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Filmography Dilip Kumar – the Substance and the Shadow
DILIP KUMAR: THE SUBSTANCE AND THE SHADOW Filmography Year Film Heroine Music Director 1944 Jwar Bhata Mridula Anil Biswas 1945 Pratima Swarnlata Arun Kumar 1946 Milan Meera Mishra Anil Biswas 1947 Jugnu Noor Jehan Feroz Nizami 1948 Anokha Pyar Nargis Anil Biswas 1948 Ghar Ki Izzat Mumtaz Shanti Gobindram 1948 Mela Nargis Naushad 1948 Nadiya Ke Par Kamini Kaushal C Ramchandra 1948 Shaheed Kamini Kaushal Ghulam Haider 1949 Andaz Nargis Naushad 1949 Shabnam Kamini Kaushal S D Burman 1950 Arzoo Kamini Kaushal Anil Biswas 1950 Babul Nargis Naushad 1950 Jogan Nargis Bulo C Rani 1951 Deedar Nargis Naushad 1951 Hulchul Nargis Mohd. Shafi and Sajjad Hussain 1951 Tarana Madhubala Anil Biswas 1952 Aan Nimmi and Nadira Naushad 1952 Daag Usha Kiran and Nimmi Shankar Jaikishan 1952 Sangdil Madhubala Sajjad Hussain 1953 Footpath Meena Kumari Khayyam 1953 Shikast Nalini Jaywant Shankar Jaikishan 1954 Amar Madhubala Naushad 1955 Azaad Meena Kumari C Ramchandra 1955 Insaniyat Bina Rai C Ramchandra 1955 Uran Khatola Nimmi Naushad 1955 Devdas Suchitra Sen, Vyjayanti S D Burman Mala 1957 Naya Daur Vyjayantimala O P Nayyar 1957 Musafir Usha Kiran, Suchitra Salil Chaudhury Sen 1 DILIP KUMAR: THE SUBSTANCE AND THE SHADOW 1958 Madhumati Vyjayantimala Salil Chaudhury 1958 Uahudi Meena Kumari Shankar Jaikishan 1959 Paigam Vyjayantimala, B Saroja C Ramchandra Devi 1960 Kohinoor Meena Kumari Naushad 1960 Mughal-e-Azam Madhubala Naushad 1960 Kala Bazaar (Guest Appearance) 1961 Gunga Jumna Vyjayantimala Naushad 1964 Leader Vyjayantimala Naushad 1966 Dil Diya Dara Liya -
The Violent Seizure of Female Narratives in the Tenant Of
PRIVATELY DEVIANT, PUBLICLY DISCIPLINED: THE VIOLENT SEIZURE OF FEMALE NARRATIVES IN TENANT OF WILDFELL HALL, THE WOMAN IN WHITE, AND LADY AUDLEY’S SECRET By Amanda Kelli Hand Andrew D. McCarthy Charles L. Sligh Assistant Professor of English Assistant Professor of English (Chair) (Committee Member) Matthew W. Guy Associate Professor of English (Committee Member) PRIVATELY DEVIANT, PUBLICLY DISCIPLINED: THE VIOLENT SEIZURE OF FEMALE NARRATIVES IN TENANT OF WILDFELL HALL, THE WOMAN IN WHITE, AND LADY AUDLEY’S SECRET By Amanda Kelli Hand A Thesis Submitted to the Faculty of the University of Tennessee at Chattanooga in Partial Fulfillment of the Requirements of the Degree of Master of Arts: English The University of Tennessee at Chattanooga Chattanooga, Tennessee May 2015 ii Copyright © 2015 By Amanda Kelli Hand All Rights Reserved iii ABSTRACT In Victorian England, women were subjects within their patriarchal society. What Anne Brontë, Wilkie Collins, Mary Elizabeth Braddon emphasize and “sensationalize” is the subjugated marriage relationship, violently portraying men forcing their wives into submission. Brontë’s Tenant of Wildfell Hall , Collin’s The Woman in White , and Braddon’s Lady Audley’s Secret provide examples of men attempting to control the women in their lives. These novels deploy moments of violent seizure to dramatize and critique the inequalities inherent in the strict Victorian marriage laws. However, despite this usurpation of the female narrative, the insurgent testimony of the female voice persists in the mind of the reader. This thesis will examine the Sensation genre, focusing on the female narratives within the three novels. It will argue that the female narrative cannot be shut out or stifled. -
Intersectionality in Jane Eyre and Its Adaptations Laurel Loh University of Arkansas, Fayetteville
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ScholarWorks@UARK University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 5-2015 Intersectionality in Jane Eyre and its Adaptations Laurel Loh University of Arkansas, Fayetteville Follow this and additional works at: http://scholarworks.uark.edu/etd Part of the American Film Studies Commons, Literature in English, British Isles Commons, Other Film and Media Studies Commons, and the Women's Studies Commons Recommended Citation Loh, Laurel, "Intersectionality in Jane Eyre and its Adaptations" (2015). Theses and Dissertations. 1105. http://scholarworks.uark.edu/etd/1105 This Thesis is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected], [email protected]. Intersectionality in Jane Eyre and Its Adaptations Intersectionality in Jane Eyre and Its Adaptations A thesis submitted in partial fulfillment of the requirement for the degree of Master of Arts in English by Laurel Loh University of Arkansas Bachelor of Science in International Business, 2002 May 2015 University of Arkansas This thesis is approved for recommendation to the Graduate Council. __________________________ Dr. Lissette Lopez Szwydky Thesis Director __________________________ __________________________ Dr. Vivian Davis Dr. Sean Dempsey Committee Member Committee Member Abstract During the almost 170 years since Jane Eyre was published, there have been numerous adaptations in many different mediums and genres, such as plays, films, musicals, graphic novels, spin-off novels, and parodies. The novel has been read in many different critical traditions: liberal humanist, historicist, feminist, and postcolonial approaches dealing with topics such as the problem of female authorship and consciousness. -
FRODSHAM, John David
THE AUSTRALIAN ACADEMY OF THE HUMANITIES ANNUAL REPORT 2015–16 33 JOHN DAVID FRODSHAM 1930–2016 fellow · elected 1969 Before taking up a position at Murdoch University, where Frodsham was Professor of World Literature, I had looked up his publications in the University of Sydney’s Fisher Library. He had had a brief stint at Sydney in the Department of Oriental Studies before taking up a position as Lecturer in Far Eastern History at the University of Malaya. He returned to Australia in 1965 to a similar position at the University of Adelaide followed by his election to a Readership in Chinese at the Australian National University (ANU) in 1967. At Sydney I had been unimpressed by the narrow discipline- oriented interests of the English literature staff, their overbearing monolingualism and, needless to say, their Oxford pretentiousness. Against the latter, Frodsham, in my reading of him, stood out like an unusual beacon. He had already made it into Who’s Who and been elected a Fellow of the Australian Academy of the Humanities in 1969; his books had been published by Clarendon Press (the prestige imprimatur of Oxford University Press). I also read that he spoke some thirteen languages fluently. He interviewed me at a Circular Quay hotel, paid for the coffee and lunch on his American Express photo: courtesy of v. mishra Card, and offered me a three-year tutorship. There was nothing untoward nor indeed corrupt about this, as this ohn Frodsham, who was born on 5 January 1930 in was a professor’s right, a kind of gift, in the old system. -
Dilip-Kumar-The-Substance-And-The
No book on Hindi cinema has ever been as keenly anticipated as this one …. With many a delightful nugget, The Substance and the Shadow presents a wide-ranging narrative across of plenty of ground … is a gold mine of information. – Saibal Chatterjee, Tehelka The voice that comes through in this intriguingly titled autobiography is measured, evidently calibrated and impossibly calm… – Madhu Jain, India Today Candid and politically correct in equal measure … – Mint, New Delhi An outstanding book on Dilip and his films … – Free Press Journal, Mumbai Hay House Publishers (India) Pvt. Ltd. Muskaan Complex, Plot No.3, B-2 Vasant Kunj, New Delhi-110 070, India Hay House Inc., PO Box 5100, Carlsbad, CA 92018-5100, USA Hay House UK, Ltd., Astley House, 33 Notting Hill Gate, London W11 3JQ, UK Hay House Australia Pty Ltd., 18/36 Ralph St., Alexandria NSW 2015, Australia Hay House SA (Pty) Ltd., PO Box 990, Witkoppen 2068, South Africa Hay House Publishing, Ltd., 17/F, One Hysan Ave., Causeway Bay, Hong Kong Raincoast, 9050 Shaughnessy St., Vancouver, BC V6P 6E5, Canada Email: [email protected] www.hayhouse.co.in Copyright © Dilip Kumar 2014 First reprint 2014 Second reprint 2014 The moral right of the author has been asserted. The views and opinions expressed in this book are the author’s own and the facts are as reported by him, which have been verified to the extent possible, and the publishers are not in any way liable for the same. All photographs used are from the author’s personal collection. All rights reserved. -
Separate Ways Or Til Death Do Us Part?: Divorce in Victorian Literature
The University of Southern Mississippi The Aquila Digital Community Honors Theses Honors College Fall 12-2016 Separate Ways or Til Death Do Us Part?: Divorce in Victorian Literature Ashley L. Felder University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/honors_theses Part of the Literature in English, British Isles Commons Recommended Citation Felder, Ashley L., "Separate Ways or Til Death Do Us Part?: Divorce in Victorian Literature" (2016). Honors Theses. 432. https://aquila.usm.edu/honors_theses/432 This Honors College Thesis is brought to you for free and open access by the Honors College at The Aquila Digital Community. It has been accepted for inclusion in Honors Theses by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi Separate Ways or Til Death Do Us Part?: Divorce in Victorian Literature by Ashley Felder A Thesis Submitted to the Honors College of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Bachelor of Arts in the Department of English May 2016 ii Approved by __________________________________ Alexandra Valint, Ph.D., Thesis Adviser Assistant Professor of English __________________________________ Luis Iglesias, Ph.D., Chair Department of English __________________________________ Ellen Weinauer, Ph.D., Dean Honors College iii Abstract Divorce laws changed radically across the Victorian period (1837-1901), making divorce more accessible, particularly for men. Considering how those changes affected the portrayal of divorce in early, mid, and late Victorian novels, this study analyzes the literary representation of divorce in Charlotte Brontë’s Jane Eyre (1847), Charles Dickens’s Hard Times (1854), and George Meredith’s Diana of the Crossways (1885), contextualizing this analysis with literary criticism and legal history. -
Theories of Adaptation: Novel to Film Theories of Adaptation: Novel to Film
Chapter III THEORIES OF ADAPTATION: NOVEL TO FILM THEORIES OF ADAPTATION: NOVEL TO FILM The critical writings of film theorists like Andre Bazin, Bela Balazs, George Bluestone and Sergei Eisenstein thoroughly survey the nature and method of the adaptation as an inter relative thing between literature and film. The theories of Bela Balazs appeared between 1920 -and 1930 and are of great importance to a historical perspective of the adaptation pr0cess. Balazs in his collection. of essays, "Theory of the Film: Character and Growth of a New Art" argues that film script is an entirely new literary form. According to Balazs, the novel should be regarded, as a potential raw 'material to be transformed at will by the writer of the screenplay. He says that the screenplay has the capacity to approach reality, to approach the thematic and the formal design of the literary model and represent it with a viewpoint incorporating a new aesthetic design and technology, creating thus a new artistic version: It is also admitted that the literary foundation of the new art, new script, is just as much specific, independent literary form as the written stage play-there is nothing to prevent them from being literary masterpieces- the film script is an entirely new form .1 (pp.246-247) Balazs further argues that even though an adaptation takes the subject of another work such as Kafka's novel or Shakespeare's play, the adaptation is an entirely new entity. Literature provides the raw material for film adaptation to create new visual forms and thematic contents; there are several variations possible. -
Theory and Interpretation of Narrative James Phelan, Peter J
THEORY AND INTERPRETATION OF NARRATIVE James Phelan, Peter J. Rabinowitz, and Robyn Warhol, Series Editors An Aesthetics of Narrative Performance TRANSNATIONAL THEATER, LITERATURE, AND FILM IN CONTEMPORARY GERMANY CLAUDIA BREGER THE OHIO STATE UNIVERSITY PRESS \ COLUMBUS Copyright © 2012 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Breger, Claudia. Aesthetics of narrative performance : transnational theater, literature, and film in contemporary Germany / Claudia Breger. p. cm. —(Theory and interpretation of narrative) Includes bibliographical references and index. ISBN 978-0-8142-1197-7 (cloth : alk. paper)—ISBN 978-0-8142-9298-3 (cd) 1. Discourse analysis, Narrative—Germany. 2. Aesthetics, German. 3. Narration (Rhetoric) 4. Trans- nationalism. I. Title. II. Series: Theory and interpretation of narrative series. P302.15.G3B74 2012 401’.410943—dc23 2012030284 Cover design by Hans Hetrick Text design by Juliet Williams Type set in Adobe Minion Pro and Rotis Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48–1992. 9 8 7 6 5 4 3 2 1 Contents List of Illustrations vii Acknowledgments ix Chapter I Toward an Aesthetics of Narrative Performance 1 The Starting Point: Overlapping ‘Performative’ and ‘Narrative Turns’ 1 An Aesthetics of Narrative Performance 7 Narratological Drama 12 Antinarrative Acts: Performance Theory 24 The -
Wuthering Heights” Again: Understand the Position of Women in Love, Marriage and Family from Three Aspects
2020 2nd International Conference on Humanities, Cultures, Arts and Design (ICHCAD 2020) Read “Wuthering Heights” Again: Understand the Position of Women in Love, Marriage and Family from Three Aspects Li Xinyu Henan University of Animal Husbandry and Economy, Zhengzhou, China Keywords: Women, Love, Marriage, Family, Status Abstract: Emily Bronte's “Wuthering Heights” shows deformed social life pictures and distorted humanity through love tragedy, and the whole story is actually spread out gradually through four stages. Re-reading “Wuthering Heights”, we can appreciate the love depicted by the writer in the book, the emotion between Catherine and Heathcliff, which is so intense that people can't stand it, and this is also the need of burning life. How is the position of women in love, marriage and family reflected in the works? The article will understand and analyze from the following three aspects: misplaced love, wrong time and space, and their cruel marriage and family. 1. Introduction Emily bronte's “Wuthering Heights” shows the deformed social life picture and distorted humanity through love tragedy, and the plot of the whole story is actually gradually spread out through four stages: The first stage describes the childhood life of Heathcliff and Catherine living together day and night; The special feelings formed by a foundling and a young lady in this special environment and their resistance to Gendre's tyranny. The second stage focuses on Catherine turning her back on Heathcliff and becoming the hostess of Thrushcross Grange because of her vanity, ignorance and ignorance. In the third stage, a great deal of ink is used to describe how Heathcliff turned hatred into revenge and revenge in despair. -
Department of English and American Studies English Language And
Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Katarína Murinová The Characters of Governesses, Guardians, Chaperons and Nurses in British Novels M.A. Thesis Supervisor: PhDr. Věra Pálenská, CSc. 2007 I declare that I have workedonthis thesis independently,usingonlythe primaryand secondarysourceslistedinthe bibliography. ............................................................................ 1 I wouldlike tothank PhDr.Věra Pálenská, CSc.for her useful comments,valuable adviceandcloserevisionof mythesis. 2 Table of Contents Preface....................................................................................................................................... 4 Introduction ............................................................................................................................... 5 Chapter1: Evelina .................................................................................................................. 14 1.1 InGeneral................................................................................................................ 14 1.2 ThePlot ................................................................................................................... 15 1.3 TheCharacterofMr.Villars................................................................................... 16 1.4 TheCharacterofMadame Duval ............................................................................ 22 1.5 TheCharacterofMrs.Mirvan................................................................................ -
Cinecon Films
Updated September 6, 2019 RELEASE TITLES DATE COMPANY CINECON YEAR SUMMARY / NOTES Charlie on the Ocean 1921 ? 1 1965 NOTE: [Charlie Chaplin newsreel] Conquest of the North Pole 1912 G. Méliès 1 1965 Feathered Nest, The 1916 Keystone 1 1965 Lure of the Circus, The 1918 Universal 1 1965 NOTE: [excerpts] Max the Pickpocket 1 1965 Primitive Lover, The 1922 First National 1 1965 Road to Yesterday, The 1925 DeMille/PDC 1 1965 Screen Snapshots Columbia 1 1965 Show People 1928 M-G-M 1 1965 Spanish Dancer, The 1923 Paramount 1 1965 Square Deal Sanderson 1919 Ince/Paramount 1 1965 Uncensored Movies 1923 Hal Roach/Pathe 1 1965 Winsor McKay Explains Cartoons to John Bunny 1911 Vitagraph 1 1965 Coward, The 1915 Ince - KayBee 2 1966 Eyes of Youth 1919 Garson 2 1966 Hands Up! 1925 Paramount 2 1966 Hazards of Helen, The 1914 Kalem 2 1966 Invaders, The 1912 KayBee 2 1966 Iron Claw, The 1916 Pathé 2 1966 Lizzies of the Field 1924 Sennett/Pathe 2 1966 Man With the Punch, The 1920 Universal 2 1966 Beauty and theBump 1927 Skylark - Bray 3 1967 Don Juan 1926 Warner Bros. 3 1967 Fatty and Mabel Adrift 1916 Keystone - Triangle 3 1967 Irene 1926 First National 3 1967 Iron Horse, The 1924 Fox 3 1967 Judith of Bethulia 1913 Biograph 3 1967 Kismet 1920 Robertson-Cole 3 1967 Last Command, The 1928 Paramount 3 1967 Updated September 6, 2019 Navigator, The 1924 Keaton/Metro 3 1967 Richard the Lion Hearted 1923 Allied Producers 3 1967 Sherlock, Jr. 1924 Keaton/Metro 3 1967 Silent Clips 3 1967 Silent Movie as a Communicator, The 3 1967 Sons Of The Desert 1933 Roach/M-G-M 3 1967 Steel Shod Evidence 1923 Pathé 3 1967 Big Boy Short Educational 4 1968 NOTE: [title not known] Crackerjack, The 1925 C.C. -
Gender Ideology and Shakespeare's Female Characters
1 VICTORIAN VOICES: GENDER IDEOLOGY AND SHAKESPEARE’S FEMALE CHARACTERS A dissertation presented by Mary Balestraci to The Department of English In partial fulfillment of the requirements for the degree of Doctor of Philosophy in the field of English Northeastern University Boston, Massachusetts May, 2012 2 VICTORIAN VOICES: GENDER IDEOLOGY AND SHAKESPEARE’S FEMALE CHARACTERS by Mary Balestraci ABSTRACT OF DISSERTATION Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy in English In the Graduate School of Northeastern University May, 2012 3 Abstract The Victorians loved Shakespeare and, during this period, the study of Shakespeare became a popular form of education for middle class women, some of whom began writing about the female characters who populated these plays. Ongoing debates about the inherent nature of womanhood and the role of women in society—collectively known as the Woman Question—were also taking place in England at this time. These two areas converge in the writing produced by nineteenth-century female critics who used their criticism of Shakespeare’s female characters to express their views about Victorian gender ideology. Through their commentary on Shakespeare’s plays, Anna Jameson, Constance O’Brien, Grace Latham, Helena Faucit, and Madeleine Leigh-Noel Elliott reveal their own conceptions of gender by affirming, challenging, or rejecting many of the accepted Victorian gender norms that they identify in Shakespeare’s female characters. Several of the characters that these critics discuss fall into distinct categories: there are the tragic innocents—Ophelia, Desdemona, and Cordelia; the defiant daughters and dutiful wives—Juliet, Katherine, and Lady Macbeth; and the wise and witty women—Portia, Beatrice, and Rosalind.