Yash Chopra the Legend
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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 -
Farooq Sheikh: 'A Natural Actor' Farooq Sheikh Was an Actor, Philanthropist and a Popular Television Presenter
SWAPNIL SANSAR, ENGLISH WEEKLY,LUCKNOW, 21,MARCH, 2019 (06) Farooq Sheikh: 'A natural actor' Farooq Sheikh was an actor, philanthropist and a popular television presenter. the late 90s, Farooq Sheikh acted in a number of television serials. Chamatkar He was best known for his work in Hindi films from 1977 to 1989 and for his on Sony and Ji Mantriji on Star plus are among the few. He also worked in a TV work in television between 1988 and 2002. He returned to acting in films in 2008 serial Shrikant which aired from 1985 to 1986. and He compered in the Binny Double or Quits Quiz contest which was telecast over Remembering on his contin - Vividh Bharathi. He also performed on stage in famous plays such as Tumhari ued to Amrita directed by Feroz Abbas Khan, featuring Shabana Azmi.The play was Birth Anniversary (25th Mar.) do so appreciated by audiences the world over for 12 years till 2004. A sequel to this until his play was staged in India in 2004 titled "Aapki Soniya" with Farooq Sheikh and death on 28 December 2013. His major contribution was in Parallel Cinema or Sonali Bendre as main leads. "Tumhari Amrita" completed its 20-year run on 26 February 2012.He direct - ed Azhar Ka Khwab, an adaptation of Bernard Shaw’s Pygmalion in 2004.He had been the host of the popular TV show Jeena Issi Ka Naam Hai in which he inter - viewed many Bollywood celebrities. His sense of humor and direct humble approach was the USP of the show.Farooq Sheikh died of a heart attack in Dubai on 28 December 2013. -
War on Terror Partnership and Growing/Mounting/Increasing
Journal of Indian Studies Vol. 5, No. 1, January – June, 2019, pp. 119 – 130 Pakistan in the Bollywood Movies: A Discourse Analysis Nauman Sial International Islamic University, Islamabad, Pakistan. Yasar Arafat International Islamic University, Islamabad, Pakistan. Abid Zafar International Islamic University, Islamabad, Pakistan. ABSTRACT Pakistan and India had been the rival nations after the partition of Sub-continent in 1947. Both countries have fought many wars against each other including the 1948 Kashmir war, 1965 war, 1971 war and the Kargil war in 1999. But yet the relations remain on the conflicting peak. Indian government has always used the Hindi language cinema i.e. Bollywood as their main weapon. This research is being carried out to analyze the image of Pakistan that is being presented in the Bollywood Movies after the attacks on the Indian city Mumbai on November 26, 2008. Also, how the image of Pakistanis, the military forces/intelligence agencies and the religious groups of Pakistan are being shown in the Bollywood movies. Three films have been selected in this research which portrayed the image of Pakistan. Discourse analysis has been used as a research design for this study. The dialogues of all the movies have been analysed and interpreted which show that movies have portrayed a negative image of Pakistan, its people and also its military/intelligence agencies and religious groups. The five filters of propaganda model by Herman and Chomsky have also been observed and proved in this research work. Key Words: Film, Propaganda, Bollywood, A Propaganda Model, Inter-Services Intelligence (ISI), Research and Analysis Wing (RAW) Introduction Film or movie is an art that has borrowed itself from the other arts i.e. -
Maharaja Chhatrasal Convention Centre‟ Has Recently Been Inaugurated in Which of These UNESCO World Heritage Locati
Bankersadda.com Current Affairs Quiz for Bank Exams 2021 Adda247.com Quiz Date: 01st April 2021 Q1. The „Maharaja Chhatrasal Convention Centre‟ has recently been inaugurated in which of these UNESCO World Heritage locations? (a) Sanchi (b) Khajuraho (c) Konark (d) Hampi (e) Pattadakal Q2. Which team has won the maximum medals top finish at top place in medal table in the 2021 ISSF World Cup New Delhi? (a) China (b) USA (c) India (d) South Korea (e) Italy Q3. The first-ever Indo-Korean Friendship Park has been inaugurated at which place in India? (a) Rashtrapati Bhavan (b) Red Fort (c) Connaught Place (d) Delhi Cantonment (e) India Gate Q4. How many MoUs have been signed between India and Bangladesh recently during the visit of PM Modi? (a) 3 (b) 5 (c) 7 (d) 9 (e) 12 Q5. Which of the following bank has launched “UNI – CARBON CARD” with HPCL? (a) Union Bank of India (b) United Bank of India (c) UCO Bank (d) Indian Bank (e) City Union Bank Q6. Which of the following film has won the "Best Film" award at 66th Filmfare awards? (a) Chhappak (b) Angrezi Medium For any Banking/Insurance exam Assistance, Give a Missed call @ 01141183264 Bankersadda.com Current Affairs Quiz for Bank Exams 2021 Adda247.com (c) Tanhaji: The Unsung Warrior (d) Thappad (e) Malang Q7. A book titled "Names of the Women" authored by __________. (a) Ruskin Bond (b) Salman Rushdie (c) Vikram Seth (d) Shashi Tharoor (e) Jeet Thayil Q8. Noted Marathi writer _____________ will receive Saraswati Samman, 2020 for his book Sanatan. -
Understanding Meaningful Cinema
[ VOLUME 5 I ISSUE 3 I JULY– SEPT 2018] E ISSN 2348 –1269, PRINT ISSN 2349-5138 Understanding Meaningful Cinema Dr. Debarati Dhar Assistant Professor, Vivekananda School of Journalism and Mass Communication Vivekananda Institute of Professional Studies, New Delhi. Received: June 23 , 2018 Accepted: August 03, 2018 Introduction: Cinephilia Cineastes say that films help the audience to reflect on the divergent cultures and justify the presence of multi-cultural, multi-ethnic audience in view of this divergence. The language of cinema continues to evolve in a living tradition and the filmmakers trace the ever-changing language of this medium from the silent era to the talkies, from the days when screen went from black and white and got colorized. Emotional appeal, subtlety in its communication and most importantly throwing a new light on the world, as we know it counted a lot to the audience. Filmmakers now work across the spectrum of media including painting, novels, theatre and opera. In the global cinema, in general, the production has become more accessible today, the qualitative aspects have sadly given way to quantity and so, films often miss emotional and spiritual richness. The world is a closer place today. Perhaps it is cinema that helps to blur the boundaries. The concept of film as a commercial art form started in fifties. The fifties and sixties are generally known as the golden period of Indian cinema not only because masterpieces were being made, but because of the popularity of the songs of that era. One of the distinctive features of Indian cinema is its narrative structure. -
Vishwatma Hd Movie Download
Vishwatma hd movie download Continue Sunny Deol was born as Ajay Singh Deol on October 19, 1952 in New Delhi, India. He is the son of actor Dharmandra and Prakash Kaura. He has a younger brother, also an actor, Bobby Deol. His father married actress Hema Malini, and Sonny has two halves of sister Ash Deol, actress and Ahana Deol. His cousin Abhay Deol is also an actor. He is married to Puja Deol and they have two sons Rajvir Singh and Ranvir Singh. Sunny studied in Mumbai at Sacred Heart High School and Podar College. England Is the Old Web Theatre where he took acting and theater lessons. Sunny Deols debut film Rahul Rawalis Betaab (1983) was a big hit that followed the much famous plot of a poor boy falling in love with a rich girl. Debutante Amrita Singh was a rich beauty. The 1985 release, Arjun, with Dimple Kapadia was another film he is famous for. He has starred in such films as Samundar, Ram-Avtar, Maybor, Maine Tere Dushman and Rajiv Rais Tridev. Last released in 1989, starred the likes of Nasiraddin Shah, Madhuri Dixit and Jackie Shroff. The story of three men from different backgrounds who came together to fight the villains was well received. Chaal Baaz (1989) with Sridevi and Rajnikan was also successful. His performance as a boxer in Rajkumar Santoshis Ghayal (1992) with Meenakshi Sheshadri was recognized as brilliant and he won the Filmfare Best Actor Award. In 1993 Damini was a huge success, winning his Filmfare Best Supporting Actor, as did Yash Chopras Darr, with Shah Rukh Khan and Juhi Chawla. -
List of Documentary Films Produced by Sahitya Akademi
Films Produced by Sahitya Akademi (Till Date) S.No. Author Directed by Duration 1. Amrita Pritam (Punjabi) Basu Bhattacharya 60 minutes 2. Akhtar-ul-Iman (Urdu) Saeed Mirza 60 minutes 3. V.K. Gokak (Kannada) Prasanna 60 minutes 4. Takazhi Sivasankara Pillai (Malayalam) M.T. Vasudevan Nair 60 minutes 5. Gopalkrishna Adiga (Kannada) Girish Karnad 60 minutes 6. Vishnu Prabhakar (Hindi) Padma Sachdev 60 minutes 7. Balamani Amma (Malayalam) Madhusudanan 27 minutes 8. Vinda Karandikar (Marathi) Nandan Kudhyadi 60 minutes 9. Annada Sankar Ray (Bengali) Budhadev Dasgupta 60 minutes 10. P.T. Narasimhachar (Kannada) Chandrasekhar Kambar 27 minutes 11. Baba Nagarjun (Hindi) Deepak Roy 27 minutes 12. Dharamvir Bharti (Hindi) Uday Prakash 27 minutes 13. D. Jayakanthan (Tamil) Sa. Kandasamy 27 minutes 14. Narayan Surve (Marathi) Dilip Chitre 27 minutes 15. Bhisham Sahni (Hindi) Nandan Kudhyadi 27 minutes 16. Subhash Mukhopadhyay (Bengali) Raja Sen 27 minutes 17. Tarashankar Bandhopadhyay (Bengali) Amiya Chattopadhyay 27 minutes 18. Vijaydan Detha (Rajasthani) Uday Prakash 27 minutes 19. Navakanta Barua (Assamese) Gautam Bora 27 minutes 20. Mulk Raj Anand (English) Suresh Kohli 27 minutes 21. Gopal Chhotray (Oriya) Jugal Debata 27 minutes 22. Qurratulain Hyder (Urdu) Mazhar Q. Kamran 27 minutes 23. U.R. Anantha Murthy (Kannada) Krishna Masadi 27 minutes 24. V.M. Basheer (Malayalam) M.A. Rahman 27 minutes 25. Rajendra Shah (Gujarati) Paresh Naik 27 minutes 26. Ale Ahmed Suroor (Urdu) Anwar Jamal 27 minutes 1 27. Trilochan Shastri (Hindi) Satya Prakash 27 minutes 28. Rehman Rahi (Kashmiri) M.K. Raina 27 minutes 29. Subramaniam Bharati (Tamil) Soudhamini 27 minutes 30. O.V. -
Clare M. Wilkinson-Weber
Clare M. Wilkinson-Weber TAILORING EXPECTATIONS How film costumes become the audience’s clothes ‘Bollywood’ film costume has inspired clothing trends for many years. Female consumers have managed their relation to film costume through negotiations with their tailor as to how film outfits can be modified. These efforts have coincided with, and reinforced, a semiotic of female film costume where eroticized Indian clothing, and most forms of western clothing set the vamp apart from the heroine. Since the late 1980s, consumer capitalism in India has flourished, as have films that combine the display of material excess with conservative moral values. New film costume designers, well connected to the fashion industry, dress heroines in lavish Indian outfits and western clothes; what had previously symbolized the excessive and immoral expression of modernity has become an acceptable marker of global cosmopolitanism. Material scarcity made earlier excessive costume display difficult to achieve. The altered meaning of women’s costume in film corresponds with the availability of ready-to-wear clothing, and the desire and ability of costume designers to intervene in fashion retailing. Most recently, as the volume and diversity of commoditised clothing increases, designers find that sartorial choices ‘‘on the street’’ can inspire them, as they in turn continue to shape consumer choice. Introduction Film’s ability to stimulate consumption (responding to, and further stimulating certain kinds of commodity production) has been amply explored in the case of Hollywood (Eckert, 1990; Stacey, 1994). That the pleasures associated with film going have influenced consumption in India is also true; the impact of film on various fashion trends is recognized by scholars (Dwyer and Patel, 2002, pp. -
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. -
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. -
The Hindu, the Muslim, and the Border In
THE HINDU, THE MUSLIM, AND THE BORDER IN NATIONALIST SOUTH ASIAN CINEMA Vinay Lal University of California, Los Angeles Abstract There is but no question that we can speak about the emergence of the (usually Pakistani or Muslim) ‘terrorist’ figure in many Bollywood films, and likewise there is the indisputable fact of the rise of Hindu nationalism in the political and public sphere. Indian cinema, however, may also be viewed in the backdrop of political developments in Pakistan, where the project of Islamicization can be dated to least the late 1970s and where the turn to a Wahhabi-inspired version of Islam is unmistakable. I argue that the recent history of Pa- kistan must be seen as instigated by a disavowal of the country’s Indic self, and similarly I suggest that scholarly and popular studies of the ‘representation’ of the Muslim in “Bol- lywood” rather too easily assume that such a figure is always the product of caricature and stereotyping. But the border between Pakistan and India, between the self and the other, and the Hindu and the Muslim is rather more porous than we have imagined, and I close with hints at what it means to both retain and subvert the border. Keywords: Border, Communalism, Indian cinema, Nationalism, Pakistan, Partition, Veer-Zaara Resumen 103 Así como el personaje del ‘terrorista’ (generalmente musulmán o paquistaní) está presente en muchos filmes de Bollywood, el nacionalismo hindú está tomando la iniciativa en la esfera política del país. Sin embargo el cine indio también puede hacerse eco de acontecimientos ocurridos en Paquistán, donde desde los años Setenta se ha manifestado un proceso de islamización de la sociedad, con una indudable impronta wahabí. -
REFERENCES Bharucha Nilufer E. ,2014. 'Global and Diaspora
REFERENCES Bharucha Nilufer E. ,2014. ‘Global and Diaspora Consciousness in Indian Cinema: Imaging and Re-Imaging India’. In Nilufer E. Bharucha, Indian Diasporic Literature and Cinema, Centre for Advanced Studies in India, Bhuj, pp. 43-55. Chakravarty Sumita S. 1998. National Identity in Indian Popular Cinema: 1947-1987. Texas University Press, Austin. Dwyer Rachel. 2002. Yash Chopra. British Film Institute, London. ___________. 2005. 100 Bollywood Films. British Film Institute, London. Ghelawat Ajay, 2010. Reframing Bollywood, Theories of Popular Hindi Cinema. Sage Publications, Delhi. Kabir Nasreen Munni. 1996. Guru Dutt, a Life in Cinema. Oxford University Press, Delhi. _________________. 1999/2005. Talking Films/Talking Songs with Javed Akhtar, Oxford University Press, Delhi. Kaur Raminder and Ajay J. Sinha (Eds.), 2009. Bollywood: Popular Indian Cinema through a Transnational Lens, Sage Publications, New Delhi. Miles Alice, 2009. ‘Shocked by Slumdog’s Poverty Porn’. The Times, London 14 January 2009 Mishra Vijay, 2002. Bollywood Cinema, Temples of Desire. Psychology Press, Rajyadhaksha Ashish and Willeman Paul (Eds.), 1999 (Revised 2003). The Encyclopedia of Indian Cinema. Routledge, U.K. Schaefer David J. and Kavita Karan (Eds.), 2013. The Global Power of Popular Hindi Cinema. Routledge, U.K. Sinha Nihaarika, 2014. ‘Yeh Jo Des Hain Tera, Swadesh Hain Tera: The Pull of the Homeland in the Music of Bollywood Films on the Indian Diaspora’. In Sridhar Rajeswaran and Klaus Stierstorfer (Eds.), Constructions of Home in Philosophy, Theory, Literature and Cinema, Centre for Advanced Studies in India, Bhuj, pp. 265- 272. Virdi Jyotika, 2004. The Cinematic ImagiNation: Indian Popular Films as Social History. Rutgers University Press, New Jersey.