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Bollywood Lens Syllabus
Bollywood's Lens on Indian Society Professor Anita Weiss INTL 448/548, Spring 2018 [email protected] Mondays, 4-7:20 pm 307 PLC; 541 346-3245 Course Syllabus Film has the ability to project powerful images of a society in ways conventional academic mediums cannot. This is particularly true in learning about India, which is home to the largest film industries in the world. This course explores images of Indian society that emerge through the medium of film. Our attention will be focused on the ways in which Indian society and history is depicted in film, critical social issues being explored through film; the depicted reality vs. the historical reality; and the powerful role of the Indian film industry in affecting social orientations and values. Course Objectives: 1. To gain an awareness of the historical background of the subcontinent and of contemporary Indian society; 2. To understand the sociocultural similarities yet significant diversity within this culture area; 3. To learn about the political and economic realities and challenges facing contemporary India and the rapid social changes the country is experiencing; 4. To learn about the Indian film industry, the largest in the world, and specifically Bollywood. Class format Professor Weiss will open each class with a short lecture on the issues which are raised in the film to be screened for that day. We will then view the selected film, followed by a short break, and then extensive in- class discussion. Given the length of most Bollywood films, we will need to fast-forward through much of the song/dance and/or fighting sequences.
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Azaadi Ke Liye, Music Album
Amazon Prime Video creates a Guinness World Record with an iconic LIVE performance of The Forgotten Army – Azaadi Ke Liye, music album January 24, 2020 ~ Amazon Prime Video, in association with LIVE 1000 – a collective of artists, created a live operatic musical extravaganza with 1000 singers and instrumentalist coming together to perform the album of Amazon Original Series The Forgotten Army – Azadi Ke Liye, composed by musical maestro Pritam Chakraborty~ ~ The iconic musical event created a Guinness World Record for TheLargest Indian Cinematic Music Band ~ ~The music album for The Forgotten Army - Azadi Ke Liye, marks the digital debut of renowned music director Pritam and India’s much-loved playback singer Arijit Singh~ ~ Created and Directed by National Award winning filmmaker Kabir Khan, The Forgotten Army-Azaadi Ke Liye, will launch across 200 countries and territories on January 24, 2020 ~ ~ Prime offers incredible value with unlimited streaming of the latest and exclusive movies, TV shows, stand-up comedy, Amazon Original Series, ad free music through Amazon Prime Music, free fast delivery on India’s largest selection of products, early access to top deals, unlimited reading with Prime Reading, all available only for ₹129 a month ~ National, 24th January 2020: Marking the launch of much-awaited Amazon Original Series The Forgotten Army – Azaadi Ke Liye, Prime Video successfully created a Guinness World Record for TheLargest Indian Cinematic Music Band with an iconic live performance of the show’s album . The evening saw 1000 musicians from across the country coming together to perform songs from the series’ album, composed by Pritam. The operatic musical recital served as a prelude, as the country gears up to celebrate its 70th Republic Day.
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Magazine-1-4.Qxd (Page 2)
SUNDAY, AUGUST 30, 2015 (PAGE-4) MOVIE-REVIEW LIFE STYLE Phantom is a misguided missile When autumn comes Saibal Chatterjee Director Kabir Khan blends fact and fantasy in search of hi-octane thrills in Phantom, a spy drama that is irretrievably undermined by a weak script and pedestrian acting. With the festive days of autumn waiting to breeze in and winter The film harks back to the festering wounds inflicted on India by the 2008 terror attacks on Mumbai and constructs a wishful scenario: each of the perpetrators of that crime is pun- not much far away, fashion designers are busy planning a ished by an intrepid agent unleashed by RAW. Kabir Khan is on a strong wicket after the runaway success of Bajrangi Bhaijaan. But Saif vibrant and contemporary design palette, Pramita Bose finds Ali Khan is in desperate need of a career-resurrecting hit. Is winter fashion merely about warm wool- usual sombre winter by streaking it with an Like his eponymous character did in Agent Vinod, his fearless spy here is an inveterate lies tumbling out of the cupboard? Wrong. The element of drama and a certain richness. "My globe-trotter who is never in one place for any length of time. cold season is not only about well-knit sweaters primary objective is to upend the common The script based on S Hussain Zaidi book Mumbai Avengers is no different - it flits about and cardigans, declare contemporary design- metaphors and imageries associated with a aimlessly as the hero goes pursues the mission of eliminating the big, bad terrorists in the ers who like to offer a choices galore to dress dull winter and make it more celebratory in neighbouring country and elsewhere.
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Hindu-Muslim Relationship in Bollywood in Post 26/11: a Content Analysis of Movies (2008-2018) Maziar Mozaffari Falarti,1 Hamideh Molaei,2 Asra Karim3
Hindu-Muslim Relationship in Bollywood in post 26/11: A Content Analysis of Movies (2008-2018) Maziar Mozaffari Falarti,1 Hamideh Molaei,2 Asra Karim3 1. Assistant Professor of South, East Asia and Oceania Studies, University of Tehran, Tehran, Iran (Corresponding author) ([email protected]) 2. Assistant Professor of South, East Asia and Oceania Studies, University of Tehran, Tehran, Iran ([email protected]) 3. M. A. in Indian Studies, University of Tehran, Tehran, Iran ([email protected]) (Received: Jan. 2, 2019 Revised: Feb. 28, 2019 Accepted: Ma r. 28, 2019) Abstract This study investigates the representations of Hindu-Muslim relationship in Bollywood movies from 2008 to 2018. It is assumed that after 2008 Mumbai terrorist attacks, which are known as 26/11, conflicts between Hindus and Muslims have escalated. Since Indian people are extreme fans of movies, especially Bollywood movies, in this regard, it is expected that media could play a significant role in increasing or alleviating the conflicts by influencing people’s attitudes and opinions. This research seeks to examine the extent and modality of the representation of Hindu-Muslim relationships in Bollywood after the 2008 Mumbai attacks. The study was conducted through a content analysis of 11 Bollywood movies, which were selected from 70 Muslim-characters-based movies. Favorable, unfavorable, neutral and unclear were the four factors through which the movies’ contents were analyzed. The overall analysis of these factors indicate that 66.17% of the scenes were favorable, 14.70% were unfavorable, 2.94% were neutral, and 16.17% presented unclear images of Hindu-Muslim relationship in Bollywood movies.
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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.
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Nawazuddin Siddiqui
lifestyle WEDNESDAY, APRIL 1, 2015 Music & Movies Nawazuddin Siddiqui, farmer’s son turned ‘Hindi indie’ star t is a story worthy of a Bollywood plot: The son of a selected for the Cannes Film Festival, he turned heads in cinema hall to watch his films. north Indian farmer, one of nine children, rising to crime thrillers “Kahaani” (Story) and “Talaash” (Search). He will appear again with Salman Khan in upcoming Ibecome the face of independent Hindi cinema. But He said his family are still surprised by how far he has romantic drama “Bajrangi Bhaijaan”, and with Shah Rukh Nawazuddin Siddiqui is still getting used to his success. come. “And you cannot blame them. I am a five-foot six- Khan in “Raees” (Rich Man), in which he plays a cop who “When someone is looking at me, I feel they are looking inch, dark, ordinary-looking man. People didn’t imagine is chasing Khan’s mafia character. Siddiqui says he at someone standing behind me, not at me,” the 40-year- that I would make it,” he said. “It is the mindset of our admires Bollywood megastars for their longevity- old confessed to AFP during an interview at a Mumbai country too, that people like (me) don’t become stars. ”they’re very well-maintained”-and he wouldn’t rule out hotel. Maybe it’s a result of 200 years of colonial rule.” doing a song-and-dance number himself, despite his “I have not got used to it and I won’t allow myself to Industry outsider reservations about Bollywood musicals.
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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.
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Big-Name Bollywood Productions That Flopped Big-Time in 2017 2017 in RETROSPECT
B-4 | Friday, December 29, 2017 BOLLYWOOD www.WeeklyVoice.com GUI FO FRA Big-Name Bollywood Productions That Flopped Big-Time In 2017 2017 IN RETROSPECT NEW DELHI: Big names, ex- travagant budgets, picturesque locales and brilliant promotions -- and yet, insuficient box ofice collections. The Year 2017 has been a mixed bag for stars like Shah Rukh Khan, Salman Khan, Kangana Ranaut and Ranbir Ka- poor. While hopes were pinned high on some of their ilms, they fell lat in front of the audience, who had expected much more than what they got. Industry experts like Girish Johar and Vinod Mirani have described 2017 as a “very dis- appointing” and “bad” year as the Hindi ilm industry was rattled by failures. And amidst that came ilms like “Toilet: Ek Ranbir and Katrina on a promotional appearance. Prem Katha”, “Golmaal Again” and “Fukrey Returns”, which re- ceived a good response. IANS has compiled a mix of ilms that came with high expec- tations but failed to strike a chord with the audience. * “Jagga Jasoos”: A musical drama starring Ranbir Kapoor and Katrina Kaif, the ilm had been in production for over three years. It was inally released in 2017. Amitabh Bachchan promoting ‘Sarkar 3’. The ilm met with a lukewarm response at the box ofice as it collected a mere Rs 54.16 crore. The brouhaha over the ilm’s collection even led to Ranbir’s father Rishi Kapoor lashing out at director Anurag Basu, calling him a monkey and saying that he “indulged too much in the ilm”.* “Tubelight”: After a string of Sanjay and Aditi - “Bhoomi” lopped blockbusters including “Bajrangi Bhaijaan” and “Sultan”, Salman conirmed on Twitter that the ac- Great destinations, lots of travel Khan failed to light up the box of- tor will refund approximately Rs and a very strong story line -- this is what one expects from an Im- ice with “Tubelight”, set against 35 crore.
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Trauma and Transgenerational Negotiations with the Indian Partition in This Side, That Side and the 1947 Partition Archive
CORE Metadata, citation and similar papers at core.ac.uk Provided by OpenstarTs Remember, Recover: Trauma and Transgenerational Negotiations with the Indian Partition in This Side, That Side and the 1947 Partition Archive Ritika Singh Jawaharlal Nehru University, New Delhi The traumatized, we might say, carry an impossible history within them, or they become themselves the symptom of a history that they cannot entirely possess. (Caruth, Trauma 5) The impossibility of completely understanding a traumatic event makes the victim vulnerable to being possessed by it. The lived experience infuses the present with the past because it has not been fully experienced at the time of occurrence. This quality stems from the dialectic nature of trauma: grappling to come to terms with what had happened, the event has to be re- storied by the victim who becomes a living vessel of that history. The need to narrate trauma comes as a step towards the acceptance of the reality of that traumatic event, if not towards a possible healing of wounds. Since it can only be understood belatedly, the voicing of wounds is an incomplete task. The need to tell and retell is to keep the memory alive, to let the next generation know of the experience, and for the victims to connect through their testimonies of witnessing, sharing that burden. In 1947, the political partition of the Indian subcontinent truncated and divided the country into two parts – Hindu-majority India and Muslim- majority Pakistan. In the span of a few months around a million people died, ten million mass migrated across the border, thousands died from DOI: 10.13137/2283-6438/11875 183 contagious disease and malnutrition; and about 75,000 women were raped and abducted.
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DT Page 01 Dec 29.Indd
THURSDAY 29 DECEMBER 2016 COMMUNITYCOMM | 6 FOOD | 10 BOLLYWOODD | 1111 KarwanKarw e Urdu Flatbread supports Saif praises Dangal,angal, Qatar hholdso poetry a quick saute at the terms Aamir KKhanhan symposium end of the day ‘phenomenal’ Email: [email protected] Running in the cold must be a matter of careful calibration, or you might ﬁnd your hands numb and your face chapped from high winds. P | 4-5 WINTER RUNNING 03 THURSDAY 29 DECEMBER 2016 CAMPUS Commuting to college by bullet train? There’s a subsidy for that in Japan growing number of Shizuoka city has struggled to local governments prevent its young people from mov- across Japan are subsi- ing to the Tokyo metropolitan area, dising commuting on and this year it introduced a loan high-speed Shinkansen system to help students who com- Atrains for university students in a mute to the capital on the Tokaido bid to prevent them from moving Shinkansen Line. The city loans to big cities to pursue their one-third of a student’s commut- studies. ing costs (up to a maximum of Students and parents have wel- 30,000 yen per month), but the stu- comed the financial assistance, dent does not have to repay the because living at home is cheaper money if they live and work in Shi- than living alone and gives their zuoka after they graduate. family peace of mind. Local gov- This year, 164 students are using ernments hope more students will the system; the city expects 300 to find jobs in their local region after use it next fiscal year.
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Representation of 'Masculinities' in Bombay Cinema: Millennial
Representation of ‘Masculinities’ in Bombay Cinema: Millennial Men Exploring the visual representations of masculinities in Bombay cinema and the narratives pertaining to the construction of a ‘nationalist’ identity in Lakshya. A Research Paper presented by: Vemuri Nagalaxmi Sushrutha (India) in partial fulfilment of the requirements for obtaining the degree of MASTER OF ARTS IN DEVELOPMENT STUDIES Major: Social Justice Perspectives: Human rights, Gender and Conflict Studies. (SJP) Members of the Examining Committee: Dr. Dubravka Žarkov Karen Gabriel The Hague, The Netherlands November 2017 December 2017 ii Cinema’s characteristic forte is its ability to capture and communicate the intimacies of the human mind. Satyajit Ray iii Table of Contents Acknowledgements vi Abstract vii Chapter 1 Introduction 8 Origin and legacy: 8 Towards critical research: 9 Chapter 2 : Theoretical foundations 11 Gender 11 Unpacking gender: 11 Crisis of Masculinity: 12 Representation 14 Towards a film theory: 14 Representing ‘masculine’ characters: 16 The new man image: 18 Nationalism 19 Nation and Nationalism: 19 War and masculinity: 21 Nationalism in India- Hindu Nationalism: 21 Chapter 3 : Context 24 Hindi Hero: 24 Research Questions: 28 Chapter 4 : Methodology 29 Method: 29 Researcher’s bias and positionality: 30 Sample: 32 iv Plot: 32 Chapter 5 : Analysis 35 Making of the man: 35 Father: 36 Love interest: 38 Friends: 41 The army: 44 Music: 46 Narrative of the film: 47 Chapter 6 : Conclusions 48 Reflecting on the New man: 48 Limitations and scope: 49 References: 52 v Acknowledgements To all those who kept me motivated during the melancholy rainy days. To my mom and dad, for showing faith in me and supporting me throughout.
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Guy Ritchie Planning Lavish Maldives Honeymoon Akshay's 'Oops
14 Tuesday, August 18, 2015 I don’t want to be typecast as a heroine who does a certain kind of cinema. But yes, I won’t deny that romantic love stories or romantic comedies are what I enjoy doing the most, because as an audience those are the kind of films that I like watching - Deepika Padukone Kabir Khan is like JP Dutta: Saif Ali Khan Mumbai mkara actor Saif Ali Khan says that director Kabir Khan has similarities with veteran directorO J.P. Dutta in capturing the rugged essence of the country. At an interview as part of promotions for his upcoming film Phantom, Saif said: “Kabir Khan is like J.P. Dutta sahab. I think there are no other directors who can showcase India’s ruggedness on the big screen. The manner in which the shots of Himalayas were taken or the one showing the rugged landscape of India are brilliant since he (Kabir) knows about these things and is interested too.” “Every film is just like the personality of the From left, actors Corey Hawkins, Jason Mitchell, Marlon Yates, Jr., Aldis Hodge, and O’Shea Jackson, Jr. gather as a crew for the director and Kabir’s personality is exactly like premiere of their movie Straight Outta Crompton in Los Angeles. this,” he added. Guy Ritchie Akshay’s ‘Oops’ planning lavish moment while Maldives filming ‘Housefull 3’ honeymoon Mumbai kshay Kumar has done many London death-defying stunts in ilmmaker Guy Ritchie is reportedly movies,A but there are times when planning a luxury trip to the the action star makes mistakes MaldivesF for him and his new wife too.
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