How to Be a Role Model at Home Essay
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
SKYPANEL New Accessories for the Family of LED Soft Lights
NEWS IBC ISSUE 2015 SKYPANEL New accessories for the family of LED soft lights ELECTRONIC ALEXA MINI CONTROL SYSTEM AMIRA Karl Walter Lindenlaub ASC, BVK Expanded options for lens and New application areas for tries the Mini on Nine Lives camera remote control the highly versatile AMIRA EDITORIAL DEAR FRIENDS AND COLLEAGUES We hope you can join postproduction through ARRI Media, illustrating us here at IBC, where we the uniquely broad range of products and services are showcasing our latest we offer. 18 camera systems and lighting technologies. For the ARRI Rental has also been busy supplying the first time in ARRI News we are also introducing our ALEXA 65 system to top DPs on major feature films newest business unit: ARRI Medical. Harnessing – many are testing the large-format camera for the core imaging technology and reliability of selected sequences and then opting to use it on ALEXA, our ARRISCOPE digital surgical microscope main unit throughout production. In April IMAX is already at work in operating theaters, delivering announced that it had chosen ALEXA 65 as the unsurpassed 3D images of surgical procedures. digital platform for 2D IMAX productions. In this issue we share news of how AMIRA is Our new SkyPanel LED soft lights, announced 12 being put to use on productions so diverse and earlier this year and shipping now as promised, are wide-ranging that it has taken even us by surprise. proving extremely popular and at IBC we are The same is true of the ALEXA Mini, which was unveiling a full selection of accessories that will introduced at NAB and has been enthusiastically make them even more flexible. -
District Disaster Management Plan- Udupi
DISTRICT DISASTER MANAGEMENT PLAN- UDUPI UDUPI DISTRICT 2015-16 -1- -2- Executive Summary The District Disaster Management Plan is a key part of an emergency management. It will play a significant role to address the unexpected disasters that occur in the district effectively. The information available in DDMP is valuable in terms of its use during disaster. Based on the history of various disasters that occur in the district, the plan has been so designed as an action plan rather than a resource book. Utmost attention has been paid to make it handy, precise rather than bulky one. This plan has been prepared which is based on the guidelines from the National Institute of Disaster Management (NIDM). While preparing this plan, most of the issues, relevant to crisis management, have been carefully dealt with. During the time of disaster there will be a delay before outside help arrives. At first, self-help is essential and depends on a prepared community which is alert and informed. Efforts have been made to collect and develop this plan to make it more applicable and effective to handle any type of disaster. The DDMP developed touch upon some significant issues like Incident Command System (ICS), In fact, the response mechanism, an important part of the plan is designed with the ICS. It is obvious that the ICS, a good model of crisis management has been included in the response part for the first time. It has been the most significant tool for the response manager to deal with the crisis within the limited period and to make optimum use of the available resources. -
The Hindu, the Muslim, and the Border In
THE HINDU, THE MUSLIM, AND THE BORDER IN NATIONALIST SOUTH ASIAN CINEMA Vinay Lal University of California, Los Angeles Abstract There is but no question that we can speak about the emergence of the (usually Pakistani or Muslim) ‘terrorist’ figure in many Bollywood films, and likewise there is the indisputable fact of the rise of Hindu nationalism in the political and public sphere. Indian cinema, however, may also be viewed in the backdrop of political developments in Pakistan, where the project of Islamicization can be dated to least the late 1970s and where the turn to a Wahhabi-inspired version of Islam is unmistakable. I argue that the recent history of Pa- kistan must be seen as instigated by a disavowal of the country’s Indic self, and similarly I suggest that scholarly and popular studies of the ‘representation’ of the Muslim in “Bol- lywood” rather too easily assume that such a figure is always the product of caricature and stereotyping. But the border between Pakistan and India, between the self and the other, and the Hindu and the Muslim is rather more porous than we have imagined, and I close with hints at what it means to both retain and subvert the border. Keywords: Border, Communalism, Indian cinema, Nationalism, Pakistan, Partition, Veer-Zaara Resumen 103 Así como el personaje del ‘terrorista’ (generalmente musulmán o paquistaní) está presente en muchos filmes de Bollywood, el nacionalismo hindú está tomando la iniciativa en la esfera política del país. Sin embargo el cine indio también puede hacerse eco de acontecimientos ocurridos en Paquistán, donde desde los años Setenta se ha manifestado un proceso de islamización de la sociedad, con una indudable impronta wahabí. -
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. -
Aspirational Movie List
SL Title Year Type Rating Ratings 1 3 Idiots 2009 Feature 8.5 155,763 2 Like Stars on Earth 2007 Feature 8.5 71,581 3 Rang De Basanti 2006 Feature 8.4 57,061 4 Gangs of Wasseypur 2012 Feature 8.4 32,853 5 Lagaan: Once Upon a Time in India 2001 Feature 8.2 54,714 6 Mughal-E-Azam 1960 Feature 8.4 3,425 7 A Wednesday 2008 Feature 8.4 30,560 8 Udaan 2010 Feature 8.4 23,017 9 Swades 2004 Feature 8.4 47,326 10 Dil Chahta Hai 2001 Feature 8.3 38,159 11 Pyaasa 1957 Feature 8.4 2,677 12 Black Friday 2004 Feature 8.6 6,126 13 Sholay 1975 Feature 8.6 21,695 14 Anand 1971 Feature 8.9 7,826 15 Special 26 2013 Feature 7.9 22,078 16 Queen 2014 Feature 8.5 28,304 17 Andaz Apna Apna 1994 Feature 8.8 22,766 18 Haider 2014 Feature 8.5 28,728 19 Guru 2007 Feature 7.8 10,337 20 Dev D 2009 Feature 8.1 16,553 21 Paan Singh Tomar 2012 Feature 8.3 16,849 22 Chakde! India 2007 Feature 8.4 34,024 23 Sarfarosh 1999 Feature 8.1 11,870 24 Mother India 1957 Feature 8 3,882 25 Bhaag Milkha Bhaag 2013 Feature 8.4 30,313 26 Barfi! 2012 Feature 8.3 43,308 27 Zindagi Na Milegi Dobara 2011 Feature 8.1 34,374 28 PK 2014 Feature 8.4 55,878 29 Baby 2015 Feature 8.4 20,504 30 My Name Is Khan 2010 Feature 8 56,169 31 The Legend of Bhagat Singh 2002 Feature 8.1 5,481 32 Munna Bhai M.B.B.S. -
Analisis Semiotika Ketidakadilan Gender Dalam Film Dangal Karya Amir Khan Production
ANALISIS SEMIOTIKA KETIDAKADILAN GENDER DALAM FILM DANGAL KARYA AMIR KHAN PRODUCTION Skripsi Diajukan kepada Fakultas Ilmu Dakwah dan Ilmu Komunikasi untuk Memenuhi Persyaratan Memperoleh Gelar Sarjana Sosial (S.Sos) Oleh: Yulia Nur Shofiani NIM: 11130510000129 JURUSAN KOMUNIKASI DAN PENYIARAN ISLAM FAKULTAS ILMU DAKWAH DAN ILMU KOMUNIKASI UNIVERSITAS ISLAM NEGERI SYARIF HIDAYATULLAH JAKARTA 1439H/2017M 9 i ABSTRAK Yulia Nur Shofiani (1113051000129) Analisis Semiotika Ketidakadilan Gender Dalam Film Dangal Karya Amir Khan Production Sebagai media yang menampilkan realitas kehidupan yang nyata, film mencoba meyakinkan penonton dengan persoalan yang ada di masyarakat. Salah satu persoalan yang menjadi pedebatan berbagai kalangan adalah ketimpangan gender. Film Dangal yang rilis pada 23 Desember 2016 ini menggambarkan ketimpangan gender yang diterima oleh Mahavir dan kedua anak perempuannya karena bergulat. Film Bollywood ini berbeda dengan film Bollywood lainnya, pasalnya film-film Bollywood lain yang diketahui masyarakat mengedepankan cerita cinta, nyanyian dan tarian, sedangkan film Dangal menampilkan cerita yang menarik, dan penuh dengan makna didalamnya. Berdasarkan latar belakang di atas, pertanyaan dalam penelitian ini adalah bagaimana makna denotasi ketidakadilan gender yang terkandung dalam film Dangal? Bagaimana makna konotasi ketidakadilan gender yang terkandung dalam film Dangal? Bagaimana makna mitos ketidakadilan gender yang terkandung dalam film Dangal? Penelitian ini menggunakan paradigma kontruktivisme dimana bahasa tidak -
TREASURES from the YALE FILM ARCHIVE N12o
TREASURES FROM THE YALE FILM ARCHIVE SUNDAY AN ONGOING SERIES OF CLASSIC AND CONTEMPORARY FILMS PRESENTED IN 35MM BY THE YALE FILM STUDY CENTER APRIL 10, 2016 2:00PM • WHITNEY HUMANITIES CENTER PRESENTED WITH SUPPORT FROM 33 IdiotsIdiots PAUL L. JOSKOW ’70 M.PHIL., ’72 PH.D. “If 2009 can begin with DEV.D and end with 3 IDIOTS, it is indeed time to sound the seetis and taalis for one of the most exciting years of contemporary Indian cinema.” o. —The Times of India N S 12 “All is well” in Rajkumar Hirani’s high-energy musical dramedy 3 IDIOTS, an ode to the pure joys of learning and the importance E 2 A S O N of forging your own path despite how much—or how little—is expected of you. The film won scores of awards, including three National Film Awards and five Filmfare Awards, and was described by critic Subhash K. Jha as “a vital, inspiring, and life-revising work of contemporary art with heart imbued into every part.” Loosely based on Chetan Bhagat’s best-selling 2004 novel Five Point Someone and largely told through flashbacks, the film chronicles the academic careers of three mismatched roommates making their way through the highly prestigious and hypercompetitive Imperial College of Engineering (with Bangalore’s iconic Indian Institute of Management buildings standing in for the fictional ICE’s Delhi campus). The film diverges from DIRECTED BY RAJKUMAR HIRANI the novel in scenes set more than a decade after graduation, featuring an epic Himalayan road trip and WRITTEN BY RAJKUMAR HIRANI AND a quest to reveal the secrets surrounding the brilliant and idiosyncratic former student Rancho, played by ABHIJAT JOSHI Bollywood superstar Aamir Khan. -
Downloads/NZJAS-%20Dec07/02Booth6.Pdfarameters.Html
Ph.D. Thesis ( FEMALE PROTAGONIST IN HINDI CINEMA: Women’s Studies A COMPARATIVE STUDY OF REPRESENTATIVE FILMS FROM 1950 TO 2000 ABSTRACT OF THE THESIS SUBMITTED FOR THE AWARD OF THE DEGREE OF ) Doctor of Philosophy IN WOMEN’S STUDIES SIFWAT MOINI BY SIFWAT MOINI UNDER THE SUPERVISION OF DR. PITABAS PRADHAN (Associate Professor) 201 6 ADVANCED CENTRE FOR WOMEN’S STUDIES ALIGARH MUSLIM UNIVERSITY ALIGARH-202002 (INDIA) 2016 DEPARTMENT OF MASS COMMUNICATION ALIGARH MUSLIM UNIVERSITY Dr. Pitabas Pradhan Associate Professor Certificate This is to certify that Ms. Sifwat Moini has completed her Ph.D. thesis entitled ‘Female Protagonist in Hindi Cinema: A Comparative Study of Representative Films from 1950 to 2000’ under my supervision. This thesis has been submitted to the Advanced Centre for Women’s Studies, Aligarh Muslim University, Aligarh for the award of degree of Doctor of Philosophy. It is further certified that this thesis represents original work and to the best of my knowledge has not been submitted for any degree of this university or any other university. (Dr. Pitabas Pradhan) Supervisor Sarfaraz House, Aligarh Muslim University, Aligarh-202002 Phone: 0571-2704857, Ext.: 1355,Email: [email protected], [email protected] ACKNOWLEDGEMENT I owe all of my thankfulness to the existence of the Almighty and the entities in which His munificence is reflected for the completion of this work. My heartfelt thankfulness is for my supervisor, Dr. Pitabas Pradhan. His presence is a reason of encouragement, inspiration, learning and discipline. His continuous support, invaluable feedback and positive criticism made me sail through. I sincerely thank Prof. -
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. -
9-11 February 2014-Lao Pdr
9-11 FEBRUARY 2014-LAO PDR MINISTRY OF CULTURE, GOVERNMENT OF INDIA MINISTRY OF CULTURE, GOVERNMENT OF INDIA Design: [email protected] MESSAGE Festivals of India abroad give wonderful opportunities for the Indian Diaspora to rejuvenate their hereditary cultural inclinations. I am glad that Festival of India is happening in Lao PDR where large number of artists and artisans are participating. I take this opportunity to compliment the officials of Ministry of Culture and its various participating organisations that have made lot of efforts in putting together this colourful extravaganza. I extend a very warm invitation to the people of Lao PDR to come in large numbers and enjoy the cultural feast being organised for them. I wish the Festival of India in Lao PDR a grand success. 13 January, 2014 (CHANDRESH KUMARI KATOCH) Buddh Mahotsava, Sand Mandala organised as part of A Mandala is a cosmic diagram that represents the dwelling place or celestial mansion of this, will witness the a deity. Both the deity, who reside in the mandala and the mandala itself, are recognized as construction of Sand pure expressions of Buddha’s fully enlightened mind. Mandala can be visualized, painted or Mandala, Butter Sculpture, constructed with wood, precious jewels, rice, flower and the like. Sand is considered to be Sacred Dance and Lama a superb medium because of its number and the great skill required to create the Mandala’s Dhamma Talks, Meditation, Chant by the monks from exquisite details. The artist will chant before starting the Mandala creation. Then the blue the Himalayan region. -
The Agenda-Setting Role of Mainstream Hindi Cinema: the Study of Aamir Khan's Selected Movies
2019-3416-AJMMC 1 The Agenda-Setting Role of Mainstream Hindi Cinema: 2 The Study of Aamir Khan’s Selected Movies 3 4 Bollywood has gained currency with the passage of time and it happens to be the sole 5 entertainment provider for millions of viewers in the country. Hindi films have 6 enriched the people with thought-provoking and value-loaded temperament and as far 7 as Aamir Khan’s movies are concerned it supplied messages and energised cinema 8 goers due to its varied plots, style, ideas or texture of stories, and multi-dimensional 9 characteristics played by him on the silver screen. Aamir Khan’s movies leave an 10 emotional effect on viewers and inculcate something which seems to be lacking in 11 Hindi cinema these days. The primary objective of the paper is to study the three 12 selected movies of Aamir Khan which tend to set the agenda of mainstream Hindi 13 cinema. The present paper is an attempt to study three different movies of Aamir Khan 14 which is inclined to pave the way to set the agenda in accordance with the messages 15 hidden in the themes and plots of these movies under study. The researcher has 16 purposefully selected these movies as Sarfarosh – a suspense-thriller movie, Dil 17 Chahta Hai – a trendsetter movie, and Mangal Pandey – a historical movie, owing to 18 their heterogeneous and multifarious stories. As the selected movies tried to shape 19 public opinion and enlighten viewers due to its wide-ranging plots and themes, the 20 agenda-setting role was unearthed. -
STUDY on the IMPACT of CREATIVE LIBERTY USED in INDIAN HISTORICAL SHOWS and MOVIES H S Harsha Kumar HOD, Department of Journalis
INTERNATIONALJOURNAL OF MULTIDISCIPLINARYEDUCATIONALRESEARCH ISSN:2277-7881; IMPACT FACTOR :6.514(2020); IC VALUE:5.16; ISI VALUE:2.286 Peer Reviewed and Refereed Journal: VOLUME:10, ISSUE:1(4), January :2021 Online Copy Available: www.ijmer.in STUDY ON THE IMPACT OF CREATIVE LIBERTY USED IN INDIAN HISTORICAL SHOWS AND MOVIES H S Harsha Kumar HOD, Department of Journalism, Government First Grade College Vijayanagar, Bangalore Introduction Historical references in movies, shows are the latest trends in the entertainment industry. In India there are more than 150 movies and 40 T.V shows approximately produced on the historical events and records. Many of these produced by the various makers to retell the tales of glory and valour of India’s great heroes do provide justice to the heroes to some extent. Authentic and accurate depictions for the sake of knowledge or even getting the glimpses of the history is not the outcome of these shows or movies. Various inconsistencies, differences and various inaccuracies regarding the script, scenes and execution, laymen are often misdirected towards concepts. The idea of creative liberty or artistic license used by the writers to make the best of the historical references provided may cause discrepancies or irregularities difficult to accept by the people or some intellectuals. But, to demand accuracy and authenticity from the Indian historical is, for its fans, to miss the point. The genre, after all, is that the descendant of Indian traditions of myth, folklore, ballads and popular history, which have combined to inform us more about an imagined past than an actual one.