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Volume-13-Skipper-1568-Songs.Pdf
HINDI 1568 Song No. Song Name Singer Album Song In 14131 Aa Aa Bhi Ja Lata Mangeshkar Tesri Kasam Volume-6 14039 Aa Dance Karen Thora Romance AshaKare Bhonsle Mohammed Rafi Khandan Volume-5 14208 Aa Ha Haa Naino Ke Kishore Kumar Hamaare Tumhare Volume-3 14040 Aa Hosh Mein Sun Suresh Wadkar Vidhaata Volume-9 14041 Aa Ja Meri Jaan Kishore Kumar Asha Bhonsle Jawab Volume-3 14042 Aa Ja Re Aa Ja Kishore Kumar Asha Bhonsle Ankh Micholi Volume-3 13615 Aa Mere Humjoli Aa Lata Mangeshkar Mohammed RafJeene Ki Raah Volume-6 13616 Aa Meri Jaan Lata Mangeshkar Chandni Volume-6 12605 Aa Mohabbat Ki Basti BasayengeKishore Kumar Lata MangeshkarFareb Volume-3 13617 Aadmi Zindagi Mohd Aziz Vishwatma Volume-9 14209 Aage Se Dekho Peechhe Se Kishore Kumar Amit Kumar Ghazab Volume-3 14344 Aah Ko Chahiye Ghulam Ali Rooh E Ghazal Ghulam AliVolume-12 14132 Aah Ko Chajiye Jagjit Singh Mirza Ghalib Volume-9 13618 Aai Baharon Ki Sham Mohammed Rafi Wapas Volume-4 14133 Aai Karke Singaar Lata Mangeshkar Do Anjaane Volume-6 13619 Aaina Hai Mera Chehra Lata Mangeshkar Asha Bhonsle SuAaina Volume-6 13620 Aaina Mujhse Meri Talat Aziz Suraj Sanim Daddy Volume-9 14506 Aaiye Barishon Ka Mausam Pankaj Udhas Chandi Jaisa Rang Hai TeraVolume-12 14043 Aaiye Huzoor Aaiye Na Asha Bhonsle Karmayogi Volume-5 14345 Aaj Ek Ajnabi Se Ashok Khosla Mulaqat Ashok Khosla Volume-12 14346 Aaj Hum Bichade Hai Jagjit Singh Love Is Blind Volume-12 12404 Aaj Is Darja Pila Do Ki Mohammed Rafi Vaasana Volume-4 14436 Aaj Kal Shauqe Deedar Hai Asha Bhosle Mohammed Rafi Leader Volume-5 14044 Aaj
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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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1607/2015 Listed Before Hon'ble DB-I at Item No.12 Is Deleted
19.07.2017 SUPPLEMENTARY LIST SUPPLEMENTARY LIST FOR TODAY IN CONTINUATION OF THE ADVANCE LIST ALREADY CIRCULATED. THE WEBSITE OF DELHI HIGH COURT IS www.delhihighcourt.nic.in INDEX PRONOUNCEMENT OF JUDGMENTS -----------------> 01 TO 01 REGULAR MATTERS ----------------------------> 01 TO 105 FINAL MATTERS (ORIGINAL SIDE) --------------> 01 TO 12 ADVANCE LIST -------------------------------> 01 TO 82 APPELLATE SIDE (SUPPLEMENTARY LIST)---------> 83 TO 100 APPELLATE SIDE (SUPPLEMENTARY LIST)---------> 101 TO 124 ORIGINAL SIDE (SUPPLEMENTARY I)-------------> 125 TO 130 COMPANY ------------------------------------> 131 TO 131 SECOND SUPPLEMENTARY -----------------------> 132 TO 142 MEDIATION CAUSE LIST -----------------------> 01 TO 03 PRE-LOK ADALAT ----------------------> 01 TO 01 NOTES 1. Mentioning of urgent matters will be before Hon'ble DB-I at 10.30 A.M. DELETIONS 1. W.P.(C) 1607/2015 listed before Hon'ble DB-I at item No.12 is deleted. 2. LPA 271/2016 listed before Hon'ble DB-VI at item No.2 is deleted as the same is listed before special DB comprising Hon'ble Ms. Justice Hima Kohli and Hon'ble Ms. Justice Sangita Dhingra Sehgal. 3. W.P.(CRL.) 889/2016 listed before Hon'ble DB-VIII at item No.4 is deleted as the same is fixed for 21.07.2017. 4. CRL.M.C. 2734/2017 listed before Hon'ble Mr. Justice I.S.Mehta at item No.50 is deleted as the same is returned to Filing Counter. 5. CONT.CAS.(C) 418/2017 listed before Hon'ble Mr. Justice A.K.Chawla at item No.40 is deleted as the same is fixed for 19.08.2017. 6. CRL.L.P.
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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.
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November, 2009
One-hit Wonders Cultural Calendar for November 2009 For some actors, instant stardom peters out and they end up being remembered for just the first film. Here’s a list taken H from India’s Bollywood. November 9 November 25 Film: Sampoorn Ramayan (In Hindi) Talk – World heritage site of Hampi, Karnataka Debut film being a smash hit at the turnstiles is what every Venue & Time: ICC 5.30 p.m. Duration:3 hrs by Dr. M. S. Nagraj Rao, Former Director actor dreams of. It is tragic when this aspiration doesn’t General of Archaeological Survey of India translate into reality. More tragic when the launch vehicle Venue & Time: ICC 6.00 p.m. (To be confirmed) November 14 S delivers but the subsequent flicks do not garner similar Painting, Drawing and Essay Competition for commercial success or critical acclaim. To this category belong children to commemorate the birth anniversary of November 27 several Bollywood stars who created a storm with their first Pandit Jawaharlal Nehru Bharatha Natyam Recital offering. But their subsequent releases bombed at the box Venue & Time: ICC 9.30 a.m. by Deepal Gunasena, Shanmuga Sharma office. November 2009 Jayaprakash Sharma Dinuka Gunasekara & E An apt example of this mishap is Kumar Gaurav whose maiden November 20 Thilini Dhanapala students of Ms. Vasugy film, Love Story set new box office records in the early Panel discussion on “Governing the Commons in Jegatheeswaran eighties. This teenybopper love yarn co-starring Vijeta Pandit South Asia: Implications of the work by Elinor Venue & Time: ICC 6.00 p.m.
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Sentimental Booklet for Web Copy
08. Mere Mehboob Qayamat Artiste: Kishore Film: Mr. X In Bombay 01. Mitaa Do Saare - Gulzar 09. Tum Pukar Lo Tumhara 02. Khush Rahe Tu Sada Artiste: Hemant Kumar Artiste: Rafi Film: Khamoshi Film: Khilona 10. Meri Bheegi Bheegi Si 03. Teri Galiyon Mein Artiste: Kishore Artiste: Rafi Film: Anamika Film: Hawas 11. Kuchh Log Mohabbat Karke 04. Pardesiyon Se Na Artiste: Kishore Artiste: Rafi Film: Lava Film: Jab Jab Phool Khile 12. Aao Phir Nazm - Gulzar 05. Koi Hota Jisko Apna Artiste: Kishore 13. Lagi Aaj Sawan Ki Film: Mere Apne Artistes: Suresh Wadkar & Anupama Deshpande 06. Sab Kuchh - Gulzar Film: Chandni 07. O Saathi Re 14. Dost Dost Na Raha Artiste: Kishore Artiste: Mukesh Film: Muqaddar Ka Sikandar Film: Sangam 2 3 15. Hui Sham Unka Khayal 22. Din Dhal Jaye Haye Artiste: Rafi Artiste: Rafi Film: Mere Hamdam Mere Dost Film: Guide 01. Mitaa Do Saare - Gulzar 16. Kuchh To Log Kahenge 23. Mere Toote Huye Dil Se 02. Khush Rahe Tu Sada Artiste: Kishore Artiste: Mukesh Artiste: Rafi Film: Amar Prem Film: Chhalia Film: Khilona 17. Waqt Karta Jo Wafa 24. Hue Hum Jinke Liye 03. Teri Galiyon Mein Artiste: Mukesh Artiste: Rafi Artiste: Rafi Film: Dil Ne Pukara Film: Deedar Film: Hawas 18. Patthar Ke Sanam 25. Koi Sagar Dil Ko Bahlata 04. Pardesiyon Se Na Artiste: Rafi Artiste: Rafi Artiste: Rafi Film: Patthar Ke Sanam Film: Dil Diya Dard Liya Film: Jab Jab Phool Khile 19. Khilona Jan Kar Tum To 26. Chandi Ki Deewar 05. Koi Hota Jisko Apna Artiste: Rafi Artiste: Mukesh Artiste: Kishore Film: Khilona Film: Vishwas Film: Mere Apne 20.
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Kervan – International Journal of Afro-Asiatic Studies n. 21 (2017) Item Girls and Objects of Dreams: Why Indian Censors Agree to Bold Scenes in Bollywood Films Tatiana Szurlej The article presents the social background, which helped Bollywood film industry to develop the so-called “item numbers”, replace them by “dream sequences”, and come back to the “item number” formula again. The songs performed by the film vamp or the character, who takes no part in the story, the musical interludes, which replaced the first way to show on the screen all elements which are theoretically banned, and the guest appearances of film stars on the screen are a very clever ways to fight all the prohibitions imposed by Indian censors. Censors found that film censorship was necessary, because the film as a medium is much more popular than literature or theater, and therefore has an impact on all people. Indeed, the viewers perceive the screen story as the world around them, so it becomes easy for them to accept the screen reality and move it to everyday life. That’s why the movie, despite the fact that even the very process of its creation is much more conventional than, for example, the theater performance, seems to be much more “real” to the audience than any story shown on the stage. Therefore, despite the fact that one of the most dangerous elements on which Indian censorship seems to be extremely sensitive is eroticism, this is also the most desired part of cinema. Moreover, filmmakers, who are tightly constrained, need at the same time to provide pleasure to the audience to get the invested money back, so they invented various tricks by which they manage to bypass censorship.
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Volume-15-Harmony-1458-Songs.Pdf
HINDI 1458 Song No Song Name Singer Movie/Album Song In 14131 Aa Aa Bhi Ja Lata Mangeshkar Tesri Kasam Volume-6 14039 Aa Dance Karen Thora Romance AshaKare Bhonsle Mohammed Rafi Khandan Volume-5 14208 Aa Ha Haa Naino Ke Kishore Kumar Hamaare Tumhare Volume-3 14041 Aa Ja Meri Jaan Kishore Kumar Asha Bhonsle Jawab Volume-3 14042 Aa Ja Re Aa Ja Kishore Kumar Asha Bhonsle Ankh Micholi Volume-3 13615 Aa Mere Humjoli Aa Lata Mangeshkar Mohammed RafJeene Ki Raah Volume-6 13616 Aa Meri Jaan Lata Mangeshkar Chandni Volume-6 12605 Aa Mohabbat Ki Basti BasayengeKishore Kumar Lata MangeshkarFareb Volume-3 13309 Aa Re Preetam Pyaare Sarosh Mamta Sharma Rowdy Rathore Volume-8 14209 Aage Se Dekho Peechhe Se Kishore Kumar Amit Kumar Ghazab Volume-3 14344 Aah Ko Chahiye Ghulam Ali Rooh E Ghazal Ghulam AliVolume-12 13618 Aai Baharon Ki Sham Mohammed Rafi Wapas Volume-4 14133 Aai Karke Singaar Lata Mangeshkar Do Anjaane Volume-6 13619 Aaina Hai Mera Chehra Lata Mangeshkar Asha Bhonsle SuAaina Volume-6 14506 Aaiye Barishon Ka Mausam Pankaj Udhas Chandi Jaisa Rang Hai TeraVolume-12 14043 Aaiye Huzoor Aaiye Na Asha Bhonsle Karmayogi Volume-5 14345 Aaj Ek Ajnabi Se Ashok Khosla Mulaqat Ashok Khosla Volume-12 13310 Aaj Hai Sagaai Abhijeet Alkaji Pyaar To Hona Hi Tha Volume-8 14346 Aaj Hum Bichade Hai Jagjit Singh Love Is Blind Volume-12 12404 Aaj Is Darja Pila Do Ki Mohammed Rafi Vaasana Volume-4 14436 Aaj Kal Shauqe Deedar Hai Asha Bhosle Mohammed Rafi Leader Volume-5 14044 Aaj Khushi Se Jhum Raha Sara Asha Bhonsle Suntan Volume-5 14437 Aaj Ki Raat Mohammed
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Shankar Jaikishan – Emperors of Music by Ashwini Kumar Rath
Shankar Jaikishan – Emperors of Music By Ashwini Kumar Rath Shankar Jaikishan music, synonym of Indian Film music, has far reaching impact in India and outside. The duo moulded music and musical mood of masses since 1949, and are still considered to be the best music composers from India. The duo also contributed outside movie industry with their much celebrated album Raga in Jazz Style, and background music for documentary Everest expedition among many others. If we look at the popular impact by any personalities in the field of music during the post independence period in India, the obvious choice is Shankar Jaikishan. Shankar, the more versatile of the two, was a prolific musician with mastery over dozens of instruments, Indian classical music and dance forms. He was primarily responsible for building Shankar Jaikishan team with dedicated lyricists, music assistants, and jumbo-sized 60-pieces orchestra, and was the lead composer. On the other hand, Jaikishan was incredibly creative and legendary composer himself. He was genius of background music and romantic tunes though he too could compose songs in other genres. During initial years, all decisions about musical engagements were made by Shankar; but both started taking up assignments separately in the late sixties. They had sharp contrasts in personalities and physical appearances. Shankar was gym-savvy, non- drinker, and was a strict disciplinarian. On the other hand, Jaikishan was party-man and was very social. In fact, Jaikishan was mostly the point of contact for producers, directors and actors to incorporate their requests due to his friendly nature. Of course, both were great human beings, and were incredibly simple in spite of fame and richness.
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Sex in the Snow: the Himalayas As Erotic Topos in Popular Hindi Cinema
HIMALAYA, the Journal of the Association for Nepal and Himalayan Studies Volume 25 Number 1 Himalaya No. 1 & 2 Article 7 2005 Sex in the Snow: The Himalayas as Erotic Topos in Popular Hindi Cinema Philip Lutgendorf University of Iowa Follow this and additional works at: https://digitalcommons.macalester.edu/himalaya Recommended Citation Lutgendorf, Philip. 2005. Sex in the Snow: The Himalayas as Erotic Topos in Popular Hindi Cinema. HIMALAYA 25(1). Available at: https://digitalcommons.macalester.edu/himalaya/vol25/iss1/7 This Research Article is brought to you for free and open access by the DigitalCommons@Macalester College at DigitalCommons@Macalester College. It has been accepted for inclusion in HIMALAYA, the Journal of the Association for Nepal and Himalayan Studies by an authorized administrator of DigitalCommons@Macalester College. For more information, please contact [email protected]. PHILIP LUTGENDORF, UNIVERSITY OF IOWA SEx IN THE SNow: THE HIMALAYAS AS EROTIC Toros IN PoPULAR HINDI CINEMA, Fantasies about life beyond the front range of the Great Himalaya have been a trope in ln dian literature since at least the period of the Sanskrit epics. The demi-divine beings believed to inhabit the high country were famously sexually active, and even the human "northern Kurus" (as residents of the region have somet.imes been called) were rumored to have long, happy lives unburdened by inhibitions, especially in sexual matters: their women were alleg edly free to enjoy multiple extra-marital liasons and polyandrous marriages. Such legends appear to persist in popular 20th century narrative through a much-used trope in Bombay Epic and puranic cinema: the depiction of the Himalayas as a realm of uninhibited romantic fantasy.
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Actress Juhi Chaturvedi (Piku) and Himanshu Announced Madrid As the Cheerfully Shared Pictures and Selfies on Spain Will Get a Better Idea About Bollywood
2 movie masala BOLLYWOOD INSIDER April 2016 April 2016 BOLLYWOOD INSIDER honor 3 IIFA hollers a “Hola!” Bollywood wins big at National Awards 2016 The Bollywood extravaganza, International Indian Film Academy Tanu Weds Manu Returns (IIFA), is heading to Madrid in Spain this June Baahubali Piku Spain,” he said. The new venue aims to reach out to the huge Latin American market for Indian films. Sonakshi said, “The event AND THE WINNERS ARE... is an excellent opportunity for us to take our cinema across the globe. Madrid is a Best Film Nargis Dutt Award for Best Feature thrilling city, and I am looking forward to Baahubali (Telugu) Film on National Integration experiencing another spectacular IIFA in Nanak Shah Fakir another amazing destination.” Best Director Andre Timmins, director, Wizcraft Sanjay Leela Bhansali (Bajirao Mastani) Indira Gandhi Award for Best Debut International, said, “This year our Best Actor Film (Director) excitement for Spain is strongly focused Amitabh Bachchan (Piku) Neeraj Ghaywan (Masaan) on the opportunity to address CSR and Best Screenplay Writer (Original) izcraft International has regale the crowd on the streets. The actors understand where we come from. By June, environmental issues.” IIFA will celebrate Best Actress Juhi Chaturvedi (Piku) and Himanshu announced Madrid as the cheerfully shared pictures and selfies on Spain will get a better idea about Bollywood. IIFA Rocks Fest; IIFA Stomp, an exhibition Kangana Ranaut (Tanu Weds Manu Returns) Sharma (Tanu Weds Manu Returns) Wofficial host of the 17th their social media accounts, soaking in the And Madrid is such a charming city—with of urban trends; and the magnificent IIFA Best Supporting Actor edition of the IIFA gala from June 23 joie de vivre of the city that is tinted in hues an explosion of sounds, colors and textures Awards.
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Dilip-Kumar-The-Substance-And-The
No book on Hindi cinema has ever been as keenly anticipated as this one …. With many a delightful nugget, The Substance and the Shadow presents a wide-ranging narrative across of plenty of ground … is a gold mine of information. – Saibal Chatterjee, Tehelka The voice that comes through in this intriguingly titled autobiography is measured, evidently calibrated and impossibly calm… – Madhu Jain, India Today Candid and politically correct in equal measure … – Mint, New Delhi An outstanding book on Dilip and his films … – Free Press Journal, Mumbai Hay House Publishers (India) Pvt. Ltd. Muskaan Complex, Plot No.3, B-2 Vasant Kunj, New Delhi-110 070, India Hay House Inc., PO Box 5100, Carlsbad, CA 92018-5100, USA Hay House UK, Ltd., Astley House, 33 Notting Hill Gate, London W11 3JQ, UK Hay House Australia Pty Ltd., 18/36 Ralph St., Alexandria NSW 2015, Australia Hay House SA (Pty) Ltd., PO Box 990, Witkoppen 2068, South Africa Hay House Publishing, Ltd., 17/F, One Hysan Ave., Causeway Bay, Hong Kong Raincoast, 9050 Shaughnessy St., Vancouver, BC V6P 6E5, Canada Email: [email protected] www.hayhouse.co.in Copyright © Dilip Kumar 2014 First reprint 2014 Second reprint 2014 The moral right of the author has been asserted. The views and opinions expressed in this book are the author’s own and the facts are as reported by him, which have been verified to the extent possible, and the publishers are not in any way liable for the same. All photographs used are from the author’s personal collection. All rights reserved.
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