LALITHA GOPALAN Fall 2010 EMPLOYMENT
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Rudaali in Film Narrative: Looking Through the Feminist Lens Reetamoni Das and Dr Debarshi Prasad Nath Tezpur University, [email protected], [email protected]
Rudaali in Film Narrative: Looking Through the Feminist Lens Reetamoni Das and Dr Debarshi Prasad Nath Tezpur University, [email protected], [email protected] Volume 3.2 (2014) | ISSN 2158-8724 (online) | DOI 10.5195/cinej.2014.99 | http://cinej.pitt.edu Abstract Kalpana Lajmi adapts Mahesweta Devi’s short story to highlight the plight of a woman in the system of exploitation and hunger. Amidst the never ending class struggle, that Devi has so effectively depicted, the struggle of gender becomes the issue of highlight for Lajmi. In poverty and prosperity she remains the same. In the search for the self, Lajmi tries to discover a language through which the subaltern may speak and in Rudaali it is the language of tears. Tears that have been eternally associated with the female become the unique language of the feminine to speak for themselves in Lajmi and Devi. In the cultural terrain where language of man is the norm Rudaali is an exception. Keywords: Rudaali, gender, struggle, feminine, language. New articles in this journal are licensed under a Creative Commons Attribution 4.0 United States License. This journal is published by the University Library System of the University of Pittsburgh as part of its D-Scribe Digital Publishing Program and is cosponsored by the University of Pittsburgh Press. Rudaali in Film Narrative: Looking Through the Feminist Lens Reetamoni Das and Dr Debarshi Prasad Nath Introduction Throughout the history of civilization the role and place of the female gender has been distinct. In the Indian context the idealized woman is the obliging Sita. -
Rudaali Marathi Movie FULL Version Download
Rudaali Marathi Movie FULL Version Download 1 / 3 Rudaali Marathi Movie FULL Version Download 2 / 3 10 Nov 2008 ... The Movie: Rudaali was released in 1993 and was directed by Kalpana Lajmi and ... Her life was full of anguish but still she was not able to cry.. 6 May 2016 ... Listen to all Rudaali songs now on Saavn. 2016 Hindi movie feat. ... Dil Hoom Hoom Kare (Female Version) - Bhupen Hazarika, Lata .... 19 Feb 2016 ... Rudaali 1993 Hindi Movie Download ... Movie Plot: In a small village in Rajasthan, India, a woman named ... TORRENT LINK FULL SPEED. Yaara Sili Sili - Rudaali (1993) - Full Song .... Rudaali Movie Full Download bollywood songs, Rudaali Movie Full Download video song, Rudaali Movie Full .... Download NEW SHAKTI TURA - TUREWALI - MAJHYA RUDAALI JODHILYA - MARATHI PARSHYACHI AARCHI SHAKTI TURA full video hd 720p ... English Movie Full Mp3 Songs 192 kbps 64 kbps, Download Bangladesh, India, Pakistan .... Jackie Shroff | Hindi Suspense Movie Video Song Download hindi movie songs download, Samay ... Rudaali Songs "Rudaali" is a 1993 hindi film which has Raj Babbar, Dimple Kapadia, Rakhee, ... India News App: Hindi, Tamil, Telugu, Marathi News. Samay Full Movie, Download the latest released Bollywood HD Movies, .... 5 Jul 2018Paanch marathi movie song video Read more about download, hindi, paanch, marathi .... Download Rudaali torrent utorrent watch online kickass. Download Rudaali English Romantic, Vevo HD Video Songs , Download, Rudaali full Movie Download .... 19 Feb 2017 - 107 min - Uploaded by Randy ElderClassic movies rudaali - Dimple Kapadiya Raj Babbar All the time i have ... All the time i have .... Rudaali (1993). 2h 8min | Drama | 18 June 1993 (India) · Rudaali Poster .. -
LIST of CANDIDATES.Pdf
No.DJ-E(B-4)Vol-VI-34/1987- Office of the District and Sessions Judge Chamba Division, Chamba.HP. Dated Chamba, the 11th September, 2014. OFFICE ORDER The Viva-Voce for the posts given below will be held on the dates given/mentioned against them:- Sr Name of post. No of vacancies Mode of Pay Qualification. Date fixed for . & Category of the appointment. Band/Scale conducting viva- No post. of the post. voce. 1. Class- Clear cut-2 Temporary, Rs.4900- Candidate 11.10.2014, 8.30 IV(Peon/Order (OBC-1) but likely to 10680+1300 should have AM. for OBC & ST ly/Chowkidar (ST-1 ) continue. Grade Pay, passed at least as per Annexure-A & initial pay Metrication C. ,12.10.2014, 8.30 Anticipated-1 Rs.6200/- examination. AM. for SC as per (SC-1) Annexure-B. Further, the call letter along with roll numbers have already been sent to the eligible candidates. The list of Roll numbers are being put on the Web site www.ecourts.gov.in/Chamba of District court Chamba. If any candidate did not receive roll number. He/She could check his roll number on the website and appear in the Viva-Voce by producing original testimonial and photo identity proof. District and Sessions Judge, Chamba, Division, Chamba.HP. Endst.No.DJ-E(B-4)Vol-VI-34/1987- Dated:- Copy forwarded to:- 1.The System Officer of this office with the directions to upload the above Office Order along with list of eligible candidates Annexure-A,B & C and list of rejected applications Annexure-D on the website of District Court Chamba. -
LSH 391.02B: Special Topics - Love in Bombay Cinema Ruth Vanita University of Montana - Missoula, [email protected]
University of Montana ScholarWorks at University of Montana Syllabi Course Syllabi 9-2013 LSH 391.02B: Special Topics - Love in Bombay Cinema Ruth Vanita University of Montana - Missoula, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: https://scholarworks.umt.edu/syllabi Recommended Citation Vanita, Ruth, "LSH 391.02B: Special Topics - Love in Bombay Cinema" (2013). Syllabi. 2915. https://scholarworks.umt.edu/syllabi/2915 This Syllabus is brought to you for free and open access by the Course Syllabi at ScholarWorks at University of Montana. It has been accepted for inclusion in Syllabi by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. Love in Bombay Cinema LSH 295 ST/ SSEA 295/ WGS 295 3 credits Fulfills requirements for the Liberal Studies major, the Asian Studies option, the South & South- East Asia Studies minor, the Women’s Studies option, the English major and the Film Studies option Dr. Vanita, Professor, Liberal Studies Tuesday, Thursday 1.40-3.00 Room: SG303 Office: Liberal Arts 146-A. Office Phone: 243-4894. Office Hours: Tuesday 3.00-4.00; Thursday 11.00-12.00 Email: [email protected] Mailbox in the Liberal Studies Program Office, LA 101 Goal To acquire an introductory understanding of (a) the grammar and conventions of popular Indian cinema (b) some patterns of representation of romantic love in Bombay cinema from the 1960s to the present Texts Indian Popular Cinema: A Narrative o f Cultural by Change K. -
Akshay Kumar
Akshay Kumar Topic relevant selected content from the highest rated wiki entries, typeset, printed and shipped. Combine the advantages of up-to-date and in-depth knowledge with the convenience of printed books. A portion of the proceeds of each book will be donated to the Wikimedia Foundation to support their mis- sion: to empower and engage people around the world to collect and develop educational content under a free license or in the public domain, and to disseminate it effectively and globally. The content within this book was generated collaboratively by volunteers. Please be advised that nothing found here has necessarily been reviewed by people with the expertise required to provide you with complete, accu- rate or reliable information. Some information in this book maybe misleading or simply wrong. The publisher does not guarantee the validity of the information found here. If you need specific advice (for example, medi- cal, legal, financial, or risk management) please seek a professional who is licensed or knowledgeable in that area. Sources, licenses and contributors of the articles and images are listed in the section entitled “References”. Parts of the books may be licensed under the GNU Free Documentation License. A copy of this license is included in the section entitled “GNU Free Documentation License” All used third-party trademarks belong to their respective owners. Contents Articles Akshay Kumar 1 List of awards and nominations received by Akshay Kumar 8 Saugandh 13 Dancer (1991 film) 14 Mr Bond 15 Khiladi 16 Deedar (1992 film) 19 Ashaant 20 Dil Ki Baazi 21 Kayda Kanoon 22 Waqt Hamara Hai 23 Sainik 24 Elaan (1994 film) 25 Yeh Dillagi 26 Jai Kishen 29 Mohra 30 Main Khiladi Tu Anari 34 Ikke Pe Ikka 36 Amanaat 37 Suhaag (1994 film) 38 Nazar Ke Samne 40 Zakhmi Dil (1994 film) 41 Zaalim 42 Hum Hain Bemisaal 43 Paandav 44 Maidan-E-Jung 45 Sabse Bada Khiladi 46 Tu Chor Main Sipahi 48 Khiladiyon Ka Khiladi 49 Sapoot 51 Lahu Ke Do Rang (1997 film) 52 Insaaf (film) 53 Daava 55 Tarazu 57 Mr. -
“Low” Caste Women in India
Open Cultural Studies 2018; 2: 735-745 Research Article Jyoti Atwal* Embodiment of Untouchability: Cinematic Representations of the “Low” Caste Women in India https://doi.org/10.1515/culture-2018-0066 Received May 3, 2018; accepted December 7, 2018 Abstract: Ironically, feudal relations and embedded caste based gender exploitation remained intact in a free and democratic India in the post-1947 period. I argue that subaltern is not a static category in India. This article takes up three different kinds of genre/representations of “low” caste women in Indian cinema to underline the significance of evolving new methodologies to understand Black (“low” caste) feminism in India. In terms of national significance, Acchyut Kanya represents the ambitious liberal reformist State that saw its culmination in the constitution of India where inclusion and equality were promised to all. The movie Ankur represents the failure of the state to live up to the postcolonial promise of equality and development for all. The third movie, Bandit Queen represents feminine anger of the violated body of a “low” caste woman in rural India. From a dacoit, Phoolan transforms into a constitutionalist to speak about social justice. This indicates faith in Dr. B.R. Ambedkar’s India and in the struggle for legal rights rather than armed insurrection. The main challenge of writing “low” caste women’s histories is that in the Indian feminist circles, the discourse slides into salvaging the pain rather than exploring and studying anger. Keywords: Indian cinema, “low” caste feminism, Bandit Queen, Black feminism By the late nineteenth century due to certain legal and socio-religious reforms,1 space of the Indian family had been opened to public scrutiny. -
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. -
Aspirational Movie List
SL Title Year Type Rating Ratings 1 3 Idiots 2009 Feature 8.5 155,763 2 Like Stars on Earth 2007 Feature 8.5 71,581 3 Rang De Basanti 2006 Feature 8.4 57,061 4 Gangs of Wasseypur 2012 Feature 8.4 32,853 5 Lagaan: Once Upon a Time in India 2001 Feature 8.2 54,714 6 Mughal-E-Azam 1960 Feature 8.4 3,425 7 A Wednesday 2008 Feature 8.4 30,560 8 Udaan 2010 Feature 8.4 23,017 9 Swades 2004 Feature 8.4 47,326 10 Dil Chahta Hai 2001 Feature 8.3 38,159 11 Pyaasa 1957 Feature 8.4 2,677 12 Black Friday 2004 Feature 8.6 6,126 13 Sholay 1975 Feature 8.6 21,695 14 Anand 1971 Feature 8.9 7,826 15 Special 26 2013 Feature 7.9 22,078 16 Queen 2014 Feature 8.5 28,304 17 Andaz Apna Apna 1994 Feature 8.8 22,766 18 Haider 2014 Feature 8.5 28,728 19 Guru 2007 Feature 7.8 10,337 20 Dev D 2009 Feature 8.1 16,553 21 Paan Singh Tomar 2012 Feature 8.3 16,849 22 Chakde! India 2007 Feature 8.4 34,024 23 Sarfarosh 1999 Feature 8.1 11,870 24 Mother India 1957 Feature 8 3,882 25 Bhaag Milkha Bhaag 2013 Feature 8.4 30,313 26 Barfi! 2012 Feature 8.3 43,308 27 Zindagi Na Milegi Dobara 2011 Feature 8.1 34,374 28 PK 2014 Feature 8.4 55,878 29 Baby 2015 Feature 8.4 20,504 30 My Name Is Khan 2010 Feature 8 56,169 31 The Legend of Bhagat Singh 2002 Feature 8.1 5,481 32 Munna Bhai M.B.B.S. -
A Bollywood Commercial for Ireland: Filming Ek Tha Tiger in Dublin
Technological University Dublin ARROW@TU Dublin Books/Book chapters School of Media 2018 A Bollywood Commercial for Ireland: Filming Ek Tha Tiger in Dublin Giovanna Rampazzo Technological University Dublin Follow this and additional works at: https://arrow.tudublin.ie/aaschmedbk Part of the Film and Media Studies Commons Recommended Citation Rampazzo, G. (2018) A Bollywood Commercial for Ireland: Filming Ek Tha Tiger in Dublin S. Dibeltulo and C. Barrett ( eds. ), Rethinking Genre in Contemporary Global Cinema, DOI:10.1007 /978-3-319-90134-3_12 165 This Book Chapter is brought to you for free and open access by the School of Media at ARROW@TU Dublin. It has been accepted for inclusion in Books/Book chapters by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License 164 P. KAA PA Kaapa, Pietari, and Guan Wenbo. 2011. Santa Claus in China and Wu X' in Finland: Translocal Reception Networks Between Finland and Chinia Participations 8 ( 2): 24- 51. a. Kaukomaa, Tero. 2015. Skype Interview with Pietari Kaapa. April 5. Kinnuen, Kalle. 2015. Big Game. Kuinka Hollywood tuotiin Suomeen. Helsinki· Johnny Kniga. · Kulturkontakt Nord. 2015. 362000 in KreaNord Grants. Kulturkontakt A Bollywood Commercial for Ireland: Nord. Retrieved on April 5, 2017 from http:/ /www.kulturkontaktnord org/lang-en/nordic-culture-point/news/20-nyheter-om-programme: Filming Ek Tha Tiger in Dublin ne / 17 82-kreanord-uddeler-362-000 -euro-til- nordiske-projekter. Larsson, Mariah, and Anders Marklund. -
Relationships Which Have No Name’: Family and Sexuality in 1970S Popular film Ulka Anjaria*
South Asian Popular Culture Vol. 10, No. 1, April 2012, 23–35 ‘Relationships which have no name’: Family and sexuality in 1970s popular film Ulka Anjaria* Brandeis University, Waltham, MA This essay argues that popular film of the 1970s opened up a space for representing new kinds of social relationships specifically by means of its use of melodramatic formulas. Against a dominant periodization of the decade which emphasizes rupture, I argue that over the course of the long 1970s we see a process of repetition and resignification whereby formulas such as the ‘lost-and-found’ plot and the love triangle were re-presented and their constitutive elements rearranged in order to generate alternatives to conventional kinship and romantic paradigms. Discussing several films from this decade, including Sangam, Yaadon ki Baaraat, Deewaar, Sholay, Amar Akbar Anthony and Silsila, I show how Hindi cinema in the 1970s was engaged in considering how to represent human relationships outside of social sanction or conventionally accepted kinship terms, thus offering a new paradigm from which to read popular film at large. In the closing moments of Farhan Akhtar’s 2001 blockbuster Dil Chahta Hai, the dying Tara describes her connection to Siddharth (Sid) by saying, ‘There are some relationships which have no name.’1 This is a redemptive moment in an otherwise tragic scene, as Tara grasps on to the last few minutes of her life and Sid struggles to convey how much she has meant to him. The communication is particularly meaningful for Sid, whose relationship with Tara, throughout the film, exceeded conventional understandings of relationships between men and women, and which, when it was briefly forced into the paradigm of romantic love, all but fell apart. -
22SUNDC COL 02R1.QXD (Page 1)
œND‰‰†‰KœND‰‰†‰œND‰‰†‰MœND‰‰†‰C 2 SUNDAY TIMES OF INDIA New Delhi, June 22, 2003 DELHI Bollywood: No longer a haunted house To chat on SMS send 'cchat' <your question> to 8888 “We still hedge around the issue of sexuality” with the imaginary world, — PRAMADA MENON, Director, CREA rather than reality. Today’s PEOPLE well-informed audiences Q. The latest dowry Men do it too. Does that mean case of Nisha has that we do not empower anyone? must identify themselves been an eye opener, Q. People are averse to talk about with the characters on the but should women sex and sexuality, why?- fatima POWER screen. The films have to be not be made more A: It’s strange that in a country short and interesting. powerful?- Doll that is so progressive, that has Question of the week Sachin Manchanda, Lajpat A: People should be made more one of the largest populations, Nagar aware. But more importantly we still try and hedge around the ● Is Bollywood beckon- Bollywood is just stuck with women should be taught that issue of sex and sexuality. We ing you once again? love stories — the rich boy they can resist and survive. need to start talking openly about and a middle-class girl Q. What does your NGO do?- mah these issues. The more that peo- A: CREA works at promoting the ple start talking, maybe we will ● holding hands and singing What kind of films do leadership capacities of women. create the environment for a free you want to see? songs. Bollywood films have We work on issues of sexuality, discussion on issues of sexuality. -
ACEE the Third
ACEE - The Annual Report Third Eye December 2013 1 INDEX Introduction 3 Organization Chart of The Third Eye 5 The Team 6 Launch of The Third Eye 8 Programs – Elevate 9 Story Bus Tours 12 Inquiries 13 Screenings 14 Feature Film – Safed Doli 16 TV Series – Sapna 19 TV Talk Show - Madat 21 Star Trek 23 Website 24 The Third Eye Radio 25 The Third Eye TV 26 Social Media 27 Newsletter – The Eye of The Storm 28 Website Statistics 29 Other Significant Projects – Design of a customized measurement impact 30 tool Design of Audience Engagement Strategy for 30 MTV Exit Program Flashpoint – Human Rights Film Festival 31 Writer’s Workshop with Gary Lyons 32 Annexure Index 33 2 INTRODUCTION THE THIRD EYE is one of the Global Centres launched by HH&S to support two of the largest Industries of Media and Entertainment in the world, Nigeria and India. In India the Global Centre primarily addresses creative communities across all performing and non performing arts, with expert advice on key health, sustainable development and climate change issues so that the portrayal of information about critical realities carried across to the massive numbers of viewers and readers, is accurate and factual and so that the entertainment as well as media consumed by millions of devoted followers translates to best practices across all social, economic and policy parameters which then, eventually should reflect across all indicators. The program is funded by The Bill & Melinda Gates Foundation. THE THIRD EYE builds bridges between the creative communities at large and industries of media and entertainment in India, in general, and the PRIORITIES OF OUR TIMES.