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Contemporary Hindi Films: a Tool for Women Empowerment
Shekhawat and Vyas. 2019, European Journal of Social Sciences (EJSS), In Press Contemporary Hindi Films: A Tool for Women Empowerment Sushila Shekhawat1* and Neerja Vyas2 ABSTRACT Innumerable shades of women have found a well-argued fact that issues such as inequality, representation in various media formats such as considering them inferior and incapable television, print media, social media, internet, especially in relation to their male counterparts cinema etc. Fight for equality and more was and is still an impediment in their progression prominently human rights has been taken up by as individuals in different sections of the society. several prominent film makers to bring this pertinent issue to the limelight so as to enlighten Women empowerment in its myriad the masses by exposing the actual story of women manifestations have been dealt with by the being involved. This paper tries to study depiction different forms of media such as Broadcasting of women in selected Indian Films to better media, print media, social media, digital media, explore their role in shaping up new perspectives internet, etc. wherein Cinema enjoys the status of on gender equality playing a significant role in the most widely accessible medium in almost all sensitizing people towards the reality associated the different types of media. This paper attempts with the issues. The study would also try to look to study the representation of women in Indian at the different projections and filmic images Films so as to understand their role in shaping up which have dared to go beyond the conventional new perspectives on gender equality and also portrayal and created a new identity of the sensitizing people towards the reality associated empowered women with examples from films like with the issues. -
EVENT Year Lib. No. Name of the Film Director 35MM DCP BRD DVD/CD Sub-Title Language BETA/DVC Lenght B&W Gujrat Festival 553 ANDHA DIGANTHA (P
UMATIC/DG Duration/ Col./ EVENT Year Lib. No. Name of the Film Director 35MM DCP BRD DVD/CD Sub-Title Language BETA/DVC Lenght B&W Gujrat Festival 553 ANDHA DIGANTHA (P. B.) Man Mohan Mahapatra 06Reels HST Col. Oriya I. P. 1982-83 73 APAROOPA Jahnu Barua 07Reels EST Col. Assamese I. P. 1985-86 201 AGNISNAAN DR. Bhabendra Nath Saikia 09Reels EST Col. Assamese I. P. 1986-87 242 PAPORI Jahnu Barua 07Reels EST Col. Assamese I. P. 1987-88 252 HALODHIA CHORAYE BAODHAN KHAI Jahnu Barua 07Reels EST Col. Assamese I. P. 1988-89 294 KOLAHAL Dr. Bhabendra Nath Saikia 06Reels EST Col. Assamese F.O.I. 1985-86 429 AGANISNAAN Dr. Bhabendranath Saikia 09Reels EST Col. Assamese I. P. 1988-89 440 KOLAHAL Dr. Bhabendranath Saikia 06Reels SST Col. Assamese I. P. 1989-90 450 BANANI Jahnu Barua 06Reels EST Col. Assamese I. P. 1996-97 483 ADAJYA (P. B.) Satwana Bardoloi 05Reels EST Col. Assamese I. P. 1996-97 494 RAAG BIRAG (P. B.) Bidyut Chakravarty 06Reels EST Col. Assamese I. P. 1996-97 500 HASTIR KANYA(P. B.) Prabin Hazarika 03Reels EST Col. Assamese I. P. 1987-88 509 HALODHIA CHORYE BAODHAN KHAI Jahnu Barua 07Reels EST Col. Assamese I. P. 1987-88 522 HALODIA CHORAYE BAODHAN KHAI Jahnu Barua 07Reels FST Col. Assamese I. P. 1990-91 574 BANANI Jahnu Barua 12Reels HST Col. Assamese I. P. 1991-92 660 FIRINGOTI (P. B.) Jahnu Barua 06Reels EST Col. Assamese I. P. 1992-93 692 SAROTHI (P. B.) Dr. Bhabendranath Saikia 05Reels EST Col. -
Research Paper COMMUNICATION Emergence of Cinema As a Strong Tool of Social Change
Volume : 3 | Issue : 4 | April 2014 • ISSN No 2277 - 8160 Research Paper COMMUNICATION Emergence of Cinema as a strong Tool of Social Change Tanushri Sr. Lecturer, Amity School of Communication, Amity University Rajasthan, Mukherjee Jaipur. ABSTRACT Gone are the days when the movies started with a dream woven by a teenage girl of a hero entering her life on a white horse fighting against all the so called “ villains” and the film finally ending with a common note, “Happily ever after” . Today cinema focuses on realistic issues and matters rather than depicting impractical and unrealistic stories and it plays a major role in portraying certain fundamental social and political issues which not only entertains the masses but also educates them on these issues and helps them develop an opinion thus acting as a strong tool behind Socio- Political Transformation and Mass Enlightenment. Movies have drastically transformed not only in technical terms but also in terms of story lines, nature of portrayal of characters, genders and issues. The paper tries to deal with the fact as to how Indian Cinema has changed in terms of its stories and issues and it makes a deeper analytical study to find out the opinion of the masses at large as to what is their opinion about Present Cinema and its impact on Society in the direction of acting as a strong tool of Social Awareness and Social Change. KEYWORDS: Social Issues, Contemporary cinema, Social change, Indian politics, Social taboos, Social Awareness Introduction everyday life or there are certain movies which are women centric and Change is the thumb rule of life and so have been Indian cinema. -
VIDURA 1 from the Editor Striving to Put Public Interest First Is Great, but Do It with Humility
A JOURNAL OF THE PRESS INSTITUTE OF INDIA ISSN 0042-5303 October-December 2016 Volume 8 Issue 4 Rs 50 A lifelong commitment to ridding the world of hunger Prof M.S. Swaminathan, a world scientist of rare distinction whose vision it has been to rid the world of hunger and poverty and whose CONTENTS • Declining media interest work has touched the lives of millions at the grassroots in India, in panchayati raj / Bharat spoke about how “a combination of scientific skill, political will Dogra and farmer’s participation in pulses production could help achieve • Uri, and all the media hype / zero hunger”, at a programme focused on pulses for addressing Shreejay Sinha food and nutrition security which was recently conducted at the • Does a journalist merely MS Swaminathan Research Foundation. A few weeks earlier, report or also offer Prof Swaminathan, despite a nagging cough, spoke to Sashi Nair solutions? / Sakuntala about his life and times for the better part of an hour Narasimhan • The sun shines bright on digital platforms / Santosh August 7 is the birthday of Prof M.S. Swaminathan and the Foundation Day of the Kumar Biswal MS Swaminathan Research Foundation in Taramani, Chennai. This year, a selection of • Translation: no two windows important publications related to agriculture, food security and policy were released by can give an identical view / the Foundation on the day. Its founder-chairman called for the setting up of ‘seed villages’ Shoma A. Chatterji to ensure the availability of quality seed with farmers, as well as ‘pulse panchayats’ to • Girls are still denied the ensure commitment of farmers and local bodies. -
Beneath the Red Dupatta: an Exploration of the Mythopoeic Functions of the 'Muslim' Courtesan (Tawaif) in Hindustani Cinema
DOCTORAL DISSERTATIO Beneath the Red Dupatta: an Exploration of the Mythopoeic Functions of the ‘Muslim’ Courtesan (tawaif) in Hindustani cinema Farhad Khoyratty Supervised by Dr. Felicity Hand Departament de Filologia Anglesa i Germanística Universitat Autònoma de Barcelona 2015 Table of Contents Acknowledgements iv 1. Introduction 1 2. Methodology & Literature Review 5 2.1 Methodology 5 2.2 Towards Defining Hindustani Cinema and Bollywood 9 2.3 Gender 23 2.3.1 Feminism: the Three Waves 23 2.4 Feminist Film Theory and Laura Mulvey 30 2.5 Queer Theory and Judith Butler 41 2.6 Discursive Models for the Tawaif 46 2.7 Conclusion 55 3. The Becoming of the Tawaif 59 3.1 The Argument 59 3.2 The Red Dupatta 59 3.3 The Historical Tawaif – the Past’s Present and the Present’s Past 72 3.4 Geisha and Tawaif 91 4. The Courtesan in the Popular Hindustani cinema: Mapping the Ethico-Ideological and Mythopoeic Space She Occupies 103 4.1 The Argument 103 4.2 Mythopoeic Functions of the Tawaif 103 4.3 The ‘Muslim’ Courtesan 120 4.4 Agency of the Tawaif 133 ii 4.5 Conclusion 147 5. Hindustani cinema Herself: the Protean Body of Hindustani cinema 151 5.1 The Argument 151 5.2 Binary Narratives 151 5.3 The Politics of Kissing in Hindustani Cinema 187 5.4 Hindustani Cinema, the Tawaif Who Seeks Respectability 197 Conclusion 209 Bibliography 223 Filmography 249 Webography 257 Photography 261 iii Dedicated to My Late Father Sulliman For his unwavering faith in all my endeavours It is customary to thank one’s supervisor and sadly this has become such an automatic tradition that I am lost for words fit enough to thank Dr. -
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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. -
Preface Chapter 1 Hindi Films: Theoretical Debates and Textual Studies Chapter 2 Audiences and Hindi Films: Contemporary Studies
Notes Preface 1 The words ‘discourse’ and ‘discourses’ as used in this book refer not to units of speech or writing, however small or large, but rather to structured and sedi- mented ways of defining and understanding the world. Chapter 1 Hindi films: theoretical debates and textual studies 1 Famous film critic and theorist from Calcutta, author of Talking About Films (New Delhi: Orient Longman, 1981) and The Painted Face: Studies in India’s Popular Cinema (New Delhi: Roli Books, 1991), Dasgupta has been a consistent propo- nent of the idea that mass films and spectators of these films are mired in a pre- modern frame of mind which is leading India, via an irrational attachment to certain (politico-religious) ideologies and myths, towards imminent political collapse. 2 Nandy (1998: 2–5) delineates a notion of commercial Hindi cinema as a means of expression for the frustrations, views and idioms of ‘slum’ life, a vehicle for the fears, desires and angst of those members of the population dispossessed by the state or lingering on the margins of cities. 3 For an interesting discussion of ‘escapism’ and soap opera see Modleski’s argu- ment in ‘The Search for Tomorrow in Today’s Soap Operas’ (1982). 4 For instance, see Theodore Adorno’s (1991) argument that the ‘mass’ produc- tion and distribution of cultural artefacts, rather than democratising culture, are leading to a standardised and totalitarian mentality that is being imposed upon the masses. 5 Some of the films Chori Chori Chupke Chupke ‘copies’ or borrows’ from are Pretty Woman (USA, Garry Marshall 1990) Doosri Dulhan (A Second Bride, Lekh Tandon 1983) and Bewafa se Wafa (From Infidelity to Fidelity, Sawan Kumar 1992). -
A Prospective Study on Portrayal of Rural Theme in Selected Tamil Films
A PROSPECTIVE STUDY ON PORTRAYAL OF RURAL THEME IN SELECTED TAMIL FILMS Shreya Gupta Registered Number: 1324049 A dissertation submitted in partial fulfilment of the requirements for the degree of Master of Science in Communication Christ University Bengaluru 2015 Program Authorized to Offer Degree: Department of Media Studies II Christ University Department of Media Studies This is to certify that I have examined this copy of a master‟s thesis by Shreya Gupta Registered Number: 1324049 and have found that it is complete and satisfactory in all respects, and that any and all revisions required by the final examining committee has been made. Committee Members: _____________________________________________________ _____________________________________________________ Date: __________________________________ III IV I, Shreya Gupta, confirm that this dissertation and the work presented in it are original. 1. Where I have consulted the published work of others this is always clearly attributed. 2. Where I have quoted from the work of others the source is always given. With the exception of such quotations this dissertation is entirely my own work. 3. I have acknowledged all main sources of help. 4. If my research follows on from previous work or is part of a larger collaborative research project I have made clear exactly what was done by others and what I have contributed myself. 5. I am aware and accept the penalties associated with plagiarism. Date: Signature V VI Abstract A prospective study on portrayal of rural theme in selected Tamil films Shreya Gupta MS in Communication, Christ University, Bangalore Tamil film industry is popularly known as Kollywood. It has its own unique elements which makes it different from other film industry in Indian cinema. -
1St Filmfare Awards 1953
FILMFARE NOMINEES AND WINNER FILMFARE NOMINEES AND WINNER................................................................................ 1 1st Filmfare Awards 1953.......................................................................................................... 3 2nd Filmfare Awards 1954......................................................................................................... 3 3rd Filmfare Awards 1955 ......................................................................................................... 4 4th Filmfare Awards 1956.......................................................................................................... 5 5th Filmfare Awards 1957.......................................................................................................... 6 6th Filmfare Awards 1958.......................................................................................................... 7 7th Filmfare Awards 1959.......................................................................................................... 9 8th Filmfare Awards 1960........................................................................................................ 11 9th Filmfare Awards 1961........................................................................................................ 13 10th Filmfare Awards 1962...................................................................................................... 15 11st Filmfare Awards 1963..................................................................................................... -
History and Evolution of Indian Film Industry
History and Evolution of Indian Film Industry Erum Hafeez* Asmat Ara** ABSTRACT Bollywood is recognized as the largest film producing industry in the world. India produced a total of 2961 films including1602 feature films in 2012 alone. Movie tickets in India are among the cheapest in the world. The average ticket price in India is 25 rupees (55 cents) in comparison to the average ticket price in the US in 2010 that costs around $ 7.50 dollars. India accounts for 73% of Asia-Pacific movie admissions. Indian film industry generated total revenues worth around $1.86 billion (93 billion rupees) in 2011 only and it is estimated to rise to the US$2.28 billion (138 billion rupees) by 2014. The industry is mainly supported by the vast cinema-going Indian public. According to an estimate, approximately fourteen million Indians visit cinemas daily to watch a film on regular basis. In 2012 alone, Bollywood sold around 2.6 billion tickets compared to Hollywood’s 1.36 billion tickets. Indian films are gaining increasing popularity around the world, especially in countries with large numbers of emigrants. The aim of this research paper is to present an overview of the historical evolution of Indian Cinema since its inception. This qualitative historical analysis identifies the factors that lead to its phenomenal growth through all these years. Keywords: Bollywood, Historical Evolution, Indian Cinema, Phenomenal Growth, Largest Industry * Assistant Professor, Media Studies Department, Institute of Business Management (IoBM) Karachi. ** Assistant Professor, Department of Mass Communication, University of Karachi. 61 Jhss, Vol. 7, No. 2 , July to December, 2016 Introduction Indian Film Industry consists of motion pictures made all over India, including the regional industries in Andhra Pardesh, Assam, Karnataka, Kerala, Maharashtra, Orissa, Punjab, Tamil Naduand and West Bengal. -
Madhur Bhandarkar and the New Bollywood Social
CHAPTER 14 Madhur Bhandarkar and the New Bollywood Social Ulka Anjaria adhur Bhandarkar is often referenced as distinct from main- Mstream directors for his disruption of Bollywood generic conventions, evinced in his ‘dark and real’ stories (I. Chatterjee 2014) on ‘serious issues’ (Sharma 2014: 52), the lack of conventional song-and-dance sequences in his films (Garwood 2006: 177–180), his representation of queer sexuality (Singh 2014: 95, 105) and his heroine-centred stories (Moin 2014: 652). But despite these quali- ties and the interest in Hindi film studies in the margins of the mainstream industry and in feminism and sexuality in Bollywood, there is surprisingly little scholarship that investigates the aesthet- ics and generic qualities of Bhandarkar’s films. He seems to fall into a gap that has arisen in the field in the recent years between the realist impulse evident in film-makers like Vishal Bhardwaj, Abhishek Chaubey, Anurag Kashyap and others, who tend to move away from Bollywood conventions, and the lavish over- the-top formula films that define a classically Bollywood aesthetic such as those of Yash Chopra and Karan Johar. Yet this in-betweenness might be seen as a particular mode of aesthetic, formal and political experiment in what many identify Copyright © 2017. Sage Publications Pvt. Ltd. All rights reserved. May not be reproduced in any form without permission from the publisher, except fair uses permitted under U.S. or applicable copyright law. EBSCO272 Publishing : eBook Comprehensive Academic Collection (EBSCOhost) - printed on 12/21/2020 8:09 AM via UNIVERSITY OF BALTIMORE AN: 1452971 ; Aysha Iqbal Viswamohan, Vimal Mohan John.; Behind the Scenes : Contemporary Bollywood Directors and Their Cinema Account: unibalt Madhur Bhandarkar and the New Bollywood Social 273 as a changing Bollywood cinema. -
Bollywood Cinema: a Critical Genealogy
Bollywood Cinema: A Critical Genealogy Vijay Mishra Asian Studies Institute Vijay Mishra is Professor of English Literature at Murdoch University, Perth. Born in Fiji, he graduated from Victoria University of Wellington in 1967. This was followed, via Christchurch Teachers’ College, Macquarie and Sydney, by doctorates from ANU and Oxford. Among his publications are: Dark Side of the Dream: Australian Literature and the Postcolonial Mind (with Bob Hodge) (1991), The Gothic Sublime (1994), Devotional Poetics and the Indian Sublime (1998), Bollywood Cinema: Temples of Desire (2002). His next book (entitled The Literature of the Indian Diaspora: Theorizing the Diasporic Imaginary) will be published by Routledge (London) in March 2007. He plays the Indian harmonium, is a Beatles fan, and reads Sanskrit. ISSN: 1174-9551 ISBN-10: 0-473-11621-9 ISBN-13: 978-0-473-11621-7 ISBN (PDF): 978-1-877446-11-5 Series editor Stephen Epstein Desktop publisher Laila Faisal Printed October 2006 PDF Printed February 2008 Asian Studies Institute Victoria University of Wellington PO Box 600 Wellington, New Zealand Telephone +64 4 4635098 Fax +64 4 463 5291 Email [email protected] Web www.vuw.ac.nz/asianstudies Vijay Mishra Bollywood Cinema: A Critical Genealogy Vijay Mishra “Bollywood” has finally made it to the Oxford English Dictionary. The 2005 edition defines it as: “a name for the Indian popular film industry, based in Bombay. Origin 1970s. Blend of Bombay and Hollywood.” The incorporation of the word in the OED acknowledges the strength of a film industry which, with the coming of sound in 1931, has produced some 9,000 films.