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Download Enemmy Law and Disorder Movie in Dual Audio Movie
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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. -
MAMI PRESENTS the INDIA PREMIERE of Oscar Nominated LION in ASSOCIATION with PICTURE WORKS
MAMI PRESENTS THE INDIA PREMIERE OF Oscar Nominated LION IN ASSOCIATION WITH PICTURE WORKS ~ The incredible true story spellbinds the audience ~ Mumbai, Wednesday, February 1, 2017: MAMI in association with Picture Works today screened the India premiere of LION at PVR Icon, Versova, Mumbai. Lion is the incredible true story of Saroo Brierley’s journey to find his birth mother 20 years after he was accidently separated from her and his family. The film is based on the real-life memoir titled “A Long Way Home”. The icing on the cake was the Q & A session with celebrated director Garth Davis,Saroo Brierley and the Indian cast with Rajeev Masand. The premiere was attended by the real life Saroo Brierley, director Garth Davis as well as newcomer actor, Sunny Pawar (who plays the role of role 5 year old Saroo Brierley). Fellow cast members Deepti Naval, Tannishtha Chatterjee, Priyanka Bose also attended. As well as known personalities and actors- Radhika Apte, Rajkummar Rao, Vikramaditya Motwane, Shakun Batra, Ali Fazal, Kabir Khan, Mini Mathur,Nidhi Singh,Sumeet Vyas,Anupam Kher,Ayan Mukherji and Arshad Warsi. Lion has garnered phenomenal global acclaim- receiving six Oscar nominations at the 89th Academy Awards, including Best Picture, Best Supporting Actor (Dev Patel), Best Supporting Actress (Kidman) and Best Adapted Screenplay. The film stars Dev Patel, Rooney Mara, David Wenham, Nicole Kidman, Abhishek Bharate, Divian Ladwa, Priyanka Bose, Deepti Naval, Tannishtha Chatterjee, Nawazuddin Siddiqui and Sunny Pawar. MAMI Creative Director Smriti Kiran said, “We are delighted to have screened LION at MAMI; the story is a powerful narrative on hope and love. -
E-Waste Mass Awareness Programme Through Ad Film in Cinema/Theatres (Phase-II)
E-Waste Mass Awareness Programme through Ad Film in Cinema/Theatres (Phase-II) CAMPAIGN REPORT Conducted by PHD Chamber of Commerce and Industry in association with Ministry of Electronics and IT (MeitY), Government of India Report: E- Waste Mass Awareness Programme through Cinema 1 CAMPAIGN REPORT Report: E- Waste Mass Awareness Programme through Cinema 2 Table of Contents S. No. Particular Page No. 1 Acknowledgement 4 2 Executive Summary 5 3 Introduction 6 4 Agencies Involved 9 5 Flow of the Project – E- Waste Mass Awareness 11 Programme through Cinema Phase-II 6 Concept of the Ad Film – E -Positive 13 7 E- Waste Mass Awareness Programme through 15 Cinema - Phase-II- Schedule 7.1 Successful movies – Phase-II – E-Waste Mass 15 Awareness Programme through Cinema 7.2 List of Movies where Ad Film on E-Waste 18 Broadcasted 7.3 Partners during the campaign 24 7.4 Phase-II – Impact 24 8 Feedback from the viewers 25 9 Overall Feedback - National 26 8.1 City wise Feedback Analysis 30 8.2 City wise Feedback Analysis – Gurgaon 30 8.3 City wise Feedback Analysis – Trivandrum 33 8.4 City wise Feedback Analysis – Gandhinagar 37 8.5 City wise Feedback Analysis – Mumbai 40 8.6 City wise Feedback Analysis – Shimla 44 8.7 City wise Feedback Analysis – Madurai 47 8.8 City wise Feedback Analysis – Delhi 51 8.9 City wise Feedback Analysis – Raipur 54 8.10 City wise Feedback Analysis – Bangalore 58 8.11 City wise Feedback Analysis – Hyderabad 61 9 General feedback of the respondents 65 10 Post Event Activities 65 11 Recommendations and Suggestions 66 12 Organising Team 67 13 Annexure – A 68 Report: E- Waste Mass Awareness Programme through Cinema 3 ACKNOWLEDGEMENT It is with great pleasure that we present the post campaign report emerging out of Phase-II of ‘E-Waste Mass Awareness Programme through Ad Film in Cinema/Theatres’. -
Shemaroo Entertainment Limited
DRAFT RED HERRING PROSPECTUS Dated September 19, 2011 Please read section 60B of the Companies Act, 1956 (This Draft Red Herring Prospectus will be updated upon filing with the RoC) 100% Book Building Issue SHEMAROO ENTERTAINMENT LIMITED Our Company was originally incorporated as a private limited company under the Companies Act, 1956 on December 23, 2005, with the name Shemaroo Holdings Private Limited. Subsequently, pursuant to a Scheme of Arrangement approved by the Hon’ble High Court of Bombay vide order dated March 7, 2008 and by the special resolution of our shareholders dated May 28, 2008, the name of our Company was changed to Shemaroo Entertainment Private Limited and a fresh certificate of incorporation was granted to our Company on June 3, 2008, by the RoC. Thereafter, pursuant to a special resolution of our shareholders dated March 26, 2011, our Company was converted to a public limited company and a fresh certificate of incorporation consequent to the change of status was granted on April 1, 2011, by the RoC. For further details in connection with changes in the name and registered office of our Company, please refer to the section titled “History and Certain Corporate Matters” on page 95 of this Draft Red Herring Prospectus. Registered and Corporate Office: Shemaroo House, Plot No.18, Marol Co-operative Industrial Estate, Off Andheri Kurla Road, Andheri East, Mumbai- 400059 Telephone: +91 22 4031 9911; Facsimile: +91 22 2851 9770 Contact Person and Compliance Officer: Mr. Ankit Singh, Company Secretary; Telephone: +91 22 4031 9911; Facsimile: +91 22 2851 9770 E-mail: [email protected]; Website: www.shemaroo.com PROMOTERS OF OUR COMPANY: MR. -
Who Stole the Nobel? Page 1 of 2 the Telegraph 7/27/2011
The Telegraph Page 1 of 2 Issue Date: Saturday , February 26 , 2011 Who stole the nobel? Suman Ghosh gears up for a satirical thriller on the nobel theft Come March and Suman Ghosh will start to steer his third film Nobel Chor, a satirical look at Tagore’s stolen medal, with Mithun in the title role. A t2 chat with the Miami-based economist-turned-director about the urban-rural divide and more... When and where do you begin Nobel Chor? The theft of the Nobel happened in Santiniketan and our protagonist Bhanu, played by Mithunda, is based in Bolpur. We went to Bolpur twice, saw a lot of places. Given the story, I wanted everything to have that feel, his house to have a certain structure, and ultimately identified a hut that belongs to someone else where we will shoot. Sudipta Chakraborty We have a lot of outdoor all over Calcutta and that’s a huge tension because of the logistics and permissions involved in filming at Gorky Sadan, Dharamtala, south Calcutta.... It’s Calcutta in 2004 because that’s when the theft happened. The character roughly remains the same but I have to be careful not to bring in the new malls and flyovers. It’s not about capturing the city but to bring out the stark contrast with a village in the interiors. How Bhanu is almost like fish out of water when he comes to Calcutta. There were some changes in the final casting… The film is entirely centred around Mithun Chakraborty. I try to keep track of actors but when I’m in Calcutta I don’t get time to watch too many television serials. -
Representation of Sikh Character in Bollywood Movies:A Study on Selective Bollywood Movies
PJAEE, 17(6) (2020) REPRESENTATION OF SIKH CHARACTER IN BOLLYWOOD MOVIES:A STUDY ON SELECTIVE BOLLYWOOD MOVIES Navpreet Kaur Assistant Professor University Institute of Media Studies, Chandigarh University, Punjab, India [email protected] Navpreet Kaur, Representation Of Sikh Character In Bollywood Movies: A Study On Selective Bollywood Movies– Palarch’s Journal of Archaeology of Egypt/Egyptology 17(6) (2020), ISSN 1567-214X. Keywords: Bollywood, Sikh, Sikh Character, War, Drama, Crime, Biopic, Action, Diljit Dosanhj, Punjab Abstract Sikhs have been ordinarily spoken to in mainstream Hindi film either as courageous warriors or as classless rustics. In the patriot message in which the envisioned was an urban North Indian, Hindu male, Sikh characters were uprooted and made to give entertainment. Bollywood stars have donned the turban to turn Sikh cool, Sikhs view the representation of the community in Bollywood as demeaning and have attempted to revive the Punjabi film industry as an attempt at authentic self-representation. But with the passage of time the Bollywood makers experimented with the role and images of Sikh character. Sunny Deol's starrer movie Border and Gadar led a foundation of Sikh identity and real image of Sikh community and open the doors for others. This paper examines representation of Sikhs in new Bollywood films to inquire if the romanticization of Sikhs as representing rustic authenticity is a clever marketing tactic used by the Bollywood. Introduction Bollywood is the sobriquet for India's Hindi language film industry, situated in the city of Mumbai, Maharashtra. It is all the more officially alluded to as Hindi film. The expression "Bollywood" is frequently utilized by non-Indians as a synecdoche to allude to the entire of Indian film; be that as it may, Bollywood legitimate is just a piece of the bigger Indian film industry, which incorporates other creation communities delivering films in numerous other Indian dialects. -
Kishore Booklet Copy
08. Tum Aa Gaye Ho Noor Aa Gaya with Lata Mangeshkar Film: Aandhi 01. The Evergreen Kishore Kumar 09. Asha Bhosle reminisces 02. Yeh Sham Mastani Kishore Kumar Film: Kati Patang 10. Piya Piya Piya Mora Jiya 03. Roop Tera Mastana with Asha Bhosle Film: Aradhana Film: Baap Re Baap 04. Yeh Jo Mohabbat Hai 11. Main Hoon Jhoom Jhoom Film: Kati Patang Film: Jhumroo 05. Aanewala Pal Janewala Hai 12. Dekha Ek Khwab Film: Golmaal with Lata Mangeshkar Film: Silsila 06. Oh Hansini Film: Zehreela Insaan 13. Meri Bheegi Bheegi Si Film: Anamika 07. Hamen Tumse Pyar Kitna Film: Kudrat 14. Kehna Hai Kehna Hai Film: Padosan 2 3 15. Raat Kali Ek Khwab Mein 23. Mere Sapnon Ki Rani Film: Buddha Mil Gaya Film: Aradhana 16. Aate Jate Khoobsurat Awara 24. Dil Hai Mera Dil Film: Anurodh Film: Paraya Dhan 17. Khwab Ho Tum Ya Koi 25. Mere Dil Mein Aaj Kya Hai Film: Teen Devian Film: Daag 18. Aasman Ke Neeche 26. Ghum Hai Kisi Ke Pyar Mein with Lata Mangeshkar with Lata Mangeshkar Film: Jewel Thief Film: Raampur Ka Lakshman 19. Mere Mehboob Qayamat Hogi 27. Aap Ki Ankhon Mein Kuch Film: Mr. X In Bombay with Lata Mangeshkar Film: Ghar 20. Teri Duniya Se Hoke Film: Pavitra Papi 28. Sama Hai Suhana Suhana Film: Ghar Ghar Ki Kahani 21. Kuchh To Log Kahenge Film: Amar Prem 29. O Mere Dil Ke Chain Film: Mere Jeevan Saathi 22. Rajesh Khanna talks about Kishore Kumar 4 5 30. Musafir Hoon Yaron 38. Gaata Rahe Mera Dil Film: Parichay with Lata Mangeshkar Film: Guide 31. -
Gangs of Wasseypur As an Active Archive of Popular Cinema
M A D H U J A M U K H E R J E E Of Recollection, Retelling, and Cinephilia: Reading Gangs of Wasseypur as an Active Archive of Popular Cinema This paper studies Gangs of Wasseypur (Parts 1 and 2, 2012) as a definitive text via which Anurag Kashyap’s style became particularly provocative and pointed. While a range of films (both directed and produced by Kashyap) seemingly bear a certain ‘Kashyap mark’ in the manner in which they tackle subjects of violence and belligerent speech with an unpredictable comic sense, I argue that, more importantly, these films work within a particular visual framework with regard to its mise-en- scène (including the play of light, camera movement, modes of performance), as well as produce recognisable plot structures (involving capricious and realistic events), settings and locations (like the city’s underbelly, police stations, etc.), and so on. Indeed, Kashyap has made a set of films—including Paanch (unreleased), No Smoking (2007) and Ugly (2014)—which deal with similar issues, and explore contemporary cityscapes, especially Mumbai, with fervidness, thereby commenting on urban dystopia.1 Furthermore, these films speak to what has been analysed as the ‘Bombay noir’ mode by Lalitha Gopalan, by means of thoughtful art and set design, engaging (and often hand-held) camera movements and swish-pans, uses of blue or yellow filters, character prototypes, and reflective performances, which generate a world that is engulfed by a deep sense of disquiet and distress. This paper draws attention to such stylistic explorations, especially JOURNAL OF THE MOVING IMAGE 91 to the ways in which it has developed through Kashyap’s recent films. -
Little: an Age-Reversal Comedy That's Saved by Its Stars
13 MONDAY, APRIL 15, 2019 OASIS JUFFAIR DAILY AT: 11.15 AM + 1.30 + 3.45 + 6.00 + 8.15 + 10.30 PM SAAR 11-PET SEMATARY (18+) (HORROR/THRILLER) 1-HELL BOY (18+) (ACTION/ADVENTURE/FANTASY) JASON CLARKE, AMY SEIMETZ, JETE LAURENCE 1-HELL BOY (18+) (ACTION/ADVENTURE/FANTASY) NEW NEW DAILY AT: 8.45 + 11.00 PM DAVID HARBOUR, MILLA JOVOVICH, AND IAN MCSHANE DAVID HARBOUR, MILLA JOVOVICH, AND IAN DAILY AT: 10.30 AM + 1.00 + 3.30 + 6.00 + 8.30 + (11.00 PM MCSHANE 12- CAPTAIN MARVEL (PG-13) (ACTION/ADVENTURE) THURS/FRI) DAILY AT: 10.45 AM + 1.15 + 3.45 + 6.15 + 8.45 + 11.15 PM BRIE LARSON, GEMMA CHAN, SAMUEL L. JACKSON DAILY AT (VIP): 3.00 + 8.15 PM 2-DRAGGED ACROSS CONCRETE (18+) (CRIME/THRILLER/ DAILY AT: 1.30 + 6.15 + 11.00 PM DRAMA) NEW 2-DRAGGED ACROSS CONCRETE (18+) (CRIME/THRILLER/ MEL GIBSON, JENNIFER CARPENTER, VINCE VAUGHN DRAMA) NEW 13- US (15+) (HORROR/THRILLER) LUPITA NYONG’O, ELISABETH MOSS, ANNA DIOP DAILY AT: 5.00 + 8.00 + (11.00 PM THURS/FRI) MEL GIBSON, JENNIFER CARPENTER, VINCE VAUGHN DAILY AT: 1.00 + 6.15 + 11.30 PM DAILY AT: 10.30 AM + 2.45 + 7.00 + 11.15 PM 3- MADHURA RAJA (PG-15) (MALAYALAM) NEW MAMMOOTTY, JAI, ANUSREE, SALIM KUMAR, RAMESH 14- WONDER PARK (PG) (ANIMATION/ADVENTURE/ PISHARODY 3-LITTLE (PG-15) (COMEDY) NEW COMEDY) FROM FRIDAY 12TH REGINA HALL, ISSA RAE, MARSAI MARTIN BRIANNA DENSKI, JENNIER GARNER, KEN HUDSON DAILY AT: 1.30 + 6.30 + 11.30 PM CAMPBELL DAILY AT: 11.00 AM + 2.00 + 5.00 + 8.00 + (11.00 PM FRI) DAILY AT: 12.45 + 5.00 + 9.15 PM 4-AFTER (15+) (ROMANTIC/DRAMA) NEW 4-SHAZAM! (PG-15) (ACTION/COMEDY/ADVENTURE) -
Anurag Kashyap, Guneet Monga, Nawazuddin Siddiqui, Richa Chadda, Vikramaditya Motwane
[LISTED] THE UNDERDOG TURNED SUPERSTAR ANURAG KASHYAP, GUNEET MONGA, NAWAZUDDIN SIDDIQUI, RICHA CHADDA, VIKRAMADITYA MOTWANE Text Shahnaz Siganporia Photography Ishika Mohan Motwane N THE INDIAN FILM INDUSTRY, there are good and bad words. ‘Un- derdog’, ‘struggler’, ‘starlet’ are clubbed into the ‘bad’ category while I words such as ‘Superstar’, ‘100 Crore Club’, ‘legacy’ fall into the ‘good’ category. However, sometimes the two combine to form a heady cocktail. The starlet bags a 100 crore film and the underdog becomes the superstar. The latter is a tricky balance—there’s the formulaic superstar and then there’s the superstar who paves his or her own way and creates cinema that goes way beyond the norm. Over the last few years, the tides have been busy changing, contorting and transforming our home-grown film industry. And let’s face it, in an industry raking in the moolah, thanks to wish-fulfilment and feel- good stories, we’re suckers for the runt who becomes the alpha. In the 100th year of Indian cinema, Platform celebrates the erstwhile underdogs who have gone on to carve out a space for themselves and have begun their ascent to stardom. NOV/DEC 2013 · PLATFORM · CREATIVE LIFESTYLE · 031 [LISTED] Anurag Kashyap FROM BANNED TO LAUDED THE BEGINNING I don’t know why I wanted to make films. It’s like asking yourself why you love someone. How do you explain that? You just do, you know? I just knew that filmmaking is what I wanted to do. I was studying to be a scientist and something just snapped—I knew that I should have- been making films. -
Adaptation of Shakespeare in Recent Bollywood Movies Dr
Adaptation of Shakespeare in Recent Bollywood Movies Dr. Charu C Mishra Assoc. Prof. (English) KG Arts & Science College Raigarh, Chhatisgarh India Abstract Thanks to our drama professor who initiated us to the sheer joy of reading the high flown language and acting in Shakespeare‟s plays that eventually left us spellbound for life. Watching Shakespeare‟s plays in theatre for the yester year English educated Indians has been a hobby. This infatuation with the greatest dramatist has led some Film directors to experiment on the themes of comedies and tragedies. In recent years, director Vishal Bhardwaj holds the credit of adapting themes of his great tragedies to contemporary situation and work wonder through his experimentation. Maqbool is a 2003 Indian crime drama, an adaptation of the play Macbeth. The film had its North American premiere at the 2003 Toronto International Film Festival and was screened in the Marché du Film section of the 2004 Cannes Film Festival. Bhardwaj then moved on to adapt Othello in his 2006 film Omkara which won him commercial as well as critical success and Francis Ford Coppola's attention. Haider is the third installment of Bhardwaj's Shakespearean trilogy. The film is a modern-day adaptation of William Shakespeare's tragedy Hamlet, set amidst the insurgency-hit Kashmir during conflicts of 1995 and civilian disappearances. The film was screened at the 19th Busan International Film Festival and released worldwide on 2 October 2014 to wide critical acclaim, and garnered attention from the media due to its controversial subject matter. The present paper intends to study how the movies inspired by Shakespeare still appeal 21st century audience to concur his universality in changing times.