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Govind Nihalani's 'Hazaar Chaurasi Ki
Reclaiming Her /histories), reclaiming Lives: Govind Nihalani’s ‘Hazaar Chaurasi ki Ma’ and Mahashweta Devi’s Mother of 1084. Baruah Baishali Assistant Professor. Dept. of English Satyawati College (D) University of Delhi India Mahashweta Devi’s story is about the reawakening of a mother proselytized by the death of her son against the backdrop of the systematic “annihilation” of the Naxalites in the 1970’s Bengal. The uncanny death forces the apolitical mother to embark on a quest for the discovery of her ‘real’ son which eventually leads to her own self-discovery. The discovery entails the knowledge of certain truths or half truths about the particular socio-political milieu in which the characters are located. Sujata conditioned to play the submissive, unquestioning wife and mother for the major part of her life gains a new consciousness about her own reality (as a woman) and her immediate context (the patriarchal / feudal order). She therefore pledges to refashion herself by assimilating her son’s political beliefs of ushering in a new egalitarian world without centre or margin. In Govind Nihalani’s own words his film is “a tribute to that dream”. The symbiotic relation of the mother and the son which is shown to be more than just blood relation is done full justice by Nihalani. Jaya Bacchan plays to the hilt the traumatized mother (Sujata) who finds herself locked within her “solitary cell” and constantly assailed by the guilt of not knowing her son adequately when alive. The information about her son (Brati) that surfaces by her association with one Somu’s mother (Seema Biswas) and Nandini (played by Nandita Das) help her discover Brati his idealism, and shed her complacency about the arrangements of the hierarchised structure that underline every interpersonal (man- woman) and social (class/caste) relationship. -
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DLD‰†‰KDLD‰†‰DLD‰†‰MDLD‰†‰C A class apart: It’s Item numbers: THE TIMES OF INDIA back to school for Yana Gupta Friday, November 28, 2003 Pamela Anderson eyes a century! Prisoners in love seek extended term Page 9 Page 10 A Danish judge has receiv- sentence as a way to spend ed requests from two pris- more time with each other. oners — a Scottish man and Why don’t they just get out Swedish woman — for exte- and get married? Both of nded prison ti- them are alrea- me. Both have dy married asked for two and also have extra months children. behind bars to ‘‘There is no help fight alco- way my wife holism. will agree to It was later this arrangem- discovered that the Scott ent,’’ says the Scot, Kenne- and Swede had fallen in lo- th Graham. Ironically, nei- ve while in prison and wan- ther prisoner was granted ted to use their extended a longer sentence. OF INDIA ENTERTAINMENT PLUS PRASHANT NAKWE Polls wheel in flashy cars ARUN KUMAR DAS possession of a Fiat in his poll papers; Vishwa Bandhu Times News Network Gupta, chief of the Congress’ publicity committee, is moving around in a Mercedes Benz; and Delhi health nce upon a time, life in the fast lane of netadom minister AK Walia is using a Tata Sumo for electionee- was all about the good ol’ Amby.However,for aaj ring purposes after returning the Ambassador official- Oka MLA on the campaign trail, nothing but the ly allocated to him. Walia, it may be mentioned, has not snazziest dream machine will do. -
Clare M. Wilkinson-Weber
Clare M. Wilkinson-Weber TAILORING EXPECTATIONS How film costumes become the audience’s clothes ‘Bollywood’ film costume has inspired clothing trends for many years. Female consumers have managed their relation to film costume through negotiations with their tailor as to how film outfits can be modified. These efforts have coincided with, and reinforced, a semiotic of female film costume where eroticized Indian clothing, and most forms of western clothing set the vamp apart from the heroine. Since the late 1980s, consumer capitalism in India has flourished, as have films that combine the display of material excess with conservative moral values. New film costume designers, well connected to the fashion industry, dress heroines in lavish Indian outfits and western clothes; what had previously symbolized the excessive and immoral expression of modernity has become an acceptable marker of global cosmopolitanism. Material scarcity made earlier excessive costume display difficult to achieve. The altered meaning of women’s costume in film corresponds with the availability of ready-to-wear clothing, and the desire and ability of costume designers to intervene in fashion retailing. Most recently, as the volume and diversity of commoditised clothing increases, designers find that sartorial choices ‘‘on the street’’ can inspire them, as they in turn continue to shape consumer choice. Introduction Film’s ability to stimulate consumption (responding to, and further stimulating certain kinds of commodity production) has been amply explored in the case of Hollywood (Eckert, 1990; Stacey, 1994). That the pleasures associated with film going have influenced consumption in India is also true; the impact of film on various fashion trends is recognized by scholars (Dwyer and Patel, 2002, pp. -
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. -
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. -
Routledge Handbook of Indian Cinemas the Indian New Wave
This article was downloaded by: 10.3.98.104 On: 28 Sep 2021 Access details: subscription number Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: 5 Howick Place, London SW1P 1WG, UK Routledge Handbook of Indian Cinemas K. Moti Gokulsing, Wimal Dissanayake, Rohit K. Dasgupta The Indian New Wave Publication details https://www.routledgehandbooks.com/doi/10.4324/9780203556054.ch3 Ira Bhaskar Published online on: 09 Apr 2013 How to cite :- Ira Bhaskar. 09 Apr 2013, The Indian New Wave from: Routledge Handbook of Indian Cinemas Routledge Accessed on: 28 Sep 2021 https://www.routledgehandbooks.com/doi/10.4324/9780203556054.ch3 PLEASE SCROLL DOWN FOR DOCUMENT Full terms and conditions of use: https://www.routledgehandbooks.com/legal-notices/terms This Document PDF may be used for research, teaching and private study purposes. Any substantial or systematic reproductions, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The publisher shall not be liable for an loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. 3 THE INDIAN NEW WAVE Ira Bhaskar At a rare screening of Mani Kaul’s Ashad ka ek Din (1971), as the limpid, luminescent images of K.K. Mahajan’s camera unfolded and flowed past on the screen, and the grave tones of Mallika’s monologue communicated not only her deep pain and the emptiness of her life, but a weighing down of the self,1 a sense of the excitement that in the 1970s had been associated with a new cinematic practice communicated itself very strongly to some in the auditorium. -
Interview with Govind Nihalani Rukmavati Ki Haveli:: Creating
REVISTA CIENTÍFICA DE CINE Y FOTOGRAFÍA E-ISSN 2172-0150 Nº 12 (2016) INTERVIEW WITH GOVIND NIHALANI RUKMAVATI KI HAVELI: CREATING EMOTIONAL LANDSCAPES Amparo Rodrigo Mateu University of Mumbai, India [email protected] 25 years after filming Rukmavati Ki Haveli (1991), the Hindi movie adaptation of Lorca's play La casa de Bernarda Alba (Federico García Lorca, 1936), Mumbai-based Indian filmmaker and former cameraman Govind Nihalani (Karachi, 1940) vividly remembers the effect it had on him and relates how he adapted the play from Lorca's Spanish Andalusia to a film with an Indian background. 1 -Why did you choose Lorca and, among all his works, what attracted you to La casa de Bernarda Alba? I always liked theater and I was very close to a well-known Hindi theatre director. His name was Satyadev Dubey. He used to do English plays and he spoke to me a lot about some plays from Europe. Among them, he spoke about Lorca and this particular play. I had not read it but he described it as a strong play, so I became curious. I bought an English translation and I read it. I liked FOTOCINEMA, nº 13 (2016), E-ISSN: 2172-0150 321 the play very much because of its theme: authoritarianism and the rebellion against authoritarianism. I read it, I liked it and, then, I forgot about it. One day, I went to Jaisalmer, in Rajasthan. As I was going up the fort, I saw a group of Rajasthani women walking down. All of them -they must have been a particular tribe- were dressed in brown petticoats, brown skirts and black duppatas1 and chadars2, and wearing old silver jewelery. -
Movies of Feroz Khan
1 / 2 Movies Of Feroz Khan Feroze Khan (born July 11, 1990) is famous for being tv actor. ... Padmavati is undeniably the most awaited movie of the year and it won't be hard to call it a hit .... Feroz Khan Movies List. Thambi Arjuna (2010)Ramana, Aashima. Welcome (2007)Feroz Khan, Anil Kapoor. Ek Khiladi Ek Haseena (2005)Fardeen Khan, .... See more ideas about actors, pakistani actress, feroz khan. ... Khushbo is Pakistani film and stage Actress. c) On some minimal productions (e. Want to Become .... Tasveer Full Hindi Movie (1966) Film cast : Feroz Khan, Kalpana, Helen, Sajjan, Rajendra Nath, Nazir Hasain, Leela Mishra, Raj Mehra, Lalita Pawar, Sabeena. MUMBAI, India (Agence France-Presse) — Feroz Khan, a Bollywood ... he made “Dharmatma,” the first Hindi-language movie shot on location .... Actor Rishi Kapoor tweeted that the two actors, who worked together in three films, died of Cancer on the same date. Known for his flamboyant persona, Feroz Khan was an actor, director and producer who had a long innings in the Hindi film industry. The actor .... Feroz Khan was born at Bangalore in India to an Afghan Father, Sadiq Khan and an Iranian mother Fatima. After schooling from Bangalore he shifted to Bombay .... He would have turned 79 on September 25. However, actor, director and producer Feroz Khan – one of his kind in the Hindi film industry .... Feroz Khan All Movies List · Ek Khiladi Ek Haseena - 2005 · Ek Khiladi Ek Haseena (2005)Feroz Khan , Fardeen Khan , Koena Mitra , Gulshan Grover , Kay Kay , .... India's answer to Clint Eastwood, Feroz Khan is known as the most stylish bollywood actor. -
Will Chulbul's 'Swag' Override Memories of Thunder?
Will Chulbul's 'swag' override memories of Thunder? Pepsi's new face and Dabangg star Salman Khan a.k.a Chulbul Pandey has been a face for rival cola brand Thums Up. We speak to experts Rohit Ohri, KV Sridhar, Darshana Bhalla and Manish Bhatt for their take on this interesting development. There was a ruffle in the advertising and marketing fraternity around a recent piece of news concerning Pepsi. The flagship beverage brand from PepsiCo has just announced its association with Bollywood superstar and former Thums Up face Salman Khan. Brand faces change over time depending on objectives, but Pepsi's partnership with the Dabangg star flags two key points – the endorser's former association with rival cola brand Thums Up and Pepsi's recent positioning as a youth facing brand, placing itself alongside college students and within campuses. Why did Thums Up choose Salman Khan back in the day? This high octane cola brand from Coca Cola has always worn macho faces, including the likes of Suniel Shetty, Akshay Kumar, Chiranjeevi, Mahesh Babu and more recently Ranveer Singh. All the film stars have had action packed roles in their parallel presence on the silver screen and this was extended to the ad communications. After all, it had to be about the 'Thunder'. Coca-Cola India signed Salman Khan for Thums Up in 2012. The company had then tied up with Khan's movie Dabangg 2 which released on December 21 the same year. The action movie features Khan as Chulbul Pandey, a witty but strong-handed police officer. -
30April-DT1.Qxd (Page 1)
DLD‰‰‰†‰KDLD‰‰‰†‰DLD‰‰‰†‰MDLD‰‰‰†‰C Halle and hearty: 98.3 FM: Delhi THE TIMES OF INDIA Berry’s daughter has the hots for Wednesday, April 30, 2003 gets beauty tips Radio Mirchi! Page 7 Page 3 TO D AY S LUCKY 849 Rise and shine Right on line 859 866 All the sixes Five Dozen 860 Your Dambola Ticket available in Delhi Times on 27th April, 2003 OF INDIA Numbers already announced : 27, 39, 50, 71, 32, 41, 88, 22, 55, 15, 30, 43 PRASHANT NAKWE No thorns for Delhi’s roses ARUN KUMAR DAS itable for the growth of these hi-tech, new Times News Network varieties developed here.’’ Among the various breakthroughs ma- rose is a rose is a ro- de at the IARI are high-prote- se... but a rose without in wheat; Basmati rice whi- A thorns? It’s different. ch is both larger in size and As is the orange-coloured ca- different in aroma from what pscicum and seedless cucum- is currently available; cauliflowers ber. Well, the fact of the matt- which are more leafy; and mangoes er is that these hi-tech variati- which are of export quality.Most im- ons of the usual suspects are portantly,all these hi-tech crops have all set to take root in the met- already received the government’s ro’s market. okay to be grown on a large scale ‘‘A number of hi-tech cro- in the Capital. ps, including roses minus th- ‘‘These crops, developed to meet orns and orange-coloured ca- NEELABH high parameters of quality,will off- psicum have been developed er the consumer more value for mo- at the Indian Agriculture Res- BLOOM TIME ney,’’reveals an IARI scientist, ‘‘The earch Institute -
Hindi DVD Database 2014-2015 Full-Ready
Malayalam Entertainment Portal Presents Hindi DVD Database 2014-2015 2014 Full (Fourth Edition) • Details of more than 290 Hindi Movie DVD Titles Compiled by Rajiv Nedungadi Disclaimer All contents provided in this file, available through any media or source, or online through any website or groups or forums, are only the details or information collected or compiled to provide information about music and movies to general public. These reports or information are compiled or collected from the inlay cards accompanied with the copyrighted CDs or from information on websites and we do not guarantee any accuracy of any information and is not responsible for missing information or for results obtained from the use of this information and especially states that it has no financial liability whatsoever to the users of this report. The prices of items and copyright holders mentioned may vary from time to time. The database is only for reference and does not include songs or videos. Titles can be purchased from the respective copyright owners or leading music stores. This database has been compiled by Rajiv Nedungadi, who owns a copy of the original Audio or Video CD or DVD or Blu Ray of the titles mentioned in the database. The synopsis of movies mentioned in the database are from the inlay card of the disc or from the free encyclopedia www.wikipedia.org . Media Arranged By: https://www.facebook.com/pages/Lifeline/762365430471414 © 2010-2013 Kiran Data Services | 2013-2015 Malayalam Entertainment Portal MALAYALAM ENTERTAINMENT PORTAL For Exclusive -
December 2018 Issue Monthly Newsletter of the Yoga Institute, India Oldest Organised Yoga Centre in the World
YOGASATTVA DECEMBER 2018 ISSUE MONTHLY NEWSLETTER OF THE YOGA INSTITUTE, INDIA OLDEST ORGANISED YOGA CENTRE IN THE WORLD 1918 2018 100 YEARS OF TRANSFORMING LIVES GRAND CELEBRATION ON DECEMBER 28th AND 29th, 2018 AT MMRDA GROUND BKC, MUMBAI C ONTENTS THE YOGA INSTITUTE 100 YEARS BACK & 100 YEARS FROM NOW 51 YEARS SMT. HANSAJI JAYADEVA YOGENDRA DEDICATED TO THE YOGA INSTITUTE FROM THE TEACHER’S DIARY 6 4-5 A RESPIRATORY TYI HEADLINES SPECIALIST ANSWERS QUESTIONS ON ASTHMA YOGA MD 7 17-23 SARVANGASANA CHALLENGES AND BLESSINGS OF PRACTISING YOGA YOGA TECHNIQUE DR. JAYADEVA OF THE MONTH 8 YOGENDRA 24-25 GLORIOUS TESTIMONIALS CENTENARY YEAR CELEBRATION OF THE YOGA INSTITUTE FEATURED ACTIVITY 9-11 26-27 SLIP DISC UPCOMING (CERVICAL) CURE ACTIVITIES THROUGH YOGA TRANSFORMATION 28-30 THROUGH YOGA 12 The Yoga Institute Shri Yogendra Marg, Prabhat Colony, Santacruz East, Mumbai - 400055, India. Email: [email protected] CENTENARY TYI Tel: +91-22-26122185/+91-22-26110506 WISHES CENTRES www.theyogainstitute.org Follow us on 13-16 31 EDITOR’S NOTE Namaste, t's great to get a nice yoga body, but it helps most to get a yogic mind which renders peace and stability in one’s personal life too. As world over, the yoga practices are moving away from authenticity of tradition, many may ponder over the future of yoga. Yoga has Isustained for over thousands of years and staying true to the roots of this ancient philosophy, The Yoga Institute has also sailed over the last 100 years with integrity. This is a practice that's going to stay for sure.