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In India, Gods Rule the 'Toon' Universe
In India, Gods Rule The 'Toon' Universe http://www.washingtonpost.com/wp-dyn/content/article/2008/01/08/AR... In India, Gods Rule The 'Toon' Universe Hindu Myth a Fount of Superheroes By Rama Lakshmi Washington Post Foreign Service Wednesday, January 9, 2008; A11 NEW DELHI -- Eight-year-old Tejas Vohra is used to spending most of his after-school hours watching "Power Rangers," "Transformers" and "Looney Tunes." But these days, one of his favorite superheroes is a cool cartoon version of Hanuman, the monkey-headed Hindu god. For thousands of years, Hindus have prayed to Hanuman in times of trouble, beseeching him to perform miraculous feats in their lives. Last week, the god was revealed to Tejas in a movie theater. In "The Return of Hanuman," the adored deity is reborn as a boy who goes to school in khaki shorts, uses a computer, combats pollution and, most important, smashes the bad guys to pulp. "I loved the film because Hanuman is a boy like me and saves planet Earth," said Tejas, a tall, wide-eyed second-grader. "It was awesome to see the gods laughing, singing and flying planes. The fights were really good, and in the end Hanuman sets everything right." A number of haloed Hindu gods and goddesses have debuted in the frenetic world of animation over the past five years. Their appearance marks a shift from a decades-long period in which Indian children grew up almost exclusively on American TV and movie characters, including Mickey Mouse, Tom and Jerry, and Spider-Man. To many parents, though, the "mytho-cartoons" are more than a novelty; they are a way to introduce the ancient tales to a generation that seems to be losing touch with its 5,000-year heritage. -
Download Vol 3 Issue 1
I’m a Drama Queen…But I’m the Star you Love to See! Soap Operas, Melodrama and the Televisual Construction of Female Stardom Ritika Pant Abstract The relationship between the silver screen and stardom has been the focus of academic work for several decades. Despite the post-globalization expansion in the Indian mediascape, a rapid increase in the number of television channels, an exponential increase in television programming, and a never-ending production of television stars, small-screen stardom, however, has still not received the same kind of academic attention. With the arrival of Ekta Kapoor’s Balaji telefilms in the early 2000s, the soap-opera genre on Indian Television introduced the audiences to melodramatic tales in the form of saas-bahu sagas. Kapoor’s soaps gave birth to iconic characters like Tulsi, Parvati, Prerna and Jassi whom an average Indian woman adored, identified with and often held on a pedestal higher than that of film stars. Thus, the phenomenon of stardom, once associated with film actors, slowly found its manifestation in television actors. This paper aims to understand the discourse of the star-text that emerges in relation to the small- screen through the ‘leading ladies’ of the soap opera genre. The paper will explore Volume 3. Issue 1. 2015 1 URL: http://subversions.tiss.edu/ how ‘female stardom’ is constructed on the small-screen through the melodramatic form and televisual techniques adopted in the soap opera genre. Establishing an association between television melodrama and television stardom, I will analyze how the two complement each other and prioritize the female protagonist through narrative, music, costumes and other televisual techniques, thus conferring to her a ‘star-status’. -
'Beep'- the Sound of Erasure
‘Beep’- the Sound of Erasure: The Censored Text as an Aesthetic Device Ishani Dey Abstract This paper is invested in exploring the sensory affect that is created through censorship. It is invested in unravelling the complex interaction between the films of Anurag Kashyap and the institution of censorship, the sensibilities of which are capitalized and appropriated into the aesthetic effect of the film. It also looks at how such a deployment constructs the cult of a transgressive auteur. I argue that the deafening ‘beep’ that screams of the otherwise silencing practices of censorship is what guides the way to unraveling the subversion of censorship in the filmic text. Taking cue from Žižek’s Pervert’s Guide to Cinema (2006) which looks at cinema as the ultimate pervert art, telling us how to desire, this paper asserts that censorship doesn’t erase the profane, instead it points to its very utterance. I argue how Kashyap’s films’ profilmic text becomes the site of censorship standing out as material evidence to its very censoring. The ‘beeped’ or censored word becomes a provocation focusing attention onto itself by mobilizing its unspeakability through marketing the product as “controversial”. I posit that Anurag Kashyap capitalizes on this recognition. I look at the force of publicity that is created by censorship in Kashyap’s public discourse on censorship, 87 Volume 3. Issue 1. 2015 URL: http://subversions.tiss.edu/ in his negotiations with the CBFC (Central Board of Film Certification) from before the planned commercial release of his first directorial venture Paanch to his ongoing battle with the CBFC over refusing to use the court mandated no smoking warning in ‘Ugly’ (2014)1. -
Code Date Description Channel TV001 30-07-2017 & JARA HATKE STAR Pravah TV002 07-05-2015 10 ML LOVE STAR Gold HD TV003 05-02
Code Date Description Channel TV001 30-07-2017 & JARA HATKE STAR Pravah TV002 07-05-2015 10 ML LOVE STAR Gold HD TV003 05-02-2018 108 TEERTH YATRA Sony Wah TV004 07-05-2017 1234 Zee Talkies HD TV005 18-06-2017 13 NO TARACHAND LANE Zee Bangla HD TV006 27-09-2015 13 NUMBER TARACHAND LANE Zee Bangla Cinema TV007 25-08-2016 2012 RETURNS Zee Action TV008 02-07-2015 22 SE SHRAVAN Jalsha Movies TV009 04-04-2017 22 SE SRABON Jalsha Movies HD TV010 24-09-2016 27 DOWN Zee Classic TV011 26-12-2018 27 MAVALLI CIRCLE Star Suvarna Plus TV012 28-08-2016 3 AM THE HOUR OF THE DEAD Zee Cinema HD TV013 04-01-2016 3 BAYAKA FAJITI AIKA Zee Talkies TV014 22-06-2017 3 BAYAKA FAJITI AIYKA Zee Talkies TV015 21-02-2016 3 GUTTU ONDHU SULLU ONDHU Star Suvarna TV016 12-05-2017 3 GUTTU ONDU SULLU ONDU NIJA Star Suvarna Plus TV017 26-08-2017 31ST OCTOBER STAR Gold Select HD TV018 25-07-2015 3G Sony MIX TV019 01-04-2016 3NE CLASS MANJA B COM BHAGYA Star Suvarna TV020 03-12-2015 4 STUDENTS STAR Vijay TV021 04-08-2018 400 Star Suvarna Plus TV022 05-11-2015 5 IDIOTS Star Suvarna Plus TV023 27-02-2017 50 LAKH Sony Wah TV024 13-03-2017 6 CANDLES Zee Tamil TV025 02-01-2016 6 MELUGUVATHIGAL Zee Tamil TV026 05-12-2016 6 TA NAGAD Jalsha Movies TV027 10-01-2016 6-5=2 Star Suvarna TV028 27-08-2015 7 O CLOCK Zee Kannada TV029 02-03-2016 7 SAAL BAAD Sony Pal TV030 01-04-2017 73 SHAANTHI NIVAASA Zee Kannada TV031 04-01-2016 73 SHANTI NIVASA Zee Kannada TV032 09-06-2018 8 THOTAKKAL STAR Gold HD TV033 28-01-2016 9 MAHINE 9 DIWAS Zee Talkies TV034 10-02-2018 A Zee Kannada TV035 20-08-2017 -
Anurag Kashyap
HAPPINESS DISTRIBUTION présente 2EME Un film écrit, produit et réalisé par ANURAG KASHYAP 2012 - Inde - 2h40 – 35 mm - Couleur AU CINÉMA LE 26 DÉCEMBRE 2012 DISTRIBUTION PRESSE HAPPINESS DISTRIBUTION BOSSA NOVA / Michel Burstein 11, rue de Navarin 75009 Paris 32, bd St Germain 75005 Paris Tél : 01 82 28 98 40 Tél : 01 43 26 26 26 [email protected] [email protected] www.happinessdistribution.com www.bossa-nova.info SYNOPSIS Les clans de Shahid Khan et Ramadhir Singh continuent de s’affronter dans la région de Wasseypur. Et c’est maintenant au petit fils de Shahid, Faizal de reprendre la tête du clan Khan. Fumeur depuis son plus jeune âge et timide, personne, surtout sa mère, ne croit en son potentiel de chef de gang. Mais bientôt Faizal va marquer les esprits par son intelligence et son incroyable soif de vengeance qui ne semble pas trouver de fin. Aidé de ses frères et inspiré des héros de Bollywood, il va étendre le pouvoir du clan Khan comme jamais, combattre Ramadir sans relâche et enfin peut-être connaître le repos du vainqueur ? COURRIER INTERNATIONAL India Today / Javed Iqbal - 21 août 2012 - La véritable histoire de Wasseypur Présenté lors du dernier Festival de Cannes, Gangs of Wasseypur - Partie 1, à l‘affiche en France depuis le 25 juillet, relate l‘histoire d‘une haine entre clans sur fond d‘industrie minière. Un journaliste indien s‘est rendu sur les lieux pour vérifier si le film était conforme à la réalité. “La fin du film montre bien ce qui s‘est passé“, m‘affirme-t-on à l‘unanimité à Wasseypur et Dhanbad, [Etat du Jharkhand, est de l‘Inde]. -
19. Svjetski Festival Anim Iranog Film a Dugom
19. WORLD FESTIVAL OF ANIMATED FILM FEATURE FILM EDITION 19. SVJETSKI FESTIVAL ANIMIRANOG FILMA DUGOMETRAŽNO IZDANJE 19. SVJETSKI FESTIVAL ANIMIRANOG FILMA − ANIMAFEST ZAGREB 2009. Dugometražno izdanje • 19TH WORLD FESTIVAL OF ANIMATED FILM − ANIMAFEST ZAGREB 2009 Feature Film Edition • Urednici•Editors Marina Kožul, Igor Prassel Autori tekstova•Texts by Martina Peštaj, Marija Ratković, Pascal Vimenet Prevoditelji•Translation Kaja Bucik, Marta Ferković, Ivana Ostojčić, Srđan Telenta Lektorica•Proof Reading Mirna Belina Vizualni identitet•VI Damir Gamulin, Tina Ivezić Izdavač•Publisher Hulahop Za izdavača•For publisher Olinka Vištica • Zagreb, svibanj 2009 / May 2009 • CIP zapis dostupan u računalnom katalogu Nacionalne i sveučilišne knjižnice u Zagrebu pod brojem 704157 •CIP number is available in the computer catalogue of the National and University Library in Zagreb under the number 704157 • ISBN 978-953-55238-1-9 • www.animafest.hr TKO JE TKO • WHO IS WHO Vijeće Animafesta•Festival Council Pavao Štalter (predsjednik/president), Milan Blažeković, Vesna Dovniković, Nikica Gilić, Darko Kreč, Darko Bakliža, Vedran Mihletić • Umjetnički direktor•Artistic Director Krešimir Zimonić Produkcija•Production HULAHOP d.o.o. Producentica•Producer Olinka Vištica Produkcijska savjetnica•Production Adviser Dana Budisavljević Izvršna producentica•Executive Producer Vjera Matković Koordinatorica festivala•Festival Coordinator Marija Ratković Programski savjetnik•Program Advisor Igor Prassel Voditeljica programa Animafest Pro•Animafest Pro Program Coordinator -
![[Edit]History [Edit]Themes [Edit]Awards and Festivals](https://docslib.b-cdn.net/cover/0938/edit-history-edit-themes-edit-awards-and-festivals-8750938.webp)
[Edit]History [Edit]Themes [Edit]Awards and Festivals
The Indian animation industry encompasses both 2D traditional, and 3D animation, as well as visual effects for feature films. Although India's film industry has a long history, it is a relatively newcomer to the field of animation. Contents [hide] 1 History 2 Themes 3 Awards and festivals 4 Societies and organizations 5 Market o 5.1 Comparison with the global scenario o 5.2 Ventures 6 Animation studios/companies in India 7 List of Indian animated movies 8 List of animated TV series produced in India 9 See also 10 References 11 Further study [edit]History The first animated film from India is considered to be "Ek Anek Aur Ekta", a short traditionally animated short educational film released in 1974[1][2] from Doordarshan's Film Division. Doordarshan is a government run public television service in India. The film is presented as a fable meant to teach children the value of unity. After its success, more shorts were produced by Doordarshan. This was the first time that original animated films from India were broadcast on national television in Hindi. The first Indian animated television series is Ghayab Aaya, aired in 1986 and directed by Suddhasattwa Basu. The First Indian 3D + VFX was done for television series "CAPTAIN VYOM" by Animation" The first Indian 3D animated film is Roadside Romeo, which was a joint venture between Yash Raj Films and the Indian division of the Walt Disney Company. It was written and directed by Jugal Hansraj.[3] [edit]Themes Although still in infancy, the Indian animation industry has explored a variety of topics. -
Anurag Kashyap (1972 - )
HUMANITIES INSTITUTE Stuart Blackburn, Ph.D. ANURAG KASHYAP (1972 - ) LIFE Anurag Kashyap’s father is a now-retired engineer, who sent his young son to a prestigious boarding school in Dehradun (in the Himalayan foothills). His later schooling was in Gwalior, after which he went to New Delhi to study zoology at Delhi University. Having received his degree in 1993, he began acting and directing in a street theatre group. During that time, he became addicted to film, especially international films, especially those by de Sica and especially Bicycle Thieves. Inspired to become a director, he relocated to Bombay , where he roughed it until he was able to direct a play. Slowly, he made contacts in the film industry and got jobs as a script writer for bot h screen and television. Throughout his productive directorial career in Bollywood, starting with his first release (Black Friday) in 2007, Kashyap has made stylish thrillers that dramatise the world of crime without glorifying it. His most internationally acclaimed film so far is The Gangs of Wasseypur, a tour de force that documents the operations of a coal mafia over six decades from the 1940s. Today, he is active in making feature-length and shorter films, for television as well as cinemas. Kashyap’s brother is a film-director, and his sister is an associate producer on most of his films. He married a film editor, with whom he had a daughter, but they divorced in 2009. A few years later, he married an actress, but they also divorced, two years later. ACHIEVEMENTS In 2013 Kashyap was awarded the Knight of the Order of Arts and Letters (Ordre des Arts des Lettres) by the French Government during a festival to celebrate a century of Indian cinema. -
Hindu Mythology in Indian Comics and Animations for Young People, 2000-2015
HINDU MYTHOLOGY IN INDIAN COMICS AND ANIMATIONS FOR YOUNG PEOPLE, 2000-2015 By ANUJA MADAN A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2016 © 2016 Anuja Madan To my mother, brother and sister, and in the loving memory of my late father ACKNOWLEDGMENTS My foremost debt of gratitude is towards my advisor, Kenneth Kidd, for his wonderful mentorship. He had enormous faith in me and this project from the earliest stages, and encouraged me to explore different approaches to my material, which led to my adopting a multidisciplinary orientation — one that I hope has proven to be productive. His insightful feedback has been instrumental in shaping this dissertation. His humor and generosity not only made the journey smoother, but also brighter. I am also very grateful to my committee members Terry Harpold, Susan Hegeman and Malini Schueller for their guidance and support throughout this process. Discussions with them led to important insights and a broadening of critical frames, and their feedback has been extremely helpful. I would also like to thank Vasudha Narayanan, my external committee member, for her guidance. Many thanks to my professor from Delhi University, Rimli Bhattacharya, for her inspiration and encouragement, and to Anja, for the stimulating conversations, advice and support. Part of the fieldwork undertaken for this project was made possible by the Hannah Beiter Graduate Research Grant, and I thank the Children’s Literature Association for the award, as well as all the people who gave their time for interviews. -
Un Des Plus Dvpés D'amérique Latine, Avec Argentine Et Brésil
La 13e édition du Festival International du Film de Marrakech aura lieu du 29 novembre au 7 décembre 2013 LE JURY Le Jury Longs Métrages de la 13ème édition du Festival International du Film de Marrakech sera présidé par le cinéaste : MARTIN SCORSESE ©Brigitte Lacombe « Je suis très heureux d’être le président du jury du Festival du Film de Marrakech cette année et je remercie SAR, le Prince Moulay Rachid, Président du Festival, pour sa gracieuse invitation. J’ai fait deux films au Maroc, ce qui m’a permis d’admirer l’esprit du peuple marocain et la beauté de sa culture. J’ai hâte de découvrir les films venant du monde entier présentés dans ce Festival unique. » Martin SCORSESE Martin Scorsese est un réalisateur oscarisé et l’un des cinéastes les plus importants et influents en activité aujourd’hui. Il a réalisé des films acclamés par la critique et lauréats de nombreux prix : MEAN STREETS, TAXI DRIVER, RAGING BULL, LA DERNIÈRE TENTATION DU CHRIST, LES AFFRANCHIS, GANGS OF NEW YORK, AVIATOR, LES INFILTRÉS, ainsi que SHUTTER ISLAND, succès au box-office 2010. Il a également réalisé de nombreux documentaires dont NO DIRECTION HOME : BOB DYLAN, A LETTER TO ELIA (tous deux lauréats d’un Peabody Award), UN VOYAGE AVEC MARTIN SCORSESE À TRAVERS LE CINÉMA AMÉRICAIN, MON VOYAGE EN ITALIE, PUBLIC SPEAKING avec l’écrivain Fran Lebowitz et le documentaire pour HBO GEORGE HARRISON : LIVING IN THE MATERIAL WORLD. Plus récemment, Martin Scorsese a réalisé le film HUGO CABRET, une adaptation en 3D du livre pour enfants de Brian Selznick, nommé aux Oscars et aux Golden Globes et pour lequel il a remporté le Golden Globe du meilleur réalisateur. -
The South Korean Animation Industry in Historical-Comparative Perspective
Animating Globalization and Development: The South Korean Animation Industry in Historical-Comparative Perspective by Joonkoo Lee Department of Sociology Duke University June 3, 2011 Approved: ___________________________ Gary Gereffi, Supervisor ___________________________ David Brady ___________________________ Bai Gao ___________________________ Suzanne E. Shanahan ___________________________ Edward A. Tiryakian Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Sociology in the Graduate School of Duke University 2011 ABSTRACT Animating Globalization and Development: The South Korean Animation Industry in Historical-Comparative Perspective by Joonkoo Lee Department of Sociology Duke University June 3, 2011 Approved: ___________________________ Gary Gereffi, Supervisor ___________________________ David Brady ___________________________ Bai Gao ___________________________ Suzanne E. Shanahan ___________________________ Edward A. Tiryakian An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Sociology in the Graduate School of Duke University 2011 Copyright by Joonkoo Lee 2011 Abstract Over the last decades, the global flow of cultural goods and services has significantly grown as a result of liberalized international trade and investment and technological advance. Global cultural production is now flexibly organized and decentralized as more tasks are outsourced into different -
Dossier De Presse Le Mot Du Président
DOSSIER DE PRESSE LE MOT DU PRÉSIDENT « Un pays sans cinéma est un pays sans miroir Un pays sans cinéma est un pays sans mémoire Un pays sans cinéma est un pays sans pays » Richard Olivier, Big Memory, 2012 Certes, lorsque le réalisateur met l’œil à la caméra (ou que l’écrivain met la plume au papier), il ne s’est pas nécessairement mis en tête de sauver son pays de l’oubli. Le plus souvent, il veut simplement raconter une histoire. Pourtant, ces diverses petites histoires deviennent au fl des années le miroir et la mémoire d’un pays. C’est pourquoi je me réjouis de l’existence du Festival Ïle Courts, merveilleuse boîte à outils (symbole, d’ailleurs, de l’association Porteurs d’Images, qui porte sur ses épaules ce Festival) comprenant, outre des projections de flms, un important volet formation à divers aspects du monde du cinéma (écriture, réalisation, technique…), mais aussi une aide à la production de flms. Ïle Courts a d’ailleurs permis la production de 28 flms courts métrages depuis 2009 ! C’est un festival de proximité, soucieux dans le choix de ses lieux de projection de toucher diverses audiences, mais aussi un festival d’ouverture, qui a décidé depuis 2012 de se doter d’un parrain, un cinéaste expérimenté qui vient ofrir des conseils avancés. Ainsi, cette année, c’est Anurag Kashyap, réalisateur et producteur indien, qui partagera avec nous son riche savoir. L’équipe de Porteurs d’Images, le comité et les bénévole ont travaillé d’arrache-pied pour ofrir cette année encore une large palette de flms, mais aussi de formateurs pour les ateliers ainsi qu’un espace d’échanges professionnels, le Forum Film Bazar, ouvert aux cinéastes de la région.