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Trials and Justice in Awaara: a Post-Colonial Movie on Post-Revolutionary Screens?
Law Text Culture Volume 18 The Rule of Law and the Cultural Imaginary in (Post-)colonial East Asia Article 4 2014 Trials and Justice in Awaara: A Post-Colonial Movie on Post-Revolutionary Screens? Alison W. Conner University of Hawaii at Manoa Follow this and additional works at: https://ro.uow.edu.au/ltc Recommended Citation Conner, Alison W., Trials and Justice in Awaara: A Post-Colonial Movie on Post-Revolutionary Screens?, Law Text Culture, 18, 2014, 33-55. Available at:https://ro.uow.edu.au/ltc/vol18/iss1/4 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Trials and Justice in Awaara: A Post-Colonial Movie on Post-Revolutionary Screens? Abstract Perhaps surprisingly, one of the most popular Chinese movies of all time is actually an Indian film. Filmed in 1951 in newly independent India, Awaara (The Vagabond) was released in China after the official introduction of the opening and reform policies in 1979, when the country embarked on its current post- socialist, post-revolutionary course. Known as Liulangzhe in China, Awaara received a rapturous response from Chinese audiences and even now everyone over a certain age remembers watching the movie. Thanks to the Internet, many younger Chinese have also seen Awaara, sometimes dubbed in Chinese (I first saw it dubbed in Chinese myself), or if they haven’t seen it they can tell you why their parents and grandparents loved it so much. This journal article is available in Law Text Culture: https://ro.uow.edu.au/ltc/vol18/iss1/4 Trials and Justice in Awaara: A Post-Colonial Movie on Post-Revolutionary Screens? Alison W Conner Introduction Perhaps surprisingly, one of the most popular Chinese movies of all time is actually an Indian film. -
Use and Abuse of Female Body in Popular Hindi Films: a Semiotic Analysis of Item Songs
Use and Abuse of Female Body in Popular Hindi Films: A Semiotic analysis of Item Songs *Dr. G. K. Sahu Assistant Professor Dept. of Mass Communication Aligarh Muslim University Aligarh- 202002 & **Sana Abbas Research Scholar Dept. of Mass Communication Aligarh Muslim University Aligarh-202002 India Abstract The item songs have become an important element of Bollywood movies. Women are featured as a commodity, only to satisfy male urge and their bodies are featured in a way as if they are meant for male consumption. In an environment where a plethora of movies are releasing every year, putting a peppy item song in a movie, is a good trick to gain the attention of viewers . Brazen lyrics are used to enhance the popularity of these songs. Many established film makers in the industry are using this trick to gain huge financial returns. They are attracting and engaging audiences by using as well as abusing female body in their films. The paper makes an attempt to analyze the item songs by employing semiotic method to examine the use and abuse of female body in Hindi films. Key Words: Hindi Films, Item Songs, Female Body, Use & Abuse, Portrayal, Commoditization. www.ijellh.com 14 Introduction Cinema and dance have had a long history of engagement. Cinema enlisted dance from its very beginnings – the spectacular display of movement. The shared investment in movement ensured a spontaneous intermediality (transgression of boundaries) between early cinema and dance. Songs with dance have always played a crucial role in Hindi movies. The role of song and its demand changed with the entry of „item songs‟. -
Baila
1. A song shot in one of these locations is an item number featuring women dressed in traditional North Indian clothing, despite being from South India. That song would later be remade for the movie Maximum, although it’s location was changed from one of these locations. That song shot in one of these locations repeatedly lists the name of cities, and was part of a breakout film for Allu Arjun. In addition to (*) Aa Ante Amalapuram, another song shot in one of these locations features a lyric that praises someone’s speech to be “as fine as the Urdu language.” Shahrukh Khan dances on top of, for 10 points, what location in Chaiyya Chaiyya? ANSWER: Train [accept railroad or railway or equivalents] <Bollywood> 2. This word is the name of a popular dance in Sri Lanka, and a song titled “[this word] Remix Karala” was remixed into the 2011 Sri Lankan Cricket Team’s song. Another song with this word in its title claims that this word “esta cumbia,” and is by Selena. A song with another conjugation of this word in its title says (*) “Nothing can stop us tonight” before the title phrase. That song featuring this word in its title also says “Te quiero, amor mio” before the title word is repeated in the chorus. For 10 points, name this word which titles an Enrique Iglesias song, in which it precedes and succeeds the phrase “Let the rhythm take you over.” ANSWER: baila [accept bailar or bailamos - meta tossup lul] <Latin American Music> 3. The second episode of the History Channel TV show UnXplained is partially set in this location. -
Ashoke Kumar
Ashoke Kumar The boss's wife and leading actress of a leading Film Company runs off with her lead man. She is caught and taken back but not the lead man who is unceremoniously dismissed. So now the company needs a new hero. The boss decides his laboratory assistant would be the Film Company's next leading man. A bizzare film plot??? Hardly. This real life story starred the Bombay Talkies Film Company, it's boss Himansu Rai , lead actress Devika Rani and lead man Najam-ul-Hussain and last but not least its laboratory assistant Ashok Kumar. And thus began an extremely successful acting career that lasted six decades! Ashok Kumar aka Dadamoni was born Kumudlal Kunjilal Ganguly in Bhagalpur and grew up in Khandwa. He briefly studied law in Calcutta, then joined his future brother-in-law Shashadhar Mukherjee at Bombay Talkies as laboratory assistant before being made its leading man. Ashok Kumar made his debut opposite Devika Rani in Jeevan Naiya (1936) but became a well known face with Achut Kanya (1936) . Devika Rani and he did a string of films together - Izzat (1937) , Savitri (1937) , Nirmala (1938) among others but she was the bigger star and chief attraction in all those films. It was with his trio of hits opposite Leela Chitnis - Kangan (1939) , Bandhan (1940) and Jhoola (1941) that Ashok Kumar really came into his own. Going with the trend he sang his own songs and some of them like Main Ban ki Chidiya , Chal Chal re Naujawaan and Na Jaane Kidhar Aaj Meri Nao Chali Re were extremely popular! Ashok Kumar initiated a more natural style of acting compared to the prevaling style that followed theatrical trends. -
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. -
Amfar India to Benefit Amfar, the Foundation for AIDS Research
amfAR India To Benefit amfAR, The Foundation for AIDS Research November 2014 Mumbai, India Event Produced by Andy Boose / AAB Productions A Golden Opportunity amfAR held its inaugural Indian fundraising gala in Mumbai in November 2013. The event was hosted by amfAR Global Fundraising Chairman Sharon Stone, and Bollywood stars Aishwarya Rai Bachchan and Abhishek Bachchan. It was chaired by amfAR Chairman Kenneth Cole, Vikram Chatwal, Anuj Gupta, Rocky Malhotra, and Hilary Swank. Memorable Moments The black-tie event, presented by Dr. Cyrus Poonawalla and held at The Taj Mahal Palace Hotel, featured a cocktail reception, dinner, and an exquisite gold-themed fashion show that showcased three of India’s most important fashion designers -- Rohit Bal, Abu Jani- Sandeep Khosla, and Tarun Tahiliani. The evening concluded with a spirited performance by pop sensation Ke$ha, whose Hilary Swank for amfAR India songs included her hits Animal, We R Who We R, and Tik Tok. Among the Guests Neeta Ambani, Torquhil Campbell, Duke of Argyll, Sonal Chauhan, Venugopal Dhoot, Nargis Fakhri, Sunil Gavaskar, Parmeshwar Godrej, Lisa Haydon, Dimple Kapadia, Tikka Kapurthala, Nandita Mahtani, Rocky The Love Gold Fashion Show for amfAR India Abhishek Bachchan, Sharon Stone, Nita Ambani, and Aishwarya Rai Bachchan for amfAR India Malhotra, Dino Morea, among many others. Kenneth Cole and Sharon Stone for amfAR India Total Media Impressions: 2.4 Billion Total Media Value: $1.6 Million Aishwarya Rai Bachchan for amfAR India The Love Gold Fashion Show for amfAR India A Star-Studded Cast amfAR’s fundraising events are world renowned for their ability to attract a glittering list of top celebrities, entertainment industry elite, and international society. -
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.. -
Enchantment of the Mind Preface
PREFACE 1 March 2004 marked the tenth anniversary of the death of Manmohan Desai. A fall from the terrace of his Khetwadi home brought the 57-year old filmmaker’s life to an end in the spring of 1994. The suspected suicide came as a shock both to those nearest to him and to the film world as a whole, as testified in countless articles and tributes in the Indian and international press in the month following his death. The articles that appeared spanned the gamut of reactions: praise for Desai as a man and as a filmmaker, heartfelt remembrances from those who had worked with him, indignation and disbelief over the circumstances of his death, and speculation over possible motives for suicide— depression over severe backaches being most frequently offered as an explanation. At that time, I could not help feeling a personal sadness over his death. I had, after all, spent the better part of four years studying Manmohan Desai’s work before completing an initial version of this book in 1987. It was, therefore, consoling to have immediate and direct evidence of Manmohan Desai’s work living on beyond his death, as happened one day in 1994 when I walked into an Indian carry-out restaurant in Paris and saw a colorful dance scene from Dharam-Veer playing on the conspicuously placed VCR. Those waiting in line stood transfixed before the screen, their faces radiating joy. Curious to know if Desai’s work had crossed the generations, I asked a young man in his twenties if he knew who had directed the film. -
FICCI FRAMES: a Brief Introduction the FICCI Media & Entertainment
FICCI FRAMES: A Brief Introduction The FICCI Media & Entertainment Committee, headed by the legendary Late Yash Chopra, one of the prominent film producers in India, comprising visionary thought leaders of the Indian entertainment industry, first met in 1999. An idea was born which crystallized into the first FICCI FRAMES, a platform and a voice for the entire Indian media and entertainment industry. The first ever industry report giving numbers to this industry was brought out by FICCI and is updated every year. Over the last 19 years, FICCI FRAMES, the most definitive annual global convention on the entertainment business in Asia, has grown in strength, stature and horizon. FRAMES not only facilitates communication and exchange between key industry figures, influencers and policy makers, it is also an unparalleled platform for the exchange of ideas and knowledge between individuals, countries and conglomerates. FRAMES has brought together more the 400,000 professionals from India and abroad representing the various sectors of the industry. The three eventful days of FRAMES are pulsating with activity – sessions, keynotes, workshops, masterclasses, policy roundtables, B2B meetings, exhibition, cultural evening, networking events and a meeting of the best minds in the business under a single umbrella. 20 th Edition of FICCI FRAMES: March 12 th -14 th , 2019 FRAMES 2019 will be the landmark 20 th Edition of FRAMES reflecting the richness of the platform which it has acquired over the years. Like every year, the world’s media and entertainment industry will be in attendance at FRAMES 2019, with nearly 2,000 Indian and over 600 foreign delegates representing the entire gamut of the sector, including Film, Broadcast (TV & Radio), Digital Entertainment, Animation, Gaming, VFX, etc. -
DEEPIKA PADUKONE Is One of India's Highest- Paid Actresses
DEEPIKA PADUKONE is one of India’s highest- paid actresses—and you’re about to find out why photographed by JOHN AKEHURST styled by JESSICA DE RUITER Altuzarra viscose sweater and 146 InSTYLE FEBRUARY 2017 nylon skirt. Prada jersey dress. BEAUTY BEAT Love Padukone’s soft red lipstick? Get the look Loewe with L’Oréal polyamide dress. Paris Colour Charlotte Riche Le Matte Olympia suede Lip Pen in Mad sandals. for Matte ($10; lorealparisusa .com). FEBRUARY 2017 InSTYLE 149 hen 31-year-old actress Deepika I was there, but over time that number increased,” she PadukonewascastinXXX: The says. She doesn’t mind being recognized, as long as it Return of Xander Cage, it wasn’t doesn’t put anyone else out. “Sometimes fan encoun- just the prospect of being in a Hol- ters can be an inconvenience for the people around lywoodactionmoviethatintrigued me, unless, of course, the people around me are more her. It was also the idea of relocating famous,” she says, referencing outings with her Xan- to Toronto, 7,755 miles away from her der Cage co-stars Vin Diesel and Nina Dobrev. mod duplex in a Mumbai skyscraper. “I With her move to Toronto, Padukone left behind wasanxiousbeforeIlefttostartfilm- perks like an entourage and a security team and now ing,” she recalls. “But I wanted to move out of my com- focuses onthebasicsherself:makingher ownscram- fort zone and start over.” bledeggsandorderingIndiantakeout.“Ireceivedan It’s not as though she needed to reinvent herself— allowance and had to find my own accommodations back in India, Padukone is as big as they come. -
Women Performing Artists in Colonial India There Were Few Women Painters in Colonial India
I. (A) Personal Details Role Name Affiliation Principal Investigator Prof. Sumita University of Allhabad Parmar Paper Coordinator Prof Rekha Pande University of Hyderabad Author Dr. Archana Verma Independent Scholar Content Reviewer (CR) Prof Rekha Pande University of Hyderabad Language Editor (LE) Prof. Sumita University of Allhabad Parmar (B) Description of Module Items Description of Module Subject Name Women’s Studies Paper Name Women and History Module Name/ Title, Women performers in colonial India description Module ID Paper- 3, Module-30 Pre-requisites None Objectives To explore the achievements of women performers in colonial period Keywords Indian art, women in performance, cinema and women, India cinema, Hindi cinema Women Performing Artists in Colonial India There were few women painters in Colonial India. But in the performing arts, especially acting, women artists were found in large numbers in this period. At first they acted on the stage in theatre groups. Later, with the coming of cinema, they began to act for the screen. Cinema gave them a channel for expressing their acting talent as no other medium had before. Apart from acting, some of them even began to direct films at this early stage in the history of Indian cinema. Thus, acting and film direction was not an exclusive arena of men where women were mostly subjects. It was an arena where women became the creators of this art form and they commanded a lot of fame, glory and money in this field. In this module, we will study about some of these women. Nati Binodini (1862-1941) Fig. 1 – Nati Binodini (get copyright for use – (https://commons.wikimedia.org/wiki/File:Binodini_dasi.jpg) Nati Binodini was a Calcutta based renowned actress, who began to act at the age of 12. -
Lions Film Awards 01/01/1993 at Gd Birla Sabhagarh
1ST YEAR - LIONS FILM AWARDS 01/01/1993 AT G. D. BIRLA SABHAGARH LIST OF AWARDEES FILM BEST ACTOR TAPAS PAUL for RUPBAN BEST ACTRESS DEBASREE ROY for PREM BEST RISING ACTOR ABHISEKH CHATTERJEE for PURUSOTAM BEST RISING ACTRESS CHUMKI CHOUDHARY for ABHAGINI BEST FILM INDRAJIT BEST DIRECTOR BABLU SAMADDAR for ABHAGINI BEST UPCOMING DIRECTOR PRASENJIT for PURUSOTAM BEST MUSIC DIRECTOR MRINAL BANERJEE for CHETNA BEST PLAYBACK SINGER USHA UTHUP BEST PLAYBACK SINGER AMIT KUMAR BEST FILM NEWSPAPER CINE ADVANCE BEST P.R.O. NITA SARKAR for BAHADUR BEST PUBLICATION SUCHITRA FILM DIRECTORY SPECIAL AWARD FOR BEST FILM PREM TELEVISION BEST SERIAL NAGAR PARAY RUP NAGAR BEST DIRECTOR RAJA SEN for SUBARNALATA BEST ACTOR BHASKAR BANERJEE for STEPPING OUT BEST ACTRESS RUPA GANGULI for MUKTA BANDHA BEST NEWS READER RITA KAYRAL STAGE BEST ACTOR SOUMITRA CHATTERHEE for GHATAK BIDAI BEST ACTRESS APARNA SEN for BHALO KHARAB MAYE BEST DIRECTOR USHA GANGULI for COURT MARSHALL BEST DRAMA BECHARE JIJA JI BEST DANCER MAMATA SHANKER 2ND YEAR - LIONS FILM AWARDS 24/12/1993 AT G. D. BIRLA SABHAGARH LIST OF AWARDEES FILM BEST ACTOR CHIRANJEET for GHAR SANSAR BEST ACTRESS INDRANI HALDER for TAPASHYA BEST RISING ACTOR SANKAR CHAKRABORTY for ANUBHAV BEST RISING ACTRESS SOMA SREE for SONAM RAJA BEST SUPPORTING ACTRESS RITUPARNA SENGUPTA for SHWET PATHARER THALA BEST FILM AGANTUK OF SATYAJIT ROY BEST DIRECTOR PRABHAT ROY for SHWET PATHARER THALA BEST MUSIC DIRECTOR BABUL BOSE for MON MANE NA BEST PLAYBACK SINGER INDRANI SEN for SHWET PATHARER THALA BEST PLAYBACK SINGER SAIKAT MITRA for MISTI MADHUR BEST CINEMA NEWSPAPER SCREEN BEST FILM CRITIC CHANDI MUKHERJEE for AAJKAAL BEST P.R.O.