Eight Feature Film Projects Selected for Second Mumbai Mantra | Sundance Institute Screenwriters Lab
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Mumbai Macbeth: Gender and Identity in Bollywood Adaptations Rashmila Maiti University of Arkansas, Fayetteville
University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 8-2018 Mumbai Macbeth: Gender and Identity in Bollywood Adaptations Rashmila Maiti University of Arkansas, Fayetteville Follow this and additional works at: http://scholarworks.uark.edu/etd Part of the Asian Studies Commons, Comparative Literature Commons, and the Literature in English, British Isles Commons Recommended Citation Maiti, Rashmila, "Mumbai Macbeth: Gender and Identity in Bollywood Adaptations" (2018). Theses and Dissertations. 2905. http://scholarworks.uark.edu/etd/2905 This Dissertation 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]. Mumbai Macbeth: Gender and Identity in Bollywood Adaptations A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Comparative Literature and Cultural Studies by Rashmila Maiti Jadavpur University Bachelor of Arts in English Literature, 2007 Jadavpur University Master of Arts in English Literature, 2009 August 2018 University of Arkansas This dissertation is approved for recommendation to the Graduate Council. M. Keith Booker, PhD Dissertation Director Yajaira M. Padilla, PhD Frank Scheide, PhD Committee Member Committee Member Abstract This project analyzes adaptation in the Hindi film industry and how the concepts of gender and identity have changed from the original text to the contemporary adaptation. The original texts include religious epics, Shakespeare’s plays, Bengali novels which were written pre- independence, and Hollywood films. This venture uses adaptation theory as well as postmodernist and postcolonial theories to examine how women and men are represented in the adaptations as well as how contemporary audience expectations help to create the identity of the characters in the films. -
A Study of Shakespeare Contribution in Hindi Cinema
International Journal of Science and Research (IJSR) ISSN (Online): 2319-7064 Index Copernicus Value (2016): 79.57 | Impact Factor (2015): 6.391 A Study of Shakespeare Contribution in Hindi Cinema Asma Qureshi Abstract: In India, Cinema not only a name of entertainment, but also educate to millions of people every day. Friday is celebrated by screening of new films. Indians happily participate in Cinema culture of the Country. Shakespearean tragedies have been a never ending source of inspiration for all filmmakers across the world. Many Hindi films based on Shakespeare novel like Shahid, Omkara, Goliyo ki raasleela Ramleela etc. William Shakespeare in India has been an exceptional and ground-breaking venture. The literary collection of Shakespeare is dynamic and an unlimited source of inspiration for countless people across the globe. When Shakespeare’s writing is adapted in cinema, it sets it ablaze, and transfers the audience to a cinematic paradise. Indian adaptation of both Shakespearean tragedy and comedy can be comprehended as an Combination of ‘videsi’ and ‘desi’, a synthesis of East and West, and an Oriental and Occidental cultural exchange. Shakespeare’s, “bisexual‟ mind, the complexity of his Narrative, music, story-telling, and creative sensibility categorizes him as an ace literary craftsman. This Research is an attempt to understand the contribution of Shakespeare novel in Hindi cinema. So that we can easily understand the main theme of the story. What writer wants to share with us. We can easily understand main theme of novel. 1. Introduction European library worth the whole native literature of India and Arabia‖. It also has a lot to do with profound resonances Indian Hindi language film industry is also known as Hindi between Shakespeare‘s craft and Indian cultural forms that cinema which is situated or we can say mainly operated converge on one concept: masala. -
Netflix and Jio MAMI 21St Mumbai Film Festival with Star Celebrate Women in Entertainment “Our Stories Just Don’T Work Without Women”, Says Netflix
Netflix and Jio MAMI 21st Mumbai Film Festival with Star celebrate Women in Entertainment “Our stories just don’t work without women”, says Netflix Mumbai, October 19, 2019: Netflix and Jio MAMI 21st Mumbai Film Festival with Star today joined hands to celebrate the evolving role of women in Indian storytelling as part of MAMI’s Women in Film initiative. Commenting on the success of women helping other women in film, and cheering the creative community in attendance, producer Guneet Monga shared what she was told by the poet, Meena Kandaswamy when she won the Oscar for ‘Period. End of Sentence’ - “When you shine, I shine.” Srishti Arya, Director for International Original Film- Netflix India shared her views on Women in Entertainment and said, “At Netflix, diversity is the beating heart of our storytelling and inclusion is essential to programming for 158 million members around the world. As we deepen our investment in stories and storytellers from India, we are determined to bring to life more smart, vibrant and fully-realised female characters...who are funny, fierce and fantastically flawed.” Speaking at the event, Monika Shergill- Director, International Originals, Netflix India said, “Stories have the ability to shape our conversations and culture. As a brand that’s known for pure storytelling, we believe in women creators and their ability to craft stories of power and presence. We want to be a home to the best stories and bring these unique and inventive voices to life.” Anupama Chopra, Festival Director, MAMI said, “Over the years, the Indian film industry has seen an incredible array of work created by women. -
Clare M. Wilkinson-Weber
Clare M. Wilkinson-Weber TAILORING EXPECTATIONS How film costumes become the audience’s clothes ‘Bollywood’ film costume has inspired clothing trends for many years. Female consumers have managed their relation to film costume through negotiations with their tailor as to how film outfits can be modified. These efforts have coincided with, and reinforced, a semiotic of female film costume where eroticized Indian clothing, and most forms of western clothing set the vamp apart from the heroine. Since the late 1980s, consumer capitalism in India has flourished, as have films that combine the display of material excess with conservative moral values. New film costume designers, well connected to the fashion industry, dress heroines in lavish Indian outfits and western clothes; what had previously symbolized the excessive and immoral expression of modernity has become an acceptable marker of global cosmopolitanism. Material scarcity made earlier excessive costume display difficult to achieve. The altered meaning of women’s costume in film corresponds with the availability of ready-to-wear clothing, and the desire and ability of costume designers to intervene in fashion retailing. Most recently, as the volume and diversity of commoditised clothing increases, designers find that sartorial choices ‘‘on the street’’ can inspire them, as they in turn continue to shape consumer choice. Introduction Film’s ability to stimulate consumption (responding to, and further stimulating certain kinds of commodity production) has been amply explored in the case of Hollywood (Eckert, 1990; Stacey, 1994). That the pleasures associated with film going have influenced consumption in India is also true; the impact of film on various fashion trends is recognized by scholars (Dwyer and Patel, 2002, pp. -
Space Exploration's Next Frontier
Tuesday, June 16, 2020 Shawwal 24, 1441 AH Doha today: 330 - 450 The future Space exploration’s next frontier: Remote-controlled robonauts. P4-5 COVER STORY HOLLYWOOD BACK PAGE White celebs rush to Artists laud Qatar’s resilience amplify Black Lives Matter. during unjust blockade. Page 15 Page 16 2 GULF TIMES Tuesday, June 16, 2020 COMMUNITY ROUND & ABOUT SERIES TO BINGE WATCH ON AMAZON PRIME PRAYER TIME Fajr 3.12am Shorooq (sunrise) 4.45am Zuhr (noon) 11.36am Asr (afternoon) 2.59pm Maghreb (sunset) 6.27pm Isha (night) 7.57pm USEFUL NUMBERS Emergency 999 Worldwide Emergency Number 112 Kahramaa – Electricity and Water 991 Local Directory 180 International Calls Enquires 150 Hamad International Airport 40106666 Labor Department 44508111, 44406537 Mowasalat Taxi 44588888 Qatar Airways 44496000 Hamad Medical Corporation 44392222, 44393333 Qatar General Electricity and Modern Love been a date. An unconventional new family. These are unique Water Corporation 44845555, 44845464 CAST: Anne Hathaway, Tina Fey, Andy Garcia stories about the joys and tribulations of love, each inspired Primary Health Care Corporation 44593333 SYNOPSIS: An unlikely friendship. A lost love resurfaced. by a real-life personal essay from the beloved New York Times 44593363 A marriage at its turning point. A date that might not have column Modern Love. Qatar Assistive Technology Centre 44594050 Qatar News Agency 44450205 44450333 Q-Post – General Postal Corporation 44464444 Humanitarian Services Office (Single window facility for the repatriation of bodies) Ministry of Interior 40253371, 40253372, 40253369 Ministry of Health 40253370, 40253364 Hamad Medical Corporation 40253368, 40253365 Qatar Airways 40253374 ote Unquo Qu te “Childhood is a short season.” — Helen Haye The Expanse to find a missing young woman; Julie between Earth, Mars and The Belt. -
Koel Chatterjee Phd Thesis
Bollywood Shakespeares from Gulzar to Bhardwaj: Adapting, Assimilating and Culturalizing the Bard Koel Chatterjee PhD Thesis 10 October, 2017 I, Koel Chatterjee, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 10th October, 2017 Acknowledgements This thesis would not have been possible without the patience and guidance of my supervisor Dr Deana Rankin. Without her ability to keep me focused despite my never-ending projects and her continuous support during my many illnesses throughout these last five years, this thesis would still be a work in progress. I would also like to thank Dr. Ewan Fernie who inspired me to work on Shakespeare and Bollywood during my MA at Royal Holloway and Dr. Christie Carson who encouraged me to pursue a PhD after six years of being away from academia, as well as Poonam Trivedi, whose work on Filmi Shakespeares inspired my research. I thank Dr. Varsha Panjwani for mentoring me through the last three years, for the words of encouragement and support every time I doubted myself, and for the stimulating discussions that helped shape this thesis. Last but not the least, I thank my family: my grandfather Dr Somesh Chandra Bhattacharya, who made it possible for me to follow my dreams; my mother Manasi Chatterjee, who taught me to work harder when the going got tough; my sister, Payel Chatterjee, for forcing me to watch countless terrible Bollywood films; and my father, Bidyut Behari Chatterjee, whose impromptu recitations of Shakespeare to underline a thought or an emotion have led me inevitably to becoming a Shakespeare scholar. -
List of Non-Exhaustive Crew Titles That Will Be Considered for Funding
List of non-exhaustive crew titles that will be considered for funding: Director Best boy (lighting) Key make-up artist Producer Lighting technician / Electrics Special make-up effects Artist Line producer Grips (SFX makeup) Production assistant Key grip Make-up supervisor Production managements Best boy/Best Babe (grip) Make-up artist Production manager Dolly grip Key hair Assistant production Production sound Hair stylist manager Production sound mixer Special effects Unit manager Boom operator Special effects supervisor Production coordinator Second assistant sound Stunts First assistant director Art department Stunt coordinator Second assistant director Production designer Film editor Accounting Art director Editorial[edit] Production accountant Line Standby art director Negative cutter Producer Assistant art director Colorist Location manager Set designer Telecine colorist Assistant location manager Illustrator Visual effects[edit] Location scout Graphic artist Visual effects Unit publicist Set decorator Visual effects producer System administrator Buyer Visual effects creative Continuity Leadman director Script supervisor Set dresser Visual effects supervisor Script Writers Greensman Visual effects editor Casting Construction Compositor Casting director Construction coordinator Matte painter Cast PA Head carpenter Sound and music Drivers Carpenters Sound designer Camera and lighting Studio hands Dialogue editor Director of photography Propmaker Sound editor Camera Scenic Re-recording mixer Camera operator Key scenic Music supervisor First assistant camera Property Foley artist Second assistant camera Propmaster Conductor/ orchestrator Film loader Weapons master Score recorder/ mixer Digital imaging technician Costume department Music preparation Steadicam operator Costume supervisor Music editor Motion control Key costumer Previs technician/Operator Breakdown artist Animation Lighting Costume buyer Gaffer Cutter . -
NEW AD FILMMAKERS on the INTERVIEW Rishad Tobaccowala How Vivaki’S Role Will CENTRE STAGE Grow in Times to Come
May 16-31, 2012 Volume 3, Issue 10 `100 44 NEW AD FILMMAKERS ON THE INTERVIEW Rishad Tobaccowala How VivaKi’s role will CENTRE STAGE grow in times to come. Armed with a specialised approach, new-gen directors are sharing the limelight with industry veterans. 14 DIGITAL CAMERA Why so Glamorous? Digital camera brands have taken a fancy for filmstars. 41 DEFINING MOMENTS Paritosh Joshi The ex-CEO of STAR CJ Network looks back. GOOGLE New Measures 16 CHROME DATA ANALYTICS & MEDIA Study on Carriage Fees 32 GEC The Key to Success 33 28 ABP/STAR What Lies Ahead? 34 EDITORIAL This fortnight... Volume 3, Issue 10 EDITOR Sreekant Khandekar o whom will you attribute the success or failure of a television commercial? Is it the agency, the PUBLISHER Prasanna Singh T filmmaker or the brand owner? In feature films, which inspire the ad film industry in many EXECUTIVE EDITOR ways, the onus is more on the director than anyone else. But in the case of ad films, the agency or Prajjal Saha the marketer is the face of the film. The filmmaker, unless he is an iconic name, is seen as a mere SENIOR LAYOUT ARTIST executioner. However, one can equally argue that it’s the director who gives visual Vinay Dominic grammar to the script to deliver an impactful audio-visual story. LOGISTICS Rajesh Kanwal May 16-31, 2012 Volume 3, Issue 10 `100 Yes, the early days of television commercials did produce a few names which ADVERTISING ENQUIRIES 44 Neha Arora, (0120) 4077866, 4077837 NEW AD FILMMAKERS were equally iconic, such as Prahlad Kakkar and Shyam Benegal. -
International Journal of Law, Education, Social and Sports Studies (Ijless)
: Email:[email protected] Volume: 5, Issue1, 2018 (Jan-Mar) INTERNATIONAL JOURNAL OF LAW, EDUCATION, SOCIAL AND SPORTS STUDIES (IJLESS) http://www.ijless.kypublications.com/ ISSN:2455-0418 (Print), 2394-9724 (online) 2013©KY PUBLICATIONS, INDIA www.kypublications.com Editor-in-Chief Dr M BOSU BABU (Education-Sports-Social Studies) Editor-in-Chief DONIPATI BABJI (Law) ©KY PUBLICATIONS Int.J.Law.Edu.Social.& Sports.Studies Vol.5.Issue.1.2018 ISSN:2455-0418 (P), 2394-9724 (O) International Journal of Law, Education, Social and Sports Studies (IJLESS) Volume: 5, Issue 1, 2018 ISSN: 2455-0418 (Print), 2394-9724 (online) Review Article THE MOVIE ‘PADMAAVAT’ - 2018 AND THE SPRING FESTIVAL OF FEMINISM Subrata Bhattacharyya†† Retired Professor of Theoretical Physics of ‗Higher Academic Grade‘ (HAG) of Indian Statistical Institute (ISI) Kolkata-700108, WB, India ABSTRACT Swara Bhaskar is an award winning actress in the Hindi film industry whose filmography includes the critically acclaimed Anaarkali Of Aarah (2017), the critical-commercial success Nil Battey Sannata (2016); superhit block buster films Prem Ratan Dhan Paayo (2015), Tanu Weds Manu Returns (2015), Raanjhanaa (2013) and Tanu Weds Manu (2011). She is also an occasional writer and columnist and her short stories and articles have appeared in The Little Magazine, Seminar, The Himal Southasian, The Hindu and the Indian Express. In her own depiction Swara Bhaskar described herself as ‗Desirous of Life‘ and ‗sexuality‘ as well. This is her candid confession which exhibits her extreme boldness and fearlessness. She regarded Sanjay Leela Bhansali (SLB) with high esteem, respected his filmographic calibre. But she dares to offer some modest criticism and choose to ventilate her frank criticism(s) of the movie on some solid philosophic grounds. -
FILM FOKUS EZEBHANYABHANYA Bollywood Comes Alive
FILM FOKUS EZEBHANYABHANYA bollywood comes alive NEVILLE ADONIS DVD Selector, Acquisitions Section that, this being a Yash Raj production, family values will eventually triumph, the fi lm serves up a bonny, bouncing two-and-a-half hours any people confuse the terms of dialogue-driven entertainment. Hollywood and Bollywood. The ‘Khan, who since Hum tum is proving perception is that Bollywood has M to be a real leading man, plays Nikhil ‘Nick’ its origin from Hollywood, but in fact the Arora, a failed architecture student turned only thing the two names have in common chef who is a minor celebrity in Melbourne. is that both have to do with the fi lm industry. Zinta, the most substantial actress among Hollywood is a place and Bollywood is the younger Bollywood group, plays the role Indian cinema. Although Bollywood used to of Ambar Malhotra, a medical student from be mainly shown in India, more and more combines a comedy about Indians Down Bangalore who moonlights at a local radio western countries have shown interest in Under with a dramedy about a yuppie facing station, Salaam Namaste, to pay for her edu- this cinema genre. In my opinion, Bollywood up to fatherhood. With two of the brightest cation. In typical romantic-comedy style, the plots are a little melodramatic with themes of young stars of Hindi cinema, Saif Ali Khan two self-obsessed leads get off on the wrong love-triangles, kidnapping, corrupt politicians and Preity Zinta in Hugh Grant and Julianne foot when Nikhil is late for an interview on and angry parents and, yes, it also features Moore roles, plus the comforting realisation Ambar’s radio show. -
From the CEO's Desk……………
April 2020 Vol:01 Issue: 10 FromtheCEO’sDesk……………. The past several weeks have seen the whole world being affected by the pandemic but it has also witnessed that when we come together, we can really make a difference and win. I hope each one of you is safe and is making an effort to keep people around you safe. As a Business Leader, on behalf of my team, I want to thank each one of you for the collaborative spirit displayed. We want to assure that entire team at Zee Learn will continue to stand with our Business Partners to tide over this phase and emerge stronger. The situation has given us enough opportunities to strengthen our pedagogical delivery and be ready to navigate through such disruptions. In close coordination with you, our teams have Mr. Vikash Kumar Kar begun implementing several initiatives on virtual learning with the sole aim of Mount Literans Chief Executive Officer having the right learning in their safe and comforting environment. The team is taking every possible measure to maintain seamless delivery of the curriculum through our Learning Management System involving academic plans and extra-curricular activities so that you do not miss out on fun while learning. As a silver lining, I am sure that the moment has allowed you to practice things that you may have not have been able to pursue well earlier amidst your busy life. This could include anything from spending quality time with your loved ones at home, exploring meditation, yoga or even cooking; things through which you experience holistic wellbeing. -
ARTICLE 13 Minimum Salary Schedules and Working Conditions
ARTICLE 13 Minimum Salary Schedules and Working Conditions of UPMs, Assistant Directors and Associate Directors Section 13-100 MINIMUM SALARIES 13-101 Minimum Salary Schedules and Conditions for UPMs, Assistant Directors and Associate Directors7 Employer agrees that the minimum salaries and conditions of employment set forth in the following Schedules and Paragraphs shall govern the employment of UPMs and Assistant Directors, likewise Associate Directors where specifically indicated. Term contracts shall be for a minimum of twenty-three (23) out of twenty-six (26) weeks or multiples thereof. (a) Salary: Effective Dates July 1, 2011 July 1, 2012† July 1, 2013†† Studio Workweek* UPM $4,712/week $4,794/week $4,878/week 1st AD 4,481/week 4,559/week 4,639/week Key 2nd AD 3,003/week 3,056/week 3,109/week Second 2nd AD 2,835/week 2,885/week 2,935/week Add'l 2nd AD*** 1,724/week 1,754/week 1,785/week Distant Location Workweek** UPM $6,599/week $6,714/week $6,831/week 1st AD 6,266/week 6,376/week 6,488/week Key 2nd AD 4,195/week 4,268/week 4,343/week Second 2nd AD 3,962/week 4,031/week 4,102/week Add'l 2nd AD*** 2,420/week 2,462/week 2,505/week 7 See Paragraph 24-403 for salary rates and production fees applicable to Unit Production Managers, Assistant Directors and Associate Directors employed on multi-camera prime time dramatic pilots, presentations and series. † See text of footnote 3 on page 38.