Rebirth of Multifaceted Property
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
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. -
'Colourism': an Analysis of Humour and Body Politicsin Kerala's Visual Culture
IMPACT: International Journal of Research in Humanities, Arts and Literature (IMPACT: IJRHAL) ISSN (P): 2347-4564; ISSN (E): 2321-8878 Vol. 7, Issue 5, May 2019, 299-304 © Impact Journals POPULAR SHADES OF ‘COLOURISM’: AN ANALYSIS OF HUMOUR AND BODY POLITICSIN KERALA’S VISUAL CULTURE Liju Jacob Kuriakose Research Scholar, Department of English, NIT Puducherry, Karaikal, Tamil Nadu, India Received: 23 May 2019 Accepted: 24 May 2019 Published: 25 May 2019 ABSTRACT Indian cinema in general and Malayalam cinema in specific, with its unique beginnings in the realistic idealism of the black-and-white eraand its gradual shift in the 80’s to the imaginary male-centric spaces, is well critiqued upon as a shedding of social responsibility. Contemporary Malayalam cinema however, is praised for its‘new generation cinema’ wave, which ha sapparently shed both its fetish over rustic settings, anti-political undertones and patriarchal violence, to embrace an urban, post-political life of the supposed ‘new generation’ Malayalees. Such cinemas however, continue remain within the monochrome panorama of the old generation which refused to acknowledge the social other and continued to position the dark-skinned, short statured, plump bodies as a site of violence and humour where the physical body plays a part in the politics of subaltern subjugation. The indirect implication of course being that such bodies are not suited for a civil society, who remain incongruent with the realities of the modern spaces by either being violent and antagonistic or comic and out of place. The paper aims to broadly define and delineate the practices of casteism and visual untouchability being practiced in Malayalam visual media. -
ANNEXURE 5.8 (CHAPTER V, PARA 25) FORM 9 List of Applica Ons For
ANNEXURE 5.8 (CHAPTER V, PARA 25) FORM 9 List of Applicaons for inclusion received in Form 6 Designated locaon identy (where Constuency (Assembly/£Parliamentary): Maduravoyal Revision identy applicaons have been received) From date To date @ 2. Period of applicaons (covered in this list) 1. List number 01/12/2020 01/12/2020 3. Place of hearing* Serial $ Date of Name of Father / Mother / Husband Date of Time of number Name of claimant Place of residence of receipt and (Relaonship)# hearing* hearing* applicaon NO 27/A, DEVI NARAYANA LAKSHMI STREET 1 01/12/2020 C E PRAKASAN C E NARAYANAN (F) MARUTHI RAM NAGAR, AYAPPAKKAM, , Thiruvallur NO 27/A, DEVI NARAYANA LAKSHMI STREET 2 01/12/2020 C E PRAKASAN C E NARAYANAN (F) MARUTHI RAM NAGAR, AYAPPAKKAM, , Thiruvallur No 2319, 5th Main 3 01/12/2020 Sumathi R Ramesh (H) Road, Ayapakkam, , Thiruvallur 2785, 5th main 4 01/12/2020 Jaiganesh Rangan (F) road, Ayyappakkam, , Thiruvallur 5 01/12/2020 Hemalatha D Dhatshinamoorthy K (H) 8640, TNHB, Ayapakkam, , Thiruvallur MOHAMMED 10 FA JAIN NAKSHTRA, 86 UNION 6 01/12/2020 MOHAMMED NORULLA (F) NASRULLA ROAD, NOLAMBUR, , Thiruvallur HAJIRA 10 FA JAIN NAKSHTRA, 86 UNION 7 01/12/2020 MOHAMMED MOHAMMED NASRULLA (H) ROAD, NOLAMBUR, , Thiruvallur NASRULLA C16, DABC Gokulam Phase 3, Sriram Nagar 8 01/12/2020 S SURIYAKRISHNAN K S SATHISH (F) Main Road, Nolambur, , Thiruvallur 42 sri Lakshmi apartments, 3rd Avenue 9 01/12/2020 sijo mathew biju mathew (F) millennium town, adayalampau, , Thiruvallur 312 VNR Milford, 7th 10 01/12/2020 Sundaram savarimuthu (F) Street, -
Gandhi, the Making of the Mahatma, and Gandhi, My Father
The Tale Of Gandhi Through The Lens: An Inter-Textual Analytical Study Of Three Major Films- Gandhi, The Making Of The Mahatma, And Gandhi, My Father C.S.H.N. MURTHY, [email protected] OinamBedajit Meitei, Dapkupar TARIANG Volume 2.2 (2013) | ISSN 2158-8724 (online) | DOI 10.5195/cinej.2013.66 | http://cinej.pitt.edu Abstract For over half a century Gandhi has been one of the favored characters of a number of films – Nine hours to Rama (1963) to Gandhi, My Father (2007). Gandhian ethos, life and teachings are frequently represented in varied ways in different films. The portrayal of Gandhi in different films can be grouped into two broad categories: i. revolving around his life, percept and practice as one category and ii. involving his ideas, ideals and views either explicitly or implicitly. Using Bingham’s (2010) discursive analysis on biopic films, the study seeks to show how Gandhi is perceived and depicted through the lenses of these three eminent directors vis-à-vis others from the point of intertextuality both ideologically and politically. Further the study would elaborate how different personal and social events in Gandhi’s life are weaved together by these directors to bring out the character of Bapu or Mahatma from Gandhi. For all the above critique, Gandhi’s autobiography-The Story of My Experiments with Truth-has been taken as a base referent. Keywords: Comparative analysis, Inter-textuality, Gandhian Ethos, Portrayal, crisscross critiquing, Mahatma, etc. CINEJ Cinema Journal : The Tale of Gandhi through the lens New articles in this journal are licensed under a Creative Commons Attribution 3.0 United Volume 2.2 (2013) | ISSN 2158-8724 (online) | DOI 10.5195/cinej.2013.66 | http://cinej.pitt.edu 4 States License. -
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. -
House Details Chalakudy Damage Type Complete Loss of Buildings
House Details_Chalakudy_Damage Type_Complete loss Of Buildings Ward House Sub Sl No Localbody Type Localbody Name Taluk Name Village Name Owner Name Owner Address Damage Type No No No 1 Grama Panchayat Alur 1 17 Chalakudy Kallettumkara sajeevan kocheri house,panjappilly,p.o kallettunkara Complete loss of Buildings Chakkedath(H) vellanchira po vellanchira, 2 Grama Panchayat Alur 9 187 Chalakudy Aloor Jaison chakko Complete loss of Buildings alur, Thrissur 680697 ILLIKKAL,THURUTHIPARAMBU 3 Grama Panchayat Alur 9 384 Chalakudy Aloor Rosy Antony VELLANCHIRA,ANNALLUR P Complete loss of Buildings O,Annallur,Thrissur,Kerala,680731 Nambiaruveettil House,Annallur P 4 Grama Panchayat Alur 10 132 Chalakudy Aloor N K VWLAYUDHAN O,Thiruthiparambu,Annallur,Thrissur,Kerala Complete loss of Buildings ,680731 5 Grama Panchayat Alur 10 22 A Chalakudy Aloor LALITHA Complete loss of Buildings Nayathodan House,Thiruthiparambu,Near 6 Grama Panchayat Alur 10 89 Chalakudy Aloor Kochamma Thiruthiparambu Church,Annalloor,po Complete loss of Buildings Vellanchira,Thrissur,Kerala,680697 7 Grama Panchayat Alur 11 157 Chalakudy Aloor Leela Koodoly house Karoor P O PIN 680697 Complete loss of Buildings Thooyath Vallakkunu Kallettumkara 8 Grama Panchayat Alur 23 441 Chalakudy Kallettumkara Sunil T.G Complete loss of Buildings Thrissur 680683 KATTEMKULAM KALLETTUMKARA P.O 9 Grama Panchayat Alur 23 621 Chalakudy Kallettumkara MINI SIVAN Complete loss of Buildings THRISSUR PIN:680683 10 Grama Panchayat Annamanada 1 71 Chalakudy Alathur Xavier T. T Themaliparambil house, -
The Tamil University
Name of the HEI : The Tamil University Details of the admissions made for the academic session 2018-19(July,2018) under Open and Distance Learning and uploaded on its website 1. Programme-wise details (a) Bachelor of Education Government Contact Details (Ph.No., email id Issued Identifier / etc.) Category etc) SC/ST/OBC/ Aadhar No/PAN Date of PWD*/EWS* Card/Voter id Card Sl.No. Name of the students Enrolment No. admission * Phone No. Email Id No. [email protected] 1 L. RAMYA CHE000180201A 06.03.18 BC 9444752509 m 7875 9592 7266 jrajeshcheyyar201 2 J. RAJESH CHE000180202A 09.03.18 SC 9600996811 [email protected] 4748 7862 3853 3 D. PAUL INBASEKARAN CHE000180203A 14.03.18 BC 6381088083 rajavijaya1981@g 4 S. VIJAYA CHE000180204A 19.03.18 SC 9994163291 mail.com 7320 0250 2484 nirmalag47327@ 5 G. NIRMALA CHE000180205A 19.03.18 OC 9751843722 gmail.com 2159 0414 3450 bhakkiyaraj.k@gm 6 K. BHAKKIYARAJ CHE000180206A 25.04.18 SC 9942693232 ail.com 3312 6989 9480 duraikannan011@ 7 K. DURAIKKANNAN CHE000180207A 26.04.18 BC 9787216146 gmail.com 6092 8868 2458 palanicheyyar197 8 M. PALANI CHE000180208A 26.04.18 ST 9600347213 [email protected] 2092 6869 3704 asokanasokan104 9 V.N. ASOKAN CHE000180209A 26.04.18 MBC 9965141843 @gmail.com 7502 6841 3771 _miraajan13@gm 10 K. PADMHAPPRIYA CHE000180210A 02.04.18 BC 9840496070 ail.com 2944 5646 5670 anithamanickam1 11 M. ANITHA CHE000180211A 07.05.18 BC 9894230084 [email protected] 2224 7774 9590 radhasamuel05@ 12 R. RADHA CHE000180212A 14.05.18 OC 9655624687 gmai.com 4782 7592 1659 geetha651970@g 13 A. -
Cinema at the End of Empire: a Politics of Transition
cinema at the end of empire CINEMA AT duke university press * Durham and London * 2006 priya jaikumar THE END OF EMPIRE A Politics of Transition in Britain and India © 2006 Duke University Press * All rights reserved Printed in the United States of America on acid-free paper Designed by Amy Ruth Buchanan Typeset in Quadraat by Tseng Information Systems, Inc. Library of Congress Cataloging-in-Publication Data and permissions information appear on the last printed page of this book. For my parents malati and jaikumar * * As we look back at the cultural archive, we begin to reread it not univocally but contrapuntally, with a simultaneous awareness both of the metropolitan history that is narrated and of those other histories against which (and together with which) the dominating discourse acts. —Edward Said, Culture and Imperialism CONTENTS List of Illustrations xi Acknowledgments xiii Introduction 1 1. Film Policy and Film Aesthetics as Cultural Archives 13 part one * imperial governmentality 2. Acts of Transition: The British Cinematograph Films Acts of 1927 and 1938 41 3. Empire and Embarrassment: Colonial Forms of Knowledge about Cinema 65 part two * imperial redemption 4. Realism and Empire 107 5. Romance and Empire 135 6. Modernism and Empire 165 part three * colonial autonomy 7. Historical Romances and Modernist Myths in Indian Cinema 195 Notes 239 Bibliography 289 Index of Films 309 General Index 313 ILLUSTRATIONS 1. Reproduction of ‘‘Following the E.M.B.’s Lead,’’ The Bioscope Service Supplement (11 August 1927) 24 2. ‘‘Of cource [sic] it is unjust, but what can we do before the authority.’’ Intertitles from Ghulami nu Patan (Agarwal, 1931) 32 3. -
Representation of Dalits in Malayalam Literature & Films
I N S I G H T: An International Multilingual Journal for Arts and Humanities Peer Reviewed and Refereed: ISSN: 2582-8002 University Research Publications, Ernakulam, Kerala VOL 1-ISSUE 5 : JULY 2021 Representation of Dalits in Malayalam Literature & Films Athira Krishnan Assistant Professor Nasra College of Arts and Science, Thirurkad Abstract This study deals on how Dalits are represented in Malayalam film and literature. Malayalam film industry has several actors who have been marked ‘black’ with their body and its language. The lineage that started with Sathyan has now reached Vinayakan. Since the birth of Caste system, Dalits are considered as someone who are ‘uncultured’ and are confined to stand in the last rung of the ladder of society which is caste stricken. Malayalam films have taken its theorem from literature. Literature dealt the social problems of Kerala such as caste and poverty with much bias. But the language of the same matter took the counter stand in the case of films. The film that represented Kerala failed to portray the real face of Kerala. Dalit literature in India has emerged as a separate and principle category of literature in many Indian languages. It provides us a new born voice and identity to the community that have experienced discrimination ,marginalization and exploitation due to hierarchical caste system. Several writing of Dalit literature has emerged as a vigorous voice of Dalit community in different literature over the last five decades. The term Dalit literally means `oppressed’ and is used to refer to the `untouchable’ casteless sects of India. Dalit also called outcaste is a self-designation for a group of people traditionally regarded as untouchables. -
Manappuram Finance Ltd IV/470A(Old) W638A(New) Manappuram House Valapad Post, Thrissur-680567 Ph: 0487- 3050417/415/3104500 List
Manappuram Finance Ltd IV/470A(Old) W638A(New) Manappuram House Valapad Post, Thrissur-680567 Ph: 0487- 3050417/415/3104500 FOLIO / DEMAT ID NAME ADDRESS LINE 1 ADDRESS LINE 2 List of Unpaid Dividend as on ADDRESS09.08.2016 LINE (Dividend 3 for the periods 2008-09 toADDRESS 2015-16) LINE 4 PINCOD DIV.AMOUNT DWNO MICR PERIOD IEPF. TR. DATE 000642 JNANAPRAKASH P.S. POZHEKKADAVIL HOUSE P.O.KARAYAVATTAM TRICHUR DIST. KERALA STATE 1800.00 16400038 54773 2015-16 4TH INTERIM DIVIDEND 26-APR-23 000671 SHEFABI K M C/O.SEENATH HUSSAIN CHINNAKKAL HOME PO. VALAPAD PAINOOR 1800.00 16400039 54774 2015-16 4TH INTERIM DIVIDEND 26-APR-23 000691 BHARGAVI V.R. C/O K.C.VISHWAMBARAN,P.B.NO.63 ADV.KAYCEE & KAYCEE AYYANTHOLE TRICHUR DISTRICT KERALA STATE 1800.00 16400040 54775 2015-16 4TH INTERIM DIVIDEND 26-APR-23 000902 SREENIVAS M.V. SAI SREE, KOORKKENCHERY TRICHUR - 7 KERALA STATE 1800.00 16400046 54781 2015-16 4TH INTERIM DIVIDEND 26-APR-23 001036 SANKAR T.C. DAYA MANDIRAM TRICHUR - 4. KERALA 9000.00 16400052 54787 2015-16 4TH INTERIM DIVIDEND 26-APR-23 002626 DAMODARAN NAMBOODIRI K T KANJIYIL THAMARAPPILLY MANA P O MANALOOR THRISSUR KERALA 3600.00 16400071 54806 2015-16 4TH INTERIM DIVIDEND 26-APR-23 002679 NARAYANAN P S PANAT HOUSE P O KARAYAVATTOM, VALAPAD THRISSUR KERALA 3600.00 16400074 54809 2015-16 4TH INTERIM DIVIDEND 26-APR-23 002769 RAMLATH V E ELLATHPARAMBIL HOUSE NATTIKA BEACH P O THRISSUR KERALA 1800.00 16400079 54814 2015-16 4TH INTERIM DIVIDEND 26-APR-23 002966 KUNHIRAMAN K KADAVATH HOUSE OZHINHA VALAPPU (PO) (DIST) KARASAGOD 000000 1800.00 -
Of Sexual Morality
If you have reached these pdf links other than through the designated, please be aware ... This page contains personal writings of Jijo Punnoose. Some of which are sensitive and may not be palatable to every reader. All the other articles by this author, a reader would find, technical and scientific in nature. But not so here. It is cautioned that unless the reader has had some spiritual foundation, these articles would seem absurd. Because, spirituality is of a domain beyond rational minds. OF GENDER DISCRIMINATION, SEXUAL MORALITY & MORALS Summer of 1984. Shooting of Kuttichathan was going on. During a lunch break I was in the editing room. A Production manager (it must have been Ponnappan, I am not very sure) came to tell me that just then an altercation had occurred between cinematographer Ashok Kumar's assistant Ms. Vijayalakshmi and one of our key unit members, chief-camera-in-charge Mr. Ayyappan. It had left the girl in tears. I was fond of both of them. Though a hothead, Ayyappan was hardworking, loyal and very devoted to his equipment. Though a chatterbox, Vijayalaxmi's passion for cinematography had made her venture into a man's world. A few months earlier while shooting film Mamattukkuttiyammakku, Fazil hilariously noted the following about the same two individuals. "Ayyappan hugs the camera protectively to prevent it from accidentally toppling over, whenever one of us goes to check frame through the camera viewfinder. He wouldn't do that if it is Vijayalakshmi, since it may seem that he is hugging her …. and that adds to his helplessness".