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SPND Magzaine 2015-16 FINAL
DEPARTMENTAL ACTIVITIES SMT. DEVILABEN MEHTA DEPARTMENT OF FACULTY OF ARTS POST GRADUATE STUDIES IN PSYCHOLOGY DEPARTMENTAL ACTIVITIES Organized Orientation Program for MA I students on Department of Economics August 1, 2015. Organized a visit for TYBA students to SBI Paper Less Lectures Organized: Digitalized Bank at Phoenix Mall, Kurla on July 23, 2015 Lecture and demonstration on 'Conducting Book Reviews' Ms. Snehal Barai and Ms. Poonam Singh accompanied the for MA II students by Ms. Nimisha Kambli on August 28, students. 2015. Organized a talk on 'Personal Hygiene and Cleanliness' by 'Ergonomics in Industry' by Dr. Manjit Kaur Chauhan, Dr. Bhavana Kucheria, Gynecologist and Dr. Bhavan Associate Professor, Department of Resource Management, Hingwala (MD) in collaboration with Mankind Pharma SNDT Women's University for MA I and MA II students on Ltd. for FYBA students on July 24, 2015. October 16, 2015. Students participated in the International Economics An interactive session on 'The role of Psychology and Convention titled 'CSR in France' hosted by H.R.College, Palliative Care' for UG and PG Students on February 13, Churchgate on December 10-12, 2015. 2016. The resource person for the session was our alumni Organized a visit to Janakalyan Bank, Ghatkopar for Ms. Savita Goswami, Clinical Psychologist at the Tata students of FYBA on December 15, 2015 and February 22, Memorial Hospital, Parel. 2016. Workshops Organized: SYBA students presented a skit titled 'Go Green Diwali' at various locations on November 08, 2015. A training workshop on 'Soft Skills in Recruitment' for MA I and MA II students by Ms. Meghna Kunnath, Sr. -
University of Huddersfield Repository
University of Huddersfield Repository Billam, Alistair It Always Rains on Sunday: Early Social Realism in Post-War British Cinema Original Citation Billam, Alistair (2018) It Always Rains on Sunday: Early Social Realism in Post-War British Cinema. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/34583/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Submission in fulfilment of Masters by Research University of Huddersfield 2016 It Always Rains on Sunday: Early Social Realism in Post-War British Cinema Alistair Billam Contents Introduction ............................................................................................................................................ 3 Chapter 1: Ealing and post-war British cinema. ................................................................................... 12 Chapter 2: The community and social realism in It Always Rains on Sunday ...................................... 25 Chapter 3: Robert Hamer and It Always Rains on Sunday – the wider context. -
Margarita, with a Straw
E-KIT Margarita, With a Straw Table of contents: Synopsis Cast & Crew Press releases Images Synopsis Laila is a young romantic, a secret rebel in a wheelchair. Undeterred by cerebral palsy, she embarks on a journey of sexual discovery. Her exhilarating adventures cause a rift both within herself and with those she is closest to. Ultimately, it is in the intensity of these bonds that she finds the strength to be truly herself. Cast Laila Kalki Koechlin Shubhangini (Mother) Revathy Khanum Sayani Gupta Jared William Moseley Dhruv Hussain Dalal Nima Tenzing Dalha Balraj (Father) Kuljeet Singh Monu (Brother) Malhar Khushu Crew Writer/Director Shonali Bose Co-Writer/Co-Director Nilesh Maniyar Produced by Viacom18 Motion Pictures and Ishan Talkies Co-produced by Jakhotia Group and ADAPT Cinematographer Anne Misawa Composer Mikey McCleary Sound Design Resul Pookutty (CAS, MPSE), Amrit Pritam Editor Monisha Baldawa Production Design Somenath Pakre, Prasun Chakraborthy Costume Design Niharika Bhasin, Maria Tharakkan, Nikia Nelson Hindi Lyrics Prasoon Joshi Directors note This my second film - is inspired by my cousin sister Malini who has acute cerebral palsy. That’s a condition where the part of your brain that controls your motor skills is damaged at birth. But your emotional and intellectual abilities are intact. When I was 40 and Malini was 39 – we were having a drink in a London pub. I was passing through on my way from America to India and she was getting a second Masters degree there. I said – what are we going to do for your 40th? It’s absolutely the best birthday. -
The Green Sheet and Opposition to American Motion Picture Classification in the 1960S
The Green Sheet and Opposition to American Motion Picture Classification in the 1960s By Zachary Saltz University of Kansas, Copyright 2011 Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. ________________________________ Chairperson Dr. John Tibbetts ________________________________ Dr. Michael Baskett ________________________________ Dr. Chuck Berg Date Defended: 19 April 2011 ii The Thesis Committee for Zachary Saltz certifies that this is the approved version of the following thesis: The Green Sheet and Opposition to American Motion Picture Classification in the 1960s ________________________________ Chairperson Dr. John Tibbetts Date approved: 19 April 2011 iii ABSTRACT The Green Sheet was a bulletin created by the Film Estimate Board of National Organizations, and featured the composite movie ratings of its ten member organizations, largely Protestant and represented by women. Between 1933 and 1969, the Green Sheet was offered as a service to civic, educational, and religious centers informing patrons which motion pictures contained potentially offensive and prurient content for younger viewers and families. When the Motion Picture Association of America began underwriting its costs of publication, the Green Sheet was used as a bartering device by the film industry to root out municipal censorship boards and legislative bills mandating state classification measures. The Green Sheet underscored tensions between film industry executives such as Eric Johnston and Jack Valenti, movie theater owners, politicians, and patrons demanding more integrity in monitoring changing film content in the rapidly progressive era of the 1960s. Using a system of symbolic advisory ratings, the Green Sheet set an early precedent for the age-based types of ratings the motion picture industry would adopt in its own rating system of 1968. -
EARL CAMERON Sapphire
EARL CAMERON Sapphire Reuniting Cameron with director Basil Dearden after Pool of London, and hastened into production following the Notting Hill riots of summer 1958, Sapphire continued Dearden and producer Michael Relph’s valuable run of ‘social problem’ pictures, this time using a murder-mystery plot as a vehicle to sharply probe contemporary attitudes to race. Cameron’s role here is relatively small, but, playing the brother of the biracial murder victim of the title, the actor makes his mark in a couple of memorable scenes. Like Dearden’s later Victim (1961), Sapphire was scripted by the undervalued Janet Green. Alex Ramon, bfi.org.uk Sapphire is a graphic portrayal of ethnic tensions in 1950s London, much more widespread and malign than was represented in Dearden’s Pool of London (1951), eight years earlier. The film presents a multifaceted and frequently surprising portrait that involves not just ‘the usual suspects’, but is able to reveal underlying insecurities and fears of ordinary people. Sapphire is also notable for showing a successful, middle-class black community – unusual even in today’s British films. Dearden deftly manipulates tension with the drip-drip of revelations about the murdered girl’s life. Sapphire is at first assumed to be white, so the appearance of her black brother Dr Robbins (Earl Cameron) is genuinely astonishing, provoking involuntary reactions from those he meets, and ultimately exposing the real killer. Small incidents of civility and kindness, such as that by a small child on a scooter to Dr Robbins, add light to a very dark film. Earl Cameron reprises a role for which he was famous, of the decent and dignified black man, well aware of the burden of his colour. -
Shail, Robert, British Film Directors
BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter. -
20 STORIES of CHANGE an NCPEDP Mindtree Publication
20 STORIES OF CHANGE An NCPEDP mindtree publication 20 STORIES OF CHANGE An NCPEDP-Mindtree Publication The National Centre for Promotion of Employment for Disabled People (NCPEDP) is a non-profit, voluntary organisation, working as an interface between the Government, Industry, International Agencies, and the Voluntary Sector, towards empowerment of persons with disabilities. NCPEDP works on five core principles, also called the five pillars of the organization, namely: 1) Education; 2) Employment; 3) Accessibility; 4) Legislation/Policy; and 5) Awareness/Communication. NCPEDP stresses the need to move away from traditionally held views of charity and welfare to those of productivity and empowerment of disabled people. Published in November 2015 National Centre for Promotion of Employment for Disabled People C-43, South Extension Part II, New Delhi Not for commercial circulation iii 20 STORIES OF CHANGE v For everyday heroes who fight their battles with dignity and determination vii Contents Acknowledgements xiii A Note from Mindtree xvi Foreword by Javed Abidi xxi 20-20 1 Kanchan Pamnani 1 We Fight to Win Mudit Deshmukh 9 Story by Mukta Patil Syed Bashir ud din Qadri 12 Story by Reetika Subramanian Ongbi Joysanabi Devi and Jessica 16 Story by Kritika Chettri Mani Ram Sharma 19 Story by Raikamal Roy ix Riitesh Sinha 23 Story by Raikamal Roy Rigzin Sampheal 27 Story by Raikamal Roy Sidhu Kisan Mhaske 30 Story by Reetika Subramanian 2 Chasing Compliance, Ensuring Access Arushi Singh 39 Story by Rajashree Gandhi Ranju Kumari 42 Rajashree Gandhi -
Public Relations Software Meltwater.Com/Media-Intelligence Join the Conversation
4/19/2015 PM Narendra Modi unveils bust of Gandhi in German city of Hannover - timesofindia-economictimes Indiatimes The Times of India The Economic Times More Log In / Join FOLLOW ET: LATEST NEWS > < > 02:29 AM: Media plays role in helping government solve people's... Growth from Europe to be ahead of company 02:02 AM: BMW recalls 91,800 Mini Coopers to fix air-bag sensor Politics and Nation average 01:54 AM: UP government responsible for deaths of farmers: BJP ... N Chandrasekaran Home News Defence Company Industry Economy Politics and Nation International 04:05 PM | 17 Apr EOD SENSEX NIFTY GOLD (MCX) (Rs/10g.) USD/INR LOGIN to Track market stats 28,442.10 -223.94 8,606.00 -100.70 26,805.00 160.00 62.37 0.06 your Investments You are here: Home > Collections > Global Warming Public Instant PM Narendra Modi unveils bust of Relations Grammar 0 0 StumbleUpon Gandhi in German city of Hannover Submit Tw eet Recommend Tool Checker PTI Apr 12, 2015, 09.50PM IST meltwater.com/Get-A-D… grammarly.com/Grammar… Tags: Narendra Modi | Mahatma Gandhi | Hannover Modi | Hannover | Germany | bust | Bharat Mata Ki Jai Try Our New Corrects All Grammar Competitive Analysis Errors! Check Your HANNOVER: Prime Minister Narendra Modi today unveiled Platform. Benchmark Writing Now. a bust of Mahatma Gandhi here and said his teachings and Your Brand Now. principles were the appropriate answer to challenges like terrorism and global warming that the world faces. "The shadow of terror is bent upon eliminating humanity. In this situation the ideals of Mahatma Gandhi like non- violence and 'Vasudhaiva Kutumbakam' (the world is one family) are appropriate answers to this challenge," Modi said in the city of Hannover, on the first day of his three-day visit to Germany. -
The Changing Economy of Sexual Desire in Hindi Cinema: Cinematic Interventions by Women Directors Women
46 The Changing Economy of Vivekananda Journal of Research January - June 2021, Vol. 10, Issue 1, 46-57 Sexual Desire in Hindi Cinema: ISSN 2319-8702(Print) ISSN 2456-7574(Online) Cinematic Interventions by Peer Reviewed Refereed Journal © Vivekananda Institute of Professional Studies Women Directors http://www.vips.edu/vjr.php Kusha Tiwari Abstract Films are a powerful medium and practice involving both art and enterprise. As much as films are a pervasive and potent art form, they are also a business enterprise that provides pleasure, escape, illusion and entertainment with the purpose of making profit. The dominant trends in cinema, all over the world, have developed along complex dynamics of ‘voyeurism’, representation of the body (primarily female) as the object of desire. The present paper aims to analyze the emergence of a counter trend where a new wave of women directors, in Hindi cinema, have completely overturned the ways in which desire (female) is portrayed with the desiring subject as female. Films made by women directors open a whole new world of female experience of sexuality, bonding and relationships not subjected to the controlling male agency of narration. In this context, the paper analyzes the work of three women directors – Deepa Mehta, Shonali Bose and Alankrita Shrivastava who through their groundbreaking films: Fire (1996), Water (2005), Margarita with a Straw (2014) and Lipstick Under My Burkha (2016) are playing a catalytic role in changing the economy of sexual desire in Hindi Cinema. These films challenge and dismantle the views around the female body as an object that needs to be protected (something that has been the pivotal action concern of many Hindi films in the 1980s and 90s). -
British Movies from Austerity to Affluence, Which Deals Extensively with British films of the 1950S, Was Written in the Mid-1960S and Was Published in 1970
Raymond Durgnat and A Mirror for England robert murphy If clearly marked personal style is one’s criterion of interest, then few British films reward the concern given to such directors as, say, Dreyer, Buñuel, Franju and Renoir. But other criteria of interest exist, whereby many of the subtlest meanings behind a personal style may be related to the collective vision of a particular tradition, period, background or ‘school’. It’s logical and usual to consider even impersonal and anonymous artworks as an expression of a general consensus (A Mirror for England, p. 4).1 R ’ A Mirror for England: British Movies from Austerity to Affluence, which deals extensively with British films of the 1950s, was written in the mid-1960s and was published in 1970. Given the shifts in attitudes over the past thirty years – in society generally as well as in the little world of film studies – one might expect the judgments expressed there, the choices of what is important, to have become dated and irrelevant. If one reads Roy Armes’s A Critical History of British Cinema, which was published in 1978, one is propelled into a time warp where academics with long hair wore tank tops and flared jeans, and had posters of La Hora de los Hornos on their walls. Armes draws inspiration from a deadly cocktail of Althusserian Marxism and the languid snobbery of C. A. Lejeune to take to task an industry which ‘has never created an adequate working Raymond Durgnat died in June 2002 at the age of 69. The Australian online journal Senses of Cinema devoted a substantial part of its June issue to a Fest- schrift planned to honour his seventieth birthday <www.sensesofcinema. -
A ADVENTURE C COMEDY Z CRIME O DOCUMENTARY D DRAMA E
MOVIES A TO Z MAY 2020 h 2001: A Space Odyssey (1968) 5/2 h The Body Snatcher (1945) 5/30 h The Devil Bat (1940) 5/18 a w 36 Hours (1964) 5/9 R Born Reckless (1959) 5/30 R Devotion (1946) 5/13 ADVENTURE D m 42nd Street (1933) 5/11 m Born to Dance (1936) 5/11 The Diary of Anne Frank (1959) 5/13 c c Bowery Battalion (1951) 5/2 m Ding Dong Williams (1946) 5/8 COMEDY –––––––––––––––––––––– A ––––––––––––––––––––––– c Boys’ Night Out (1962) 5/2 c Dinner at Eight (1933) 5/13 D Abe Lincoln in Illinois (1940) 5/13 P h The Brain That Wouldn’t Die (1962) 5/18 w The Dirty Dozen (1967) 5/25 z CRIME D Ace in the Hole (1951) 5/9 R Break of Hearts (1935) 5/12 h Doctor X (1932) 5/18 c The Actress (1953) 5/22 c Brewster McCloud (1970) 5/9 D Dolls (1987) 5/15 o DOCUMENTARY a Adventures of Don Juan (1948) 5/14 c The Bride Came C.O.D. (1941) 5/29 R Don Juan (Or if Don Juan Were a Woman) (1973) 5/17 u After the Thin Man (1936) 5/3 z Brother Orchid (1940) 5/14 Hc Double Exposure (1935) 5/9 D DRAMA HD Age 13 (1955) 5/15 z Bullets or Ballots (1936) 5/7 S z Double Indemnity (1944) 5/21 S c Alice Adams (1935) 5/12 D Dr. Ehrlich’s Magic Bullet (1940) 5/28 S e EPIC Hm All Girl Revue (1940) 5/27 –––––––––––––––––––––– C ––––––––––––––––––––––– h Dr. -
PROGRAMME NOTES VICTIM.Eps
TCM BREAKFAST CLUB SCREENING Victim I 1961 Directed by Basil Dearden The words “daring” and “groundbreaking” are frequently over-blown epithets in the movie business, but in the case of Victim (1961) they are entirely appropriate. For this film helped not just change attitudes towards a taboo subject – homosexuality – but even prompted changes in the law. Its star, Dirk Bogarde, showed enormous courage and integrity in agreeing to play the part of Melville Farr, the barrister who decides to take on a ring of blackmailers extorting men from gay men. TCM writer David Humphrey looks at how the film came to be made in an era when homosexuality was still the love that dared not speak its mind. With typical purposefulness and strength of character, Dirk move by the matinee idol, who would have sensed that public Bogarde thrust his head far above the parapet by taking the opinion was shifting towards a liberalisation of the laws that starring role in Victim. It was after all the first mainstream film forbade same-sex relationships. In real life, Bogarde himself on either side of the Atlantic to so shamelessly feature a gay was homosexual, but never made that public and was hero. In Britain’s prevailing moral climate, appearing in such a notoriously evasive whenever the fact was even hinted at. In his production could have been the kiss of death to the career of an memoirs about the life and death of his partner Tony Forwood, actor until now celebrated chiefly for action hero roles and light for example, he displayed an endearingly old-fashioned romantic parts in forgettable productions like Doctor in the House scrupulousness by portraying their relationship as actor and and Doctor at Sea.