Open Letter Against Sec 377 by Amartya Sen, Vikram Seth and Others, 2006
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Writers and Creative Advisors Selected for Drishyam | Sundance Institute Screenwriters Lab in Udaipur, India April 48
FOR IMMEDIATE RELEASE Media contacts: March 23, 2016 Chalena Cadenas 310.360.1981 [email protected] Mauli Singh [email protected] Writers and Creative Advisors Selected for Drishyam | Sundance Institute Screenwriters Lab in Udaipur, India April 48 Lab Recognizes and Supports Six Emerging Independent Filmmakers from India Los Angeles, CA — Sundance Institute and Drishyam Films today announced the artists and creative advisors selected for the second Drishyam | Sundance Institute Screenwriters Lab in Udaipur, India April 48. The Lab supports emerging filmmakers in India, as part of the Institute’s sustained commitment to international artists, which in the last 25 years has included programs in Brazil, Mexico, Jordan, Turkey, Japan, Cuba, Israel and Central Europe. Now in its second year, the fourday Lab is a creative and strategic partnership between Drishyam Films and Sundance Institute, and gives independent screenwriters the opportunity to work intensively on their feature film scripts in an environment that encourages innovation and creative risktaking. The Lab is centered around oneonone story sessions with creative advisors. Screenwriting fellows engage in an artistically rigorous process that offers lessons in craft, a fresh perspective on their work and a platform to fully realize their material. Leading the Lab in India is Drishyam founder, Manish Mundra. He said, “A beautiful heritage city in my hometown of Rajasthan, Udaipur forms an ideal writers retreat, and is the perfect environment for a diverse group of emerging writers and renowned mentors to have a refreshing and productive exchange. Our goal is that the six selected Indian projects, after undergoing a comprehensive mentoring process, will quickly move from script to screen and make their mark globally. -
Sovereignty and Social Change in the Wake of India's Recent Sodomy Cases
Alabama Law Scholarly Commons Articles Faculty Scholarship 2017 Sovereignty and Social Change in the Wake of India's Recent Sodomy Cases Deepa Das Acevedo University of Alabama - School of Law, [email protected] Follow this and additional works at: https://scholarship.law.ua.edu/fac_articles Recommended Citation Deepa Das Acevedo, Sovereignty and Social Change in the Wake of India's Recent Sodomy Cases, 40 B. C. Int'l & Comp. L. Rev. 1 (2017). Available at: https://scholarship.law.ua.edu/fac_articles/450 This Article is brought to you for free and open access by the Faculty Scholarship at Alabama Law Scholarly Commons. It has been accepted for inclusion in Articles by an authorized administrator of Alabama Law Scholarly Commons. SOVEREIGNTY AND SOCIAL CHANGE IN THE WAKE OF INDIA'S RECENT SODOMY CASES DEEPA DAS ACEVEDO* Abstract: American constitutional law scholars have long questioned whether courts can truly drive social reform, and this uncertainty remains even in the wake of recent landmark decisions affecting the LGBT community. In contrast, court watchers in India-spurred by developments in a special type of legal ac- tion developed in the late 1970s known as public interest litigation (PIL)-have only recently begun to question the judiciary's ability to promote progressive social change. Indian scholarship on this point has veered between despair that PIL cases no longer reliably produce good outcomes for India's most disadvan- taged and optimism that public interest litigation can be returned to its glory days of heroic judicial intervention. Perhaps no pair of cases so nicely captures this dichotomy as the 2009 decision in Naz Foundation v. -
Global Media Journal–Pakistan Edition Vol.Xii, Issue-01, Spring, 2019 1
GLOBAL MEDIA JOURNAL–PAKISTAN EDITION VOL.XII, ISSUE-01, SPRING, 2019 Screen Adaptation: An Art in Search of Recognition Sharaf Rehman1 Abstract This paper has four goals. It offers a brief history and role of the process of screen adaptation in the film industries in the U.S. and the Indian Subcontinent; it explores some of the theories that draw parallels between literary and cinematic conventions attempting to bridge literature and cinema. Finally, this paper discusses some of the choices and strategies available to a writer when converting novels, short stories, and stage play into film scripts. Keywords: Screen Adoption, Subcontinent Film, Screenplay Writing, Film Production in Subcontinent, Asian Cinema 1 Professor of Communication, the University of Texas Rio Grande Valley, USA 1 GLOBAL MEDIA JOURNAL–PAKISTAN EDITION VOL.XII, ISSUE-01, SPRING, 2019 Introduction Tens of thousands of films (worldwide) have their roots in literature, e.g., short stories and novels. One often hears questions like: Can a film be considered literature? Is cinema an art form comparable to paintings of some of the masters, or some of the classics of literature? Is there a relationship or connection between literature and film? Why is there so much curiosity and concern about cinema? Arguably, no other storytelling medium has appealed to humanity as films. Silent films spoke to audiences beyond geographic, political, linguistic, and cultural borders. Consequently, the film became the first global mass medium (Hanson, 2017). In the last one hundred years, audiences around the world have shown a boundless appetite for cinema. People go to the movies for different social reasons, and with different expectations. -
Mumbai Macbeth: Gender and Identity in Bollywood Adaptations Rashmila Maiti University of Arkansas, Fayetteville
University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 8-2018 Mumbai Macbeth: Gender and Identity in Bollywood Adaptations Rashmila Maiti University of Arkansas, Fayetteville Follow this and additional works at: http://scholarworks.uark.edu/etd Part of the Asian Studies Commons, Comparative Literature Commons, and the Literature in English, British Isles Commons Recommended Citation Maiti, Rashmila, "Mumbai Macbeth: Gender and Identity in Bollywood Adaptations" (2018). Theses and Dissertations. 2905. http://scholarworks.uark.edu/etd/2905 This Dissertation is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected], [email protected]. Mumbai Macbeth: Gender and Identity in Bollywood Adaptations A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Comparative Literature and Cultural Studies by Rashmila Maiti Jadavpur University Bachelor of Arts in English Literature, 2007 Jadavpur University Master of Arts in English Literature, 2009 August 2018 University of Arkansas This dissertation is approved for recommendation to the Graduate Council. M. Keith Booker, PhD Dissertation Director Yajaira M. Padilla, PhD Frank Scheide, PhD Committee Member Committee Member Abstract This project analyzes adaptation in the Hindi film industry and how the concepts of gender and identity have changed from the original text to the contemporary adaptation. The original texts include religious epics, Shakespeare’s plays, Bengali novels which were written pre- independence, and Hollywood films. This venture uses adaptation theory as well as postmodernist and postcolonial theories to examine how women and men are represented in the adaptations as well as how contemporary audience expectations help to create the identity of the characters in the films. -
An Interview with Teesta Setalvad
Jindal Global Law Review https://doi.org/10.1007/s41020-020-00116-3 ARTICLE Proto‑fascism and State impunity in Majoritarian India: An Interview with Teesta Setalvad Oishik Sircar1 © O.P. Jindal Global University (JGU) 2020 Abstract This interview with Teesta Setalvad was conducted in the wake of the February 2020 anti-Muslim violence in North East Delhi. Drawing on her vast experience as a human rights activist, journalist, and peace educator, Setalvad’s responses map the continuum — across years, anti-minority pogroms and ruling parties with divergent ideologies — of the cultures of hate, and the practices of state repression and impu- nity in a proto-fascist India. Setalvad ofers an interrogation of the ideology of the Hindu right, delves into the historical trajectories of the rise of the Rashtriya Sway- amsevak Sangh (RSS) and the Bharatiya Janata Party (BJP). She also charts the repeating patterns of police and media complicity in fomenting anti-minority hate and critically analyses the contradictory role of the criminal law and the Constitu- tion of India in both enabling and resisting communal violence. In conclusion, she ofers hopeful strategies for keeping alive the promise of secularism. Keywords State impunity · Hindutva · Gujarat 2002 · Pogrom · Genocide 1 Introduction The cover of Teesta Setalvad’s memoir — Foot Soldier of the Constitution — features a photograph of her looking directly into the eyes of the reader.1 Her face is partly lit and lightly silhouetted, her eyes simultaneously conveying an invitation and a provocation. One might use words like determination, courage and fortitude to describe the expres- sion on her face — as the blurb on the back cover of the book does. -
Public Interest Litigation and Political Society in Post-Emergency India
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Columbia University Academic Commons Competing Populisms: Public Interest Litigation and Political Society in Post-Emergency India Anuj Bhuwania Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences Columbia University 2013 © 2013 Anuj Bhuwania All rights reserved ABSTRACT Competing Populisms: Public Interest Litigation and Political Society in Post-Emergency India Anuj Bhuwania This dissertation studies the politics of ‘Public Interest Litigation’ (PIL) in contemporary India. PIL is a unique jurisdiction initiated by the Indian Supreme Court in the aftermath of the Emergency of 1975-1977. Why did the Court’s response to the crisis of the Emergency period have to take the form of PIL? I locate the history of PIL in India’s postcolonial predicament, arguing that a Constitutional framework that mandated a statist agenda of social transformation provided the conditions of possibility for PIL to emerge. The post-Emergency era was the heyday of a new form of everyday politics that Partha Chatterjee has called ‘political society’. I argue that PIL in its initial phase emerged as its judicial counterpart, and was even characterized as ‘judicial populism’. However, PIL in its 21 st century avatar has emerged as a bulwark against the operations of political society, often used as a powerful weapon against the same subaltern classes whose interests were so loudly championed by the initial cases of PIL. In the last decade, for instance, PIL has enabled the Indian appellate courts to function as a slum demolition machine, and a most effective one at that – even more successful than the Emergency regime. -
Compounding Injustice: India
INDIA 350 Fifth Ave 34 th Floor New York, N.Y. 10118-3299 http://www.hrw.org (212) 290-4700 Vol. 15, No. 3 (C) – July 2003 Afsara, a Muslim woman in her forties, clutches a photo of family members killed in the February-March 2002 communal violence in Gujarat. Five of her close family members were murdered, including her daughter. Afsara’s two remaining children survived but suffered serious burn injuries. Afsara filed a complaint with the police but believes that the police released those that she identified, along with many others. Like thousands of others in Gujarat she has little faith in getting justice and has few resources with which to rebuild her life. ©2003 Smita Narula/Human Rights Watch COMPOUNDING INJUSTICE: THE GOVERNMENT’S FAILURE TO REDRESS MASSACRES IN GUJARAT 1630 Connecticut Ave, N.W., Suite 500 2nd Floor, 2-12 Pentonville Road 15 Rue Van Campenhout Washington, DC 20009 London N1 9HF, UK 1000 Brussels, Belgium TEL (202) 612-4321 TEL: (44 20) 7713 1995 TEL (32 2) 732-2009 FAX (202) 612-4333 FAX: (44 20) 7713 1800 FAX (32 2) 732-0471 E-mail: [email protected] E-mail: [email protected] E-mail: [email protected] July 2003 Vol. 15, No. 3 (C) COMPOUNDING INJUSTICE: The Government's Failure to Redress Massacres in Gujarat Table of Contents I. Summary............................................................................................................................................................. 4 Impunity for Attacks Against Muslims............................................................................................................... -
Women Journalists in Hindi Films: Stereotyping the Stereotypes | Saswat.Com | All That's
Women Journalists in Hindi Films: Stereotyping the stereotypes | Saswat.com | All That's ... Page 1 of 5 Saswat.com All That's Left Blog :: Saswat Pattanayak Home Articles Links Poetry FAQ About Index Women Journalists in Hindi Films: Stereotyping the stereotypes Subscribe to Saswat Blog By Saswat Pattanayak Literature Review: Not just the films themselves, the writings on the portrayal of women in popular Hindi films have too, long been dictated by assigning extremes—the woman’s prerogatives to belong to a side, of the evil or the virtuous, the vamp or the Madonna. Most authorship have evolved with historical representation of women in Bollywood to lead a discourse on the idealized women figures. Virdi (2003) justifies most studies as the “necessary first step” for providing a rich and abundant characterization of the idealized women figures: passive, victimized, sacrificial, submissive, glorified, static, one-dimensional, and resilient. And then, in her own work, she goes no further than the “first step”, by limiting to content-analysis of three films to study the women representation. Hindi cinema has been a major point of reference for Indian culture in this century. It has shaped and expressed the changing scenarios of modern India to an extent that no preceding art form could ever achieve. And yet, the diversity in roles that women play is not aptly brought to examination either by the post colonial discoursers or the film studies intelligentsia. Gopalan (2000) leads discussion on the avenging women in Indian cinema. She argues that discussions of violence have to consider how films replete with avenging women, gangsters, brutal police force and vigilante closures stage some of the most volatile struggles over representations that shape the public and private fantasies of national, communal, regional and sexual identities. -
World Cinema Amsterd Am 2
WORLD CINEMA AMSTERDAM 2011 3 FOREWORD RAYMOND WALRAVENS 6 WORLD CINEMA AMSTERDAM JURY AWARD 7 OPENING AND CLOSING CEREMONY / AWARDS 8 WORLD CINEMA AMSTERDAM COMPETITION 18 INDIAN CINEMA: COOLLY TAKING ON HOLLYWOOD 20 THE INDIA STORY: WHY WE ARE POISED FOR TAKE-OFF 24 SOUL OF INDIA FEATURES 36 SOUL OF INDIA SHORTS 40 SPECIAL SCREENINGS (OUT OF COMPETITION) 47 WORLD CINEMA AMSTERDAM OPEN AIR 54 PREVIEW, FILM ROUTES AND HET PAROOL FILM DAY 55 PARTIES AND DJS 56 WORLD CINEMA AMSTERDAM ON TOUR 58 THANK YOU 62 INDEX FILMMAKERS A – Z 63 INDEX FILMS A – Z 64 SPONSORS AND PARTNERS WELCOME World Cinema Amsterdam 2011, which takes place WORLD CINEMA AMSTERDAM COMPETITION from 10 to 21 August, will present the best world The 2011 World Cinema Amsterdam competition cinema currently has to offer, with independently program features nine truly exceptional films, taking produced films from Latin America, Asia and Africa. us on a grandiose journey around the world with stops World Cinema Amsterdam is an initiative of in Iran, Kyrgyzstan, India, Congo, Columbia, Argentina independent art cinema Rialto, which has been (twice), Brazil and Turkey and presenting work by promoting the presentation of films and filmmakers established filmmakers as well as directorial debuts by from Africa, Asia and Latin America for many years. new, young talents. In 2006, Rialto started working towards the realization Award winners from renowned international festivals of a long-cherished dream: a self-organized festival such as Cannes and Berlin, but also other films that featuring the many pearls of world cinema. Argentine have captured our attention, will have their Dutch or cinema took center stage at the successful Nuevo Cine European premieres during the festival. -
Contemporary Essays
Contemporary Essays Dr. Madani Mohiuddin Ahmad Ex. Senior Lecturer (JMI), N. Delhi. ACADEMIC (INDIA) PUBLISHERS 508, Rattan Jyoti Building, 18, Rajendra Place New Delhi-110008 (India) Published by : ACADEMIC (INDIA) PUBLISHERS 508, Rattan Jyoti Building, 18, Rajendra Place New Delhi-110008 Ph. : 25742171, 25812181 E-mail : [email protected] Revised Edition : 2015 Copyright © Madani Ahmad All rights reserved. No part of this book may be reproduced or transmitted in any form or means without the written permission of the publisher. Anybody doing so shall face legal action. Disclamer The material compiled in the book has been collected from various sources. The author/publisher accepts no responsebelity or libality from use of the information contained here in. Price : Rs. 195.00 CONTENTS Current Issues: National 1. Indian Secularism ..............................................................1 2. Electoral Reforms ..............................................................5 3. Unemployment Problem in India ................................. 10 4. The Second Freedom Struggle ....................................... 13 5. Minority or Majority—A Political Analysis .................. 27 6. Defence and Security Challenges................................... 21 7. Child Labour .................................................................. 26 8. Panchayati Raj ................................................................ 30 9. Empowering the Indian Women ................................... 34 10. The Problem of Poverty................................................. -
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. -
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.