DOCSLIB.ORG

DPEP Kera(A a Retrospect Mlillllld12796

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
DPEP Kera(A a Retrospect Mlillllld12796 DPEP Kera(a A Retrospect NIEPA DC MlilllllD12796 DISTRICT PRIMARY EDUCATION PROGRAMME (DPEP), KERALA 1994-2003 I Sri. K. Sureshkumar, I.A.S 30-03-1995 to 23-07-1998 Sri. K. Jayakumar, I.A.S (in full additional charge) 23-07-1998 to 20-10-19S3 Sri. Edwin Khulbushan Majhi, I.A.S 20-10-1998 to 22-11-1999 Sri. P.H. Kurian. I.A'.S 22-11 -1999 to 20-05-2001 Sri. V.P. Joy, I.A.S (in full additional charge) 21-05-2001 to 17-06-2001 Sri. P. Arjunan, I.A.S 18-06-2001 to 10-06-2002 Sri. S. Sukumaran, I.A.S 10-06-2002 to 30-06-2003 ’ ^ C l t u ' t 'if Kd JC*1 iui>< r 1 i^Ukumj .m*' w.-I:. U> * *1. I t7-B. S* t *> ■ ise. “Z?j education I mean an alround drawing out of the best in child and man- body, mind and spirit”. Mahatma Gandhi A.K.ANTONY CHIEF MINISTER, KERALA MESSAGE lam happy to know that the State Project Directorate of DPEP, Kerala has prepared a State level documentation of all activities undertaken during the project period. I hope that the outcomes of the project may be beneficial for the general public and the educational community. I Wish all success to this venture A.K. ANTONY OFFICE : 327560 327130 PHONE ■] 518610 RES : 328214 329317 minister-education @ kerala.gov. in NALAKATHU SOOPPY THIRUVANANTHAPURAM MINISTER FOR EDUCATION 30-06-2003 MESSAGE DPEP project came to a close by 30,h June 2003. A state level documentation report prepared by the State Project Directorate of DPEP Kerala is appreciable. The beneficial outcomes of the project may be sustained in Sarva Shiksha Abhiyan. I wish all success to this attempt. ADV. NALAKATH SOOPPY P. MARA PANDIYAN, IAS Secretary to Government /President PEDSK General Education Department, Govt, of Kerala MESSAGE The Centrally sponsored DPEP project aimed at universalization of Primary and quality education in a mission mode. The DPEP Project has come to an end on 30th of June 2003. I am happy to know that a comprehensive report has been prepared by the State Project Directorate to show the achievements during the period from 1994 to 2003. I wish all success to this endeavour. P. MARA PANDIYAN, IAS Foreword District Primary Education Programme (DPEP) came to a close by 30th of June 2003 leaving lasting imprints in the education scenario of Kerala with hectic activities touching almost all areas of primary education. The DPEP had been implemented in six out of the 14 districts of Kerala; the first phase introduced in three districts viz. Kasargod, Wayanad and Malappuram in 1994 and the second phase in the remaining three districts of Palakkad, Idukki and Thiruvananthapuram in the year 1997. The DPEP was a Centrally sponsored programme which aimed at comprehensive development of primary education in the State. It may be recalled that no topic has been so hotly and widely discussed as of DPEP in the recent past of the State. Notwithstanding criticisms and oppositions, DPEP interventions both in horizontal and vertical dimensions yielded results in a number of directions. The serious debates that Kerala witnessed on the new pedagogic and curricular initiatives of DPEP can be seen as ample testimony to their overall impact. Terms such as ‘experientialpedagogy’ and ‘activity-based classroom' have gained currency among teachers, parents and educationists genuinely concerned for the child. Despite criticisms by certain self serving educationists, turning back of a small section of teachers who were reluctant to deviate from the age-old teaching methods, the orchestrated propaganda hype created by publishers of school guides and other vested interests, lack of unified syllabus and blind political opposition, DPEP Kerala made definite forward strides and clearly have raised the level ofprofessional discourse in the area. The profile of our primary classroom has changed radically from what it had been a decade ago. The new pedagogic initiatives have kindled the intrinsic inquisitiveness in children, helped them in waking up their thought faculty and helped self-learning, helped them to compare and evaluate matters and materials, helped to find openings for their creative urges, helped them to observe and love nature, and above all made them capable of interacting freely with teachers, peer group and even to strangers. The new curriculum and text books made it necessary to reassess the learning process in the classroom. Teacher’s knowledge base about the children and how they learn, his/her strength and weakness for arranging the learning experiences including a substantially changed attitude towards children provided the main inputs for this change. The training programmes were designed to equip teachers to transform the classroom to one where the child is no longer a passive recipiemt, but a thinker and a doer; actively involved in the learning process, mentally as well as physically. In adhering to the widely accepted learning steps of acquiring knowledge, understanding, application, analysis, synthesis and evaluation related to students, the teacher had to shift her own role from that of an authoritarian expositor to that of a friend, facilitator and guide. The teachers realised that the objectives of visualising the potentialities embedded in the problem does not come easily if we expect knowledge always to come in packed forms from external sources. Every problem can also be seen as a minefield of solutions. DPEP has presented many such challenges. Many ordinary teachers have made improvisations, conducted action researches and have already done• a lot of valuable mining. Micro level studies have revealed that there were still children in Kerala who have not seen the door of school in life in certain remote areas especially in tribal and coastal regions. DPEP endeavored to provide access for all children according to national norms. Its efforts were fructified in retention of these children and mainstreaming them in formal school. The National Policy on Education envisions education as an effective tool of women’s equality and empowerment. DPEP, Kerala had taken up sensitisation programme for elimination of gender bias. Though Kerala is highly placed in girls’ education and women’s literacy compared to other parts of India, it still leave scope for attainment and equality with male literacy and boys ’ education. Retention of girls in higher classes was still a problem and DPEP made multi-pronged efforts in this area. Awareness creation for community, introduction of volunteers in tribal and coastal belts for persuing parents for enrollment and retention of girl children, incentives for girls, sensitisation packages and module development for teacher training programme were some of the actions resorted to in this direction. Early Childhood Care and Education, caring and efforts for mainstreaming children with special needs were also areas where concerted efforts made by DPEP. Strengthening of institutions and development of infrastructure for our primary schools was foremost among many visible contributions of DPEP. Civil Works carried out could give a face-lift to the state’s primary schools which hitherto remained in a dilapidated condition. New school buildings, replacement of thatched sheds, additional class rooms, separation walls for classrooms, compound walls for schools, provision for drinking water, toilet facilities, electrification etc. have made an ocean of difference in the school environment. Development activities in this area had been done without leakage of fund and with utmost transparency in expenditure and execution. The increased public participation and community mobilistaion in this area could generate invaluable assets by way of manpower and local resources that add up to the DPEP spending. Institutional development like construction of Block Resource Centres, Cluster Resource Centres, Activity Centres, Pedagogy Parks, Multi Grade Learning Centres merit mention as lasting contributions by DPEP. Linkages with various institutions and convergence activities have resulted immense resource mobilization in almost all areas related to primary education. DPEP could develop a sense of belonging towards school among the community, sowing the seed in them that the ultimate ownership of school is with the community. Departments like Health, Forest, Local Self Government, Ministry of Human Resources Development, Ed.CIL, Indira Gandhi National Open University (IGNOU) have extended tremendous help in the activities of DPEP, Kerala. The print, electronic materials and the interactive website and teleconferencing infrastructure developed by Distance Education and Media Units merit mention in this context. Undoubtedly the achievement so far made is not one to be rubbished off by any one. Given everything said and done, what remains to do is enormous, considering the vastness of the problem. DPEP has become part of history by June 2003. It is time to look at the half-full glass; even if the water is a bit muddy. Let us aspire for its fulfillment in Sarva Shiksha Abhiyan (SSA). S. Sukumaran, IAS State Project Director CONTENTS Page Nos. State Profile..................................................................................... 15-24 DPEP At A Glance.........................................................................25-28 Alternative Schooling.....................................................................29-66 Civil Works.......................................................................................67-92 Community Mobilisation............................................................. 93-120 Distance Education Programme...............................................121-136
Load more

Recommended publications
  • University of Calicut Board of Studies (Ug) In
    [Type text] UNIVERSITY OF CALICUT BOARD OF STUDIES (UG) IN JOURNALISM Restructured Curriculum and Syllabi as per CBCSSUG Regulations 2019 (2019 Admission Onwards) PART I B.A. Journalism and Mass Communication PART II Complementary Courses in 1. Journalism, 2. Electronic Media 3. Mass Communication (for BA West Asian Studies) 4. Complementary Courses in Media Practices for B.A LRP Programmes in Visual Communication, Multimedia, and Film and Television for Non-Journalism UG Programmes [Type text] GENERAL SCHEME OF THE PROGRAMME Sl No Course No of Courses Credits 1 Common Courses (English) 6 22 2 Common Courses (Additional Language) 4 16 3 Core Courses 15 61 4 Project (Linked to Core Courses) 1 2 5 Complementary Courses 2 16 6 Open Courses 1 3 Total 120 Audit course 4 16 Extra Credit Course 1 4 Total 140 [Type text] PART I B.A. JOURNALISM AND MASS COMMUNICATION Distribution of Courses A - Common Courses B - Core Courses C - Complementary Courses D - Open Courses Ability Enhancement Course/Audit Course Extra Credit Activities [Type text] A. Common Courses Sl. No. Code Title Semester 1 A01 Common English Course I I 2 A02 Common English Course II I 3 A03 Common English Course III II 4 A04 Common English Course IV II 5 A05 Common English Course V III 6 A06 Common English Course VI IV 7 A07 Additional language Course I I 8 A08 Additional language Course II II 9 A09 Additional language Course III III 10 A10 Additional language Course IV IV Total Credit 38 [Type text] B. Core Courses Sl. No. Code Title Contact hrs Credit Semester 11 JOU1B01 Fundamentals
    [Show full text]
  • U.O.No. 5868/2017/Admn Dated, Calicut University.P.O, 10.05.2017
    File Ref.No.26046/GA - IV - E - SO/2016/Admn UNIVERSITY OF CALICUT Abstract Faculty of Commerce and Management studies-Revised Regulations, Scheme and Syllabus of Bachelor of Commerce(BCom) Degree Programme under CUCBCSS UG-with effect from the 2017-18 admission-implemented- orders issued. G & A - IV - E U.O.No. 5868/2017/Admn Dated, Calicut University.P.O, 10.05.2017 Read:-1.Item No..1 of the Minutes of the meeting of the Board of Studies in Commerce(UG) held on 02.02.2017. 2.Item No.2 of the Minutes of the meeting of the Faculty of Commerce and Management Studies held on 29.03.2017. ORDER As per paper read as (1) above, the meeting of the Board of Studies in Commerce (UG) held on 02.02.2017, resolved to approve and adopt the revised Regulation, Scheme and syllabus of B.Com (CUCBCSS) with effect from the academic year 2017-18. As per paper read as (2) above, the Faculty of Commerce and Management Studies approved the minutes of the Board of Studies in Commerce (UG) read as (1) above. After considering the matter in detail, the Hon'ble Vice Chancellor has accorded sanction to implement the revised Regulation, Scheme and Syllabus of B.Com (CUCBCSS) with effect from 2017-18 admission onwards, subject to ratification by the Academic Council. The following orders are therefore issued; The revised Regulation, Scheme and Syllabus of B.Com (CUCBCSS) is implemented with effect from 2017-18 admission, subject to ratification by the Academic Council. (Revised Regulation, scheme and syllabus appended) Vasudevan .K Assistant Registrar To 1.Principal of all affiliated Colleges offering B.Com programme 2.Controller of Examinations Copy to: PS to VC/PA to PVC/PA to Registrar/PA to CE/J.R, B.Com branch/Digital wing/EX & EG section/SF/DF/FC.
    [Show full text]
  • 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.
    [Show full text]
  • Newsletter of Amrita School of Arts and Sciences
    NEWS LETTER Vol. 2 May 2017 KOCHI CAMPUS AMRITA SCHOOL OF ARTS AND SCIENCES, Kochi, gives prime importance to quality teaching, academic research and development and ethical orientation. Dedicated efforts of the teaching community make this a reality. Formal research has been initiated in the areas of Medical Informatics, Data Mining, Applied Art and Media, Commerce and Management. Collaboration with K3A, KMA, and CSI enhance the learning outcome, and extramural Seminars help Dr. U. Krishnakumar Director to develop the calibre of every student. Famous for quality of service, be it in any sector, Amrita Schools have the unique distinction of an excellent support of large task force of Professionals in its mainstream. AMRITAPURI CAMPUS AMRITA SCHOOL OF ARTS AND SCIENCES, Amritapuri, offers several academics programs at undergraduate, integrated and postgraduate levels. The learning experience in the School is enriched by a team of dedicated teachers guiding the students to get the most in their academic and extra- curricular pursuits. The curriculum provides a flexible credit-based structure and continuous student evaluation to maximize learning and assimilation Dr. V. M. Nandakumaran Principal of fundamental concepts meeting the changing needs of the industry. The School also underpins development of potential to comprehend problems that demand interdisciplinary approach. MYSURU CAMPUS AMRITA SCHOOL OF ARTS AND SCIENCES, Mysuru, like all schools of Amrita University has adopted a credit based system in keeping with the best traditions of international universities. AMRITA with its best infrastructure, regularly updated curricula and syllabi in line with industry demands, along with gratifying corporate relations assures academic excellence with a global outlook.
    [Show full text]
  • Kerala History Timeline
    Kerala History Timeline AD 1805 Death of Pazhassi Raja 52 St. Thomas Mission to Kerala 1809 Kundara Proclamation of Velu Thampi 68 Jews migrated to Kerala. 1809 Velu Thampi commits suicide. 630 Huang Tsang in Kerala. 1812 Kurichiya revolt against the British. 788 Birth of Sankaracharya. 1831 First census taken in Travancore 820 Death of Sankaracharya. 1834 English education started by 825 Beginning of Malayalam Era. Swatithirunal in Travancore. 851 Sulaiman in Kerala. 1847 Rajyasamacharam the first newspaper 1292 Italiyan Traveller Marcopolo reached in Malayalam, published. Kerala. 1855 Birth of Sree Narayana Guru. 1295 Kozhikode city was established 1865 Pandarappatta Proclamation 1342-1347 African traveller Ibanbatuta reached 1891 The first Legislative Assembly in Kerala. Travancore formed. Malayali Memorial 1440 Nicholo Conti in Kerala. 1895-96 Ezhava Memorial 1498 Vascoda Gama reaches Calicut. 1904 Sreemulam Praja Sabha was established. 1504 War of Cranganore (Kodungallor) be- 1920 Gandhiji's first visit to Kerala. tween Cochin and Kozhikode. 1920-21 Malabar Rebellion. 1505 First Portuguese Viceroy De Almeda 1921 First All Kerala Congress Political reached Kochi. Meeting was held at Ottapalam, under 1510 War between the Portuguese and the the leadership of T. Prakasam. Zamorin at Kozhikode. 1924 Vaikom Satyagraha 1573 Printing Press started functioning in 1928 Death of Sree Narayana Guru. Kochi and Vypinkotta. 1930 Salt Satyagraha 1599 Udayamperoor Sunahadhos. 1931 Guruvayur Satyagraha 1616 Captain Keeling reached Kerala. 1932 Nivarthana Agitation 1663 Capture of Kochi by the Dutch. 1934 Split in the congress. Rise of the Leftists 1694 Thalassery Factory established. and Rightists. 1695 Anjengo (Anchu Thengu) Factory 1935 Sri P. Krishna Pillai and Sri.
    [Show full text]
  • Malayalam Cinema from Politics to Poetics
    Malayalam Cinema from Politics to Poetics By Gönül Dönmez-Colin Spring 2007 Issue of KINEMA MALAYALAM CINEMA FROM POLITICS TO POETICS INDIA IS the leading producer of films in the world with over 1000 films per year. The tiny south- western state of Kerala where a language called Malayalam is spoken has surpassed West Bengal as a major centre of art films. Its most important filmmaker, Adoor Gopalakrishnan is hailed as the living Satyajit Ray. Since the beginning of the 1970s, with the strong film society movement supported by the literary traditions of the state, Malayalam cinema has excelled in politically engagé films with artistic inclinations. When the Golden Age of Tamil and Telugu movies ended, Kannada and Malayalam cinemas came to the fore. Although, they too had their share of stars, the director came to be recognized as the most important person behind a film. The ”new cinema” distinguished itself from the outset for its thematic excellence. Even themediocre films initiated by the early involvement of writers and leftist theatre personalities concerned themselves with social and political issues such as tribal emancipation, illiteracy, land distribution and trade unionism. A straightforward love story would have deeper allegorical layers evoking Fredric Jameson’s hypothesis that ”all third world texts are necessarily allegorical...the story of the private individual destiny is always an allegory of the embattled situation of the public third-world culture and society.”(1) The films of John Abraham, Adoor Gopalakrishnan, Govinda Aravindan, T.V. Chandran, M. P. Sukumaran Nair, Shaji Karun and several others are testimony to this hypothesis.
    [Show full text]
  • Screening the Impossible: the Politics of Form and Feeling in Second Wave Revolutionary Cinema
    SCREENING THE IMPOSSIBLE: THE POLITICS OF FORM AND FEELING IN SECOND WAVE REVOLUTIONARY CINEMA By Sarah Hamblin A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY English 2012 ABSTRACT SCREENING THE IMPOSSIBLE: THE POLITICS OF FORM AND FEELING IN SECOND WAVE REVOLUTIONARY CINEMA By Sarah Hamblin Screening the Impossible explores how the new revolutionary ideologies that emerged in the various global articulations of the “long 1968” produced new forms of revolutionary cinematic practice – what I collectively refer to as a second wave of revolutionary filmmaking. The project focuses on films largely from the 1960s and 1970s that engage the revolutionary energies of the period to examine the relationship between emotion, aesthetics, and political theory in an international cinematic context. Drawing on the claim that the global rebellions of the 1960s mark the denunciation of early 20th century revolutionary narratives, it traces the connections between filmmakers who are similarly preoccupied with the limits, failures, and counter-revolutionary appropriations of orthodox revolutionary thought and yet remain committed to the necessity of revolutionary transformation. Through a comparative analysis of films from various national traditions, the project examines how the political cinema of this period develops a new understanding of revolutionary process and the role that cinema can play in it. At its core, the project lays out the aesthetic and affective contours of this emergent genre, arguing that second wave revolutionary cinema is characterized by its rejection of the teleological narratives and didactic political messages embedded in earlier first wave revolutionary cinematic production.
    [Show full text]
  • Rajan Kishnan.P65
    RAJAN KURAI KRISHNAN John Abraham : Cinema and the Idea of the Collective I should begin the essay on a personal note. I narrowly missed the opportunity to contribute a small amount of money to the making of the film Amma Ariyan and perhaps meet with John Abraham. In early 1986, a friend who had gone to the International Film Festival of India at Hyderabad came to Trichy, a town in central Tamil Nadu, where I was a young film society activist. I saw among the several photos and memorabilia he picked up at the festival an odd pamphlet. It was distributed by Odessa Films, asking for contributions to the making of the film Amma Ariyan. It said that the film was being made by collecting funds from the public and in turn would be screened freely in as many venues as possible. It also said that it was to be directed by John Abraham, a name made familiar by his earlier Tamil film Agraharathil Kazhuthai (1977) that I had heard of and read about. I was very excited by the idea of a film being funded by an un-instituted “collective producer”, a multitude. I told my friend that I wanted to contribute to the film and perhaps go to Kerala to meet with the people who have undertaken the venture. Unfortunately, my friend strongly discouraged me. He said that he found the group disorganised and learnt that John Abraham was a dysfunctional alcoholic. JOURNAL OF THE MOVING IMAGE 40 He was dismissive of their effort, claiming that the film would never be completed the way the people appeared to go about it.
    [Show full text]
  • History of Indian Cinema.Pdf
    CHAPTER – 2 A BRIEF HISTORY OF INDIAN CINEMA Indian films are unquestionably the most –seen movies in the world. Not just talking about the billion- strong audiences in India itself, where 12 million people are said to go to the cinema every day, but of large audiences well beyond the Indian subcontinent and the Diaspora, in such unlikely places as Russia, China, the Middle East, the Far East Egypt, Turkey and Africa. People from very different cultural and social worlds have a great love for Indian popular cinema, and many have been Hindi Films fans for over fifty years. Indian cinema is world – famous for the staggering amount of films it produces: the number is constantly on the increase, and recent sources estimate that a total output of some 800 films a year are made in different cities including Madrass , Bangalore , Calcutta and Hyderabad . Of this astonishing number, those films made in Bombay, in a seamless blend of Hindi and Urdu, have the widest distribution within India and Internationally. The two sister languages are spoken in six northern states and understood by over 500 million people on the Indian sub – continent alone – reason enough for Hindi and Urdu to be chosen above the fourteen official Indian languages to become the languages of Indian Popular cinema when sound came to the Indian Silver screen in 1931 . Silent Era – The cinematographe (from where we have the name cinema) invented by the Lumiere brothers functioned better the Kinetoscope of Edison and Dickson. The Lumiere brothers who invented the cinematographe started projection of short (very short, one to two minutes long) films for the Parsian public on November 28, 1895.
    [Show full text]
  • 12Th IDSFFK Festival Book
    FESTIVAL BOOK Organised by Kerala State Chalachitra Academy on behalf of Dept. of Cultural Affairs, Govt. of Kerala CREDITS Chairman & Festival Director: Kamal Vice-Chairperson & Artistic Director: Bina Paul Secretary & Executive Director: Mahesh Panju Treasurer: Santhosh Jacob K Deputy Director (Festival): H Shaji Deputy Director (Programmes): N P Sajeesh Programme Manager (Festival): Gopeekrishna S Programme Manager (Finance): Sajith C C Programme Manager (Programmes): Vimal Kumar V P Print Unit Coordinator: P S Siva Kumar Programme Assistants: Tony Xavier, Saiyed Farooq Festival Assistants: Madhavi Madhupal, Sree Vidya J Cashier: Manu S T Festival Cell: Mary Ninan, Rijoy K J, Sarath M, Abhilash N S, K Harikumar, Shiju Lukose, Jaya L, G Sasikala, K Velayudhan Nair, K John Kurian, Lizy M, Nishanth S T, Shamlal S, Nithin, Abdulla K, Manu Madhavan, Naveen L Johnson, K Venukuttan Nair, Vijayamohan B, K Ravikumar, Arun R, A Maheshkumar Design: Priyaranjanlal FESTIVAL BOOK Chief Editor: Mahesh Panju Executive Editor: H Shaji Associate Editors: Vinayakumar V, Sooraj S Word Processing & Page Setting: Sivaprasad B Academy is grateful to various film journals, festival publications, film festival websites from which we have borrowed content to put together this book. The opinions expressed herein are not necessarily that of the Kerala State Chalachitra Academy or the Editors. Last minute changes to the programme have not been included in this book. Published by: Kerala State Chalachitra Academy, Centre for International Film Research & Archives (CIFRA) (Sathyan Smarakam), Kinfra Film & Video Park, Chanthavila, Kazhakuttom, Sainik School PO, Thiruvananthapuram – 695 585 www.idsffk.in Processed and Printed at: Akshara, Thiruvananthapuram 2 MESSAGE I am very happy to know that the Kerala State Chalachitra Academy is organising the 12th International Documentary and Short Film Festival of Kerala, from 21st to 26th June 2019 at Thiruvananthapuram.
    [Show full text]
  • Amma Ariyan / Bericht Für Eine Mutter
    die ihn zum Selbstmord veranlaßt haben, AMMA ARIYAN (Bericht für eine Mutter) gibt Purushan seine Reise nach Delhi auf. Indien 19B6. Produktion: Odessa Movies; Ein befreundetetr Journalist bringt ihn zu Regie, Buch Script John Abraham; Kamera; einem Arzt ins Krankenhaus, dessen Personal Venu, Ton. Ksishnanunm , Musik: Sunitha; sich aus Protest gegen die Privatisierung Lieder: klassische indische Lieder, der medizinischen Ausbildung im Streik be• gesungen von Umbai und Nazim; Ausstattung. findet. In Begleitung der beiden trifft Pu• Ramesh, Schnitt: ßeena; Regieassistent: rushan mit Balettan zusammen, einem alten Praksh Mencn, Kostüme: Ramachandren; Kommunisten. Ein Hinweis führt zum näch• Darsteller; Joy Mathew (Purushan), Maji sten. Balöttan glaubt, daß der junge Mann Veniketsh (Paru), Nilamboor Balan ein wrindagam-Spieler ist, der den Gitarri• (Balettan), Harinarayanan (Hari), sten Satyajit immer zu begleiten pflegte. Satyajit erkennt seinen Freund Hari augen• Kunhulakshmi Amma (Purushans Mutter), blicklich wieder. Als die Gruppe nach Co- Iringal Narayani (Haris Mutter), Nazim chrin aufbricht, um die Mutter des toten (Satyajit), Ramachandran Mokeri Jungen zu benachrichtigen, schließen sich (Ramachandran), Kallai Balan (Rajettan), ihnen unterwegs immer mehr Menschen an. Thomas (Thomas), Sobhindran, Venu C. Menon, überall, in Calicut, Beypore, Crannangcre, Ramesh, Sasi, Sathyan, Ayyappan. Trichur, Kottapuram, Vypin und schließlich Chandrababu. Ani 1 Kumas, Iyyakku, Moosa, Fort Cochin stoßen sie auf Leute, die Han Roghu, -Soorjith, Rasheed, Azeez, Rajan, gekannt haben. Durch ihre Erinnerungen und Zuhaib, Stella, Venu, Rajappan Reminiszenzen kommt Licht in seine etwas Originalfassung (Malayalami mit englischen trübe Vergangenheit. Die krausen Überzeu• Lintert ite In gungen, das rätselhafte Engagement, die po• Format. 35mm, Schwarzwei8 litisch-anarchistischen Phantasien eines Länge: 115 Minuten jungen Mannes, der sich am Ende umbringt, werden eingewoben in die zeitgenössische Innalt Sozialgeschichte Keralas.
    [Show full text]
  • UNITED SCREENS: on CINEMA Beyond the Borders of the S C R E E N EXHIBITION 06.07.–22.07.2018 INVOCATIONS 20.07. & 22.0
    U N I T E D SCREENS: On CINEMA Beyond The Borders Of The SCREEN EXHIBITION 06.07.–22.07.2018 INVOCATIONS 20.07. & 22.07.2018 CURATOR Abhishek Nilamber ASSOCIATE CURATOR Kamila Mohamed Metwaly ARTISTIC DIRECTORS Antonia Alampi and Bonaventure Soh Bejeng Ndikung PROJECT MANAGEMENT Lema Sikod COMMUNICATION Anna Jäger GRAPHIC DESIGN Elsa Westreicher PHOTOGRAPHY Raisa Galofre EDITING Bona Bell and Laura Klöckner ANNOTATIONS Karen Wong Kelly Krugman Beya Othmani Jasmina Al-Qaisi Raisa Galofre António Pedro Mendes INVOCATIONS CURATION Pia Chakraverti-Wuerthwein MINDMAP ASSISTANCE Trishla Talera ART HANDLING Mungai Wilson Kimani Joseph Clemens Leuschner Behram Sidhwa TECH Bert Günther LIVE STREAM Boiling Head Media Edit Film Culture! is a project by silent green Film Feld Forschung gGmbH in cooperation with Jonas Mekas / Anthology Film Archives, Arsenal – Institut für Film und Videokunst e.V., S A V V Y Contemporary e.V., Harun Farocki Institut, Spector Books and Lithuanian Culture Institute. Funded by Hauptstadtkulturfonds and the Arab Fund for Arts and Culture. With the kind support of ifa – Institut für Auslandsbeziehungen and Jonas Mekas Visual Arts Centre, Vilnius. SAVVY Contemporary The Laboratory of Form-Ideas CONCEPT FADE IN: be made for projects with a content or style that exposes LANDSCAPE/S–SPACE/S their economic exploitation to a high degree of risk.6 EGYPT 2016 Egyptian filmmaker Tamer El Said's internationally acclaimed film In The Last Days of the CUT TO WIDE SHOT: City has never been screened in Egypt. Even though the INFRINGEMENT Egyptian government never officially banned the film, it didn’t receive a screening permit.
    [Show full text]