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The Ghulam Full Movie Hd in Hindi Download
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2 Apar Gupta New Style Complete.P65
INDIAN LAWYERS IN POPULAR HINDI CINEMA 1 TAREEK PAR TAREEK: INDIAN LAWYERS IN POPULAR HINDI CINEMA APAR GUPTA* Few would quarrel with the influence and significance of popular culture on society. However culture is vaporous, hard to capture, harder to gauge. Besides pure democracy, the arts remain one of the most effective and accepted forms of societal indicia. A song, dance or a painting may provide tremendous information on the cultural mores and practices of a society. Hence, in an agrarian community, a song may be a mundane hymn recital, the celebration of a harvest or the mourning of lost lives in a drought. Similarly placed as songs and dance, popular movies serve functions beyond mere satisfaction. A movie can reaffirm old truths and crystallize new beliefs. Hence we do not find it awkward when a movie depicts a crooked politician accepting a bribe or a television anchor disdainfully chasing TRP’s. This happens because we already hold politicians in disrepute, and have recently witnessed sensationalistic news stories which belong in a Terry Prachet book rather than on prime time news. With its power and influence Hindi cinema has often dramatized courtrooms, judges and lawyers. This article argues that these dramatic representations define to some extent an Indian lawyer’s perception in society. To identify the characteristics and the cornerstones of the archetype this article examines popular Bollywood movies which have lawyers as its lead protagonists. The article also seeks solutions to the lowering public confidence in the legal profession keeping in mind the problem of free speech and censorship. -
Ahimsa and Vegetarianism
March , 2015 Vol. No. 176 Ahimsa Times in World Over + 100000 The Only Jain E-Magazine Community Service for 14 Continuous Years Readership AHIMSA AND VEGETARIANISM MAHARASHTRA GOVERNMENT BANS COW SLAUGHTER: FIVE YEARS JAIL Mar. 3rd, 2015. Mumbai. The bill banning cow slaughter in Maharashtra, pending for several years, finally received the President's assent, which means red meat lovers in the state will have to do without beef. This measure has taken almost twenty years to materialize and was initiated during the previous Sena-BJP Government. The bill was first submitted to the President for approval on January 30, 1996.. However, subsequent Governments at the Centre, including the BJP led NDA stalled it and did not seek the President’s consent. A delegation of seven state BJP MPs led by Kirit Somaiya, (MP from Mumbai North) had met the President in New Delhi recently and submitted a memorandum seeking assent to the bill. The memorandum said that the Maharashtra Animal Preservation (Amendment) Bill, 1995, passed during the previous Shiv Sena-BJP regime, was pending for approval for 19 years. The law will ban beef from the slaughter of bulls and bullocks, which was previously allowed based on a fit- for-slaughter certificate. The new Act will, however, allow the slaughter of water buffaloes. The punishment for the sale of beef or possession of it could be prison for five years with an additional fine of Rs 10,000. It is notable that, Reuters new service had earlier reported that Hindu nationalists in India had stepped up attacks on the country's beef industry, seizing trucks with cattle bound for abattoirs and blockading meat processing plants in a bid to halt the trade in the world's second-biggest exporter of beef. -
Girl Rising India
GIRL RISING INDIA Building a Movement for Girls Through Powerful Storytelling Girl Rising uses the power of storytelling to inspire, shift attitudes and change behavior. In India, Girl Rising’s powerful media tools have made meaningful strides towards increasing the agency of girls and women, and inspiring community members to support the movement for gender equality. Girl Rising Film Comes To India After a close consultation with Prime Minister Narendra Modi and a partnership with the Ministry of Women and Child Development, the Girl Rising film was launched in India in August 2015 as Woh Padhegi, Woh Udegi (She Learns, She Rises) on Star television, which has a network of 450 million viewers across the country and a reach of 100+ countries. The film harnessed the talents of India’s biggest Bollywood stars including Priyanka Chopra, Freida Pinto, Parineeti Chopra, Kareena Kapoor Khan, Madhuri Dixit, Sushmita Sen, Amitabh Bachchan, Nandita Das, Farhan Akhtar, and Alia Bhatt, all of whom lent their voices to the film. Celebrities promoted the launch through their social media networks, and #IAMGirlRising trended No. 1 on Twitter India. Film Screenings To stir important conversations about girls’ education among corporations, communities, universities and neighborhoods, a screenings program was launched soon after the television broadcast of the film. Under this program, Woh Padhegi, Woh Udegi was re-purposed for NGO and corporate audiences. Each version consisted of 3 stories from Woh Padhegi, Woh Udegi and was complemented by a screenings toolkit that contained resources including discussion guides, Director’s Q&A, and promotional materials to help steer conversations around barriers to education. -
Université De Montréal /7 //F Ç /1 L7iq/5-( Dancing Heroines: Sexual Respectability in the Hindi Cinema Ofthe 1990S Par Tania
/7 //f Ç /1 l7Iq/5-( Université de Montréal Dancing Heroines: Sexual Respectability in the Hindi Cinema ofthe 1990s par Tania Ahmad Département d’anthropologie Faculté des arts et sciences Mémoire présenté à la Faculté des études supérieures en vue de l’obtention du grade de M.Sc. en programme de la maîtrise août 2003 © Tania Ahrnad 2003 n q Université (1111 de Montréal Direction des bibliothèques AVIS L’auteur a autorisé l’Université de Montréal à reproduire et diffuser, en totalité ou en partie, par quelque moyen que ce soit et sur quelque support que ce soit, et exclusivement à des fins non lucratives d’enseignement et de recherche, des copies de ce mémoire ou de cette thèse. L’auteur et les coauteurs le cas échéant conservent la propriété du droit d’auteur et des droits moraux qui protègent ce document. Ni la thèse ou le mémoire, ni des extraits substantiels de ce document, ne doivent être imprimés ou autrement reproduits sans l’autorisation de l’auteur. Afin de se conformer à la Loi canadienne sur la protection des renseignements personnels, quelques formulaires secondaires, coordonnées ou signatures intégrées au texte ont pu être enlevés de ce document. Bien que cela ait pu affecter la pagination, il n’y a aucun contenu manquant. NOTICE The author of this thesis or dissertation has granted a nonexclusive license allowing Université de Montréal to reproduce and publish the document, in part or in whole, and in any format, solely for noncommercial educational and research purposes. The author and co-authors if applicable retain copyright ownership and moral rights in this document. -
Tadipaar 1993
Tadipaar 1993 Tadipaar 1993 1 / 3 2 / 3 Tadipaar movie poster. BOTY Score. 63. User Score. 63 6.3 10. Total Votes: 23. Login to Vote. 1993-12-17. Release Date, 17 December, 1993.. ... Jurm; Aashiqui; 1991: Haq*;Deshwasi*; Dil HaiKe Maanta Nahin; Swayam; Saathi;Sadak; 1992:SaatwanAsmaan; Junoon;Tadipaar; 1993: Gumrah; Gunah; .... Shankar (Mithun Chakraborty) is sentenced to live outside the limits of the city due to a Police case. One day he happens to rescue a woman in distress from .... Tadipaar. 1993. Synopsis. Shankar (Mithun Chakraborty) is sentenced to live outside the limits of the city due to .... Tadipaar starring Mithun Chakraborty and Pooja Bhatt in the lead role. Find story, trailers, cast & crew, photo gallery, videos, songs, box office .... Tadipaar तड़ीपार (1993) - Bollywood Evergreen Romantic Love Song - Aaj Pehli Baar Dil Ki Baat - Mithun .... Tadipaar Full Movie | Mithun Chakraborty & Pooja Bhatt & Anupam Kher | Full Action Movie ... Release date .... Directed by Mahesh Bhatt. With Mithun Chakraborty, Pooja Bhatt, Anupam Kher, Avtar Gill. After getting into a violent confrontation, Shankar is arrested by the .... Directed by Mahesh Bhatt, Hindi movie Tadipaar stars Mithun Chakraborty and Pooja Bhatt in the lead role. Know the full star cast of Tadipaar film like producer, .... Tadipaar is a 1993 Hindi-language Indian feature film directed by Mahesh Bhatt starring Mithun Chakraborty, Pooja Bhatt in the lead roles, along with Juhi Chawla in a special appearance. The super-hit songs of the film were composed by Nadeem-Shravan.. Tadipaar 1993. Shankar (Mithun Chakraborty) is sentenced to live outside the limits of the city due to a Police case. -
Bromance in Bollywood: Is It Dismantling Homohysteria and Homophobia?
Global Media Journal-Indian Edition; Volume 12 Issue1; June 2020. ISSN:2249-5835 Bromance in Bollywood: Is it dismantling homohysteria and homophobia? Mausumi Bhattacharyya, Ph.D. Associate Professor Centre for Journalism & Mass Communication Visva-Bharati University, Santiniketan - 731235, India & Indian Council of Social Science Research (ICSSR) Post-Doctoral Fellow (June 2017- May 2019) at Jamia Millia Islamia University, New Delhi Abstract Traditionally Hindi films produced by Bollywood are not known to have taken an empathetic view of the plight of India’s queer community. Projecting them as subjects of mockery, as aberrations and villainous have been the predominated approach of filmmakers. Given the power of the medium, such thoughts have percolated and influenced outlook of majority towards the gender minority. Yet there have been the odd films which contrast this oft adopted approach of Bollywood filmmakers. Though gender scholars have engaged in homoerotic reading of such films and unearthed underlying homosexual subtexts, feasibility of a different discourse about such films stands strong. By analysing films like Silsila, Dosti, Sholay, Dil Chahta Hai, Zindegi Na Milegi Dobara and Rang De Basanti this article relooks at tenability of homoerotic subtexts of these films. Specifically employing the theoretical framework of bromance, a form of homosocial bonding between individuals of the same sex, this article counters the conclusion of scholars about blurring of homosociality and homoeroticism in respect to characters portrayed in the selected films. This article argues that bromance films, made during the 20th century and thus far in 21st century, attempts to dismantle homohysteria and homophobia. Intentions of such filmmakers were to sensitize viewers about romantic same- sex bonding, not necessarily falling within the purview of sexual attraction or homosexuality. -
Karen Occasional Paper.Pmd
Whose Mother (land)?: Visualising and Theorising National Identity - Karen Gabriel - Introduction Using established and familiar iconographic representations of the nation, this paper will make two intertwined arguments. The first of these is that by and large, narrations of the nation have a melodramatic structure. The second is that, the iconic and mythogenic figuring of the nation as Mother India/Bharat Mata, contrary to enduring assumptions about it, is, strictly speaking, not a ‘national’ one at all. To do the above, the paper will critically review the relations between a) melodrama, gender, the organisation of sexuality, the family and the nation; b) The principle of maternality, the maternal body and nation. c) It will examine the ways in which central symbols of the national iconography of Mother India/ Bharat Mata have been cognised and reworked Some art instances and modern cinematic narrativizations and representations of the nation in mainstream Bombay cinema will be used to exemplify the precise nature of the relations set out above and the arguments being made. The argument will rest in the main on the work of cinema, since cinema remains a key representational site at which the mechanics of melodrama as these pertain to the nation-state are clearly deployed and visibilised. This specific dynamic was inevitable, in manner of speaking, given Bombay cinema’s historical involvement with nationalism, the nationalist movement and ideas of nation: this powerful cultural apparatus early on officially declared its commitment to promoting nation-building, national integration and patriotism. In that sense the medium always retained a sharp awareness of the historicity and the material bases of iconography and national discourse. -
! Dil!Maange!More! !! Cultural!Contexts!Of!Hinglish!In!Contemporary!India! ! Francesca!Orsini!(SOAS)! ! This!Is!An!Accepted!Manu
! Dil!Maange!more! !! Cultural!contexts!of!Hinglish!in!contemporary!India! ! Francesca!Orsini!(SOAS)! ! This!is!an!Accepted!Manuscript!of!an!article!due!to!be!published!by!Taylor! &!Francis!in!African!Studies![DOI:!10.1080/00020184.2015.1045721].! ! Abstract:!After!over!a!century!of!language!nationalism!and!almost!as!long!a!period! of!intense!competition!and!mutual!contempt,!in!post;liberalisation!and!post;low! caste!assertion!India!the!boundaries!between!English!and!Hindi!have!recently! become!more!porous,!and!the!hold!of!both!“pure!Hindi”!and!“British/pure!English”! has!become!much!more!limited.!English!is!of!course!still!the!language!of!greater! opportunities!in!local!and!global!terms,!and!increasingly!so,!but!as!low;caste! politicization!and!literacy!widen!the!sphere!of!Hindi,!and!the!“new!middle!class”! remains!resolutely!bilingual!in!its!everyday!and!entertainment!practices,!the!relation! between!English!and!Hindi!has!become!more!a!relationship!of!parallel!expansion,! though!still!perceived!in!public!discourse!as!a!zero;sum!game.!! Keywords:!Hinglish,!Hindi,!English,!code;switching,!mixed!language,! advertising!language,!language!of!politics,!media!language! Francesca!Orsini,!Professor!of!Hindi!and!South!Asian!Literature,! SOAS,!University!of!London,!Thornhaugh!Street,!Russell!Square,!London! WC1H!0XG,!Ph.!+442078984242,!email:[email protected]! 1 Dil!Maange!more! !! Cultural!contexts!of!Hinglish!in!contemporary!India! ! Francesca!Orsini!(SOAS)! ! ! ! ! A!vivacious!mixture!of!English!and!native!tongues,!Hinglish!is!a! dialect!pulsating!with!energy!and!invention!that!captures!the!essential! -
Darta Hoon Full Video Song Download in Hd
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PORTRAYAL of SEXUAL MINORITIES in HINDI FILMS By
Articles Global Media Journal – Indian Edition/ISSN 2249-5835 Sponsored by the University of Calcutta/ www.caluniv.ac.in Summer Issue / June 2012 Vol. 3/No.1 PORTRAYAL OF SEXUAL MINORITIES IN HINDI FILMS Sanjeev Kumar Sabharwal Assistant Professor Amity School of Communication Amity University Uttar Pradesh, Lucknow Campus, Uttar Pradesh, India Website: http://www.amity.edu/lucknow Email:[email protected] and Reetika Sen Academic Coordinator Amity School of Communication Amity University Uttar Pradesh, Lucknow Campus, Uttar Pradesh, India Website: http://www.amity.edu/lucknow Email: [email protected] Abstract: Sexual minority or Alternative sexuality comprises of all those people who fall under the categories of Gay, Lesbian, Transgender, Eunuchs. This paper basically compares the portrayal of sexual minorities in Mainstream and Alternative Hindi Cinema. It talks about how Mainstream Hindi cinema which is the most widely distributed cinema in India and abroad has traditionally adopted an attitude of denial or mockery towards LGBTQ community. Representations of sexual Minorities have veered between the sarcasm, comic and the criminal. Where as Alternative Cinema which is confined to film festivals and a handful selected group of viewers portrays sexual minorities in more realistic manner and is successful in raising, expressing & suggesting possible solutions to their problems in more effective manner as compared to the main stream cinema. This is a qualitative as well as quantitative research and the methodology adopted to find out the answers to the questions is content analysis of four Hindi films and survey. Two films of mainstream and two of alternative cinema were selected randomly. Both secondary and primary data was collected, from various reliable sources like journals, websites, articles, movie reviews of different newspapers etc.