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Name of the Centre : DAV Bachra No
Name of the Centre : DAV Bachra No. Of Students : 474 SL. No. Roll No. Name of the Student Father's Name Mother's Name 1 19002 AJAY ORAON NIRMAL ORAON PATI DEVI 2 19003 PUJA KUMARI BINOD PARSAD SAHU SUNITA DEVI 3 19004 JYOTSANA KUMARI BINOD KUMAR NAMITA DEVI 4 19005 GAZAL SRIVASTVA BABY SANTOSH KUMAR SRIVASTAVA ASHA SRIVASTVA 5 19006 ANURADHA KUMARI PAPPU KUMAR SAH SANGEETA DEVI 6 19007 SUPRIYA KUMARI DINESH PARSAD GEETA DEVI 7 19008 SUPRIYA KUMARI RANJIT SHINGH KIRAN DEVI 8 19009 JYOTI KUMARI SHANKAR DUBEY RIMA DEVI 9 19010 NIDHI KUMARI PREM KUMAR SAW BABY DEVI 10 19011 SIMA KUMARI PARMOD KUMAR GUPTA SANGEETA DEVI 11 19012 SHREYA SRIVASTAV PRADEEP SHRIVASTAV ANIMA DEVI 12 19013 PIYUSH KUMAR DHANANJAY MEHTA SANGEETA DEVI 13 19014 ANUJ KUMAR UPENDRA VISHWAKARMA SHIMLA DEVI 14 19015 MILAN KUMAR SATYENDRA PRASAD YADAV SHEELA DEVI 15 19016 ABHISHEK KUMAR GUPTA SANT KUMAR GUPTA RINA DEVI 16 19017 PANKAJ KUMAR MUKESH KUMAR SUNITA DEVI 17 19018 AMAN KUMAR LATE. HARISHAKAR SHARMA RINKI KUMARI 18 19019 ATUL RAJ RAJESH KUMAR SATYA RUPA DEVI 19 19020 HARSH KUMAR SHAILENDRA KR. TIWARY SNEHLATA DEVI 20 19021 MUNNA THAKUR HIRA THAKUR BAIJANTI DEVI 21 19022 MD.FARID ANSARI JARAD HUSSAIN ANSARI HUSNE ARA 22 19023 MD. JILANI ANSARI MD.TAUFIQUE ANSARI FARZANA BIBI 23 19024 RISHIKESH KUNAL DAMODAR CHODHARY KAMLA DEVI 24 19025 VISHAL KR. DUBEY RAJEEV KUMAR DUBEY KIRAN DEVI 25 19026 AYUSH RANJAN ANUJ KUMAR DWIVEDI ANJU DWIVEDI 26 19027 AMARTYA PANDEY SATISH KUMAR PANDEY REENA DEVI 27 19028 SHIWANI CHOUHAN JAYPAL SINGH MAMTA DEVI 28 19029 SANDEEP KUMAR MEHTA
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Bollywood and Postmodernism Popular Indian Cinema in the 21St Century
Bollywood and Postmodernism Popular Indian Cinema in the 21st Century Neelam Sidhar Wright For my parents, Kiran and Sharda In memory of Rameshwar Dutt Sidhar © Neelam Sidhar Wright, 2015 Edinburgh University Press Ltd The Tun – Holyrood Road 12 (2f) Jackson’s Entry Edinburgh EH8 8PJ www.euppublishing.com Typeset in 11/13 Monotype Ehrhardt by Servis Filmsetting Ltd, Stockport, Cheshire, and printed and bound in Great Britain by CPI Group (UK) Ltd, Croydon CR0 4YY A CIP record for this book is available from the British Library ISBN 978 0 7486 9634 5 (hardback) ISBN 978 0 7486 9635 2 (webready PDF) ISBN 978 1 4744 0356 6 (epub) The right of Neelam Sidhar Wright to be identified as author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 and the Copyright and Related Rights Regulations 2003 (SI No. 2498). Contents Acknowledgements vi List of Figures vii List of Abbreviations of Film Titles viii 1 Introduction: The Bollywood Eclipse 1 2 Anti-Bollywood: Traditional Modes of Studying Indian Cinema 21 3 Pedagogic Practices and Newer Approaches to Contemporary Bollywood Cinema 46 4 Postmodernism and India 63 5 Postmodern Bollywood 79 6 Indian Cinema: A History of Repetition 128 7 Contemporary Bollywood Remakes 148 8 Conclusion: A Bollywood Renaissance? 190 Bibliography 201 List of Additional Reading 213 Appendix: Popular Indian Film Remakes 215 Filmography 220 Index 225 Acknowledgements I am grateful to the following people for all their support, guidance, feedback and encouragement throughout the course of researching and writing this book: Richard Murphy, Thomas Austin, Andy Medhurst, Sue Thornham, Shohini Chaudhuri, Margaret Reynolds, Steve Jones, Sharif Mowlabocus, the D.Phil.
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23Rd Jan 2012 Teams Announced for Louis Philippe Cup 3Rd Edition
Teams Announced For Louis Philippe Cup 3rd Edition Jeev Milkha Singh for Delhi, Jyoti Randhawa for Mumbai, SSP Chowrasia for Chennai and Siddikur for Gurgaon Colombo and Mumbai join the race at India’s official Pro Golf League New Delhi, 23rd January: The 3rd edition of the Louis Philippe Cup will bring an all-star brigade in the form of Jeev, Jyoti, Anirban, Gaganjeet, Siddikur, SSP Chowrasia, Rashid Khan, Himmat Rai and many others to Mumbai fans in a scintillating display of the best talent ever to compete in Mumbai. Players will compete for nine city teams including a new international team from Colombo and one representing host city Mumbai at Bombay Presidency Golf Club, Mumbai from 17-22 February 2014. The four-day tournament with a prize purse of Rs. 1.2 Crore, is sanctioned by the Professional Golf Tour of India (PGTI), and conceived and promoted by RN Golf Management (RNGM). The nine city teams are - Navratna Ahmedabad, Puravankara Bangalore, TAKE Chennai, DLF Gurgaon, Jaypee Greens Greater Noida, AVT Kolkata, Dev-Ellora Laqshya Mumbai, Krrish Colombo and Shubhkamna Delhi. India’s all time greatest golfer ever Jeev Milkha Singh, who played for Noida the last two years will play for Shubhkamna Delhi this season. Last year’s Arjuna awardee in golf, Gaganjeet Bhullar will be seen representing his Jaypee Greens Greater Noida team for the second consecutive year. India’s highest ranked player currently in the world and No 3 on the Asian Tour 2013 Rankings from Bangalore, Anirban Lahiri will wear Puravankara Bangalore’s colours for the third time in a row.
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Indian Science Fiction Cinema an Overview
Indian Science Fiction Cinema: An Overview - Liverpool Schol... http://liverpool.universitypressscholarship.com/view/10.5949/li... Liverpool Scholarship Online Business and Management Film, Television and Radio Linguistics Political Science Classical Studies History Literature Society and Culture The Liverpool Companion to World Science Fiction Film Sonja Fritzsche Go to page: Go Print publication date: 2014 Print ISBN-13: 9781781380383 Published to Liverpool Scholarship Online: January 2015 DOI: 10.5949/liverpool/9781781380383.001.0001 Download chapter (pdf) Indian Science Fiction Cinema: An Overview Jessica Langer Dominic Alessio DOI:10.5949/liverpool/9781781380383.003.0004 Abstract and Keywords Big budget Indian productions such as Koi… mil Gaya (I…Found Someone, dir. Rakesh Roshan 2003), its sequel Krissh (dir. Rakesh Roshan 2006), Love Story 2050 (dir. Harry Baweja 2008) and Krissh 3 (dir. Rakesh Roshan, 2013), all demonstrate that science fiction has become a major box-office draw in India and its diaspora. This chapter traces the literary origins and history of Indian science fiction film. Whilst doing so it also examines the influences, both international and local, which have gone into these productions. The chapter suggests that whilst borrowing heavily from Hollywood and the western science fiction tradition, Indian science fiction cinema is not entirely imitative. As a genre we suggest that it displays a cinematic tradition quite distinct, such as the inclusion of musical numbers, alongside certain significant Indian thematic elements, such as strong religious and Hindu nationalist references. Thus Indian science fiction cinema provides the possibility for not only generating significant revenue for the industry as a whole, but also remonstrating against ‘the homogenising impulses of Hollywood’ (Vasudevan 2000) whilst at the same time imitating its forms and styles.
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Indywood the Indian Film Industry September 2016 Indywood | the Indian Film Industry
Indywood The Indian Film Industry September 2016 Indywood | The Indian Film Industry 2 Indywood | The Indian Film Industry Contents Foreword 3 Executive Summary 5 Make in India Initiative and the Film Industry 6 India’s Film Industry 6 Industry Overview 7 Key Trends in the Indian Film Industry 10 Growth Drivers and Opportunities 15 Key Challenges in the Industry 17 Key Focus Areas for the Film Industry 21 Technological Advancements in the Film Industry 24 Skill Development in the Film Industry 32 Film Tourism in India 34 Background and Global Perspective 34 Film Tourism in India: An Overview 40 Recent initiatives to Improve Film Tourism 40 Next Steps and Initiatives 46 International Best Practices: Case Studies 50 Case Study: Film Tourism in the UK 50 Case Study: Film Tourism in New Zealand 54 Shooting of Foreign Films in India – Tax Aspects 59 Authors, Acknowledgments and Contacts 62 3 Indywood | The Indian Film Industry Foreword Welcome to the Indian Film Industry Report critical to remain at the forefront of global for the Indywood Film Carnival taking place trends. The report analyses the methods to during September 24 – 27, 2016 in Ramoji achieve this including technology transfers, Film City, Hyderabad. The film industry collaboration with international studios and has been earmarked as a key sector in the development of technical skills in-country. Make in India campaign. As part of this, Another endeavour of the Make in India the Government of India is taking several campaign has been to develop technical initiatives to effect growth in the sector skills for film production, post production as well as promote foreign film shootings and VFX.
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The Lunchbox (2013) an NFDC Film Krrish 3 (2013)
The Lunchbox (2013) an NFDC Film Hindi - 104 min - Drama | Romance "Dabba" (original title) Director: Ritesh Batra The Dabbawalas (lunchbox service) of Mumbai deliver 170’000 lunchboxes every day and according to a Harvard study, only one in a million ever goes astray. This movie is the story of that one mistaken delivery which connects a young housewife Ila to a lonely widower Saajan in the dusk of his life as they build a fantasy world together through notes in the lunchbox…. Both find a dream to hold on to. Ila begins a fantastical affair with a mystery suitor, pouring her heart into cooking meals for him. Saajan looks forward to lunch box deliveries from a mystery woman every day. As the lunchbox goes back and forth, this fantasy becomes so elaborate that it threatens to overwhelm their reality. The film is the story of the life of which we dream versus the life we live in, and of the courage it takes to turn out fantasies into reality. The film was released in February 2014 in the US and the New York Times described it as “A perfect balance of tact and sentimentality”. Cast: Irrfan Khan, Nimrat Kaur, Nawazuddin Siddiqui Krrish 3 (2013) Hindi - 152 min - Action | Sci-Fi Director: Rakesh Roshan Krishna aka Krrish is living a happy married life in India with his wife Priya and scientist dad Rohit, while helping the masses with his superpowers and struggling to keep a steady job. In another part of the world, an evil handicapped man named Kaal has used his DNA to generate a team of human-animal mutants, particularly the ruthless chameleon mutant Kaya who can assume any form she wants.
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Salman Creates Fan Hysteria Find out Whom Arjun Admires
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Krrish 4 Full Movie Download
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Digital Era and Changing Face of Bollywood Cinema
International Research Journal of Social Sciences____________________________________E-ISSN 2319–3565 Vol. 5(5), 16-21, May (2016) Int. Res. J. Social Sci. Digital era and Changing face of Bollywood Cinema Heena Kausar and Govind Pandey Mass Communication and Journalism, Babasaheb Bhimrao Ambedkar University Lucknow, Uttar Pradesh 226025, India [email protected] Available online at: www.isca.in, www.isca.me Received 23rd February 2016, revised 3rd April 2016, accepted 5th May 2016 Abstract It was for the first time on July 07, 1896 that Lumiere Brothers screened their short films at Watson Hotel of Bombay the audiences left mesmerized. It was an event which created history in terms of growth and spread of motion pictures across the globe. In 1913 Dadasaheb Phalke, released his film Raja Harishchandr. The silent era was dominated by the mythology and filmmakers narrated many stories of their childhood using motion pictures as a medium of expression. Initially the film industry and the fraternity could not get support of the society as there was no social approval of film viewing. Gradually the technology made it possible to make talkies and the first film – in 1931, Alam Ara made by Ardeshir Irani was screened in Bombay The credit of producing the first colored movie in India also goes to Sir Ardeshir Irani, who made Kisan Kanya (Peasant Girl) in the year 1937. 1940s to the 1960s is considerd as the Golden Age of Indian Cinema by film historians. Beside that contemporary Hindi films have evolved through ages. From romance to realism to comedy to action; it has cross a long path.
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Remarkable 'Marca' in Houseful Movies
www.ccsenet.org/ijms International Journal of Marketing Studies Vol. 4, No. 2; April 2012 Remarkable ‘Marca’ in Houseful Movies Anshul Rathi Senior Research Scholar, College of Technology and Engineering University Campus, Udaipur (Raj.) 313001, India E-mail: [email protected] Bhaskar Pant Assistant Manager, Axis Bank Ltd. 3rd Floor, Ranka Mansion, Opp. Rani Sati Gate, Y.N. Road, Indore (M.P.) 452003, India E-mail: [email protected] Alpa Rathi (Corresponding author) Deputy Manager, National Commodity & Derivatives Exchange Ltd. 401, Gold Arcade, Opp. Curewell Hospital, New Palasia, Indore (M.P.) 452001, India E-mail: [email protected] Received: January 26, 2012 Accepted: February 28, 2012 Published: April 1, 2012 doi:10.5539/ijms.v4n2p157 URL: http://dx.doi.org/10.5539/ijms.v4n2p157 Abstract Every frame in a movie has an opportunity for branding. The marketers are now using movies to project the core values of their brands. In-film branding, in its most effective form, is about a brand being a part of cinema’s content. In this paper the study is undertaken to understand the attitude and interests of audience towards brands and branded products and the individual’s propensity to get influenced by brand image. This paper also analyzes whether celebrities in movies help in building awareness and wider reach of the brand. For this analysis, five films have been selected namely 3 Idiots, Krrish, Jab We Met, The Social network and Iron Man 2. The study indicates that brand placement in Hindi as well as English films is effective. The high recall, recognition and positive attitude suggest that brand managers are seriously looking at product placements in movies as a new vehicle for reaching to consumers.
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