Enchanting Tales of Jodha-Akbar
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Jodhaa Akbar
JODHAA AKBAR ein Film von Ashutosh Gowariker Indien 2008 ▪ 213 Min. ▪ 35mm ▪ Farbe ▪ OmU KINO START: 22. Mai 2008 www.jodhaaakbar.com polyfilm Verleih Margaretenstrasse 78 1050 Wien Tel.:+43-1-581 39 00-20 www:polyfilm.at [email protected] Pressebetreuung: Allesandra Thiele Tel.:+43-1-581 39 00-14 oder0676-3983813 Credits ...................................................2 Kurzinhalt...............................................3 Pressenotiz ............................................3 Historischer Hintergrund ........................3 Regisseur Ashutosh Gowariker..............4 Komponist A.R. Rahman .......................5 Darsteller ...............................................6 Pressestimmen ......................................9 .......................................................................................Credits JODHAA AKBAR Originaltitel: JODHAA AKBAR Indien 2008 · 213 Minuten · OmU · 35mm · FSK ab 12 beantragt Offizielle Homepage: www.jodhaaakbar.com Regie ................................................Ashutosh Gowariker Drehbuch..........................................Ashutosh Gowariker, Haidar Ali Produzenten .....................................Ronnie Screwvala and Ashutosh Gowariker Musik ................................................A. R. Rahman Lyrics ................................................Javed Akhtar Kamera.............................................Kiiran Deohans Ausführende Produzentin.................Sunita Gowariker Koproduzenten .................................Zarina Mehta, Deven Khote -
UTV Acquires the Feature Film Rights of Ashwin Sanghi's
UTV acquires the Feature Film rights of Ashwin Sanghi’s ‘Chanakya’s Chant’ ~ A film based on the #1 National Bestseller to go on floors soon ~ Mumbai, Wednesday, June 15th, 2011: UTV Motion Pictures has acquired rights to Ashwin Sanghi’s national bestseller - Chanakya’s Chant, published by Westland. The interesting fast-paced story based on politics in two radically different eras will now be adapted into a film by the studio. Chanakya's Chant, a historical political thriller, released by Westland in January 2011, shot into the Top-5 Bestsellers of India within 2 weeks of its launch, proving that Chanakya’s neetis are as relevant today as they were in ancient times. The book narrates two parallel political tales, one in Chanakya’s puranic Bharat 2300 years ago and the other in post-independence contemporary India. While the ancient story is largely historical, based upon Chanakya’s rise to power and the clever tactics applied by him towards installing Chandragupta Maurya on the throne, the modern story is mostly fictional and tells the tale of Kanpur’s Pandit Gangasagar Mishra who draws inspiration from the master strategist Chanakya and employs his strategies in a modern context to get his protégée Chandini Gupta appointed to the highest office in India. On announcing the film, Siddharth Roy Kapur, CEO, UTV Motion Pictures, said "Chanakya’s Chant is one of those rare books with a storyline that has the potential to be translated into a superbly cinematic and immensely entertaining screenplay. The tale is about the underbelly of national politics which the book superbly exposes, where strategies developed by Chanakya 2300 years ago are still as valid in the modern day political scenario. -
Bollywood Lens Syllabus
Bollywood's Lens on Indian Society Professor Anita Weiss INTL 448/548, Spring 2018 [email protected] Mondays, 4-7:20 pm 307 PLC; 541 346-3245 Course Syllabus Film has the ability to project powerful images of a society in ways conventional academic mediums cannot. This is particularly true in learning about India, which is home to the largest film industries in the world. This course explores images of Indian society that emerge through the medium of film. Our attention will be focused on the ways in which Indian society and history is depicted in film, critical social issues being explored through film; the depicted reality vs. the historical reality; and the powerful role of the Indian film industry in affecting social orientations and values. Course Objectives: 1. To gain an awareness of the historical background of the subcontinent and of contemporary Indian society; 2. To understand the sociocultural similarities yet significant diversity within this culture area; 3. To learn about the political and economic realities and challenges facing contemporary India and the rapid social changes the country is experiencing; 4. To learn about the Indian film industry, the largest in the world, and specifically Bollywood. Class format Professor Weiss will open each class with a short lecture on the issues which are raised in the film to be screened for that day. We will then view the selected film, followed by a short break, and then extensive in- class discussion. Given the length of most Bollywood films, we will need to fast-forward through much of the song/dance and/or fighting sequences. -
Brief Historical Overview A. Indus Valley Civilization
Brief Historical Overview A. Indus Valley civilization (3,000-1,500 B.C.) 1. 3,000-2,000 B.C.: high civilization, urban, literate, settled agriculture; Harappa/Mohenjo Daro (first grid plan cities) 2. 2,000-1,500 B.C.: Indo-Aryan invasion, pushed Dravidians South, and brought an Aryan group which had a strong hierarchical division between priests, warriors and nomads, and a language similar to Sanskrit (an Indo-Aryan/Indo-European language) B. Vedic Age - 1500 – 1000 BC 1. Vedas: poetic Sanskrit hymns passed down orally for thousands of years ( mostly fire sacrifices, chants, and spells) 2. Rig Veda: 1028 Hymns of praise to Aryan gods (personified forces of nature). C. Classical period (600 B.C. to 600 A.D.): Articulation of Hinduism (Vedas, Upanishads, Bhagavad Gita); establishment of varna system (Brahmins, Kshatriyas, Vaishyas, Shudras) - which provided the foundation of the present jajmani system (to be discussed Week Three) D. Islamic period: invasion by Mahmud of Ghazni in 1057 A.D., from Afghanistan; followed by the Sultanate of Delhi (1206-1526); the great Mughal empire (1527-1857): best known emperors were Akbar, Jehangir and Shah Jehan (builder of the Taj Mahal); effective rule ended in 1748. Akbar created a political system which provided a synthesis of the great diversities in India, which provides a model for accommodation between groups today. [Note: Be thinking of this as we watch Jodhaa Akbar.] E. The British Raj 1. First entered as the British East India Company in Bengal. 2. Established various kinds of taxation and land tenure systems, and organized groups (e.g., tribes, zamindars) into new forms. -
Bollywood As National(Ist) Cinema Violence, Patriotism and the National- Popular in Rang De Basanti
Third Text, Vol. 23, Issue 6, November, 2009, 703–716 Bollywood as National(ist) Cinema Violence, Patriotism and the National- Popular in Rang De Basanti Neelam Srivastava This essay sets out to explore the relationship between violence, patrio- tism and the national-popular within the medium of film by examining the Indian film-maker Rakeysh Mehra’s recent Bollywood hit, Rang de Basanti (Paint It Saffron, 2006). The film can be seen to form part of a body of work that constructs and represents violence as integral to the emergence of a national identity, or rather, its recuperation. Rang de Basanti is significant in contemporary Indian film production for the enormous resonance it had among South Asian middle-class youth, both in India and in the diaspora. It rewrites, or rather restages, Indian nationalist history not in the customary pacifist Gandhian vein, but in the mode of martyrdom and armed struggle. It represents a more ‘masculine’ version of the nationalist narrative for its contemporary audiences, by retelling the story of the Punjabi revolutionary Bhagat Singh as an Indian hero and as an example for today’s generation. This essay argues that its recuperation of a violent anti-colonial history is, in fact, integral to the middle-class ethos of the film, presenting the viewers with a bourgeois nationalism of immediate and timely appeal, coupled with an accessible (and politically acceptable) social activism. As the 1. Quoted in Namrata Joshi, sociologist Ranjini Majumdar noted, ‘the film successfully fuels the ‘My Yellow Icon’, Outlook middle-class fantasy of corruption being the only problem of the coun- India, online edition, 20 1 February 2006, available try’. -
Promising Signs Ahead Media & Entertainment in South India
Promising signs ahead Media & Entertainment in South India Media & Entertainment Business Conclave – Chennai October 2012 Contents Message from FICCI ............................................................................................................................................................... 3 Message from Deloitte Touche Tohmatsu India Pvt. Ltd. (Deloitte) ......................................................................................... 4 Message from Deloitte Touche Tohmatsu India Pvt Ltd (Deloitte)........................................................................................... 5 1. Introduction .................................................................................................................................................................... 6 2. Film .............................................................................................................................................................................. 11 3. Television .................................................................................................................................................................... 30 4. Print ............................................................................................................................................................................. 51 5. Radio ........................................................................................................................................................................... 64 6. Direct tax - -
Fascist Imaginaries and Clandestine Critiques: Young Hindi Film Viewers Respond to Violence, Xenophobia and Love in Cross- Border Romances
CORE Metadata, citation and similar papers at core.ac.uk Provided by LSE Research Online Shakuntala Banaji Fascist imaginaries and clandestine critiques: young Hindi film viewers respond to violence, xenophobia and love in cross- border romances Book section Original citation: Banaji, Shakuntala (2007) Fascist imaginaries and clandestine critiques: young Hindi film viewers respond to violence, xenophobia and love in cross-border romances. In: Bharat, Meenakshi and Kumar, Nirmal, (eds.) Filming the line of control: the Indo–Pak relationship through the cinematic lens. Routledge, Oxford, UK. ISBN 9780415460941 © 2007 Routledge This version available at: http://eprints.lse.ac.uk/27360/ Available in LSE Research Online: May 2011 LSE has developed LSE Research Online so that users may access research output of the School. Copyright © and Moral Rights for the papers on this site are retained by the individual authors and/or other copyright owners. Users may download and/or print one copy of any article(s) in LSE Research Online to facilitate their private study or for non-commercial research. You may not engage in further distribution of the material or use it for any profit-making activities or any commercial gain. You may freely distribute the URL (http://eprints.lse.ac.uk) of the LSE Research Online website. This document is the author’s submitted version of the book section. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. Fascist imaginaries and clandestine critiques: young Hindi film viewers respond to violence, xenophobia and love in cross-border romances Shakuntala Banaji1 Tarang: I’ve watched Hindi films all my life. -
Research Paper Impact Factor
Research Paper IJBARR Impact Factor: 3.072 E- ISSN -2347-856X Peer Reviewed, Listed & Indexed ISSN -2348-0653 HISTORY OF INDIAN CINEMA Dr. B.P.Mahesh Chandra Guru * Dr.M.S.Sapna** M.Prabhudev*** Mr.M.Dileep Kumar**** * Professor, Dept. of Studies in Communication and Journalism, University of Mysore, Manasagangotri, Karnataka, India. **Assistant Professor, Department of Studies in Communication and Journalism, University of Mysore, Manasagangotri, Karnataka, India. ***Research Scholar, Department of Studies in Communication and Journalism, University of Mysore, Manasagangotri, Karnataka, India. ***RGNF Research Scholar, Department of Studies in Communication and Journalism, University of Mysore, Manasagangothri, Mysore-570006, Karnataka, India. Abstract The Lumiere brothers came over to India in 1896 and exhibited some films for the benefit of publics. D.G.Phalke is known as the founding father of Indian film industry. The first Indian talkie film Alam Ara was produced in 1931 by Ardeshir Irani. In the age of mooki films, about 1000 films were made in India. A new age of talkie films began in India in 1929. The decade of 1940s witnessed remarkable growth of Indian film industry. The Indian films grew well statistically and qualitatively in the post-independence period. In the decade of 1960s, Bollywood and regional films grew very well in the country because of the technological advancements and creative ventures. In the decade of 1970s, new experiments were conducted by the progressive film makers in India. In the decade of 1980s, the commercial films were produced in large number in order to entertain the masses and generate income. Television also gave a tough challenge to the film industry in the decade of 1990s. -
Decisions Taken by BCCC
ACTION BY BCCC ON COMPLAINTS RECEIVED FROM 16 APRIL 2014 TO 31 AUGUST 2017 S.NO Programme Channel Total Nature of Complaints Telecast date of the Action By BCCC Number of programme reviwed Complaints by BCCC Received A : SPECIFIC CONTENT RELATED COMPLAINTS A-1 : Specific Content related complaints Disposed 1 Crime Patrol Sony 3 Episode 09-05-2017: It is shown that a girl Asha gets trapped with a gang 09-05-2017 Episode 09-05-2017: BCCC viewed the episode and found that this crime- of human smugglers. She is sold to Bina from Rajasthan and to please her 01-08-2017 based show did not denigrate the child. The show came out with a positive clientele, both Indian and foreign, she starts giving her injections which will 07-08-2017 messaging and the depiction was not considered to be outlandish or lead to her body’s growth. Asha will start looking like a 14-15 years old girl. grotesque. The complaint was DISPOSED OF. It is shown that Asha has her periods and her dress is blood-stained. This Episode 01/08/17: BCCC viewed the episode and found that the mother is objectionable and it denigrates children. wanted to discipline her son by inflicting torture on her. In the process the child Episode 01-08-2017: It shows a child talking about how he got gifts from gets detached from the family members and runs away from the house. In the everyone when he was born and even now he get presents from everyone second story a seven-year-old sister is shown to murder her sibling who is two in the form of beatings. -
A Pedagogical Tool for the Application of Critical Discourse Analysis in the Interpretation of Film and Other Multimodal Discursive Practices
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 12-2015 Active Critical Engagement (ACE): A Pedagogical Tool for the Application of Critical Discourse Analysis in the Interpretation of Film and Other Multimodal Discursive Practices Sultana Aaliuah Shabazz University of Tennessee - Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Social and Philosophical Foundations of Education Commons Recommended Citation Shabazz, Sultana Aaliuah, "Active Critical Engagement (ACE): A Pedagogical Tool for the Application of Critical Discourse Analysis in the Interpretation of Film and Other Multimodal Discursive Practices. " PhD diss., University of Tennessee, 2015. https://trace.tennessee.edu/utk_graddiss/3607 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Sultana Aaliuah Shabazz entitled "Active Critical Engagement (ACE): A Pedagogical Tool for the Application of Critical Discourse Analysis in the Interpretation of Film and Other Multimodal Discursive Practices." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in Education. Barbara J. Thayer-Bacon, Major Professor We have read this dissertation and recommend its acceptance: Harry Dahms, Rebecca Klenk, Lois Presser Accepted for the Council: Carolyn R. -
The Conference Brochure
The Many Lives of Indian Cinema: 1913-2013 and beyond Centre for the Study of Developing Societies, Delhi 9-11 January 2014 1 Credits Concept: Ravi Vasudevan Production: Ishita Tiwary Operations: Ashish Mahajan Programme coordinator: Tanveer Kaur Infrastructure: Sachin Kumar, Vikas Chaurasia Consultant: Ravikant Audio-visual Production: Ritika Kaushik Print Design: Mrityunjay Chatterjee Cover Image: Mrityunjay Chatterjee Back Cover Image: Shahid Datawala, Sarai Archive Staff of the Centre for the Study of Developing Societies We gratefully acknowledge support from the following institutions: Indian Council for Social Science Research; Arts and Humanities Research Council; Research Councils UK; Goethe Institute, Delhi; Indian Council for Historical Research; Sage Publishing. Doordarshan have generously extended media partnership to the conference. Images in the brochure are selected from Sarai Archive collections. Sponsors Media Partner 2 The Idea Remembering legendary beginnings provides us the occasion to redefine and make contemporary the history we set out to honour. We need to complicate the idea of origins and `firsts’ because they highlight some dimensions of film culture and usage over others, and obscure the wider network of media technologies, cultural practices, and audiences which made cinema possible. In India, it is a matter of debate whether D.G. Phalke's Raja Harishchandra (1913), popularly referred to as the first Indian feature film, deserves that accolade. As Rosie Thomas has shown, earlier instances of the story film can be identified, includingAlibaba (Hiralal Sen, 1903), an Arabian Nights fantasy which would point to the presence of a different cultural universe from that provided by Phalke's Hindu mythological film. Such a revisionary history is critical to our research agenda. -
Sigaram Thodu’
UTV announces its next Tamil film ‘SIGARAM THODU’ Chennai, 2nd January 2013: UTV Motion Pictures today announced its next home production in Tamil ‘Sigaram Thodu’ which will be written and directed by Gaurav of ‘Thoonga Nagaram’ fame and will star Vikram Prabhu in the lead. After ‘Settai’ (remake of Hindi super hit film Delhi Belly) starring Arya, Santhanam, Premgi, Hansika, Anjali and Nasser and directed by R. Kannan this will be UTV’s next Tamil release this year. The pre-production work for ‘Sigaram Thodu’ has commenced from today and the film’s shooting is expected to begin from April 2013. The other cast and crew is under finalization and will be announced shortly. “As a Studio it has been our constant endeavour to bring across the right mix of content for our consumers like we have done with our Hindi slate. South is a key market for us and we will be announcing an equally eclectic slate this side as well,” said G. Dhananjayan, Chief – South Business, Studios, DisneyUTV In 2013, ‘Settai’ will be UTV’s first release in Tamil which will release in February and ‘Sigaram Thodu’ will hit theatres in December. STUDIOS – DisneyUTV Bringing together the best of both worlds, The Walt Disney Studios and UTV Motion Pictures have formed one of the leading film studios in India. The Studio’s activities span across creative development, production, marketing, distribution, licensing, merchandising and syndication of films in India and worldwide. UTV Motion Pictures as a dominant player in the Indian film industry has been in the forefront of bringing Indian films to a global audience and the last decade in Indian cinema has seen UTV delivering some of the most iconic films including Swades, Rang De Basanti, Jodhaa Akbar, A Wednesday, Dev D, Khosla Ka Ghosla, The Namesake, Life in a Metro, Oye Lucky! Lucky Oye!, Fashion, Kaminey, No One Killed Jessica, Raajneeti, Udaan, Peepli Live, Delhi Belly and more recently Ek Main Aur Ekk Tu, Paan Singh Tomar, Rowdy Rathore, Barfi! and Heroine.