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Volume-13-Skipper-1568-Songs.Pdf
HINDI 1568 Song No. Song Name Singer Album Song In 14131 Aa Aa Bhi Ja Lata Mangeshkar Tesri Kasam Volume-6 14039 Aa Dance Karen Thora Romance AshaKare Bhonsle Mohammed Rafi Khandan Volume-5 14208 Aa Ha Haa Naino Ke Kishore Kumar Hamaare Tumhare Volume-3 14040 Aa Hosh Mein Sun Suresh Wadkar Vidhaata Volume-9 14041 Aa Ja Meri Jaan Kishore Kumar Asha Bhonsle Jawab Volume-3 14042 Aa Ja Re Aa Ja Kishore Kumar Asha Bhonsle Ankh Micholi Volume-3 13615 Aa Mere Humjoli Aa Lata Mangeshkar Mohammed RafJeene Ki Raah Volume-6 13616 Aa Meri Jaan Lata Mangeshkar Chandni Volume-6 12605 Aa Mohabbat Ki Basti BasayengeKishore Kumar Lata MangeshkarFareb Volume-3 13617 Aadmi Zindagi Mohd Aziz Vishwatma Volume-9 14209 Aage Se Dekho Peechhe Se Kishore Kumar Amit Kumar Ghazab Volume-3 14344 Aah Ko Chahiye Ghulam Ali Rooh E Ghazal Ghulam AliVolume-12 14132 Aah Ko Chajiye Jagjit Singh Mirza Ghalib Volume-9 13618 Aai Baharon Ki Sham Mohammed Rafi Wapas Volume-4 14133 Aai Karke Singaar Lata Mangeshkar Do Anjaane Volume-6 13619 Aaina Hai Mera Chehra Lata Mangeshkar Asha Bhonsle SuAaina Volume-6 13620 Aaina Mujhse Meri Talat Aziz Suraj Sanim Daddy Volume-9 14506 Aaiye Barishon Ka Mausam Pankaj Udhas Chandi Jaisa Rang Hai TeraVolume-12 14043 Aaiye Huzoor Aaiye Na Asha Bhonsle Karmayogi Volume-5 14345 Aaj Ek Ajnabi Se Ashok Khosla Mulaqat Ashok Khosla Volume-12 14346 Aaj Hum Bichade Hai Jagjit Singh Love Is Blind Volume-12 12404 Aaj Is Darja Pila Do Ki Mohammed Rafi Vaasana Volume-4 14436 Aaj Kal Shauqe Deedar Hai Asha Bhosle Mohammed Rafi Leader Volume-5 14044 Aaj -
Anil Biswas – Filmography Source: Hamraz’S Hindi Film Geet Kosh (Digitization: Ketan Dholakia, Vinayak Gore, and Balaji Murthy)
Anil Biswas – Filmography Source: Hamraz’s Hindi Film Geet Kosh (Digitization: Ketan Dholakia, Vinayak Gore, and Balaji Murthy) Contents Anil Biswas – Filmography ....................................................................................................................................... 1 1) Dharam Ki Devi ..................................................................................................................... 3 2) Fida-e-Vatan (alias Tasveer-e-vafa) ...................................................................................... 3 3) Piya Ki Jogan (alias Purchased Bride) ................................................................................... 3 4) Pratima (alias Prem Murti) ..................................................................................................... 4 5) Prem Bandhan (alias Victims of Love) .................................................................................. 4 6) Sangdil Samaj ......................................................................................................................... 4 7) Sher Ka Panja ......................................................................................................................... 5 8) Shokh Dilruba ......................................................................................................................... 5 9) Bulldog ................................................................................................................................... 5 10) Dukhiari (alias A Tale of Selfless Love) -
Downloads/NZJAS-%20Dec07/02Booth6.Pdfarameters.Html
Ph.D. Thesis ( FEMALE PROTAGONIST IN HINDI CINEMA: Women’s Studies A COMPARATIVE STUDY OF REPRESENTATIVE FILMS FROM 1950 TO 2000 ABSTRACT OF THE THESIS SUBMITTED FOR THE AWARD OF THE DEGREE OF ) Doctor of Philosophy IN WOMEN’S STUDIES SIFWAT MOINI BY SIFWAT MOINI UNDER THE SUPERVISION OF DR. PITABAS PRADHAN (Associate Professor) 201 6 ADVANCED CENTRE FOR WOMEN’S STUDIES ALIGARH MUSLIM UNIVERSITY ALIGARH-202002 (INDIA) 2016 DEPARTMENT OF MASS COMMUNICATION ALIGARH MUSLIM UNIVERSITY Dr. Pitabas Pradhan Associate Professor Certificate This is to certify that Ms. Sifwat Moini has completed her Ph.D. thesis entitled ‘Female Protagonist in Hindi Cinema: A Comparative Study of Representative Films from 1950 to 2000’ under my supervision. This thesis has been submitted to the Advanced Centre for Women’s Studies, Aligarh Muslim University, Aligarh for the award of degree of Doctor of Philosophy. It is further certified that this thesis represents original work and to the best of my knowledge has not been submitted for any degree of this university or any other university. (Dr. Pitabas Pradhan) Supervisor Sarfaraz House, Aligarh Muslim University, Aligarh-202002 Phone: 0571-2704857, Ext.: 1355,Email: [email protected], [email protected] ACKNOWLEDGEMENT I owe all of my thankfulness to the existence of the Almighty and the entities in which His munificence is reflected for the completion of this work. My heartfelt thankfulness is for my supervisor, Dr. Pitabas Pradhan. His presence is a reason of encouragement, inspiration, learning and discipline. His continuous support, invaluable feedback and positive criticism made me sail through. I sincerely thank Prof. -
7 Classical Song Collection Volume -7
Classical Song Collection Volume -7 A collection of LEGENDRY songs. Total 210 Hindi songs. TM For detail of Song, Song Number, Composer, Movie check the 210 songs list in Specification. SONG CARD Songs Collection of Geeta Dutt, Volume Hemant Mukharjee, Mahendra Kapoor, Manna Dey, Talat Mehmood, Suraiya, 7 Shamshad Begum & Suman Kalyanpur Phone: +91 0265 2255704/05 .+91 9904000289 Help Line No.: +91 8511133142 Classic Song Collection Volume-7 (210) Songs No Songs Name Singer Movie Songs In 13621 Aaj Ki Raat Piya Dil Na Todo Geeta Dutt Baazi Vol-7 14134 Aaj Machi Hai Dhoom Uma Devi Dard Vol-7 12607 Aaj Pila De Saqi Mahendra Kapoor Asha BhonsleDoli Vol-7 12807 Aan Milo Shyam Sanwre Geeta Dutt Manna Dey Devdas Vol-7 14438 Aankh Dil Ki Zubaan Hoti Hai Mahendra Kapoor Usha MangeshkarAadat Se Majboor Vol-7 13627 Aap Se Pyar Hua Jata Hai Suraiya Shama Vol-7 12410 Aapki Yaad Aati Rahi Raat BharChhaya Ganguli Gaman Vol-7 13629 Aaya Toofan Hemanta Mukherjee Baadbaan Vol-7 12413 Ab Ke Baras Mahendra Kapoor Kranti Vol-7 13630 Adi Tappa Adi Tappa Usha Mangeshkar Mahendra KapoorEk Din Shabbir Bahu Ka Kumar Vol-7 14048 Ae Aasman Bata Mahendra Kapoor Shakti Vol-7 13631 Ae Dil Tu Kahin Le Chal Hemanta Mukherjee Shole Vol-7 13632 Ae Gham-E-Dil Kya Karoon Talat Mahmood Thokar Vol-7 12416 Ae Jaan-E-Chaman Tera Gora Mahendra Kapoor Anmol Moti Vol-7 14441 Ae Jane Tamanna Jane Bahar Suman Kalyanpur Mohammed RafiJi Chahta Hai Vol-7 12813 Ae Mere Pyare Watan Manna Dey Kabuliwala Vol-7 12213 Ae Mere Udas Man K J Yesudas Maan Abhiman Vol-7 12417 Ae Sakhi Radhike -
The Sarala Mahabharata As a Novel 'Prison-Revenge'
Azim Premji University From the SelectedWorks of Vikas Kumar July 17, 2016 The aS rala Mahabharata as a novel ‘prison- revenge’ story Vikas Kumar Bibudhendra Narayan Patnaik Available at: https://works.bepress.com/vikas_kumar/244/ www.pbdodisha.in the . Cuttack, Sunday, politicalbusinessdaily July 17, 2016 spectrum II VIKAS KUMAR AND B N PATNAIK RANSLATIONS" of the Ramayana and the "TMahabharata into modern Indian languages are The Sarala Mahabharata as a among the defining features of our regional cultures. The dif- ferences between the Sanskrit and regional versions, which are essentially creative retellings, reflect the specifici- novel ‘prison-revenge’ story ty of both the regional epic and the regional culture. The use of 'Duryodhana' as a nam- Dhritarashtra to shield the tell the king that he had smiled In Ravinartaka's Prompted by a prophesy ing word in Odia, might, for couple from inauspicious on seeing a fruit of a banyan Chanakyakatha, King Nanda's Minister Shaktara killed the instance, be explained by the stars. Duryodhana perceived a tree flowing away in the flow kshatriya wife gave birth to a possessed Nanda and humane treatment of classical widow's marriage to his father of his urine. The reply stunned lump of flesh that was cut into installed the real heir villains in the Sarala as an affront and starved his Duryodhana and he appoint- nine pieces that became the Ugradhanvan as the king. Mahabharata. maternal grandfather, his ed Sakuni his mantri. nine Nandas. (In Sarala, When the latter learnt of his The 15th century Odia epic ninety six brothers, and his Somadeva's Gandhari gave birth to a lump "father's" murder, he impris- differs from its Sanskrit coun- hundred sons in a prison. -
International Journal of Education and Science Research Review ISSN 2348-6457 April- 2017, Volume-4, Issue-2 Email- [email protected]
International Journal of Education and Science Research Review ISSN 2348-6457 www.ijesrr.org April- 2017, Volume-4, Issue-2 Email- [email protected] KHWAJA AHMAD ABBAS AS LEGEND MANIN INDIAN SOCIETY Dr. Subodh Kumar Upadhyay Department of English Maharaja Agrasen College University of Delhi ABSTRACT Great grandson of the great Urdu poet and social reformer Khwaja Altaf Husain „Hali‟ poet laureate from the historic town of Panipat, Haryana, Abbas was born in 1914. He indicates the year of his birth and relationship with the poet in his usual pithy and humorous style thus in his autobiography: “I was born in 1914. My great ancestor was so disgusted by the looks of his of his new-born descendant that he died shortly afterwards.” On his father‟s insistence Ahmad Abbas agreed to take the law degree on one condition: he would not pursue a career in law under any circumstances. KEY WORDS: Realism, Social Man, Man of human life He lives on in the minds and hearts of millions of people all over the world who have perused and relished his newspaper columns, read his books, seen his feature and documentary films, exulted at his film dialogues and marveled at his skill of film script and dialogue writing and his dramas. Great grandson of the great Urdu poet and social reformer Khwaja Altaf Husain „Hali‟ poet laureate from the historic town of Panipat, Haryana, Abbas was born in 1914. He indicates the year of his birth and relationship with the poet in his usual pithy and humorous style thus in his autobiography: “I was born in 1914. -
Volume-14-1668-Songs.Pdf
HINDI (1668) Song No Song Name Singer Movie/Album Song In 14131 Aa Aa Bhi Ja Lata Mangeshkar Tesri Kasam Volume-6 14039 Aa Dance Karen Thora Romance AshaKare Bhonsle Mohammed Rafi Khandan Volume-5 14208 Aa Ha Haa Naino Ke Kishore Kumar Hamaare Tumhare Volume-3 14041 Aa Ja Meri Jaan Kishore Kumar Asha Bhonsle Jawab Volume-3 14042 Aa Ja Re Aa Ja Kishore Kumar Asha Bhonsle Ankh Micholi Volume-3 13615 Aa Mere Humjoli Aa Lata Mangeshkar Mohammed RafJeene Ki Raah Volume-6 13616 Aa Meri Jaan Lata Mangeshkar Chandni Volume-6 12605 Aa Mohabbat Ki Basti BasayengeKishore Kumar Lata MangeshkarFareb Volume-3 13309 Aa Re Preetam Pyaare Sarosh Mamta Sharma Rowdy Rathore Volume-8 14209 Aage Se Dekho Peechhe Se Kishore Kumar Amit Kumar Ghazab Volume-3 14344 Aah Ko Chahiye Ghulam Ali Rooh E Ghazal Ghulam AliVolume-12 13618 Aai Baharon Ki Sham Mohammed Rafi Wapas Volume-4 14133 Aai Karke Singaar Lata Mangeshkar Do Anjaane Volume-6 13619 Aaina Hai Mera Chehra Lata Mangeshkar Asha Bhonsle SuAaina Volume-6 14506 Aaiye Barishon Ka Mausam Pankaj Udhas Chandi Jaisa Rang Hai TeraVolume-12 14043 Aaiye Huzoor Aaiye Na Asha Bhonsle Karmayogi Volume-5 14345 Aaj Ek Ajnabi Se Ashok Khosla Mulaqat Ashok Khosla Volume-12 13310 Aaj Hai Sagaai Abhijeet Alkaji Pyaar To Hona Hi Tha Volume-8 14346 Aaj Hum Bichade Hai Jagjit Singh Love Is Blind Volume-12 12404 Aaj Is Darja Pila Do Ki Mohammed Rafi Vaasana Volume-4 14436 Aaj Kal Shauqe Deedar Hai Asha Bhosle Mohammed Rafi Leader Volume-5 14044 Aaj Khushi Se Jhum Raha Sara Asha Bhonsle Suntan Volume-5 14437 Aaj Ki Raat Mohammed -
International Journal of Education and Science Research Review ISSN 2348-6457 February- 2017, Volume-4, Issue-1 Email- [email protected]
International Journal of Education and Science Research Review ISSN 2348-6457 www.ijesrr.org February- 2017, Volume-4, Issue-1 Email- [email protected] TEXT TO SCREEN, JOURNEY OF KHWAJA AHMAD ABBAS Dr. Subodh Kumar Upadhyay Department of English Maharaja Agrasen College University of Delhi ABSTRACT Khwaja Ahmad Abbas was a journalist and writer, activist and filmmaker, scenarist, scriptwriter, thinker, and philosopher all rolled into one, a man whose pen inked not merely words but rather a vision of human awakening. Last week saw the release of a book celebrating the life and work of a man who eluded all labels, a book fittingly as eclectic as the subject himself. Published by the Khwaja Ahmad Abbas Memorial Trust (KAAMT) in association with Tulika Books, Bread Beauty Revolution — Khwaja Ahmad Abbas (1914- 1987), is edited by filmmaker Iffat Fatima and chairperson of KAAMT, Syeda Saiyidain Hameed. Together they have attempted to capture the spirit of a ‗committed social reformer‘, whose sole mission in life was to communicate his unstinting ideal of a more humane world. KEY WORDS: Adaption, Nationalism, Socialist Adaption is a form of criticism and recreation as well as translation .A film adaptation is the transfer of a written work, in whole or in part , to a feature film. This paper endeavors to study Khwaja Ahmad Abbas as a novelist to film-maker. His text and films upheld his ideas of Secularism, Socialism and Nationalism. He explored extensively subject like Discrimination, Exploitation, Rape, Acid attacks and other atrocities meted out to women in our society and dreamt of their ‗empowerment‘ in the time when even the world was not coined, just as he made meaningful ‗Art film‘ much before the concept was born K.A. -
Creating Cinema's Reading Publics
7 Creating Cinema’s Reading Publics The Emergence of Film Journalism in Bombay* Debashree Mukherjee A world of film work existed beyond the walls of the early Bombay talkie studio. Projectionists, poster painters, costume suppliers, publicity men, exhibitors, were all equally a part of the cinematic work force. By the middle of the 1930s, a new kind of film worker started to gain visibility in Bombay (now Mumbai)—the film critic. This figure mediated a number of networks of industry, stardom, and readership and gradually became a publicly recognized breed of specialist commentator. In this chapter I look at the emergence of film journalism in the 1930s and 1940s as the creation of a motivated public discourse around cinema and the industry. Film journalism as a new kind of writing, both literally as a new journalistic genre, and metaphorically as a new discursive apparatus added immensely to the affects of cinema as an iconic emblem of the twentieth century. Bombay in the 1930s had already consolidated its reputation as India’s foremost ‘modern’ city. One of the surest indices of a city’s relation to modernity is the nature of its public life, and nowhere was Bombay’s dynamic metropolitan life so readily apparent as in the pages of the daily newspaper. From Congress rallies to race course victories, workers’ * An early version of this chapter was printed in The Book Review, 33(2, February 2009: 55–6). 166 No Limits strikes to theatre listings, the newspaper served as a digest of city life and its attitudes. By the 1930s, Bombay had a firmly entrenched newspaper culture and a mixed, cosmopolitan reading public.