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SWAPNIL SANSAR, ENGLISH WEEKLY,LUCKNOW, 28,MARCH, (07) Tragedy Queen of Indian Cinema Contd.From Page no.06 the film's music and lyrics were by Roshan and Sahir to August, Meena Kumari was in the hands of Dr. Sheila Sherlock.Upon Ludhianvi and noted for songs such as "Sansaar Se Bhaage Phirte Ho" and recovery, Meena Kumari returned to India in September 1968 and on the fifth "Mann Re Tu Kaahe". Ghazal directed by Ved-Madan, starring Meena Kumari day after her arrival, Meena Kumari, contrary to doctors' instructionsAAfter their and Sunil Dutt, was a Muslim social film about the right of the young generation marriage, Kamal Amrohi allowed Meena Kumari to continue her actiresumed to the marriage of their choice. It had music by Madan Mohan with lyrics by work. Suffering from cirrhosis of the liver, although Meena Kumari temporarily Sahir Ludhianvi, featuring notable filmi-ghazals such as "Rang Aur Noor Ki recovered but was now much weak and thin. She eventually shifted her focus Baraat", performed by Mohammed Rafi and "Naghma O Sher Ki Saugaat" on more 'acting oriented' or character roles. Out of her last six releases namely performed by Lata Mangeshkar. Main Bhi Ladki Hoon was directed by A. C. Jawab, Saat Phere, Mere Apne, Dushman, Pakeezah & Gomti Ke Kinare, she Tirulokchandar. The film stars Meena Kumari with newcomer Dharmendra. only had a lead role in Pakeezah. In Mere Apne and Gomti Ke Kinare, although Critical acclaim (1962) Sahib Bibi Aur she didn't play a typical heroine role, but her character was actually the central Ghulam (1962) character of the story. -
Nation, Fantasy, and Mimicry: Elements of Political Resistance in Postcolonial Indian Cinema
University of Kentucky UKnowledge University of Kentucky Doctoral Dissertations Graduate School 2011 NATION, FANTASY, AND MIMICRY: ELEMENTS OF POLITICAL RESISTANCE IN POSTCOLONIAL INDIAN CINEMA Aparajita Sengupta University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Sengupta, Aparajita, "NATION, FANTASY, AND MIMICRY: ELEMENTS OF POLITICAL RESISTANCE IN POSTCOLONIAL INDIAN CINEMA" (2011). University of Kentucky Doctoral Dissertations. 129. https://uknowledge.uky.edu/gradschool_diss/129 This Dissertation is brought to you for free and open access by the Graduate School at UKnowledge. It has been accepted for inclusion in University of Kentucky Doctoral Dissertations by an authorized administrator of UKnowledge. For more information, please contact [email protected]. ABSTRACT OF DISSERTATION Aparajita Sengupta The Graduate School University of Kentucky 2011 NATION, FANTASY, AND MIMICRY: ELEMENTS OF POLITICAL RESISTANCE IN POSTCOLONIAL INDIAN CINEMA ABSTRACT OF DISSERTATION A dissertation submitted in partial fulfillment of the requirements for the degree Doctor of Philosophy in the College of Arts and Sciences at the University of Kentucky By Aparajita Sengupta Lexington, Kentucky Director: Dr. Michel Trask, Professor of English Lexington, Kentucky 2011 Copyright© Aparajita Sengupta 2011 ABSTRACT OF DISSERTATION NATION, FANTASY, AND MIMICRY: ELEMENTS OF POLITICAL RESISTANCE IN POSTCOLONIAL INDIAN CINEMA In spite of the substantial amount of critical work that has been produced on Indian cinema in the last decade, misconceptions about Indian cinema still abound. Indian cinema is a subject about which conceptions are still muddy, even within prominent academic circles. The majority of the recent critical work on the subject endeavors to correct misconceptions, analyze cinematic norms and lay down the theoretical foundations for Indian cinema. -
His Memorable Lyrics Continue to Haunt the Nation
His memorable lyrics continue to haunt the nation Written by V.S DATTA (Editor , N.I.P Allahabad ) Monday, 09 February 2015 14:23 BIRTH CENTENARY OF KAVI PRADEEP, EX-STUDENT OF E.C.C., On February 6, 2015 began the centenary year of Kavi Pradeep, one of the finest and greatest poets of filmdom whose lyrics touched the heart of the layman as much as they moved the politicians and inspired a generation. There may be greater poets than him. His speciality was that he pierced your heart with an emotional dart that went too deep inside you to leave you emotionally enthralled, spiritually delighted, romantically charged and patriotically surcharged! See what Kavi Pradeep has to say about the kind of songs he wrote, "Love is just a part of life and the love written about today talks about love between the sexes only. But do young men and women have a monopoly where love is concerned. Aren't there different kinds of love -that between a mother and her children, between a father and his children, between a bhakt (devotee) and his deity, between a man and his motherland? I chose to write about all these different kinds of love." The British noticed him when he wrote ‘Dur hato ai duniya walo Hindustan hamara hai’, Indira Gandhi and her Vanar sena sung him when his songs like ‘chal chal re nau jawan’(Bandhan) were released, freedom fighters marched with great enthusiasm when his song, ‘Dur hato ai duniya walo Hindustan Hamara hai’ was released. The victims of partition riots relived the horrors of the 1947 bloodshed when his song, ‘Dekh tere sansar ki halat kya ho gai bhagwan’ hit the silver screen and Pandit Nehru’s eyes were flooded with tears when his song ‘Ai mere watan ke logo zara ankh mein bhar lo paani’ was sung by Lata on the Republic day(1963) after the Chinese aggression. -
Contemporary Cinema & Indian Nationalism
Contemporary Cinema & Indian Nationalism History 175C: Special Topics in Indian History UCLA: Spring 2018 Tuesdays & Thursdays 2-3:15 PM, in Public Affairs 1222 Vinay Lal Department of History, UCLA Office: Bunche Hall 5240 Office Hours: Tuesdays & Thursdays, 3:30-4:30 PM, and by appointment Tel: 310.825.8276; Department Office (Bunche 6265): 310.825.4601 email: [email protected] Instructor’s website: southasia.ucla.edu Instructor’s webpages on cinema: http://southasia.ucla.edu/culture/cinema/ Course website: https://moodle2.sscnet.ucla.edu/course/view/18S-HIST175C-1 YouTube page: youtube.com/user/dillichalo Blog: https://vinaylal.wordpress.com This upper-division lecture course, offered for the first time, takes up the twin stories of Indian cinema and nationalism in the colonial and postcolonial period, and suggests that the intersection of history and cinema might have some unusual insights to offer about the nature of nationalist narratives. In broader terms, this lecture course also furnishes an introduction to the culture and history of modern Hindi-language cinema, the study of modern Indian history, some of the broader theoretical literature on nationalism and patriotism, and the study of popular culture. The use of films and visual material in the study of history has become increasingly popular over the course of the last three decades; however, this course does not view cinema merely an as instrument for the study of Indian history. Popular cinema, this lecture presumes, is an intrinsically interesting subject of inquiry, even if Indian scholars have come to this realization long after the Indian public had already declared its unmitigated affection for the movies. -
Dilip-Kumar-The-Substance-And-The
No book on Hindi cinema has ever been as keenly anticipated as this one …. With many a delightful nugget, The Substance and the Shadow presents a wide-ranging narrative across of plenty of ground … is a gold mine of information. – Saibal Chatterjee, Tehelka The voice that comes through in this intriguingly titled autobiography is measured, evidently calibrated and impossibly calm… – Madhu Jain, India Today Candid and politically correct in equal measure … – Mint, New Delhi An outstanding book on Dilip and his films … – Free Press Journal, Mumbai Hay House Publishers (India) Pvt. Ltd. Muskaan Complex, Plot No.3, B-2 Vasant Kunj, New Delhi-110 070, India Hay House Inc., PO Box 5100, Carlsbad, CA 92018-5100, USA Hay House UK, Ltd., Astley House, 33 Notting Hill Gate, London W11 3JQ, UK Hay House Australia Pty Ltd., 18/36 Ralph St., Alexandria NSW 2015, Australia Hay House SA (Pty) Ltd., PO Box 990, Witkoppen 2068, South Africa Hay House Publishing, Ltd., 17/F, One Hysan Ave., Causeway Bay, Hong Kong Raincoast, 9050 Shaughnessy St., Vancouver, BC V6P 6E5, Canada Email: [email protected] www.hayhouse.co.in Copyright © Dilip Kumar 2014 First reprint 2014 Second reprint 2014 The moral right of the author has been asserted. The views and opinions expressed in this book are the author’s own and the facts are as reported by him, which have been verified to the extent possible, and the publishers are not in any way liable for the same. All photographs used are from the author’s personal collection. All rights reserved. -
What Is It Called Good Friday? Joy Ruskin: Agency.On This His Own Sacrifice
WEEKLY www.swapnilsansar.org Simultaneously Published In Hindi Daily & Weekly VOL.23, ISSUE 14, LUCKNOW, 28 MARCH, 2018,PAGE 08,PRICE :1/- What is it called Good Friday? Joy Ruskin: Agency.On this His own sacrifice. But the question is, that if with the Jewish observance of guilt in Jesus; Pilate resolved to day Jesus Christ died on the He was made fun of, insulted Jesus Christ was crucified on this Passover.The etymology of the have Jesus whipped and released term "good" in the context of (Luke 23:3–16). Under the Good Friday is contested. Some guidance of the chief priests, the 123456789012345678901234567890121234567890123456789012 123456789012345678901234567890121234567890123456789012 123456789012345678901234567890121234567890123456789012 123456789012345678901234567890121234567890123456789012 123456789012345678901234567890121234567890123456789012 123456789012345678901234567890121234567890123456789012 123456789012345678901234567890121234567890123456789012 30th March 123456789012345678901234567890121234567890123456789012 123456789012345678901234567890121234567890123456789012 sources claim it is from the senses crowd asked for Barabbas, who pious, holy of the word "good", had been imprisoned for while others contend that it is a committing murder during an corruption of "God Friday".The insurrection. Pilate asked what Oxford English Dictionary they would have him do with supports the first etymology, Jesus, and they demanded, giving "of a day or season "Crucify him" (Mark 15:6–14). observed as holy by the church" Pilate's wife had seen Jesus in a as an archaic sense of good, and dream earlier that day, and she providing examples of good tide forewarned Pilate to "have meaning "Christmas" or "Shrove nothing to do with this righteous Tues day", and Good Wednesday man" (Matthew 27:19). Pilate had meaning the Wednesday in Jesus flogged and then brought HolyWeek.Conflicting him out to the crowd to release testimony against Jesus was him. -
The Laxmi Chhaya DVD
The Laxmi Chhaya DVD Introduction As with many other of the actors and actors in classic Indian films, not much (meaning practically nothing) of Laxmi Chhaya's personal life and her career in films is known. We know that she passed away way too early, dying of cancer about 6 years ago. Beyond that, nothing. If anyone can fill in details - family members, friends, friends of friends - perhaps you'd be so kind as to comment in memsaab's blog (link at bottom), maybe in her "My 10 Favorite Laxmi Chhaya Songs" post. There are many people around the world who love her, her dancing, and her acting in the movies available, and you'd be sure to receive a warm reception. Apparently she began her film career in 1963. I say 'apparently' because the information available is so sketchy that there's just no way to be sure it's accurate. I think her first film was 1963's Bluff Master starring Shammi Kapoor and Saira Banu (memsaab gets the credit for spotting her before the qawaali begins). I think this may have been her first film because she isn't listed in the film's credits, where for the other 2 films IMDB says she appeared in that year, she is listed in the credits. Here she is, standing beside Saira Banu: Hers was a speaking role with several lines of dialog, which makes her not appearing in the film's credits all the more peculiar. In the other 2 films she was in that year she (probably) performed her first dances. -
EROS INTERNATIONAL COLLECTION of INDIAN CINEMA on DVD Last Update: 2008-05-21 Collection 26
EROS INTERNATIONAL COLLECTION OF INDIAN CINEMA ON DVD Last Update: 2008-05-21 Collection 26 DVDs grouped by year of original theatrical release Request Titles by Study Copy No. YEAR OF THEATRICAL COLOR / RUNNING STUDY COPY NO. CODE FILM TITLE RELEASE B&W TIME GENRE DIRECTOR(S) CAST 1 DVD5768 M DVD-E-079 MOTHER INDIA 1957 color 2:43:00 Drama Mehoob Khan Nargis, Sunil Dutt, Raj Kumar 2 DVD5797 M DVD-E-751 KAAGAZ KE PHOOL 1959 color 2:23:00 Romance Guru Dutt Guru Dutt, Waheeda Rehman, Johnny Walker 3 DVD5765 M DVD-E-1060 MUGHAL-E-AZAM 1960, 2004 color 2:57:00 Epic K. Asif Zulfi Syed, Yash Pandit, Priya, re-release Samiksha 3.1 DVD5766 M DVD-E-1060 MUGHAL-E-AZAM bonus material: premier color in Mumbai; interviews; "A classic redesigned;" deleted scene & song 4 DVD5815 M DVD-E-392 CHAUDHVIN KA CHAND 1960 b&w 2:35:00 Romance M. Sadiq Guru Dutt, Waheeda Rehman, Rehman 5 DVD5825 M DVD-E-187 SAHIB BIBI AUR GHULAM 1962 b&w 2:42:00 Drama Abrar Alvi Guru Dutt, Meena Kuman, Waheeda Rehman 6 DVD5772 M DVD-E-066 SEETA AUR GEETA 1972 color 2:39:00 Drama Ramesh Sippy Dharmendra, Sanjeev Kumar, Hema Malini 7 DVD5784 M DVD-E-026 DEEWAAR 1975 color 2:40:00 Drama Yash Chopra Amitabh Bachchan, Shashi Kapoor, Parveen Babi, Neetu Singh 8 DVD5788 M DVD-E-016 SHOLAY 1975 color 3:24:00 Action Ramesh Sippy Amitabh Bachchan, Dharmendra, Sanjeev Kumar, Hema Malini 9 DVD5807 M DVD-E-256 HERA PHERI 1976 color 2:37:00 Comedy Prakash Mehra Amitabh Bachchan, Vinod Khanna, Saira Banu, Sulakshana Pandit 10 DVD5802 M DVD-E-140 KHOON PASINA 1977 color 2:31:00 Drama Rakesh Kumar Amitabh Bachchan, Vinod Khanna, Rekha 11 DVD5816 M DVD-E-845 DON 1978 color 2:40:00 Action Chandra Barot Amitabh Bachchan, Zeenat Aman, Pran 12 DVD5811 M DVD-E-024 MR. -
Bollywood Cinema: a Critical Genealogy
Bollywood Cinema: A Critical Genealogy Vijay Mishra Asian Studies Institute Vijay Mishra is Professor of English Literature at Murdoch University, Perth. Born in Fiji, he graduated from Victoria University of Wellington in 1967. This was followed, via Christchurch Teachers’ College, Macquarie and Sydney, by doctorates from ANU and Oxford. Among his publications are: Dark Side of the Dream: Australian Literature and the Postcolonial Mind (with Bob Hodge) (1991), The Gothic Sublime (1994), Devotional Poetics and the Indian Sublime (1998), Bollywood Cinema: Temples of Desire (2002). His next book (entitled The Literature of the Indian Diaspora: Theorizing the Diasporic Imaginary) will be published by Routledge (London) in March 2007. He plays the Indian harmonium, is a Beatles fan, and reads Sanskrit. ISSN: 1174-9551 ISBN-10: 0-473-11621-9 ISBN-13: 978-0-473-11621-7 ISBN (PDF): 978-1-877446-11-5 Series editor Stephen Epstein Desktop publisher Laila Faisal Printed October 2006 PDF Printed February 2008 Asian Studies Institute Victoria University of Wellington PO Box 600 Wellington, New Zealand Telephone +64 4 4635098 Fax +64 4 463 5291 Email [email protected] Web www.vuw.ac.nz/asianstudies Vijay Mishra Bollywood Cinema: A Critical Genealogy Vijay Mishra “Bollywood” has finally made it to the Oxford English Dictionary. The 2005 edition defines it as: “a name for the Indian popular film industry, based in Bombay. Origin 1970s. Blend of Bombay and Hollywood.” The incorporation of the word in the OED acknowledges the strength of a film industry which, with the coming of sound in 1931, has produced some 9,000 films. -
SYLLABUS Class – B.A. (HONS.) MASS COMMUNICATION VI Semester Subject – Film Journalism UNIT – I the Birth of Cinema Lumie
B.A. (HONS.) Mass Communication VI Semester Subject – Film Journalism SYLLABUS Class – B.A. (HONS.) MASS COMMUNICATION VI Semester Subject – Film Journalism UNIT – I The birth of cinema Lumier brother’s package The Grand father of Indian cinema: Dada Saheb Phalke The silent era (1896-1930) The talkie era and decade wise trend up to 1990 The new trends in Indian cinema (1991-2007) UNIT – II The brief study and analysis of trend setter film directors V ShantaramSohrab ModiMehboob KhanVijay BhattWadia brothersRaj KapoorGuruduttBimal RoySatyajit RayB. R. Chopra Yash ChopraHrishikesh Mukherjee Chetan Anand Basu Chaterjee Sai ParanjapeGuljarBasu BhattacharyaMahesh Bhatt Ramesh SippyShyam BenegalKetan MehtaGovind Nihlani Suraj BarjatyaVidhu Vinod ChopraJ P DuttaSanjay Leela Bhansali Ramgopal VermaKaran JojarAditya Chopra Raj kumar santoshi Rakesh Mehra Rj kumar Hirani UNIT – III Film as an art Film and painting Film and theatre Film and literature Film and music UNIT – IV Film language and grammar (A)Shot, scene & cut, (B)Camera Distance, (C) Camera Angles, (D)Camera movements (E) Lighting (F) Sound in films (G) Film Editing devices UNIT – V Film institutions in India Film festivals (National and International) Film awards Film censorships 45, Anurag Nagar, Behind Press Complex, Indore (M.P.) Ph.: 4262100, www.rccmindore.com 1 B.A. (HONS.) Mass Communication VI Semester Subject – Film Journalism UNIT I THE BIRTH OF CINEMA Lumiere brothers The Lumiere brothers were born in Besancon, France, in 1862 and 1864, and moved to Lyon in 1870. This is where they spent most of their lives and where their father ran a photographic firm. The brothers worked there starting at a young age but never started experimenting with moving film until after their father had died in 1892.The brothers worked on their new film projects for years, Auguste making the first experiments. -
SYLLABUS Class – B.A. (HONS.) MASS COMMUNICATION VI Semester Subject – Film Journalism UNIT – I the Birth of Cinema Lumie
B.A. (HONS.) Mass Communication VI Semester Subject – Film Journalism SYLLABUS Class – B.A. (HONS.) MASS COMMUNICATION VI Semester Subject – Film Journalism UNIT – I The birth of cinema Lumier brother’s package The Grand father of Indian cinema: Dada Saheb Phalke The silent era (1896-1930) The talkie era and decade wise trend up to 1990 The new trends in Indian cinema (1991-2007) UNIT – II The brief study and analysis of trend setter film directors V ShantaramSohrab ModiMehboob KhanVijay BhattWadia brothersRaj KapoorGuruduttBimal RoySatyajit RayB. R. Chopra Yash ChopraHrishikesh Mukherjee Chetan Anand Basu Chaterjee Sai ParanjapeGuljarBasu BhattacharyaMahesh Bhatt Ramesh SippyShyam BenegalKetan MehtaGovind Nihlani Suraj BarjatyaVidhu Vinod ChopraJ P DuttaSanjay Leela Bhansali Ramgopal VermaKaran JojarAditya Chopra Raj kumar santoshi Rakesh Mehra Rj kumar Hirani UNIT – III Film as an art Film and painting Film and theatre Film and literature Film and music UNIT – IV Film language and grammar (A)Shot, scene & cut, (B)Camera Distance, (C) Camera Angles, (D)Camera movements (E) Lighting (F) Sound in films (G) Film Editing devices Film institutions in India Film festivals (National and International) Film awards Film censorships 45, Anurag Nagar, Behind Press Complex, Indore (M.P.) Ph.: 4262100, www.rccmindore.com 1 B.A. (HONS.) Mass Communication VI Semester Subject – Film Journalism UNIT I THE BIRTH OF CINEMA The Lumiere brothers were born in Besancon, France, in 1862 and 1864, and moved to Lyon in 1870. This is where they spent most of their lives and where their father ran a photographic firm. The brothers worked there starting at a young age but never started experimenting with moving film until after their father had died in 1892.The brothers worked on their new film projects for years, Auguste making the first experiments. -
Social Patterns Revealed Through Random Matrix Theory
Social patterns revealed through random matrix theory Camellia Sarkar1 & Sarika Jalan1,2,∗ 1 Centre for Biosciences and Biomedical Engineering, Indian Institute of Technology Indore, Simrol, Indore 452020, India 2 Complex Systems Lab, Discipline of Physics, Indian Institute of Technology Indore, Simrol, Indore 452020, India ∗ Corresponding author e-mail: [email protected] Abstract Despite the tremendous advancements in the field of network theory, very few studies have taken weights in the interactions into consideration that emerge naturally in all real world systems. Using random matrix analysis of a weighted social network, we demonstrate the profound impact of weights in interactions on emerging structural properties. The analysis reveals that randomness existing in particular time frame affects the decisions of individuals rendering them more freedom of choice in situations of financial security. While the structural organization of networks remain same throughout all datasets, random matrix theory provides insight into interaction pattern of individual of the society in situations of crisis. It has also been contemplated that individual accountability in terms of weighted interactions remains as a key to success unless segregation of tasks comes into play. Apprehending various physical systems under the framework of networks has been in practice since a couple of decades [1,2]. Recent years have realized the need of this framework in understand- ing a myriad of social phenomena in various disciplines ranging from psychology to economics [3] for instance, in understanding spread of behaviour across a population [4], assessing organizational performance [5], outbreak detection of disease propagation [6]. In this Letter, we delve in to the intricacies of society using Bollywood, the largest film industry of the world [7] as a model.