Jan Nisar Akhtar - Poems
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Movie Aquisitions in 2010 - Hindi Cinema
Movie Aquisitions in 2010 - Hindi Cinema CISCA thanks Professor Nirmal Kumar of Sri Venkateshwara Collega and Meghnath Bhattacharya of AKHRA Ranchi for great assistance in bringing the films to Aarhus. For questions regarding these acquisitions please contact CISCA at [email protected] (Listed by title) Aamir Aandhi Directed by Rajkumar Gupta Directed by Gulzar Produced by Ronnie Screwvala Produced by J. Om Prakash, Gulzar 2008 1975 UTV Spotboy Motion Pictures Filmyug PVT Ltd. Aar Paar Chak De India Directed and produced by Guru Dutt Directed by Shimit Amin 1954 Produced by Aditya Chopra/Yash Chopra Guru Dutt Production 2007 Yash Raj Films Amar Akbar Anthony Anwar Directed and produced by Manmohan Desai Directed by Manish Jha 1977 Produced by Rajesh Singh Hirawat Jain and Company 2007 Dayal Creations Pvt. Ltd. Aparajito (The Unvanquished) Awara Directed and produced by Satyajit Raj Produced and directed by Raj Kapoor 1956 1951 Epic Productions R.K. Films Ltd. Black Bobby Directed and produced by Sanjay Leela Bhansali Directed and produced by Raj Kapoor 2005 1973 Yash Raj Films R.K. Films Ltd. Border Charulata (The Lonely Wife) Directed and produced by J.P. Dutta Directed by Satyajit Raj 1997 1964 J.P. Films RDB Productions Chaudhvin ka Chand Dev D Directed by Mohammed Sadiq Directed by Anurag Kashyap Produced by Guru Dutt Produced by UTV Spotboy, Bindass 1960 2009 Guru Dutt Production UTV Motion Pictures, UTV Spot Boy Devdas Devdas Directed and Produced by Bimal Roy Directed and produced by Sanjay Leela Bhansali 1955 2002 Bimal Roy Productions -
Bollywood's Periphery: Child Stars and Representations of Childhood in Hindi Films
Shakuntala Banaji Bollywood's periphery: child stars and representations of childhood in Hindi films Book section Original citation: Originally published in Bollywood's periphery: child stars and representations of childhood in Hindi films. In: O'Connor, Jane and Mercer, John, (eds.) Childhood and Celebrity. Routledge, London, UK. ISBN 9781138855274 © 2016 The Author This version available at: http://eprints.lse.ac.uk/65482/ Available in LSE Research Online: February 2017 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. Title: Bollywood's periphery: child stars and representations of childhood in Hindi films Author: Shakuntala Banaji, Introduction The three research questions which I explore in this chapter ask: How do international accounts of children’s role on screen and child performance -
Volume-13-Skipper-1568-Songs.Pdf
HINDI 1568 Song No. Song Name Singer Album Song In 14131 Aa Aa Bhi Ja Lata Mangeshkar Tesri Kasam Volume-6 14039 Aa Dance Karen Thora Romance AshaKare Bhonsle Mohammed Rafi Khandan Volume-5 14208 Aa Ha Haa Naino Ke Kishore Kumar Hamaare Tumhare Volume-3 14040 Aa Hosh Mein Sun Suresh Wadkar Vidhaata Volume-9 14041 Aa Ja Meri Jaan Kishore Kumar Asha Bhonsle Jawab Volume-3 14042 Aa Ja Re Aa Ja Kishore Kumar Asha Bhonsle Ankh Micholi Volume-3 13615 Aa Mere Humjoli Aa Lata Mangeshkar Mohammed RafJeene Ki Raah Volume-6 13616 Aa Meri Jaan Lata Mangeshkar Chandni Volume-6 12605 Aa Mohabbat Ki Basti BasayengeKishore Kumar Lata MangeshkarFareb Volume-3 13617 Aadmi Zindagi Mohd Aziz Vishwatma Volume-9 14209 Aage Se Dekho Peechhe Se Kishore Kumar Amit Kumar Ghazab Volume-3 14344 Aah Ko Chahiye Ghulam Ali Rooh E Ghazal Ghulam AliVolume-12 14132 Aah Ko Chajiye Jagjit Singh Mirza Ghalib Volume-9 13618 Aai Baharon Ki Sham Mohammed Rafi Wapas Volume-4 14133 Aai Karke Singaar Lata Mangeshkar Do Anjaane Volume-6 13619 Aaina Hai Mera Chehra Lata Mangeshkar Asha Bhonsle SuAaina Volume-6 13620 Aaina Mujhse Meri Talat Aziz Suraj Sanim Daddy Volume-9 14506 Aaiye Barishon Ka Mausam Pankaj Udhas Chandi Jaisa Rang Hai TeraVolume-12 14043 Aaiye Huzoor Aaiye Na Asha Bhonsle Karmayogi Volume-5 14345 Aaj Ek Ajnabi Se Ashok Khosla Mulaqat Ashok Khosla Volume-12 14346 Aaj Hum Bichade Hai Jagjit Singh Love Is Blind Volume-12 12404 Aaj Is Darja Pila Do Ki Mohammed Rafi Vaasana Volume-4 14436 Aaj Kal Shauqe Deedar Hai Asha Bhosle Mohammed Rafi Leader Volume-5 14044 Aaj -
Literary Criticism and Literary Historiography University Faculty
University Faculty Details Page on DU Web-site (PLEASE FILL THIS IN AND Email it to [email protected] and cc: [email protected]) Title Prof./Dr./Mr./Ms. First Name Ali Last Name Javed Photograph Designation Reader/Associate Professor Department Urdu Address (Campus) Department of Urdu, Faculty of Arts, University of Delhi, Delhi-7 (Residence) C-20, Maurice Nagar, University of Delhi, Delhi-7 Phone No (Campus) 91-011-27666627 (Residence)optional 27662108 Mobile 9868571543 Fax Email [email protected] Web-Page Education Subject Institution Year Details Ph.D. JNU, New Delhi 1983 Thesis topic: British Orientalists and the History of Urdu Literature Topic: Jaafer Zatalli ke Kulliyaat ki M.Phil. JNU, New Delhi 1979 Tadween M.A. JNU, New Delhi 1977 Subjects: Urdu B.A. University of Allahabad 1972 Subjects: English Literature, Economics, Urdu Career Profile Organisation / Institution Designation Duration Role Zakir Husain PG (E) College Lecturer 1983-98 Teaching and research University of Delhi Reader 1998 Teaching and research National Council for Promotion of Director April 2007 to Chief Executive Officer of the Council Urdu Language, HRD, New Delhi December ’08 Research Interests / Specialization Research interests: Literary criticism and literary historiography Teaching Experience ( Subjects/Courses Taught) (a) Post-graduate: 1. History of Urdu Literature 2. Poetry: Ghalib, Josh, Firaq Majaz, Nasir Kazmi 3. Prose: Ratan Nath Sarshar, Mohammed Husain Azad, Sir Syed (b) M. Phil: Literary Criticism Honors & Awards www.du.ac.in Page 1 a. Career Awardee of the UGC (1993). Completed a research project entitled “Impact of Delhi College on the Cultural Life of 19th Century” under the said scheme. -
Ajeeb Aadmi—An Introduction Ismat Chughtai, Sa'adat Hasan Manto
Ajeeb Aadmi—An Introduction I , Sa‘adat Hasan Manto, Krishan Chandar, Rajinder Singh Bedi, Kaifi Azmi, Jan Nisar Akhtar, Majrooh Sultanpuri, Ali Sardar Jafri, Majaz, Meeraji, and Khawaja Ahmed Abbas. These are some of the names that come to mind when we think of the Progressive Writers’ Movement and modern Urdu literature. But how many people know that every one of these writers was also involved with the Bombay film indus- try and was closely associated with film directors, actors, singers and pro- ducers? Ismat Chughtai’s husband Shahid Latif was a director and he and Ismat Chughtai worked together in his lifetime. After Shahid’s death Ismat Chughtai continued the work alone. In all, she wrote scripts for twelve films, the most notable among them ◊iddµ, Buzdil, Sån® kµ ≤µ∞y≥, and Garm Hav≥. She also acted in Shyam Benegal’s Jun∑n. Khawaja Ahmed Abbas made a name for himself as director and producer for his own films and also by writing scripts for some of Raj Kapoor’s best- known films. Manto, Krishan Chandar and Bedi also wrote scripts for the Bombay films, while all of the above-mentioned poets provided lyrics for some of the most alluring and enduring film songs ever to come out of India. In remembering Kaifi Azmi, Ranjit Hoskote says that the felicities of Urdu poetry and prose entered the consciousness of a vast, national audience through the medium of the popular Hindi cinema; for which masters of Urdu prose, such as Sadat [sic] Hasan Manto, wrote scripts, while many of the Progressives, Azmi included, provided lyrics. -
Swakshar Edition 3
SCREENWRITERS ASSOCIATION NEWSLETTER M A R C H 2 0 2 0 E D I T I O N 3 SWA CELEBRATES ITS 'DIAMOND JUBILEE' IN YEAR 2020! S W A A W A R D S , C O N F E R E N C E , P I T C H F E S T , W O R K S H O P S A N D V A R I O U S E V E N T S L I N E D U P Established in 1954, by stalwarts like Ramanand Sagar, Khwaja Ahmad Abbas, Shailendra, Sahir Ludhianvi, Majrooh Sultanpuri and Kamal Amrohi, the Screenwriters Association (SWA; formerly the Film Writers' Association) is the strongest and the most well known trade union of film, TV and digital media writers and lyricists working in India. While the constitution of the Association was adopted in the General Body Meeting held in 1956, Film Writers’ Association, Bombay, got registered as a trade union under the Trade Union Act 1926 with Registration No. 3726 only on May 13th 1960. Thus, 2020 marks the 60th year for SWA from the day of its official functioning. The Executive Committee of SWA has planned a series of events, like SWA Awards (launch year), screenwriting workshops in prominent cities, pitching fest, the 6th edition of the Indian Screenwriters Conference (6ISC) and other events to mark the occasion. Stay tuned to SWA's official website www.swaindia.org and official social media pages for upcoming announcements. An Award for the Writer, By the Writers! A LONG-CHERISHED DREAM OF INDIAN SCREENWRITERS & LYRICISTS COMES TRUE SWA Awards 2020 are the only awards in India dedicated Hon. -
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. -
1 Bio-Data Name: Dr. Md. Gayasuddin Prof. & Head, Department of Urdu
1 Bio-data Name: Dr. Md. Gayasuddin Prof. & Head, Department of Urdu Dr.Babasaheb Ambedkar Marathwada University Aurangabad- 431004, Maharashtra (India) Academic Qualifications: Ph.D. : 1991 A.M.U. (A Comparative Study of the Problems of Communalism in Urdu and Hindi Short Stories 1948-78) M.Phil. :1988 A.M.U. (A Critical Study of the Short Stories of Krishna Chandra) M.A. :1984 A.M.U. 1st Class 1st Position Gold Medal B.A.(Hons.) :1980 L.N.M.U. 1st Division (Darbhanga) Teaching Experience: : 28 Years Assistant Professor :1988-1998 (10 years)University of Pune, Maharashtra (India) Associate Professor (CAS) :1998-2006 (7 years)University of Pune, Maharashtra (India) Professor (Direct) : 2006 - till date (11 years completed) Dr. Babasaheb Ambedkar Marathwada University, Aurangabad, Maharashtra (India) Teaching Experience Classwise: U.G. 17 Years P.G. 28 Years M.Phil. 08 Years Administrative Experience: 17 years as Head of Departments Research Experience: 28 Years Field of Specialization: Fiction Publications: 2 Books Published:12 01.”Zawal-e- Adam-e- Khaki” (Novel) Pages:388 ISBN No. 978-93-5073-090-4 published from Educational Publishing House Delhi in 2013. 02. “Azab-e-Danish-e-Hazir” (Novel) Pages: 575 ISBN No. 978-93-5073-607-04 published from Educational Publishing House Delhi in 2015 03. “Sohbat-e-Peer Hindi” (Novel) Pages:150 ISBN No. published from Educational Publishing House, Delhi in 2017 04. “Qissa-e- Roz-o-Shab” (Short Stories) Pages: 250 ISBN:978-93-86285 published from Educational Publishing House, Delhi in 2016. 05.”Firqawariyat Aur Urdu Hindi Afsana” (Criticism & Research) Pages:448 ISBN No.81-6232-83-4 published from Educational Publishing House Delhi in 1999. -
Secuencias, 36
BOLLYWOOD, DE VIAJE POR ESPAÑA Bollywood: Traveling around Spain a ALEJANDRA VAL CUBERO Universidad Carlos III de Madrid RESUMEN La película de Bollywood Zindagi Na Milegi Dobara (ZNMD) traducida al español como Solo se vive una vez, fue un éxito de taquilla en el verano de 2011 en la India. Dirigida por la joven realizadora Zoya Akhtar y financiada por Turespaña, se ha construido como un perfecto pro- yecto de marketing a nivel transnacional, donde España se convierte en el escenario elegido por tres jóvenes que deciden celebrar la despedida de soltero de uno de ellos visitando ciudades y pueblos de nuestra geografía. La película plantea interesantes temas sobre la ascendente clase media alta india que trata de armonizar un nuevo estilo de vida consumista con las tradiciones más ligadas a la generación de sus padres, y es un claro ejemplo de una industria cultural cada vez más globalizada y con más peso económico dentro y fuera de la India. Palabras clave: Bollywood, cine, España, turismo, clase media-alta en India. ABSTRACT The Bollywood film Zindagi Na Milegi Dobara (hereinafter ‘ZNMD’), translated into Spanish as Solo se vive una vez, was a box office success in the summer of 2011 in India. Directed by the young filmmaker Zoya Akhtar and funded by Turespaña, ZNMD was conceived as a perfect marketing product at transnational level, in which Spain becomes the venue chosen by three young people who decide to celebrate the bachelor party of one of them, by visiting some touris- tic towns and villages of the country. The film raises interesting topics on the ascending upper middle class in India which seeks to harmonize a new consumerist way of life with a more tra- ditional lifestyle linked to their parent’s generation, and it is a clear example of an increasingly globalized cultural industry with more economic weight inside and outside India. -
Progressive Urdu Poetry
Carlo Coppola. Urdu Poetry, 1935-1970: The Progressive Episode. Oxford: Oxford University Press, 2018. 702 pp. $45.00, cloth, ISBN 978-0-19-940349-3. Reviewed by S. Akbar Hyder Published on H-Asia (July, 2018) Commissioned by Sumit Guha (The University of Texas at Austin) Carlo Coppola’s 1975 dissertation submitted of us implored Coppola to publish his dissertation to the University of Chicago’s Committee on Com‐ as a book; the result is Urdu Poetry, 1935-1970: parative Studies in Literature under the supervi‐ The Progressive Episode. Der āyad durast āyad (a sion of C. M. Naim was no ordinary thesis: it was a Perso-Urdu saying that suggests better late than meticulously researched and thoughtfully crafted never). work of modern South Asian literary history, with The book comprises twelve chapters, two ap‐ a focus on the frst four decades of the Urdu Pro‐ pendices, a chronology, and a glossary. The frst gressive movement (the taraqqī pasañd tahrīk). chapter provides a concise historical overview of This movement, especially during its formative nineteenth-century colonial-inflected socioreli‐ years in the 1930s and the 1940s, nudged writers gious reform movements and their impact on the and other artists out of their world of conformity, literary sensibilities of the twentieth century. The especially in terms of class consciousness, reli‐ second chapter treats the fery collection of Urdu gious and national allegiances, and gender roles. prose, Añgāre (Embers), the sensational impact of When Coppola submitted his dissertation, there which far outpaced its aesthetic merits. The third was simply no work, in Urdu or in English, that and fourth chapters are a diligent documentation could compare to this dissertation’s sweeping and and narrative of the Progressive Writers’ Associa‐ balanced coverage of a movement that resonated tion, the literary movement—with its calls to jus‐ not just in written literature but also in flms, po‐ tice and accountability—that is at the crux of this litical assemblies, mass rallies, and calls for justice study. -
21 Aug Page 07.Qxd
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. -
Top 10 Actresses Who Married Divorcees - Top 10 - Entertainment - the Times of India
12/20/13 Top 10 actresses who married divorcees - Top 10 - Entertainment - The Times of India Top 10 The Times of India Advanced Search » Home Entertainment Bollyw ood TV Regional Movie Review s Hollyw ood Top 10 Music Events Love Matters Theatre Beauty Pageants Photos Videos You are here: Home » Entertainment » Top 10 Top 10 actresses who married divorcees Jul 11, 2013, 12.00AM IST LATEST NEWS IN THIS SECTION ENTIRE WEBSITE A rt icle Com m en ts (5 9 ) Share Top 1 0 dances that can't be copied! Bollywood has been always known for its glam quotient. The ritual of marriage has always been an important part of films. Many glam dolls from the industry married men, who were Top 1 0 deadly Rajinikanth animated spoofs divorced and here's a look at the actresses who grabbed headlines with their marriage. Top 1 0 critically acclaimed mov ies of 201 3 Kareena Kapoor married Chote Nawab and broke many hearts. The Top 1 0 item songs of 201 3 actress, who dated Shahid Kapoor in the past dated Saif for few years before she tied knot with the actor. Saif was earlier married to Top 1 0 outrageous ly rics of 201 3 actress Amrita Singh and they were divorced after 13 years of marriage. » More The oo lala girl married UTV CEO Siddharth Roy Kapur on 14th December in a private ceremony. Siddharth Roy Kapur is a two-time divorcee. Vidya is balancing her career and private life efficiently. Karisma Kapoor was engaged to Abhishek Bachchan and within four MOST POPULAR month the couple split up.