Magadheera Box Office Collection Report
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Daddy (2001 Film)
Daddy (2001 film) Daddy (Telugu: ) is a 2001 Telugu film. The movie • Kota Srinivasa Rao as Shanti’s Paternal Uncle É stars Chiranjeevi and Simran. It was produced by Allu • Allu Arjun as Gopi (guest role) Aravind on the Geetha Arts banner under the direction of Suresh Krishna. The film was successful at the box • Achyuth as Ramesh office. It was released on 4 October 2001. • M. S. Narayana as Priya’s Father • Uttej as Priya’s Friend 1 Plot • Director: Suresh Krishna Raj Kumar or Raj (Chiranjeevi) is a rich audio com- • Writers: Bhupathi Raja (story), Satyanand (dia- pany owner who owns a modern dance school. Dance logue) and Suresh Krishna (screenplay) is his passion and his life till he meets and marries Shanti • Producer: Allu Aravind (Simran). They have a daughter Akshaya (Anushka Mal- hotra). Raj believes in his friends and does anything for • Music: S. A. Rajkumar them. However, they take advantage of him and usurp • his wealth. Though Raj and his family are happy in their Cinematography: Chota K. Naidu not-so-lavish lifestyle, their happiness is shattered when • Fights: Vikram Dharma and Pawan Kalyan Akshaya becomes ill with a heart condition. Raj instead of bringing the money Shanti had stored in the bank to • Choreography: Saroj Khan and Raju Sundaram the hospital to save Akshaya, uses it to save his former • Executive producer: Nagaraju Chittajallu dance student Gopi (Allu Arjun), who was hit by a car. Shanti, who is pregnant, leaves him because she feels that • Editor: Marthand K. Venkatesh he killed their daughter. • Art: Ashok Six years later, Raj, who is once again wealthy, sees his second child, Aishwarya (Anushka Malhotra), who looks exactly like his Akshaya, in whose honor he builds a foun- 3 Commercial dation which takes care of poor, unhealthy children and their families. -
Megastar: Chiranjeevi and Telugu Cinema After NT Ramo
1 Whistling Fans and Conditional Loyalty hat can cinema tell us about the politics of our time? There can of Wcourse be little doubt that studies of the cinema, from Siegfried Kracauer's magnum opus on German cinema (2004) to M.S.S. Pandian's (1992) study of MGR, have attempted to answer precisely this question. The obscene intimacy between film and politics in southern India provides an opportunity for students of cinema to ask the question in a manner that those in the business of studying politics would have to take seriously. This chapter argues that this intimacy has much to do with the fan-star relationship. Chiranjeevi's career foregrounds the manner in which this relationship becomes one of the important distinguishing features of Telugu cinema, as also a key constituent of the blockage that it encounters. Earlier accounts of random by social scientists (Hardgrave Jr. 1979, Hardgrave Jr. and Niedhart 1975, and Dickey 1993: 148-72) do not ponder long enough upon this basic question of how it is a response to the cinema. As a consequence, their work gives the impression that the fan is a product of everything (that is, religion, caste, language, political movements) but the cinema. I will argue instead that the engagement with cinema's materiality—or what is specific to die cinema: filmic texts, stars and everything else that constitutes thjs industrial-aesthetic form—is crucial for comprehending random. STUDYING FANS Fans' associations (FAs) are limited to south Indian states.1 Historically speaking, however, some of the earliest academic studies of Indian 4 Megastar Whistling Fans and Conditional Loyalty 5 popular cinema were provoked, at least in part, by the south Indian occasion to discuss (mis) readings of audiences at some length in the star-politician and his fans (for example, Hardgrave Jr. -
Magadheera 1080P Movie Free Download
Magadheera 1080p Movie Free Download 1 / 4 Magadheera 1080p Movie Free Download 2 / 4 3 / 4 free Magadheera 2015 full movie download in 3gp mp4 full hd 720p 1080p Magadheera 2015 movie watch online play with high quality .... Tags: Download Telugu Magadheera Film Full Movie download,. Download ... (Pune). Whirlpool FF 2D 258 3S/2017 Double Door Frost Free 245 L. 20-Nov-18. ... Raaz Reboot hd full movie download 1080p movies.. Ram Charan, Kajal Aggarwal south indian movie Magadheera is second biggest film in Tollywood wiki. ... Discover ideas about Free Movie Downloads. Top 10 Telugu ... Watch "Baahubali: The Beginning (2015)" Full Movies HD 1080p Quality.. Magadheera ( transl. Great Warrior) is a 2009 Indian Telugu-language fantasy action film ... Magadheera. From Wikipedia, the free encyclopedia ... Red Giant Movies distributed Maaveeran while Pallavi films distributed Dheera—The Warrior.. Magadheera In Hindi Dubbed Full Movie Free Download > http://urlin.us/0fmgg. Magadheera In ... Punjabi Videos Song HD 1080p. Big Boss .... Magadheera Full Length Movies Hd 1080p Videos. Magadheera Hindi Dubbed Full Movie | Ram Charan, Kajal Aggarwal, Dev Gill, Srihari. 7 month ago .... Magadheera Hindi Dubbed Full Movie | Ram Charan, Kajal Aggarwal, Dev Gill, Srihari ... Magadheera || Telugu Full Movie || RamCharan, Kajal Agarwal.. Find out which Telugu movies got the highest ratings from IMDb users, from ... Magadheera (2009) S.S. Rajamouli in Magadheera (2009) Ram Charan in .... Tags: Magadheera Video Songs Hd 1080p Blu Ray Full Movie download, ... Video Songs Hd 1080p Blu Ray HD Blu-ray movie free download. Panchadara Bomma Full Video Song || Magadheera Movie || Ram Charan, Kajal Agarwal. 6 Years .... Woh Tera Naam Tha 1080p Movies Download. -
Banner Name Proprietor Partner BANNER LIST
BANNER LIST Banner Name Proprietor Partner 1234 Cine Creations C.R.Loknath Anand L 1895 Dec 28 the World Ist Movie Production S.Selvaraj No 2 Streams Media P Ltd., Prakash Belavadi S.Nandakumar 21st Century Lions Cinema (P) Ltd., Nagathihalli Chandrashekar No 24 Frames Pramodh B.V No 24 Frames Cine Combines Srinivasulu J Gayathri 24 Frames Movie Productions (p) Ltd K.V.Vikram Dutt K.Venkatesh Dutt 3A Cine Productions Sanjiv Kumar Gavandi No 4D Creations Gurudatta R No 7 Star Entertainment Studios Kiran Kumar.M.G No A & A Associates Aradhya V.S No A B M Productions P.S.Bhanu Prakash P.S.Anil Kumar A' Entertainers Rajani Jagannath J No A Frame To Frame Movies Venkatesh.M No A.A.Combines Praveen Arvind Gurjer N.S.Rajkumar A.B.C.Creations Anand S Nayamagowda No A.C.C.Cinema - Shahabad Cement Works. M.N.Lal T.N.Shankaran A.G.K.Creations M.Ganesh Mohamad Azeem A.J.Films R.Ashraf No A.K.Combines Akbar Basha S Dr. S.R.Kamal (Son) A.K.Films Syed Karim Anjum Syed Kalimulla A.K.K. Entertainment Ltd Ashok Kheny A.Rudragowda (Director) A.K.N.D.Enterprises - Bangalore N.K.Noorullah No A.L.Films Lokesh H.K No A.L.K.Creations C.Thummala No A.M.J.Films Janardhana A.M No A.M.M.Pictures Prakash Babu N.K No A.M.M.Pictures Prakash Babu N.K No A.M.Movies Nazir Khan No A.M.N.Film Distributor Syed Alimullah Syed Nadimullah A.M.V.Productions Ramu V No A.N.Jagadish Jagadish A.N Mamatha A.J(Wife) A.N.Pictures U.Upendra Kumar Basu No A.N.Ramesh A.N.Ramesh A.R.Chaya A.N.S.Cine Productions Sunanda M B.N.Gangadhar (Husband) A.N.S.Films Sneha B.G B.N.Gangadhar (Father) A.N.S.Productions Gangadhar B.N No A.P.Helping Creations Annopoorna H.T M.T.Ramesh A.R.Combines Ashraf Kumar K.S.Prakash A.R.J.Films Chand Pasha Sardar Khan A.R.Productions K.S.Raman No A.R.S.Enterprises H.M.Anand Raju No A.S.Films Noorjhan Mohd Asif A.S.Ganesha Films Dr.T.Krishnaveni No A.S.K.Combines Aruni Rudresh No A.S.K.Films A.S.Sheela Rudresh A.S.Rudresh A.T.R.Films Raghu A.T. -
The Rhetoric of Masculinity and Machismo in the Telugu Film Industry
TAMING OF THE SHREW: THE RHETORIC OF MASCULINITY AND MACHISMO IN THE TELUGU FILM INDUSTRY By Vishnupriya Bhandaram Submitted to Central European University Department of Sociology and Social Anthropology In partial fulfillment of the requirements for the degree of Master of Arts Supervisors: Vlad Naumescu Dorit Geva CEU eTD Collection Budapest, Hungary 2015 Abstract Common phrases around the discussion of the Telugu Film Industry are that it is sexist and male-centric. This thesis expounds upon the making and meaning of masculinity in the Telugu Film Industry. This thesis identifies and examines the various intangible mechanisms, processes and ideologies that legitimise gender inequality in the industry. By extending the framework of the inequality regimes in the workplace (Acker 2006), gendered organisation theory (Williams et. al 2012) to an informal and creative industry, this thesis establishes the cyclical perpetuation (Bourdieu 2001) of a gender order. Specifically, this research identifies the various ideologies (such as caste and tradition), habituated audiences, and portrayals of ideal masculinity as part of a feedback loop that abet, reify and reproduce gender inequality. CEU eTD Collection i Acknowledgements “It is not that there is no difference between men and women; it is how much difference that difference makes, and how we choose to frame it.” Siri Hustvedt, The Summer Without Men At the outset, I would like to thank my friends old and new, who patiently listened to my rants, fulminations and insecurities; and for being agreeable towards the unreasonable demands that I made of them in the weeks running up to the completion of this document. -
S.NO. Appl.No. Name of the Candidate 1 1 KORLAM
ELIGIBLE LIST OF NETWORK ENGINEERS FOR ATTENDING INTERVIEW S.NO. Appl.No. Name of the Candidate 1 1 KORLAM SANDEEPU KUMAR 2 4 ACHANTA ADINARAYANA 3 7 ATHILI SUBRAHMANYAM 4 15 ALLU ARAVIND 5 19 ARIKATHOTA PRASHANTH KUMAR 6 29 KETHA PRAVEEN RATNA GOPAL 7 30 MAHABOOB SUBHAN 8 33 NALLIND AVINASH 9 34 B SANKARA SATYAVEERA BHADRUDU 10 40 G YASWANTH 11 48 KORTHAM GOVINDA RAO 12 51 VASUPALLI NARENDRA 13 54 KOTANA SANYASI RAO 14 55 ALLA MANOJ KUMAR 15 57 CHELLIBOYINA SURENDRA 16 58 G CHANDRASEKHAR 17 62 OMMI RAMESH YADAV 18 63 GIRIJALA SYAMRONALDS BABU 19 65 CHANDRA SEKHARA RAO M 20 70 NALLA JESWANTH 21 75 V L SURESH MAJJI 22 81 DUSI PRABHU SAGAR 23 82 JETTI HARIKIRAN 24 83 DERANGULA TIRUPATHI RAO 25 85 KOTARI PRUDVI RAJ 26 91 BOKKA DURGA PRASAD 27 92 KURUVA VEERESH 28 109 PALLEPOGU KARTEEK 29 113 REMALLI SATEESH 30 114 GEETHA PRASANNA 31 117 PENDIMA SANTOSH KUMAR 32 111 A MADHU BABU 33 10 KOPANATHI SUNEETHA 34 16 PALAPARTHY JOY NISSYI 35 31 P VIJAYA SAI PRIYANKA 36 59 YANAPU PUSHPA SHANVITHA 37 22 ADIREDDY MAHESH 38 26 SATISH DEEPATI 39 18 MANCHI RAJU VAMSI KIRAN 40 11 LOGISA SRINIVASA RAO 41 5 KARETLA SANTOSH KUMAR 42 13 MOHAMMAD SHAFI SK 43 14 Md. HAZARAT MABOO SUHAN 44 28 SHAIK TAJUDDIN 45 35 BANDAM RAMA KRISHNA 46 39 BODDEPALLI PRIYATHAMKUMAR 47 41 BETHAPUDI SATISH 48 102 DANNINA SEKHAR BABU 49 110 ETTILI RAMESH 50 118 TEKI LOVA RAJU 51 32 TADI SAMATHA 52 46 KONNA SWATHI 53 76 NATRA L PRASANNA DEVI 54 115 JYOTHILAKSHMI DIKKALA 55 17 SEERAPU GANESH 56 20 MOHAMMAD ARIF 57 23 SHAIK MAHABOOB SUBANI 58 38 INDLA IRMIYA 59 50 NAMBALA SAI KISHORE -
Pa N O R a M a O F S O U T H C I N E M a Vol 1 Issue 1 October 2009 Rs.50 01
Pa n o r a m a o f s o u t h c i n e m a Vol 1 issue 1 october 2009 rs.50 01 01 www.southscope.in siddharth’s intoxicating signature style i am a technique in myself -Balakrishna Why sizzler ileana’s story unfolded follow us on shraddha das will never do that? Panorama of south cinema Publisher Chief Executive Officer Executive Director Editor- in- Chief Assistant Editor Features Editor Features Writer Editorial Coordinators Tamil Nadu & Kerala Karnataka Mumbai Creative Director Visualiser Senior Graphic Designers Graphic Designers Production Head Creative Consultant Branding & Marketing Director Marketing Managers Moorthy Sreenivasulu Allu Sirish Ramakanth T Vanaja Banagiri Mona Ramavat Karthik Pasupulate Vrinda Prasad Sridevi Sreedhar Aravind G Anil Merani Raj Shekar B Jaya Prakash K P Suresh K Palvai, Suresh CH Ravi Kumar K V, Vamshi Vulavapati Krishna P Priya Gazdar Ayyar S, [email protected] Tvishi Zaveri, [email protected] Raja Reddy M, [email protected] Saroj Kumar Biswal, [email protected] Raghu Kumar Gorthy, [email protected] Sanjay Kumar S, [email protected] Mohan Manoharan, [email protected] Ravanam Swaminaidu Vishnuvardhan Induri, Radhakrishna G [email protected] or SMS SCOPE to 56263 [email protected] Circulation National Manager Deputy Manager Regional Manager (Chennai) Consultant- Distribution Board of Advisors Subscriptions: Enquiries: www.southscope.in Southscope takes no responsibility for unsolicited photographs or material. ALL PHOTOGRAPHS, UNLESS OTHERWISE INDICATED, ARE USED FOR ILLUSTRATIVE PURPOSES ONLY Registered Office: #202, Shiva Sai Sannidhi, Dwarakapuri Colony, Punjagutta, Hyderabad 500 034. All rights reserved. Reproducing in any manner without permission prohibited. -
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Creativity on the Fly Hyderabad, India Top Visual Effects Firm Uses Autodesk® 3Ds Max® and Autodesk®
Makuta Customer Success Story Creativity on the fly Hyderabad, India Top visual effects firm uses Autodesk® 3ds Max® and Autodesk® Autodesk® 3ds Max® software Maya® to create a fantasy film about a housefly with a ® ® Autodesk Maya software vengeance, Eega. Autodesk® Mudbox® software “The ability to efficiently output rendered passes from 3ds Max really assisted us in ensuring render jobs could be efficiently managed with separate render presents designed for environment, fly, wing 3D motion blurring and foreground objects.” Image courtesy of Varahi Chalana Chitram Productions, Makuta VFX. - Pete Draper Co-founder and CTO The advent of Visual Effects (VFX) in Indian so that it appeared natural in its interaction with Makuta Effects motion pictures, driven by improving skill sets and the surroundings. better technologies, has had a spectacular effect on the quality of films. Until recently, VFX were Designing the fly largely used as a device to deftly shift the drama in A good actor expresses a lot through facial a movie, but today it can easily control the reins of expressions and body language. But in the case of an entire movie. a fly, the challenge lies in its eyes that constitute 80 per cent of its face. How does one express love, Varahi Chalana Chitram’s Eega is the perfect anger, and other emotions through the eyes of a fly. example of VFX playing a dominant role in the narrative of a movie. The movie is about a Also one could not recreate a real fly because it murdered man who is reincarnated as a housefly would have appeared too grotesque to display its to avenge his death. -
Popular Indian Cinema in Conversation with Reincarnation: Some Aspects
postScriptum: An Interdisciplinary Journal of Literary Studies Online – Open Access – Peer Reviewed ISSN: 2456-7507 postscriptum.co.in Volume II Number i (January 2017) Gupta, Rajarshee. “Popular Indian Cinema in Conversation with ...” pp. 28-40 Popular Indian Cinema in Conversation with Reincarnation: Some Aspects Rajarshee Gupta Assistant Professor in English, Subhas Chandra Bose Centenary College, Murshidabad The author did his MA and MPhil from University of Calcutta. He served as the Project Fellow of DRS (UGC Special Assistance Programme, Phase III) at the Department of English, University of Calcutta. He currently teaches as Assistant Professor at the Department of English, Subhas Chandra Bose Centenary College, Lalbagh, Murshidabad. Abstract The paper strives to explore various facets of reincarnation as a theme or device in popular Indian cinema. Reincarnation has been a popular theme in Indian cinema since the early days of Indian film industry. The take of Indian cinema on the subject is very different from that of World cinema or Hollywood; its root can be traced back to traditional Indian philosophy professing Karma and the concept of rebirth. The cyclic pattern of birth and death as professed in Indian philosophy is reflected in a number of ways in the reincarnations movies: through the repetitive usage of various tropes of music, image and also by adopting a cyclic narrative structure. Reincarnation as a theme attributes to the scope of retelling love stories and revenge sagas, thus enhancing the melodramatic ‘masala’ nature of popular Indian cinema. The movies largely dwell upon and invest in the concept of immortality of the soul and eternal love between the lovers spanning over births. -
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