Humans of Somaiya
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Decisions Taken by BCCC 16 April 2014 to 22 August 2015
ACTION BY BCCC ON COMPLAINTS RECEIVED FROM 16 APRIL 2014 TO 22 AUGUST 2015 S.NO Programme Channel Total Nature of Complaints Telecast Action By BCCC Number date of the of programme Compla reviwed by ints BCCC Receive d A : SPECIFIC CONTENT RELATED COMPLAINTS A-1 : Specific Content related complaints Disposed 1 2015 Movie Awards VH1 1 During the telecast, performers made some highly indecent 13.04.2015 Channel’s representatives appeared before BCCC. After detailed gestures. One of them grabs another man’s crotch and tries to deliberations, the channel was asked to run an Apology Scroll for three days. reach for his nipples saying, “I am gonna milk those nipples.” Also, Detailed Order is being issued. a suggestive term ‘girl power’ was used for referring to vagina and a female performer is heard telling the audience that her “vagina looks more like a neat burrito rather than a stand and stuff taco”. While the word vagina has been beeped/ muted, its description is denigrating to women. Acts performed on stage were highly indecent, sexually explicit, adult, vulgar and suggestive. Irrespective of the time, the content violates Licence Term and Programme Code of Cable TV Network Rules. 2 Dance India Dance Zee TV 2 Episode-1, 27/06/15: The dance performance of two girls was 27.06.2015 BCCC viewed the episode and did not find the dance to be vulgar or vulgar as it was exposing their bodies. Such acts spoil Indian 26.07.2015 obscene. The complaint was DISPOSED OF. culture. Episode-2, 26/07/15: The performance by contestant Pronita on the song ‘Kundi na khadkao raja’ was out-and-out vulgar. -
Summer Institute Class of 2019 Individual Pieces Copyright ©2019 by Their Respective Authors
Multitudes edited by Siyanda Mohutsiwa The Summer Institute Class of 2019 Individual pieces copyright ©2019 by their respective authors. All rights reserved. International Writing Program 430 North Clinton Street, Shambaugh House Iowa City, Iowa 52245 United States of America www.iwp.uiowa.edu/programs/summer-institute Contents Foreword vi Peter Gerlach . vi Acknowledgements ix Contributors x 1 Dusk 1 Ghazal . 2 Azhar Wani . 2 Bargain Witchcraft . 3 Tanvi Chowdhary . 3 The Godfather . 14 Cherene Aniyan Puthethu . 14 Fair is Lovely . 18 Suyashi Smridhi . 18 2 Night 22 golden shovel ending in outer space after fleetwood mac .................... 23 Anna Sheppard . 23 What I Look To When Holdin' My Tongue . 24 Darius Christiansen . 24 i Contents Sandalwood . 25 Amna Shoaib . 25 Hermanita de la Mar . 29 KayLee Chie Kuehl . 29 3 Midnight 35 Table Etiquette . 36 Ashley Hajimirsadeghi . 36 Sapphirical Slick . 38 Darius Christiansen . 38 Almost Over . 40 Mahnoor Imran Sayyed . 40 Ward SSK 37: Eric . 50 Medha Faust-Nagar . 50 4 Small Hours 51 Altar . 52 Nyeree Boyadjian . 52 Capital ............................ 53 Nyeree Boyadjian . 53 Taxi . 54 Jishnu Bandyopadhyay . 54 Intruder . 65 Amna Shoaib . 65 The Reflection . 67 Fazila Nawaz . 67 5 Dawn 69 seasonal . 70 Anna Sheppard . 70 Hurricane . 72 Ashley Hajimirsadeghi . 72 Home from The Hospital . 73 Medha Faust-Nagar . 73 ii Contents Passing . 75 Aalia Waqas . 75 The Way Things Are . 76 Anna Magana . 76 House Key . 84 Martina Litty . 84 6 Noon 90 Absence . 91 Hafsa Nouman . 91 Six Months . 94 Payal Nagpal . 94 Yes, You Are . 97 Hafsa Ghani . 97 On Air . 100 Aalia Waqas . 100 The Safe Side . -
KPMG FICCI 2013, 2014 and 2015 – TV 16
#shootingforthestars FICCI-KPMG Indian Media and Entertainment Industry Report 2015 kpmg.com/in ficci-frames.com We would like to thank all those who have contributed and shared their valuable domain insights in helping us put this report together. Images Courtesy: 9X Media Pvt.Ltd. Phoebus Media Accel Animation Studios Prime Focus Ltd. Adlabs Imagica Redchillies VFX Anibrain Reliance Mediaworks Ltd. Baweja Movies Shemaroo Bhasinsoft Shobiz Experential Communications Pvt.Ltd. Disney India Showcraft Productions DQ Limited Star India Pvt. Ltd. Eros International Plc. Teamwork-Arts Fox Star Studios Technicolour India Graphiti Multimedia Pvt.Ltd. Turner International India Ltd. Greengold Animation Pvt.Ltd UTV Motion Pictures KidZania Viacom 18 Media Pvt.Ltd. Madmax Wonderla Holidays Maya Digital Studios Yash Raj Films Multiscreen Media Pvt.Ltd. Zee Entertainmnet Enterprises Ltd. National Film Development Corporation of India with KPMG International Cooperative (“KPMG International”), a Swiss entity. All rights reserved. entity. (“KPMG International”), a Swiss with KPMG International Cooperative © 2015 KPMG, an Indian Registered Partnership and a member firm of the KPMG network of independent member firms affiliated and a member firm of the KPMG network of independent member firms Partnership KPMG, an Indian Registered © 2015 #shootingforthestars FICCI-KPMG Indian Media and Entertainment Industry Report 2015 with KPMG International Cooperative (“KPMG International”), a Swiss entity. All rights reserved. entity. (“KPMG International”), a Swiss with KPMG International Cooperative © 2015 KPMG, an Indian Registered Partnership and a member firm of the KPMG network of independent member firms affiliated and a member firm of the KPMG network of independent member firms Partnership KPMG, an Indian Registered © 2015 #shootingforthestars: FICCI-KPMG Indian Media and Entertainment Industry Report 2015 Foreword Making India the global entertainment superpower 2014 has been a turning point for the media and entertainment industry in India in many ways. -
KBC, India's Most Famous Game Show: an Analyis
See discussions, stats, and author profiles for this publication at: https://www.researchgate.net/publication/348295598 KBC, India's most famous game show: An Analyis Article in ACADEMICIA An International Multidisciplinary Research Journal · December 2020 DOI: 10.5958/2249-7137.2020.01740.1 CITATIONS READS 0 27 1 author: Karunakar B. Narsee Monjee Institute of Management Studies 21 PUBLICATIONS 3 CITATIONS SEE PROFILE All content following this page was uploaded by Karunakar B. on 07 January 2021. The user has requested enhancement of the downloaded file. ACADEMICIA ISSN: 2249-7137 Vol. 10 Issue 12, December 2020 Impact Factor: SJIF 2020 = 7.13 ACADEMICIA An International Multidisciplinary R e s e a r c h J o u r n a l (Double Blind Refereed & Peer Reviewed Journal) DOI: 10.5958/2249-7137.2020.01740.1 KBC, INDIA’S MOST FAMOUS GAME SHOW: AN ANALYSIS Dr B Karunakar* *NMIMS Hyderabad, INDIA Email id: [email protected]; [email protected] ABSTRACT Today, there are more than a dozen reality shows on air across all kinds of channels, from general entertainment to youth channels to the regional, all on prime time. These reality shows offer a wide scope for brand visibility. In this context, Kaun Banega Crorepati as a reality show was studied for its impact and the economics involved. The attempt of this article is to provide insights on the working of the TV channels, production houses, marketers & advertisers that provide the sponsorship, the general comparison of reality shows with serials and the overall impact created. KEYWORDS: Sponsorship, Reality Shows INTRODUCTION Amid the COVID-19 lockdown, 'Kaun Banega Crorepati' (KBC) Season 12, hosted by India’s famous actor Amitabh Bachchan caught the attention of audiences as millions logged in to participate in the show during May 2020. -
Dance-Off Or a Battle for the Future: Dance Reality Shows in India
CHAPTER 14 DANCE-OFF, OR A BATTLE FOR THE FUTURE Dance Reality Shows in India PALLABI CHAKRAVORTY Hindu mythology tells us that a most reasonable method of settling an argument is a dance-off. The story involves two of the most powerful Hindu deities, Shiva and Kali (who are husband and wife). Once they clashed over territorial dominance of the Thillai forest in the southern part of India. Kali was the patron goddess of the forest and the temple within it. But Shiva, following his two devotees who wanted to worship him in the temple (in the form of his abstract representation called the Shiva lingam), came to dance in the forest. This basically meant that Shiva wanted to occupy the forest and oust Kali. Kali refused to leave and challenged Shiva to enter a dance competition with her on the condition that the loser would leave the forest. Lord Vishnu presided as the judge. Kali (the goddess of Shakti, or power, who is often shown naked in Hindu iconog raphy, standing on the chest of her consort Shiva, prostrated beneath her) danced fear lessly. She matched Shiva’s every move and every posture with ease and grace. Shiva, the cosmic dancer of the universe, danced his tandava nritya (the cyclic dance of cre ative destruction) with fierce intensity. They were unrelenting. They danced for days and nights, but no one won. Then Shiva performed a transgressive act. He cheated. He lifted one of his legs high above his head in what classical dance parlance calls ananda tandavam (the dance of bliss). -
Universal Oneness an Anthology of Magnum Opus Poems from Around the World (360 Poems by 360 Poets from 60 Countries)
Universal Oneness An Anthology of Magnum Opus Poems from around the World (360 poems by 360 poets from 60 Countries) Universal Oneness An Anthology of Magnum Opus Poems from around the World (360 poems by 360 poets from 60 Countries) Editor Vivekanand Jha Worldwide Circulation through Authorspress Global Network First Published in 2019 by Authorspress Q-2A Hauz Khas Enclave, New Delhi-110 016 (India) Phone: (0) 9818049852 E-mail: [email protected] Website: www.authorspressbooks.com Universal Oneness An Anthology of Magnum Opus Poems from around the World (360 poems by 360 poets from 60 Countries) ISBN 978-93-89110-19-7 Copyright © 2019 Editor All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior consent of the authors. Printed in India at Krishna Offset, Shahdara To The land and the people of Mithila, Maithili and Maithil Where lies my root Where lies my feat, my truth Where lies my flop, my bogus Where lies my magnum opus Where lies the wind of my last breath. An Invocation O Supreme being the primordial seed that you had sown has grown up to a tree that has blossomed has borne fruits has given shelter has danced in the spring has suffered the harsh winter but has again become green the cycle continues and the tree still evolving. It’s time we all leave behind the past seeking patterns and trends commonalities and universalities stop looking outwards and look within and look for a greater synthesis Going Beyond from the Heart of Darkness to the Divine Light through integration and unification. -
The Poetry with Prakriti Festival (2014)
The Poetry with Prakriti Festival (2014) About Poetry Festival 2014 ‘Poetry with Prakriti’ is an annual festival featuring 25 eminent and emerging poets, each presenting four different readings of their poems to small, intimate audiences at several venues across the city – schools, colleges, cafes, IT parks, green public parks, shops, galleries, boutiques, banks and other commercial establishments. The festival is scheduled everywhere, to coincide with the famed ‘Chennai Season’. The aim of the Poetry with Prakriti festival is to get poets from varied backgrounds to read and share their poetry in various languages at different locations across the city. This allows multiple groups of people to enjoy creative expression rendered through poetry. Over the years, we have presented 200 poets from across India, and from countries such as Spain, France, Canada, U.K, Denmark, Switzerland and the U.S.A. This festival has featured poets such as Keki N.Daruwalla, Charles Stein (USA), Arundhathi Subramaniam, Denis Mai R(USA), Sudeep Sen, Priya Sarukkai Chabria, Bina Sarkar Ellias, Anne-Marie Kenessey (Switzerland) Kalki Subramaniam, Parvathi Nayar, Renuka Narayan, Anupama Raju, Jeremy Woodruff, Raghavendra Madhu, to name a few. As part of the festival, a Poetry Slam Contest has been conducted in the past. The top three poems are awarded cash prizes. The 8th edition of Poetry with Prakriti Festival was presented by The Hindu Lit for Life 2015 as a precursor to the literary festival. Schedule MORNING EVENING Date/Day Poet Venue Poet Venue Jessy James -
Indian Reality Television Shows: Ordinary People, Celebrity and the Fame Cycle
Journal of Xi'an University of Architecture & Technology Issn No : 1006-7930 Indian Reality Television Shows: Ordinary People, Celebrity and the Fame Cycle Taranjeet Kaur Chawla Research Scholar Department of Journalism and Mass Communication Manipal University Jaipur, Rajasthan, India Email- [email protected] Dr. Rayaz Hassan Associate Professor & Head of the Department Department of Journalism and Mass Communication Manipal University Jaipur, Rajasthan. India Dr. Oinam Bedajit Meitei Assistant Professor Department of Mass Communication and Journalism Central University of Karnataka, India Abstract- In this paper, we discuss the phenomenon of Indian reality television shows explore its function for those participating in it. Drawing on the success of their talent hunt programmes such as Sa Re Ga Ma Pa, Indian Idol and Dance India Dance, this research work argues that reality television appeals in different ways to participants and celebrities at different points in the fame cycle. ‘Ordinary’ people seeking to become known through using reality television as an opportunity. To understand the importance of Indian reality television shows for ordinary people and considering fame as a cyclical process, a survey of opinions has been conducted through questionnaire among students of media and communication studies. The present study explores how a successful reality television show cast ordinary people who are at a range of points in the fame cycle as seek to develop their own image and those whose careers are in a period of ‘post-celebrity’ who seek to renew their fame and to prove a key attraction for audiences. Keywords - Celebrity, Fame, Indian reality television, Ordinary people I. INTRODUCTION When television expanded in India, it also provided the space for genre of reality television. -
Zee Entertainment Y 2012 Earnings Call 22 May'12
Zee Entertainment Y 2012 Earnings Call 22 May’12 Operator Ladies and gentlemen, good day and welcome to the Zee Entertainment Enterprises Limited Q4 FY 2012 Results Conference Call. As a reminder, all participant lines will be in the listen‐only mode. There will be an opportunity for you to ask questions at the end of today's presentation. Please note that this conference is being recorded. I would like to hand the conference over to Mr. Kawaljit Singh from Zee Entertainment Enterprises Limited. Thank you, and over to you sir. Kawaljit Singh, Senior Manager, Corporate Strategy and Business Development Thank you Marina. Ladies and gentlemen, thank you for joining us today. This conference call has been organized to update our investors on the Company's performance in the fourth quarter of fiscal 2012, and to share with you the outlook of the Management of Zee Entertainment Enterprises Limited. We do hope that you have had the chance to go through the earnings release and the results, both of which have been uploaded on our corporate website, zeetelevision.com. To discuss the results and performance, joining me today is Mr. We will start with a brief statement from Mr. Goenka on the fourth quarter performance. And we'll then open the discussion for questions and answers. I would like to remind everybody that anything we say during this call that refers to our outlook for the future is a forward‐looking statement and must be taken in the context of the risk that we face. We would also like to add that this call is purely for our analysts and investors. -
Contemporary Dance in India Today a Survey
CONTEMPORARY DANCE IN INDIA TODAY A SURVEY Annette Leday With the support of the Centre National de la Danse, Paris (Aide à la recherche et au patrimoine en danse) Translation from the French commissioned by India Foundation for the Arts and Association Keli-Paris 2019 Anita Ratnam (Chennai): "In India the word 'contemporary' applies to anyone who wants to move away from their guru or from the tradition they have learned, to experiment and explore." Mandeep Raikhy (Delhi): "We have rejected the term 'contemporary' and we are still looking for an alternative term." Vikram Iyengar (Kolkata): "I think the various layers of what constitutes "contemporary" in Indian dance have not yet been defined." CONTENTS PREFACE 1 1. INTRODUCTION 4 2. SOME HISTORICAL MARKERS 5 a) Mystifications 5 b) The pioneers of modern dance 7 3. SOME GEOGRAPHIC MARKERS 10 4. A TYPOLOGY OF CONTEMPORARY DANCE IN INDIA 13 a) The 'Neo-Classics' 13 b) Towards radicality 17 c) A suspended space 19 d) Shunning the classics 21 e) Between dance and theatre 22 f) The Bollywood phenomenon 23 g) Commercial contemporaries 25 5. THEMES 26 a) The nurturing techniques 27 b) The issue of Indian identity 28 c) Themes of yesterday and of today 29 d) Dance and politics 30 6. THE CREATIVE PROCESS 33 7. PRESS, CRITIQUE AND FORUMS 35 8. TEACHING AND TRANSMISSION 37 9. VENUES AND FUNDING 41 a) Places of performance 41 b) Festivals 43 c) Working places 45 d) Funding 47 e) Opportunities 48 10. INTERNATIONAL CONTACTS 49 11. PERSPECTIVES 54 12. CONCLUSION 56 PREFACE After a decade immersed in the Kathakali of Kerala, I engaged in a dynamic of contemporary choreography inspired by this great performing tradition. -
2016-17 Replicated the Trajectory Described Above
Staff Seminar - Main streaming Inclusive Education Students Engagement with society as part of Social Involvement Programme EDITORIAL ACKNOWLEDGEMENTS Dr. Agnelo Menezes The Humane Factor Principal The topography of St. Xavier’s college is symbolic of the education it offers. The gargoyles, the intricate art MAGAZINE COMMITTEE work and the precisely-crafted windows are pictorial metaphors of the various delights that Xavier’s promises Ms. Rashmi Lee George (Convenor) to offer. A quadrangle enveloped by the splendour of Ms. S.P. Periyanayagi Indo-Gothic architecture opens into the sky beckoning Ms. Rashmi Mehta each individual to rise towards it. There are two ways Dr. Prasita Mukherjee of exiting this beautiful edifice: one is through the Dr. Dionysia Coutinho regular gates and the other is to fly upwards. We encourage you to soar into the sky. St. Xavier’s does not Mr. Roy Thomas believe in glass ceilings therefore sky is the only limit. Ms. Medha Taskar We at St. Xavier’s are a living culture teeming with Dr. Asha Naithani-Dayama action that overflows into the universe. The dynamism Ms. Alpana Palkhiwale in college is nurtured within the departmental-recesses. However, the action is not relegated to the college Students’ Editorial Board alone. We have criss-crossed space and time since 1869. ENGLISH SECTION Our trail-blazing ‘autonomous’ existence has been a result of creative pedagogy, courageous innovation, and Chinmayi Pilgaonkar (TYBA) meaningful collaborations. In 2016-2017, we carved our Shalmali Sankpal (TYBA) niche through various interventions both in academic Anant Venkatesh (FYBA) and societal spaces. Anwesha Das (FYBSc IT) Our greatest strength is our human resource. -
National Institute of Event Management
NATIONAL INSTITUTE OF EVENT MANAGEMENT CELEBRATING FIFTEEN YEARS OF SERVICE TO THE EVENT INDUSTRY! “Genius without education and training is like gold in a mine.” - Anonymous We have centers at : We believe that creation and dissemination of knowledge is essential for any effective management. Our mission is to create future leaders, managers and professionals in the Global Event Management field by offering superior learning opportunities, engaging in THE research and scholarly activities along with a perfect blend of practical training on some of the most awesome and glittering sets of the worlds biggest events. Proud to be associated with : We are guided by our commitment to achieve excellence in research and knowledge on event INTERNATIONAL SPECIAL EVENTS ASSOCIATION (ISES) management and promote entrepreneurial spirit INTERNATIONAL FESTIVAL OF EVENTS (IFEA) by encouraging the intellectual and diversified development of our faculty and students. REGENCY INSTITUTE OF TAFE (AUSTRALIA) AD CLUB OF BOMBAY Through our distinctive curriculum and post FEDERATION OF INDIAN CHAMBER OF COMMERCE & INDUSTRY (FICCI) graduate program we challenge the students to EVENT MANAGEMENT ASSOCIATION OF INDIA (EMAI) think and communicate and with a supportive CONFEDERATION OF INDIAN INDUSTRIES (CII) climate of civility and freedom of expression our students become ethical, informed, wide spectrum INDIAN ASSOCIATION OF AMUSEMENT PARKS AND INDUSTRIES (IAAPI) med and articulate participants in society. INTERNATIONAL ACCREDITATION ORGANISATION (IAO) • An entry into LIMCA BOOK OF WORLD RECORDS as Asia’s first & best event college. • NIEM has produced the largest number of event professionals in the world. • NIEM has an excellent placement record. • NIEM’s website is the most visited website in the world • NIEM’s Mr.