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Cinema of the Social: Stars, Fans and the Standardization of Genre in Tamil Cinema
Western University Scholarship@Western Digitized Theses Digitized Special Collections 2011 CINEMA OF THE SOCIAL: STARS, FANS AND THE STANDARDIZATION OF GENRE IN TAMIL CINEMA Ganga Rudraiah Follow this and additional works at: https://ir.lib.uwo.ca/digitizedtheses Recommended Citation Rudraiah, Ganga, "CINEMA OF THE SOCIAL: STARS, FANS AND THE STANDARDIZATION OF GENRE IN TAMIL CINEMA" (2011). Digitized Theses. 3315. https://ir.lib.uwo.ca/digitizedtheses/3315 This Thesis is brought to you for free and open access by the Digitized Special Collections at Scholarship@Western. It has been accepted for inclusion in Digitized Theses by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. CINEMA OF THE SOCIAL: STARS, FANS AND THE STANDARDIZATION OF GENRE IN TAMIL CINEMA r , ' (Spine title: CINEMA OF THE SOCIAL) (Thesis Format: Monograph) by : Ganga Rudraiah Graduate Program in Film Studies A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Ganga Rudraiah 2011 THE UNIVERSITY OF WESTERN ONTARIO SCHOOL OF GRADUATE AND POSTDOCTORAL STUDIES CERTIFICATE OF EXAMINATION r Supervisor Examiners Dr. Christopher E. Glttings Dr. James Prakash Younger Supervisory Committee Dr. Constanza Burucúa Dr. Chris Holmlund The thesis by Ganga Rudraiah entitled: Cinema of the Social: Stars, Fans and the Standardization of Genre in Tamil Cinema is accepted in partial fulfillment of the requirements for the degree of Master of Arts Date Chair of the Thesis Examination Board Abstract The star machinery of Tamil cinema presents itself as a nearly unfathomable system that produces stars and politicians out of actors and fans out of audiences in an organized fashion. -
Congratulations!
Congratulations! JULY 2021 - New World Team A V INDDU , KANCHIPURAM ABAJI KHANVILKAR ANITA , MUMBAI ADHIKARI MADHUMITA & PATIT PABAN ADHIKARI, BIRBHUM ADIB HUTAIB , RAIGARH MH ADRI PANKAJA & CHANDRAKANT ADRI, BAGALKOT AGARKAR SHITAL PANKAJ , AMRAVATI AGARWAL ANKIT , JAIPUR AGARWAL REENA , JAIPUR AGGARWAL LAVI & ANKUR AGARWAL, SAHARANPUR AGLAWE SAMPADA ARUN & ARUN EKNATH AGALAVE, THANE AGRAWAL AMIT KUMAR & PURNIMA AGRAWAL, PATAN AGRAWAL SHEETAL , SAMBALPUR AGRAWAL SWETA & ROHIT AGRAWAL, SULTANPUR AHAMED B ZAMEER , HOSPET AHMED MOHAMMAD AKHIL , UDUPI AHMED RAEES & NASEEM BEGAM, NAINITAL AHMED TAFHEEM , BHADERWAH DODA AHUJA MALA & SANJAY AHUJA, YAMUNA NAGAR AJAYKUMAR CK & SUPRIYA M, DODDABALLAPUR ALAGURAJ POOMALAI & A DEIVAM, PUDUKKOTTAI ALI KHAN SORAF & TANUJA BEGUM, HOOGHLY ALI MOHAMMED SHOUKATH & SHANAZ BANU, DAVANGERE ALLIBHAI ABBASALI DAVALASAB , GADAG ALTHAF S , PUNGANUR AMBADAS PAWAR PRATIKSHA , AURANGABAD AMLA ASHISH , JAMMU ANANDHARAJ C , NAGAPATTINAM ANKUR , BHARATPUR ANU , TOHANA APPAJI TARATE MADHUKAR , PHALTAN ARCHANA & HARDEEP KUMAR, AHMEDABAD ARORA PALAK , JALLANDHAR ARUN KAMBLE ANITA & ARUN HARIBHAU KAMBLE, SANGLI ARVIND PAWAR KAVITA , AHMED NAGAR ASAD RABIA & ABBAS ASAD, LUCKNOW ASHFAK M M & SAFRINA, KASARGOD ASHIMA & PARVESH KUMAR ASPAL, JALANDHAR ASHTARIAN SAMAANEH & MOHAMMED MESUM ABU, KHAIRATABAD ASMABI , PONNANI AWATE NARENDRA CHANDRAKANT , PUNE B AMARESH & VIJAYLAXMI, RAICHUR BAANGA SONIA , FARIDKOT BABAIAH DUDEKULA & VAHIDA BANU DUDEKULA, CUDDAPAH BABU V J PRASANTH & REJITHA, NEDUMANGAD BABULAL , HANUMANGARH Congratulations! -
Top 10 Male Indian Singers
Top 10 Male Indian Singers 001asd Don't agree with the list? Vote for an existing item you think should be ranked higher or if you are a logged in,add a new item for others to vote on or create your own version of this list. Share on facebookShare on twitterShare on emailShare on printShare on gmailShare on stumbleupon4 The Top Ten TheTopTens List Your List 1Sonu Nigam +40Son should be at number 1 +30I feels that I have goten all types of happiness when I listen the songs of sonu nigam. He is my idol and sometimes I think that he is second rafi thumbs upthumbs down +13Die-heart fan... He's the best! Love you Sonu, your an idol. thumbs upthumbs down More comments about Sonu Nigam 2Mohamed Rafi +30Rafi the greatest singer in the whole wide world without doubt. People in the west have seen many T.V. adverts with M. Rafi songs and that is incediable and mind blowing. +21He is the greatest singer ever born in the world. He had a unique voice quality, If God once again tries to create voice like Rafi he wont be able to recreate it because God creates unique things only once and that is Rafi sahab's voice. thumbs upthumbs down +17Rafi is the best, legend of legends can sing any type of song with east, he can surf from high to low with ease. Equally melodious voice, well balanced with right base and high range. His diction is fantastic, you may feel every word. Incomparable. More comments about Mohamed Rafi 3Kumar Sanu +14He holds a Guinness World Record for recording 28 songs in a single day Awards *. -
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. -
Of 11 DEPARTMENT of PHARMACOLOGY
OM SAKTHI MELMARUVATHUR ADHIPARASAKTHI INSTITUTE OF MEDICAL SCIENCES AND RESEARCH MELMARUVATHUR - 603 319 FACULTY MEMBERS & RESIDENTS AS ON - 28.08.2019 DEPARTMENT OF ANATOMY DOCTORS NAME QUALIFICATION DESIGNATION DR. D. SUGUNA M.S., PROFESSOR & H.O.D DR. S. KARTHICK M.D., PROFESSOR DR. M. VIJAYALAKSHMI M.S., ASSOCIATE PROFESSOR DR. M.S. DHIVYA M.D., ASSISTANT PROFESSOR MR. C. SATHEESHKUMAR M.SC., (ANA) ASSISTANT PROFESSOR MRS. A. RAJALAKSHMI M.SC., (ANA) ASSISTANT PROFESSOR DR. G. KARTHIKEYAN M.B.B.S., TUTOR DR. R. YUVARANJINI M.B.B.S., TUTOR DEPARTMENT OF PHYSIOLOGY DOCTORS NAME QUALIFICATION DESIGNATION DR. N. KANNAN M.D., PROFESSOR & H.O.D DR. LALITHA SHANMUGAM M.D. ASSOCIATE PROFESSOR DR. D. SUDHA M.D. ASSOCIATE PROFESSOR DR. R. GANESAN M.D. ASSISTANT PROFESSOR DR. UMA NANDHINI M.B.B.S., TUTOR DR. CITY BABU M.B.B.S., TUTOR DR. KIRUBA ANAND M.B.B.S., TUTOR DEPARTMENT OF BIOCHEMISTRY DOCTORS NAME QUALIFICATION DESIGNATION DR. S. SAKTHI DASAN M.D., PROFESSOR & H.O.D DR. S. RAVICHANDRAN M.D., ASSOCIATE PROFESSOR DR. K. GUNANITHI M.D., ASSOCIATE PROFESSOR MR. K.P. SHIVAGOVINDAN M.Sc., (Medical) ASSISTANT PROFESSOR DR. T. SHARMILA M.B.B.S., TUTOR MS. R. GOUTHAM M.B.B.S., TUTOR DR. B. AYESWARYA PRABHA M.B.B.S., TUTOR DR. K. VANITHA M.B.B.S., TUTOR Page 1 of 11 DEPARTMENT OF PHARMACOLOGY DOCTORS NAME QUALIFICATION DESIGNATION DR. R.V. RAMANARAYANA REDDY M.D., PROFESSOR & H.O.D DR. T.A.R. RAJA M.D., PROFESSOR DR. G. SENTHIL M.D., ASSOCIATE PROFESSOR MR. -
Programme Name Course Code Roll Number
Programme name Course Code Roll Number BVOC APPAREL DESIGN VHS410 161241 VHS410 161242 VHS410 161243 VHS410 161244 VHS410 161246 VHS410 161247 VHS410 161248 VHS410 161249 VHS410 161250 VHS410 161251 VHS410 161252 VHS410 161254 VHS410 161256 VHS410 161257 VHS410 161258 VHS410 161259 VHS410 161260 VHS410 161261 VHS410 161262 VHS410 161263 VHS410 161264 VHS410 161265 VHS410 161266 VHS410 161267 VHS410 161268 VHS410 161269 VHS410 161270 VHS410 161271 VHS410 161272 VHS410 161274 VHS410 161464 VHS410 161469 VHS410 161470 BVOC Apparel Design VHS608 141605 VHS608 141633 VHS608 141646 VHS608 151602 VHS608 151606 VHS608 151610 VHS608 151613 VHS608 151614 VHS608 151615 VHS608 151617 VHS608 151619 VHS608 151623 VHS608 151624 VHS608 151625 VHS608 151626 VHS608 151628 VHS608 151629 VHS608 151630 VHS608 151632 VHS608 151633 VHS608 151635 BVOC FOOD PROCESSING VHS417 151708 VHS417 151728 VHS417 161275 VHS417 161276 VHS417 161277 VHS417 161278 VHS417 161279 VHS417 161281 VHS417 161283 VHS417 161284 VHS417 161285 VHS417 161287 VHS417 161289 VHS417 161291 VHS417 161292 VHS417 161293 VHS417 161294 VHS417 161295 VHS417 161297 VHS417 161299 VHS417 161300 VHS417 161301 VHS417 161305 VHS417 161306 VHS417 161307 VHS417 161311 VHS417 161312 VHS417 161313 VHS417 161314 VHS417 161479 VHS417 161480 VHS417 161481 VHS417 161482 VHS417 161483 VHS615 151701 VHS615 151702 VHS615 151703 VHS615 151705 VHS615 151706 VHS615 151707 VHS615 151709 VHS615 151710 VHS615 151711 VHS615 151712 VHS615 151713 VHS615 151714 VHS615 151715 VHS615 151716 VHS615 151717 VHS615 151718 VHS615 -
Gangs of Wasseypur As an Active Archive of Popular Cinema
M A D H U J A M U K H E R J E E Of Recollection, Retelling, and Cinephilia: Reading Gangs of Wasseypur as an Active Archive of Popular Cinema This paper studies Gangs of Wasseypur (Parts 1 and 2, 2012) as a definitive text via which Anurag Kashyap’s style became particularly provocative and pointed. While a range of films (both directed and produced by Kashyap) seemingly bear a certain ‘Kashyap mark’ in the manner in which they tackle subjects of violence and belligerent speech with an unpredictable comic sense, I argue that, more importantly, these films work within a particular visual framework with regard to its mise-en- scène (including the play of light, camera movement, modes of performance), as well as produce recognisable plot structures (involving capricious and realistic events), settings and locations (like the city’s underbelly, police stations, etc.), and so on. Indeed, Kashyap has made a set of films—including Paanch (unreleased), No Smoking (2007) and Ugly (2014)—which deal with similar issues, and explore contemporary cityscapes, especially Mumbai, with fervidness, thereby commenting on urban dystopia.1 Furthermore, these films speak to what has been analysed as the ‘Bombay noir’ mode by Lalitha Gopalan, by means of thoughtful art and set design, engaging (and often hand-held) camera movements and swish-pans, uses of blue or yellow filters, character prototypes, and reflective performances, which generate a world that is engulfed by a deep sense of disquiet and distress. This paper draws attention to such stylistic explorations, especially JOURNAL OF THE MOVING IMAGE 91 to the ways in which it has developed through Kashyap’s recent films. -
The Case of Tamil Nadu
CINEMATIC CHARISMA AS A POLITICAL GATEWAY IN SOUTH INDIA: THE CASE OF TAMIL NADU Dhamu Pongiyannan, MA Submitted to the Faculty of Humanities and Social Sciences In fulfilment of the requirements for the degree of Doctor of Philosophy (PhD) at The University of Adelaide 2012 Table of Contents Table of Contents ............................................................................................................... i List of Figures .................................................................................................................. iv Abstract............. ............................................................................................................... vi Declaration. ..................................................................................................................... vii Acknowledgements ........................................................................................................ viii Dedication....... ............................................................................................................... viii Situating Tamil Nadu in the Subcontinent ........................................................................ x Preface................ ............................................................................................................. xi Introduction ....................................................................................................................... 1 Ordinary Tamils, extraordinary celebrity devotion ................................................. -
TAMIL CINEMA Tamil Cinema
TAMIL CINEMA Tamil cinema (also known as Cinema of Tamil Nadu, the Tamil film industry or the Chennai film industry) is the film industry based in Chennai, Tamil Nadu, India, dedicated to the production of films in the Tamil language. It is based in Chennai's Kodambakkam district, where several South Indian film production companies are headquartered. Tamil cinema is known for being India's second largest film industry in terms of films produced, revenue and worldwide distribution,[1] with audiences mainly including people from the four southern Indian states of Tamil Nadu, Kerala, Andra Pradesh, and Karnataka. Silent films were produced in Chennai since 1917 and the era of talkies dawned in 1931 with the film Kalidas.[2] By the end of the 1930s, the legislature of the State of Madras passed the Entertainment Tax Act of 1939.[3] Tamil cinema later had a profound effect on other filmmaking industries of India, establishing Chennai as a secondary hub for Telugu cinema, Malayalam cinema, Kannada cinema, and Hindi cinema. The industry also inspired filmmaking in Tamil diaspora populations in other countries, such as Sri Lankan Tamil cinema and Canadian Tamil cinema.[6] Film studios in Chennai are bound by legislation, such as the Cinematography Film Rules of 1948,[7] the Cinematography Act of 1952,[8] and the Copyright Act of 1957.[9] Influences Tamil cinema has been impacted by many factors, due to which it has become the second largest film industry of India. The main impacts of the early cinema were the cultural influences of the country. The Tamil language, ancient than the Sanskrit, was the medium in which many plays and stories were written since the ages as early as the Cholas. -
Mohanlal Filmography
Mohanlal filmography Mohanlal Viswanathan Nair (born May 21, 1960) is a four-time National Award-winning Indian actor, producer, singer and story writer who mainly works in Malayalam films, a part of Indian cinema. The following is a list of films in which he has played a role. 1970s [edit]1978 No Film Co-stars Director Role Other notes [1] 1 Thiranottam Sasi Kumar Ashok Kumar Kuttappan Released in one center. 2 Rantu Janmam Nagavally R. S. Kurup [edit]1980s [edit]1980 No Film Co-stars Director Role Other notes 1 Manjil Virinja Pookkal Poornima Jayaram Fazil Narendran Mohanlal portrays the antagonist [edit]1981 No Film Co-stars Director Role Other notes 1 Sanchari Prem Nazir, Jayan Boban Kunchacko Dr. Sekhar Antagonist 2 Thakilu Kottampuram Prem Nazir, Sukumaran Balu Kiriyath (Mohanlal) 3 Dhanya Jayan, Kunchacko Boban Fazil Mohanlal 4 Attimari Sukumaran Sasi Kumar Shan 5 Thenum Vayambum Prem Nazir Ashok Kumar Varma 6 Ahimsa Ratheesh, Mammootty I V Sasi Mohan [edit]1982 No Film Co-stars Director Role Other notes 1 Madrasile Mon Ravikumar Radhakrishnan Mohan Lal 2 Football Radhakrishnan (Guest Role) 3 Jambulingam Prem Nazir Sasikumar (as Mohanlal) 4 Kelkkatha Shabdam Balachandra Menon Balachandra Menon Babu 5 Padayottam Mammootty, Prem Nazir Jijo Kannan 6 Enikkum Oru Divasam Adoor Bhasi Sreekumaran Thambi (as Mohanlal) 7 Pooviriyum Pulari Mammootty, Shankar G.Premkumar (as Mohanlal) 8 Aakrosham Prem Nazir A. B. Raj Mohanachandran 9 Sree Ayyappanum Vavarum Prem Nazir Suresh Mohanlal 10 Enthino Pookkunna Pookkal Mammootty, Ratheesh Gopinath Babu Surendran 11 Sindoora Sandhyakku Mounam Ratheesh, Laxmi I V Sasi Kishor 12 Ente Mohangal Poovaninju Shankar, Menaka Bhadran Vinu 13 Njanonnu Parayatte K. -
Entertainment Network (India) Limited
entertainment network (India) limited Corporate Office: 14th Floor, Trade World, D-Wing, Kamala Mills Compound, Senapati Bapat Marg, Lower Parel (West), Mumbai – 400 013, India. Tel: 022 6753 6983. August 31, 2020 BSE Limited, National Stock Exchange of India Rotunda Building, P. J. Towers, Limited, Dalal Street, Fort, Mumbai- 400001 Exchange Plaza, Bandra Kurla Complex, Bandra (East), Mumbai – 400 051 BSE Scrip Code: 532700/ Symbol: ENIL Sub: Annual Report for the Financial Year 2019-20 Dear Sir/Madam, Pursuant to the Regulation 34 of the Securities and Exchange Board of India (Listing Obligations and Disclosure Requirements) Regulations, 2015, as amended from time to time (‘Listing Regulations’), please find enclosed herewith the Annual Report of Entertainment Network (India) Limited for the financial year 2019-2020 comprising of the Notice of the AGM, Report of the Board of Directors, Auditors’ Report, Audited Standalone and Consolidated Financial Statements, Report on Corporate Governance, Management Discussion and Analysis, Business Responsibility Report, Integrated Report, other documents required to be attached thereto, etc. for the financial year 2019-2020. Annual Report has been sent on August 31, 2020 to all the members of the Company whose email addresses are registered with the Company/ Depository Participant(s). Annual Report is also available at the Company’s website: www.enil.co.in at https://www.enil.co.in/financials-annual-reports.php. 21st Annual General Meeting (AGM) will be held on Wednesday, September 23, 2020 at 3.00 p.m. IST through Video Conference (VC) / Other Audio-Visual Means (OAVM). Kindly place the same on your record. In the event of any query, kindly feel free to call the undersigned on 9819701671. -
Dr Shamitha Malnad
Dr Shamitha Malnad Was born on 9th June in Thirthahalli, Shimoga. Is the daughter of Prof. U.V. Ramachandra & H.G. Sunanda. Married to Arun Kumar. D.K from Sringeri and has two children- Advaith Hegde and Shadjaa Hegde. Holds a Bachelor of Dental Surgery degree (B.D.S) from Vokkaligara Sangha Dental College, KIMS, Bangalore. Also holds a B.A Hindi Prachar Sabha, Chennai. Is a Dentist, Cine Playback Singer, Anchor, Dubbing and Voice Artist by profession. Passionate about hobbies like writing poems and stories, pencil sketching, ceramic art work, dancing, composing music & photography. Disciple of Hindusthani music maestro Late Pandith Sheshadri Gawai. Started her career as a playback singer in the year 1996 by singing for the “KANIVE KABBALI” devotional album. 20 yrs of experience as a Sugama sangeeth Singer. 15 yrs of experience as a Cine playback singer in the Kannada film industry. Has recently stepped into Telugu film industry by singing a song for the feature film “Nagavalli”. Has sung filmy, western, folk, theatrical songs, bhavageethe, re-mixes, devotional and vachanas Has sung in about 4000 cassettes in 11 languages i.e Kannada, Telugu, Tamil, Hindi, Konkani, Marathi, Thulu, Kodava, Gujarathi, Lambani, Malayalam etc in all Leading Audio cassette companies under all the music directors. Has sung devotional song along with Dada Saheb Phalke Awardee Dr RAJKUMAR. Has released 7 solo albums in Kannada & Telugu which includes re- mixed versions of L R Eshwari’s songs. Has composed 8 poems written by Padmashree Prof. K S Nisar Ahamed and released the same under the title “MILANAOTSAVA”.