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Indian Movies, Brand Australia and the Marketing of Australian Cosmopolitanism
University of Wollongong Research Online Faculty of Law, Humanities and the Arts - Papers Faculty of Arts, Social Sciences & Humanities 1-1-2013 Indian movies, brand Australia and the marketing of Australian cosmopolitanism Andrew Hassam University of Wollongong, [email protected] Follow this and additional works at: https://ro.uow.edu.au/lhapapers Part of the Arts and Humanities Commons, and the Law Commons Recommended Citation Hassam, Andrew, "Indian movies, brand Australia and the marketing of Australian cosmopolitanism" (2013). Faculty of Law, Humanities and the Arts - Papers. 919. https://ro.uow.edu.au/lhapapers/919 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Indian movies, brand Australia and the marketing of Australian cosmopolitanism Abstract Indian movies shot overseas have attracted the attention of not only advertising agencies keen to see their clients' brands appearing on-screen, but also government tourism commissions eyeing India's growing middle classes as potential visitors. Australian federal and state governments offer Indian film producers financial incentives to film in Australia, and Australian cities now regularly supply Indian movies with backdrops of upmarket shopping malls, stylish apartments and exclusive restaurants. Yet in helping to project the lifestyle fantasies of India's new middle classes, Australian government agencies are supporting an Indian view of Australia. While this image may attract Indian tourists to Australia, it presumes Australia is culturally White and British, and as a result Australian agencies market an Australian cosmopolitanism defined not in terms of cultural diversity but in terms of the availability of global brands. -
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. -
Representing Bharat Mata in Popular Hindi Films: a Socio-Historical Study of Nationalist Politics of Death
REPRESENTING BHARAT MATA IN POPULAR HINDI FILMS: A SOCIO-HISTORICAL STUDY OF NATIONALIST POLITICS OF DEATH SOUVIK MONDAL Assistant Professor in Sociology. Presidency University, Kolkata, India. E-mail: [email protected] Abstract- Death, which always poses threat to social order with all its uncertainty, can be rationalised teleologically. Historically, Religion has been assigned the role of mitigating the chaotic impact of death by rationalizing it. And if one death is an instance of ‘bad’ death, role of religion has become more essential. With modernity disappears this role of religions and newly emerged scintifico-legal intuitions like state have endeavoured to satiate the rational vacuum created by scientism. In India, during the colonial period the emergence of the image of Mother India or Bharat Mata was a secular attempt to justify the sacrifices of lives of freedom fighters. This article will attempt to analysis the claimed secular nature of Bharat Mata through its illustration from colonial India’s popular culture to its modern day representation in Hindi films. Also, the majoritarian politics of this representation of Bharat Mata as the justifying agent of death would also be analysed to comprehend the constitutional claim of India being a secular nation. I. INTRODUCTION belivable simulation of experiencing first human death state the logical confusion and stuctural aniexty The very idea of death creates an existential confusion associated with the event of death. The cultural of ‘not being’ and almost every single philosophical symbolism of our surroundings also embody the creed's attempt to decode this predicament proves its mysticism and perplexity of death and this universality. -
SRK UFO Moviez' 'Curtain Raiser' Platform to Be Leveraged by Shah Rukh Khan to Launch Raees Trailer
SRK UFO Moviez’ ‘Curtain Raiser’ platform to be leveraged by Shah Rukh Khan to launch Raees Trailer Shah Rukh Khan to interact live with audiences in 9 UFO theatres through Big Screen while audiences across 3500 can view this interaction live on-screen Mumbai 1st Dec: UFO digital cinema, Excel Entertainment and Red Chillies Entertainment and are set to bring in the trailer of Raees to the theatres in your city! A revolutionary concept which reaches out to larger audiences and celebrates the movie goer! Today the world is transforming. We see innovative technologies and solutions applied to every facet of the entertainment industry. UFO Moviez has taken this very aspect to the next level. One of the widely talked about films of SRK has commenced its campaign where the actor recently released a special video that was shot as a build up to the trailer of the film! This brief video has SRK in his character Raees, who has announced the release date of the trailer which is set to come out on 7th December! The trailer of the film will be released in as many as 3,500 theatres across cities! Infact SRK will be seen interacting with the audiences of a few selected cities (Delhi, Indore, Ahmedabad, Kolkata, Bangalore, Hyderabad, Jaipur, Mumbai and Moga) through the advanced UFO technology of video conferencing. The team is keen to reach out to as many people as possible and this approach sure seems to be an effective way of doing the same. Commenting on the new initiative, Mr. Sanjay Gaikwad, Founder and Managing Director, UFO Moviez said, “As India’s largest digital cinema distribution network and in-cinema advertising platform, UFO Moviez takes pleasure in pioneering the interactive digital promotional genre with our latest initiative ‘Curtain Raiser’. -
Bollywood As National(Ist) Cinema Violence, Patriotism and the National- Popular in Rang De Basanti
Third Text, Vol. 23, Issue 6, November, 2009, 703–716 Bollywood as National(ist) Cinema Violence, Patriotism and the National- Popular in Rang De Basanti Neelam Srivastava This essay sets out to explore the relationship between violence, patrio- tism and the national-popular within the medium of film by examining the Indian film-maker Rakeysh Mehra’s recent Bollywood hit, Rang de Basanti (Paint It Saffron, 2006). The film can be seen to form part of a body of work that constructs and represents violence as integral to the emergence of a national identity, or rather, its recuperation. Rang de Basanti is significant in contemporary Indian film production for the enormous resonance it had among South Asian middle-class youth, both in India and in the diaspora. It rewrites, or rather restages, Indian nationalist history not in the customary pacifist Gandhian vein, but in the mode of martyrdom and armed struggle. It represents a more ‘masculine’ version of the nationalist narrative for its contemporary audiences, by retelling the story of the Punjabi revolutionary Bhagat Singh as an Indian hero and as an example for today’s generation. This essay argues that its recuperation of a violent anti-colonial history is, in fact, integral to the middle-class ethos of the film, presenting the viewers with a bourgeois nationalism of immediate and timely appeal, coupled with an accessible (and politically acceptable) social activism. As the 1. Quoted in Namrata Joshi, sociologist Ranjini Majumdar noted, ‘the film successfully fuels the ‘My Yellow Icon’, Outlook middle-class fantasy of corruption being the only problem of the coun- India, online edition, 20 1 February 2006, available try’. -
JAN to APRIL.Xlsx
List of feature films certified from 01 Jan 2021 to 30 April 2021 Certified Type Of Film Application Production Certificate Sr. No. Title Language Certificate No. Certificate Date Duration/Le (Video/Digita Producer Name Date House Type ngth l/Celluloid) Assamese ASSAMESE WITH R.C. FILMS 1 COMMANDO 23-02-2021 DIL/1/3/2021-GUW 02 March 2021 87.18 Digital Rekha Chamuah U PARTLY HINDI PRODUCTION 2 DEUTA 27-04-2021 Assamese DIL/1/8/2021-GUW 29 April 2021 82.54 Digital Dishan Dholua - U AWADHI GOLDMINES ULKA MANISH 1 SAKTHI 23-12-2020 AWADHI VIL/2/2/2021-DEL 13 January 2021 138.15 Video TELEFILMS PVT UA SHAH LTD GOLDMINES ULKA MANISH 2 REBEL 22-01-2021 AWADHI VIL/2/6/2021-DEL 04 February 2021 143.57 Video TELEFILMS PVT UA SHAH LTD UPPALAPATI VENKATA 3 MIRCHI 01-02-2021 AWADHI VIL/2/7/2021-DEL 12 February 2021 137.51 Video U V CREATIONS UA SATYANARAYA NARAJU GOLDMINES ULKA MANISH 4 POWER 18-02-2021 Awadhi VIL/2/10/2021-DEL 26 February 2021 126.46 Video TELEFILMS PVT UA SHAH LTD NALLAMALUPU LAKSHMI POWER RETURNS ( 5 13-03-2021 AWADHI VIL/2/11/2021-DEL 19 March 2021 143.21 Video SRINIVASREDD NARASIMHA UA RACE GURRAM ) Y PRODUCTIONS Sumeet Kishen 6 AMBARISHA 16-03-2021 AWADHI VIL/2/81/2021-MUM 26 March 2021 135.44 Video SUMEET ARTS UA Saigal GOLDMINES ULKA MANISH 7 VETTAIKAARAN 25-03-2021 Awadhi VIL/2/18/2021-CUT 07 April 2021 150.33 Video TELEFILMS PVT UA SHAH LTD GOLDMINES ULKA MANISH 8 DHRUVA 03-04-2021 Awadhi VIL/2/97/2021-MUM 09 April 2021 150.5 Video TELEFILMS PVT UA SHAH LTD Bengali WELCOME INDIA TO Prantosh 1 12-12-2020 Bengali DIL/1/1/2021-KOL -
Androcentrism in Indian Sports
Journal of Xi'an University of Architecture & Technology Issn No : 1006-7930 Androcentrism in Indian sports Bijit Das [email protected] Ph.D. Research Scholar, Department of Sociology Dibrugarh University Dibrugarh, Assam, India 786004 Abstract The personality of every individual concerning caste, creed, religion, gender in India depends on the structures of society. The society acts as a ladder in diffusing stereotypes from generation to generation which becomes a fundamental constructed ideal type for generalizing ideas on what is masculine or feminine. The gynocentric and androcentric division of labor in terms of work gives more potential for females in household works but not as the position of males. This paper is more concentrated on the biases of women in terms of sports and games which are male- dominated throughout the globe. The researcher looks at the growing stereotypes upon Indian sports as portrayed in various Indian cinemas. Content analysis is carried out on the movies Dangal and Chak de India to portray the prejudices shown by the Indian media. A total of five non-fictional sports movies are made in India in the name of Bhaag Milkha Bhaag (2013), Paan Singh Tomar(2012), MS Dhoni: An untold story(2016), Azhar(2016), Sachin: A billion dreams(26 May 2017) are on male sportsperson whereas only two movies are on women, namely Mary Kom (2014), Dangal(2017). This indicates that male preference is more than female in Indian media concerning any sports. The acquaintance of males in every sphere of life is being carried out from ancient to modern societies. This paper will widen the perspectives of not viewing society per media but to the independence and equity of both the sex in every sphere of life. -
Crimeindelhi.Pdf
CRIME IN DELHI 2018 as against 2,23,077 in 2017. The yardstick of crime per lakh of population is generally used worldwide to compare The social churning is quite evident in the crime scene of the crime rate. Total IPC crime per lakh of population was 1289 capital. The Delhi Police has been closely monitoring the ever- crimes during the year 2018, in comparison to 1244 such changing modus operandi being adopted by criminals and crimes during last year. adapting itself to meet these new challenges head-on. The year 2018 saw a heavy thrust on modernization coupled with unrelenting efforts to curb crime. Here too, there was a heavy TOTAL IPC CRIME mix of the state-of-the-art technology with basic policing. The (per lakh of population) police maintained a delicate balance between the two and this 1500 was evident in the major heinous cases worked out this year. 1243.90 1289.36 Along with modern investigative techniques, traditional beat- 1200 1137.21 level inputs played a major role in tackling crime and also in 900 its prevention and detection. 600 Some of the important factors impacting crime in Delhi are 300 the size and heterogeneous nature of its population; disparities in income; unemployment/ under employment, consumerism/ 0 materialism and socio-economic imbalances; unplanned 2016 2017 2018 urbanization with a substantial population living in jhuggi- jhopri/kachchi colonies and a nagging lack of civic amenities therein; proximity in location of colonies of the affluent and the under-privileged; impact of the mass media and the umpteen TOTAL IPC advertisements which sell a life-style that many want but cannot afford; a fast-paced life that breeds a general proclivity 250000 223077 236476 towards impatience; intolerance and high-handedness; urban 199107 anonymity and slack family control; easy accessibility/means 200000 of escape to criminal elements from across the borders/extended 150000 hinterland in the NCR region etc. -
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. -
Recruiter's Handbook 2020
Recruiter’s Handbook 2020 VISION To create a state-of-the-art institution that sets new standards of world-class education in film, communication and creative arts. MISSION Benchmarking quality, inspiring innovation, encouraging creativity & moulding minds, by leading from the front in the field of film, media and entertainment education. ONE OF THE TEN BEST FILM SCHOOLS IN THE WORLD - THE HOLLYWOOD REPORTER Degree & Diploma 5.5 ACRE programmes CAMPUS acceredited by the TISS 1300+ 2200+ STUDENTS Media & Film industry Alumni campus SCHOOL OF EVENT MANAGEMENT Subhash Ghai Founder & Chairman, Whistling Woods International Chairman, Mukta Arts Limited Member, Executive Committee, Film & Television Producers Guild of India Member, United Producers Forum Education Evangelist Karamveer Chakra Awardee Chairman, MESC Subhash Ghai is a globally renowned filmmaker having directed 19 films over a four-decade career, with 14 of them being blockbusters. Recipient of many national and international awards, he has also been honoured by the United States Senate. He has been a former Chairman of the Entertainment Committee of Trade body CII and also a member of FICCI, NASSCOM and TIE Global & its alliances. He has been invited to address various forums and seminars on corporate governance and the growth of Media & Entertainment industry globally and in India. He is presently serving as the Chairman of Media and Entertainment Skills Council (MESC). Message from the Founder & Chairman My journey as a filmmaker in the Media & Entertainment (M&E) industry has been a long and cherished one. Over the years, the one factor that has grounded me and contributed to my success is the basic film education I received from the film institute I studied in, coupled with my strong desire to learn and re-learn from my days as part of the Indian film industry. -
Wazir Hindi Dubbed Movie Download
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Girl Rising India
GIRL RISING INDIA Building a Movement for Girls Through Powerful Storytelling Girl Rising uses the power of storytelling to inspire, shift attitudes and change behavior. In India, Girl Rising’s powerful media tools have made meaningful strides towards increasing the agency of girls and women, and inspiring community members to support the movement for gender equality. Girl Rising Film Comes To India After a close consultation with Prime Minister Narendra Modi and a partnership with the Ministry of Women and Child Development, the Girl Rising film was launched in India in August 2015 as Woh Padhegi, Woh Udegi (She Learns, She Rises) on Star television, which has a network of 450 million viewers across the country and a reach of 100+ countries. The film harnessed the talents of India’s biggest Bollywood stars including Priyanka Chopra, Freida Pinto, Parineeti Chopra, Kareena Kapoor Khan, Madhuri Dixit, Sushmita Sen, Amitabh Bachchan, Nandita Das, Farhan Akhtar, and Alia Bhatt, all of whom lent their voices to the film. Celebrities promoted the launch through their social media networks, and #IAMGirlRising trended No. 1 on Twitter India. Film Screenings To stir important conversations about girls’ education among corporations, communities, universities and neighborhoods, a screenings program was launched soon after the television broadcast of the film. Under this program, Woh Padhegi, Woh Udegi was re-purposed for NGO and corporate audiences. Each version consisted of 3 stories from Woh Padhegi, Woh Udegi and was complemented by a screenings toolkit that contained resources including discussion guides, Director’s Q&A, and promotional materials to help steer conversations around barriers to education.