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Indian Movies, Brand Australia and the Marketing of Australian Cosmopolitanism
University of Wollongong Research Online Faculty of Law, Humanities and the Arts - Papers Faculty of Arts, Social Sciences & Humanities 1-1-2013 Indian movies, brand Australia and the marketing of Australian cosmopolitanism Andrew Hassam University of Wollongong, [email protected] Follow this and additional works at: https://ro.uow.edu.au/lhapapers Part of the Arts and Humanities Commons, and the Law Commons Recommended Citation Hassam, Andrew, "Indian movies, brand Australia and the marketing of Australian cosmopolitanism" (2013). Faculty of Law, Humanities and the Arts - Papers. 919. https://ro.uow.edu.au/lhapapers/919 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Indian movies, brand Australia and the marketing of Australian cosmopolitanism Abstract Indian movies shot overseas have attracted the attention of not only advertising agencies keen to see their clients' brands appearing on-screen, but also government tourism commissions eyeing India's growing middle classes as potential visitors. Australian federal and state governments offer Indian film producers financial incentives to film in Australia, and Australian cities now regularly supply Indian movies with backdrops of upmarket shopping malls, stylish apartments and exclusive restaurants. Yet in helping to project the lifestyle fantasies of India's new middle classes, Australian government agencies are supporting an Indian view of Australia. While this image may attract Indian tourists to Australia, it presumes Australia is culturally White and British, and as a result Australian agencies market an Australian cosmopolitanism defined not in terms of cultural diversity but in terms of the availability of global brands. -
Shah Rukh Khan from Wikipedia, the Free Encyclopedia "SRK" Redirects Here
Shah Rukh Khan From Wikipedia, the free encyclopedia "SRK" redirects here. For other uses, see SRK (disambiguation). Shah Rukh Khan Shah Rukh Khan in a white shirt is interacting with the media Khan at a media event for Kolkata Knight Riders in 2012 Born Shahrukh Khan 2 November 1965 (age 50)[1] New Delhi, India[2] Residence Mumbai, Maharashtra, India Occupation Actor, producer, television presenter Years active 1988present Religion Islam Spouse(s) Gauri Khan (m. 1991) Children 3 Signature ShahRukh Khan Sgnature transparent.png Shah Rukh Khan (born Shahrukh Khan, 2 November 1965), also known as SRK, is an I ndian film actor, producer and television personality. Referred to in the media as "Baadshah of Bollywood", "King of Bollywood" or "King Khan", he has appeared in more than 80 Bollywood films. Khan has been described by Steven Zeitchik of t he Los Angeles Times as "perhaps the world's biggest movie star".[3] Khan has a significant following in Asia and the Indian diaspora worldwide. He is one of th e richest actors in the world, with an estimated net worth of US$400600 million, and his work in Bollywood has earned him numerous accolades, including 14 Filmfa re Awards. Khan started his career with appearances in several television series in the lat e 1980s. He made his Bollywood debut in 1992 with Deewana. Early in his career, Khan was recognised for portraying villainous roles in the films Darr (1993), Ba azigar (1993) and Anjaam (1994). He then rose to prominence after starring in a series of romantic films, including Dilwale Dulhania Le Jayenge (1995), Dil To P agal Hai (1997), Kuch Kuch Hota Hai (1998) and Kabhi Khushi Kabhie Gham.. -
'Malang'- Wanton Mush and Gritty Mayhem
B-12 | Friday, February 14, 2020 AUTO www.WeeklyVoice.com ‘Malang’- Wanton Mush And Gritty Mayhem “Malang”; Cast: Anil Kapoor, While the suspense builds up is clearly Aditya’s attempt at an Aditya Roy Kapoor, Disha Pa- with brutal urgency in the pre- image makeover and, although tani, Kunal Kemmu; Direction: sentday track, the lashback pic- imagined with over-the-top ab- Mohit Suri; Rating: * * * (three ture that moves parallely is one ofsurdity, the actor does a ine job stars) sunny romance. portraying Advait. For Disha Pa- The lashbacks are soaked in tani, this is her strongest role yet, By Vinayak Chakravorty the sun and sands of Goa, and and she is impressive in the way they usher Disha Patani into the she retains the allure about her “Malang” must be the most picture as Sara. Vikas Sivara- character. stylishly executed Bollywood man’s camera virtually lays out Few in Bollywood relish por- thriller in a while, also the most a pretty pamphlet in motion for traying grey shades as Anil twisted. It is really an old-school Goa Tourism as Advait and Sara Kapoor. In “Malang”, he -is un revenge thriller that manages a paint the club circuit red. The apologetically wicked, executing few clever spins despite an over- ilm also gives leeting peek intovillainy with wry humour. all adherence to loud masala. Goa’s psychedelic drug scene For Kunal Kemmu, this is his Mohit Suri’s “Malang” is a Mohit Suri’s storytelling gets most remarkable act since his wanton play of oomph and ma- able aid from Devendra Murdesh- child artist performance in 1998’s chismo, mush and mayhem, mel- Scene from ‘Malang’ war’s editing. -
Depictions of Empowerment? How Indian Women Are Represented in Vogue India and India Today Woman a PROJECT SUBMITTED to the FACU
Depictions of Empowerment? How Indian Women Are Represented in Vogue India and India Today Woman A PROJECT SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Monica Singh IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF LIBERAL STUDIES August 2016 © Monica Singh, 2016 Contents ILLUSTRATIONS........................................................................................................................ ii INTRODUCTION......................................................................................................................... 1 CHAPTER 1 .................................................................................................................................. 5 CHAPTER 2 ................................................................................................................................ 19 CHAPTER 3 ................................................................................................................................ 28 CHAPTER 4 ................................................................................................................................ 36 CHAPTER 5 ................................................................................................................................ 53 CHAPTER 6 ................................................................................................................................ 60 REFLECTION FOR ACTION................................................................................................. -
MM XXVIII No. 13.Pmd
Registered with the Reg. No. TN/CH(C)/374/18-20 Registrar of Newspapers Licenced to post without prepayment for India under R.N.I. 53640/91 Licence No. TN/PMG(CCR)/WPP-506/18-20 Publication: 1st & 16th of every month Rs. 5 per copy (Annual Subscription: Rs. 100/-) INSIDE G Short ‘N’ Snappy G Life around Jagdish’s Shop G Less known sculptures G The computer and Anna G The Kalaignar dream WE CARE FOR MADRAS THAT IS CHENNAI Vol. XXVIII No. 13 October 16-31, 2018 Elevated road, threat to Cooum? G by The Editor he elevated road corridor from Maduravoyal to the Harbour is Tback in the news. A Committee recently reviewed progress on the project with particular reference to the issues of land acquisi- tion. Earlier in the year, it was decided that the road, planned origi- A vision by night, now much in demand by day (see page 8). (Photo: R. Raja Pandiyan.) nally for four lanes, will now be expanded to six. With all this, it appears that the project will take off once more, five years after it was stalled ostensibly for environmental reasons while it was an open secret that the ac- When political parties take over tual cause was political. The story then given out was that isuse of public surface and Mass meetings at the apex level the piers for the elevated road Maerial space and walls is citizens’ spaces for birthdays and anniversaries taking place right in front of our could be substituted by manage- were being erected on the flection on the eminence of the ing across 30-40 feet, eulogising Cooum riverbed. -
A Study on Screen Adaptations from Literature with Reference to Chetan
Journal of Advanced Research in Journalism & Mass Communication Volume 5, Issue 1&2 - 2018, Pg. No. 1-6 Peer Reviewed Journal Research Article A Study on Screen Adaptations from Literature with Reference to Chetan Bhagat’s Novel Manmeet Kaur1, Divya Rastogi Kapoor2 1,2Assistant Professors, Delhi Metropolitan Education, Sector-62, Noida. DOI: https://doi.org/10.24321/2395.3810.201801 Abstract In order to cater a huge audience, film makers from all over the world have adopted literature writings for movie making. The key purpose of these screen adaptations lies in giving visual appeal to the black and white words of the author’s writings. Furthermore, there are restricted readers for different genres and subject of novel and literature respectively. But film making satisfies the hunger of a large heterogeneous audience with the element of ‘entertainment’. The idea of screen adaptations dates back years ago when people had limited options for entertainment and recreational activities. The study is based on movies made in Bollywood which have been inspired by the writings of novelists. This is a qualitative research in which Chetan Bhagat’s novel ‘Five Point Someone’ and ‘2 States’have been take up by Bollywood film makers to make movies ‘3 Idiots’ and ‘2 States’ respectively. The research methodology will be content analysis that how writer’s experience with words can make movie audience fall for it through the adaptations. Keywords: Audience, Content analysis, Novels, Screen adaptations, Bollywood film maker, 2 States, five point someone Introduction cult, classic, animated and soon2(i). In the year 2013, we have celebrated 100 years of Indian cinema which was Film spectators/audiences are important in making a started with the vision and passion of Dadasaheb Phalke, movie a grand success. -
Cinematic Translation of Indian English Texts: a Critical Study
ISSN 2249-4529 www.pintersociety.com THEMED SECTION VOL: 9, No.: 1, SPRING 2019 UGC APPROVED (Sr. No.41623) BLIND PEER REVIEWED About Us: http://pintersociety.com/about/ Editorial Board: http://pintersociety.com/editorial-board/ Submission Guidelines: http://pintersociety.com/submission-guidelines/ Call for Papers: http://pintersociety.com/call-for-papers/ All Open Access articles published by LLILJ are available online, with free access, under the terms of the Creative Commons Attribution Non Commercial License as listed on http://creativecommons.org/licenses/by-nc/4.0/ Individual users are allowed non-commercial re-use, sharing and reproduction of the content in any medium, with proper citation of the original publication in LLILJ. For commercial re-use or republication permission, please contact [email protected] 10 | Cinematic Translation of Indian English Texts: A Critical Study Cinematic Translation of Indian English Texts: A Critical Study Akash Raha Abstract: The paper studies cinematic adaptations of Indian English texts by re-reading cinema and translation theories. The process of adaptation to celluloid, in the age of multiplex cinema has both reprieved movie makers from economic liabilities, and at the same time bargained for sellable celluloid commodity for art. The fidelity towards the ‘original’ text, when medium and language are both translated, in all the more distanced and proportionally more. The poaching of ‘texts’ in the industry shows a utile notion of ‘art’. Keywords: Translation, Adaptation, Indian English, Indian Novels, Indian Cinema *** Historically, the film industry has always had a very close relationship with the writing fraternity. Since circa 1930’s, during the times of Anjuman Tarraqi Pasand Mussanafin-e-Hind or Progressive Writers’ Movement, literary scholars were already a part of cinematic traditions. -
Raaz the Mystery Continues Hd Movie Download 1080P
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Skating Park in Navi Mumbai Soon to Be a Reality
The Dynamic Daily Newspaper of Navi Mumbai June 15 VOL. 13 • ISSUE 39 PAGES 10 • PRICE ` 1 2019 SATURDAY RNI No. MAHEN/2007/21778 POSTAL REGN. NO. NMB/154/2017-19/VASHI MDG POST OFFICE Just 20 percent lakes are Skating Park in Navi Mumbai clean in Navi Mumbai Out of 30 lakes only 6 are soon to be a reality relatively clean By Abhitash D. Singh is suitable and also un- NMMC got the idea about the project in 2015 NAVI MUMBAI: In a fit for the human con- study conducted jointly sumption. By Abhitash D.Singh India the skating is only tell us more foreign skating by SIES College, Nerul The survey which NAVI MUMBAI: If you really becoming a about their sports or experts who are best and Greenline which is was done for five are a skating enthusi- known sport. Many culture more accu- in their respective a environmental group, months says that most ast, then here is youngsters are rately. This sport has field, we are also something to cheer participating in western influence and getting suggestions about the Navi skating. But we don’t they can be a better and designs from the Mumbai Municipal have enough infra- guide to help us in local skating group of Corporation (NMMC) the city and they too which had planned a have shown their Skating Park in interest and proposed Nerul at sector 11(A) that they can do the in the year 2015 and work. We are looking will now be finally out how can it be initiating it and will worked out.” try to make it a The skating park reality by 2020. -
Storyteller Par Excellence Vamanan
COVER STORY KOTHAMANGALAM SUBBU Storyteller par excellence Vamanan Vasan asked him to inject new energy into his weekly, Ananda Vikatan. Under the pseudonym ‘Kalaimani’, Subbu took upon himself the daunting task of writing an ambitious novel that would be a throwback to the early decades of the century when devadasis still flourished. It encapsulated in the heroine Mohanambal all the beauty, power and glory that the traditional dancers had gained for the art. By the mid-fifties, the age-old system of dedicating girls to temples to perform ritual dance had been outlawed in south India on the charge that it encouraged prostitution, and the time was ripe to show the brighter side of the devadasi dancers. Subbu’s artistic life started in the Chettinadu area where affluent Chettiars were known to be patrons of temple dancers. Bringing the wealth of his observation and ardent appreciation of dance and music into full play, he held the reader in thrall, relating the vicissitudes of a tempestuous romance between dancer Mohanambal and nagaswaram genius Shanmugasundaram. Subbu was a stunning raconteur, his narrative reflexes had been honed to perfection in his studio years. With Tillana Mohanambal he had the opportunity to weave reams of artistic life that had unfurled before his very eyes into a monumental tale of protagonists who represented the highest ideals Young Kothamangalam Subbu of classical dance and music. When Subbu sang his epic requiem not only to the golden age of the temple dancers othamangalam Subbu was many things all at once but also that of nagaswaram players like Rajarathnam – actor, writer, director, lyricist, poet, performer Pillai, the devadasis were fast disappearing into the and novelist par excellence. -
Brochure Print New.Indd
“excellence is the fabric of our work, spun with the yarn of knowledge and expertise, built on the foundation of transparent dealing”. 91 ABOUT US ................................................................................................................................................... 04 EVENT MANAGEMENT ................................................................................................................................................... 06 EVENT HIGHLIGHTS ................................................................................................................................................... 10 INTERNATIONAL SHOWS ................................................................................................................................................... 12 CHARITY EVENTS ................................................................................................................................................... 14 AWARD NIGHTS ................................................................................................................................................... 20 MOTION PICTURES ................................................................................................................................................... 26 WEDDING PLANNERS ................................................................................................................................................... 32 THEME SHOWS .................................................................................................................................................. -
In a Dynamic Environment the Annual General Meeting Will Be Held on Tuesday, June 30, 2009, at Birla Matushri Sabhagar, Sir V
Annual Report 2008 - 09 agility in a Dynamic Environment The Annual General Meeting will be held on Tuesday, June 30, 2009, at Birla Matushri Sabhagar, Sir V. T. Marg, Mumbai 400020, at 3.30 p.m. As a measure of economy, copies of the Annual Report will not be distributed at the Annual General Meeting. Members are requested to bring their copies to the meeting. Contents Board of Directors 2 Our Leadership Team 4 Letter from the CEO 6 Create Value 8 Nurture Talent 13 Discover new Frontiers 14 Care for the Community 15 Management Team 18 Directors’ Report 20 Management Discussion and Analysis 48 Corporate Governance Report 86 Auditors’ Report 100 Balance Sheet 104 Profit and Loss Account 105 Cash Flow Statement 106 Schedules forming part of the Balance Sheet 107 Schedules forming part of the Profit and Loss Account 131 Notes on Balance Sheet and Profit and Loss Account 133 Balance Sheet Abstract and Company’s General Business Profile 154 Auditors’ Report 155 Consolidated Balance Sheet 156 Consolidated Profit and Loss Account 157 Consolidated Cash Flow Statement 158 Schedules forming part of the Consolidated Balance Sheet 159 Schedules forming part of the Consolidated Profit and Loss Account 166 Notes to the Consolidated Financial Statements 168 Statement under Section 212 of the Companies Act, 1956 relating to subsidiary companies 188 Board of Directors (Standing - Left to Right) Prof. Clayton M Naresh Chandra S Mahalingam Aman Mehta N Chandrasekaran Christensen Independent Chief Financial Officer Independent Chief Operating Officer Independent Director and Executive Director Director and Executive Director Director 02| TCS Annual Report 2008-09 Laura M Cha Dr.