 MONDAY, FEBRUARY 11, 2019 THRILLER) NEW 1-COLD PURSUIT (15+) (ACTION/CRIME/DRAMA) NEW CITYCENTRE NARGIS FAKHRI, SACHIN JOSHI, MONA SINGH, VIVAN BHATENA LIAM NEESON, EMMY ROSSUM, LAURA DERN OASIS JUFFAIR DAILY AT: 12.30 + 6.00 + 11.30 PM DAILY AT: 10.45 AM + 1.15 + 3.45 + 6.15 + 8.45 PM + (11.15 PM 1-COLD PURSUIT (15+) (ACTION/CRIME/DRAMA) NEW THURS/FRI) 1-COLD PURSUIT (15+) (ACTION/CRIME/DRAMA) NEW LIAM NEESON, EMMY ROSSUM, LAURA DERN 7- KUMBALANGI NIGHT ( ) (MALAYALAM) NEW LIAM NEESON, EMMY ROSSUM, LAURA DERN DAILY AT: 10.30 AM + 11.30 + 1.00 + 2.00 + 3.30 + 4.30 + 6.00 + 2-THE LEGO MOVIE 2 (G) (ANIMATION/ACTION/AD- FAHADH FAASIL, SHANE NIGAM, SOUBIN SHAHIR VENTURE/COMEDY) NEW DAILY AT: 11.00 AM + 1.30 + 4.00 + 6.30 + 9.00 + 11.30 PM 7.00 + 8.30 + 9.30 + 11.00 PM + 12.00 MN + (12.30 MN + 1.00 AM FROM THURSDAY 07TH: (12.45 MN THURS/FRI) DAILY AT (VIP): 12.45 + 3.15 + 5.45 + 8.15 + 10.45 PM THURS/FRI) CHRIS PRATT, ELIZABETH BANKS, WILL ARNETT DAILY AT (VIP I): 11.00 AM + 1.30 + 4.00 + 6.30 + 9.00 + 11.30 PM 8-GLASS (PG-15) (THRILLER) DAILY AT: 11.45 AM + 2.00 + 4.15 + 6.30 + 8.45 + (11.00 PM THURS/ DAILY AT (VIP II): 12.30 + 3.00 + 5.30 + 8.00 + 10.30 PM FRI) 2-THE LEGO MOVIE 2 (G) (ANIMATION/ACTION/AD- JJAMES MCAVOY, BRUCE WILLIS, SAMUEL L. -
The Reluctant Fundamentalist
Mongrel Media Presents The Reluctant Fundamentalist A film by Mira Nair (128 min., USA, 2012) Language: English and Urdu Distribution Publicity Bonne Smith Star PR 1028 Queen Street West Tel: 416-488-4436 Toronto, Ontario, Canada, M6J 1H6 Fax: 416-488-8438 Tel: 416-516-9775 Fax: 416-516-0651 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com High res stills may be downloaded from http://www.mongrelmedia.com/press.html SYNOPSIS 2011, Lahore. At a café a Pakistani man named Changez (Riz Ahmed) tells Bobby (Liev Schreiber), an American journalist, about his experiences in the United States. Roll back ten years, and we find a younger Changez fresh from Princeton, seeking his fortune on Wall Street. The American Dream seems well within his grasp, complete with a smart and gorgeous artist girlfriend, Erica (Kate Hudson). But when the Twin Towers are attacked, a cultural divide slowly begins to crack open between Changez and Erica. Changez’s dream soon begins to slip into nightmare: he is transformed from a well-educated, upwardly mobile businessman to a scapegoat and perceived enemy. Taking us through the culturally rich and beguiling worlds of New York, Lahore and Istanbul, The Reluctant Fundamentalist is a story about conflicting ideologies where perception and suspicion have the power to determine life or death. A MULTI-LAYERED VISION “Looks can be deceiving.” Changez Khan “An Indian director making a film about a Pakistani man. That’s not an easy thing to do,” says novelist and co-screenwriter Mohsin Hamid of The Reluctant Fundamentalist, the new film from award-winning filmmaker Mira Nair, based on Hamid’s acclaimed novel of the same name. -
Exploitation, Victimhood, and Gendered Performance in Rituparno Ghosh’S Bariwali
EXPLOITATION, VICTIMHOOD, AND GENDERED PERFORMANCE IN RITUPARNO GHOSH’S BARIWALI Rohit K. Dasgupta and Tanmayee Banerjee Rituparno Ghosh (1961—2013) was a filmmaker, lyricist, and writer who first emerged on the cultural scene in Bengal as a copywriter at Response, a Kolkata-based advertising firm in the eighties. He made a mark for himself in the world of commercials, winning several awards for his company be- fore directing two documentaries for Doordarshan (India’s national public television). He moved into narrative film- making with the critically acclaimed Hirer Angti (Diamond Ring, 1992) and the National Award–winning Unishe April (19th April, 1995). He is credited with changing the experi- ence of cinema for the middle-class Bengali bhadrolok and 1 thus opening a new chapter in the history of Indian cinema. Ghosh arrived at a time when Bengali cinema was going Rituparno Ghosh. ©SangeetaDatta,2013 through a dark phase. Satyajit Ray had passed away in 1992 , leaving a vacuum. Although filmmakers such as Mrinal Ghosh, clearly influenced by Ray and Sen, addressed the Sen, Goutam Ghose, Aparna Sen, and Buddhadeb Dasgupta Bengali middle-class nostalgia for the past and made films “ ” contributed significantly to his genre of intellectual cinema, that were distinctly “Bengali” yet transcended its parochialism. they did not have much command over the commercial mar- Ghosh’s films were widely appreciated for their challenging “ ” ket. The contrived plots, melodrama, and obligatory fight narratives. His stories explored such transgressive social codes sequences of the action-packed Hindi cinema, so appealing to as incest in Utsab (Festival, 1999), marital rape in Dahan the masses, had barely anything intelligible to offer to those in (Crossfire, 1997), polyamory in Shubho Muharat (First Shot, search of a higher quality cinema. -
Analysing Structures of Patriarchy
LESSON 1 ANALYSING STRUCTURES OF PATRIARCHY Patriarchy ----- As A Concept The word patriarchy refers to any form of social power given disproportionately to men. The word patriarchy literally means the rule of the Male or Father. The structure of the patriarchy is always considered the power status of male, authority, control of the male and oppression, domination of the man, suppression, humiliation, sub-ordination and subjugation of the women. Patriarchy originated from Greek word, pater (genitive from patris, showing the root pater- meaning father and arche- meaning rule), is the anthropological term used to define the sociological condition where male members of a society tend to predominates in positions of power, the more likely it is that a male will hold that position. The term patriarchy is also used in systems of ranking male leadership in certain hierarchical churches and ussian orthodox churches. Finally, the term patriarchy is used pejoratively to describe a seemingly immobile and sclerotic political order. The term patriarchy is distinct from patrilineality and patrilocality. Patrilineal defines societies where the derivation of inheritance (financial or otherwise) originates from the father$s line% a society with matrilineal traits such as Judaism, for example, provides, that in order to be considered a Jew, a person must be born of a Jewish mother. Judaism is still considered a patriarchal society. Patrilocal defines a locus of control coming from the father$s geographic/cultural community. Most societies are predominantly patrilineal and patrilocal, but this is not a universal but patriarchal society is characteri)ed by interlocking system of sexual and generational oppression. -
Calcutta Notebook Shoummo
Frontier Vol. 44, No. 7, Aug 28 -Sept 3, 2011 Calcutta Notebook Shoummo Lastly, silence: I believe, this is the most symbolic.... (Ritwik Ghatak on sound in films) KOLKATA WAS ALWAYS well known for its discourse on cinema facilitated in no small way by film clubs or film societies. The activity levels of these clubs have ebbed of late and the reasons could be many. Digital technology has empowered film lovers to enjoy cinema within the confines of their homes along with friends and fellow film buffs. Queuing up outside Sarala Ray Memorial hall, best suited for foreign films with subtitles because of abysmal auditorium acoustics, has been passé for the past ten years in the least. It must be mentioned that at least two film societies, namely Cine Central and Eisenstein Film Club have ridden the digital crest very well and many a time these societies have screened films with the aid of digital gadgets, in better auditoriums. Kolkata film societies have also been prolific publishers and again, even if the level of activity may have ebbed, there has been an intermittent flow of film society periodicals as well as scripts of notable films and anthology of important articles. One such publication that readily comes to mind is Film Polemics by Cine Club of Calcutta. It is a collection of letters and a few articles that drew attention on the pages of Kolkata newspapers and periodicals between 1958 and 1991. Some of the articles and letters appeared in newspapers and periodicals published from elsewhere like The Times of India, Mainstream and the now defunct Illustrated Weekly of India. -
1019 View Industry Trends.Indd
view In B Ajithkumar’s Eeda (2018), Anand and Aishwarya play space in Malayalam cinema. “Feminist” has been turned a reimagined Romeo and Juliet. Their families are no Mon- into a bad word by the internet trolls of Kerala, bastardising tagues and Capulets, nor are they Sanjay Leela Bhansali’s it as “feminichi” to bestow it upon outspoken actors like Ram and Leela. Instead, Aishwarya comes from a family of Parvathy TK and Rima Kallingal. In Dileesh Pothan’s communists and Anand is from Thondimuthalum Driksakshi- a family of right-wing national- yum (2017), the town’s famous ists. The Shakespearean narra- right-wing rabble-rouser is sent tive is set against a backdrop of to the police station by his own political rivalry. Eeda minces no wife and mother, whom he dis- words and withholds no images. TRUTH misses as feminists. In this IIn Aishwarya’s home, there is a year’s smash-hit Kumbalangi framed portrait of Lenin. In a BE TOLD Nights, Bobby misbehaves with key scene, the right-wing politi- his girlfriend Baby in a theatre cal party’s chief alludes to the From taking on the right wing to and is taught a lesson on consent violent sacrifi ces that are re- outing everyday sexism, Malayalam while watching Arjun Reddy quired for their movement, near (2017). The choice of fi lm is no a picture of the current leader of cinema enters a new age of woke coincidence considering its tes- India. To the chief’s other side fi lmmaking, fi nds Aditya Shrikrishna tosterone-induced box-offi ce run are images of past RSS leaders. -
Annual-Report-2014-2015-Ministry-Of-Information-And-Broadcasting-Of-India.Pdf
Annual Report 2014-15 ANNUAL PB REPORT An Overview 1 Published by the Publications Division Ministry of Information and Broadcasting, Government of India Printed at Niyogi offset Pvt. Ltd., New Delhi 20 ANNUAL 2 REPORT An Overview 3 Ministry of Information and Broadcasting Annual Report 2014-15 ANNUAL 2 REPORT An Overview 3 45th International Film Festival of India 2014 ANNUAL 4 REPORT An Overview 5 Contents Page No. Highlights of the Year 07 1 An Overview 15 2 Role and Functions of the Ministry 19 3 New Initiatives 23 4 Activities under Information Sector 27 5 Activities under Broadcasting Sector 85 6 Activities under Films Sector 207 7 International Co-operation 255 8 Reservation for Scheduled Castes, Scheduled Tribes and other Backward Classes 259 9 Representation of Physically Disabled Persons in Service 263 10 Use of Hindi as Official Language 267 11 Women Welfare Activities 269 12 Vigilance Related Matters 271 13 Citizens’ Charter & Grievance Redressal Mechanism 273 14 Right to Information Act, 2005 Related Matters 277 15 Accounting & Internal Audit 281 16 CAG Paras (Received From 01.01.2014 To 31.02.2015) 285 17 Implementation of the Judgements/Orders of CATs 287 18 Plan Outlay 289 19 Media Unit-wise Budget 301 20 Organizational Chart of Ministry of I&B 307 21 Results-Framework Document (RFD) for Ministry of Information and Broadcasting 315 2013-2014 ANNUAL 4 REPORT An Overview 5 ANNUAL 6 REPORT Highlights of the Year 7 Highlights of the Year INFORMATION WING advertisements. Consistent efforts are being made to ● In order to facilitate Ministries/Departments in promote and propagate Swachh Bharat Mission through registering their presence on Social media by utilizing Public and Private Broadcasters extensively. -
AHMEDABAD | DELHI Page 1 of 33
MRP: ₹ 30 Weekly Current Affairs Compilations A holistic magazine for UPSC Prelims, Mains and Interview Preparation Volume 25 Special Edition - DIARY OF EVENTS 2019 (The Hindu) AHMEDABAD 204, Ratna Business Square, Opp HK College, Ashram Road, Ahmedabad - 380009 Landline: 079-484 33599 Mobile:73037 33599 Mail: [email protected] NEW DELHI 9/13, Near Bikaner Sweets, Bada Bazar Road, Old Rajinder Nagar, New Delhi - 110060 Landline: 011-405 33599 Mobile: 93197 33599 Mail: [email protected] www.civilsias.com AHMEDABAD | DELHI Page 1 of 33 COURSES conducted by CIVIL’S IAS 1. GS FOUNDATION [PRELIMS cum MAINS] a. LECTURE - 15 hours / week: 10 hours (Static Subjects) + 5 hours (Current Affairs) b. All NCERTs / Reference Books / Materials will be provided from academy free of cost. c. Weekly MCQs and ANSWER WRITING Tests d. 24 x 7 AC Library facilities e. Weekly Performance Report of students. f. Revision Lecture before Prelims and Mains exam g. Personal mentorship to students 2. CURRENT AFFAIRS Module [PRELIMS cum MAINS] a. Current Affairs lecture - 5 hours / week b. Weekly Current Affairs compilations and Monthly Yojana Magazine will be provided from academy free of cost. c. MCQs and ANSWER WRITING Tests based on Current Affairs d. 24 x 7 AC Library facilities e. Revision Lecture before Prelims and Mains exam 3. DAILY MAINS ANSWER WRITING (Online / Offline) a. Total 16 Questions and 1 Essay per Week b. Model Answers / Essay will be provided to students c. Evaluation by Faculty only d. One to one interaction with students 4. NCERT based TEST SERIES (Online / Offline) a. MCQs and Answer Writing tests based on NCERT 6 - 12th Standards 5. -
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.