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The 'Item Number' in Indian Cinema: Deconstructing the Paradox
Journal of Culture, Society and Development www.iiste.org ISSN 2422-8400 An International Peer-reviewed Journal Vol.39, 2018 The ‘Item Number’ in Indian Cinema: Deconstructing the Paradox Isha Jain (Corresponding author) National Law School of India University, Bangalore, India Abstract The “item number” is a hyper-sexualised song-and-dance performance that is characteristic to mainstream Bollywood cinema. When viewed in the context of a general tendency towards the censorship of public depictions of sexualized women in other spheres of the Indian polity, the ubiquity and popularity of item numbers reflects a confounding cultural paradox. The aim of this article is to deconstruct this paradox, by identifying the narrative structures and plot devices employed by film-makers to market these performances without suffering the disapproval of either the Indian State apparatus or the purportedly prudish Indian cinema- goer. Introduction The Indian State, through both its formal and informal centres of power, continues to burden the Indian woman with the charge of guarding national pride, culture, and morality.1 The defiling of the Indian woman, synonymous with her sexualisation, is the defiling of India. This parallel is evident in the title of “Mother India”, a 1957 film centred around a de-sexualised, self-sacrificial female protagonist intended to be emblematic of both the ideal Indian woman and of India herself.2 Yet, the Indian film industry has succeeded at carving out a niche for the commodification and sale of female sexuality within a broader milieu characterised by the disapprobation of that very sexuality. Nowhere is this more apparent than in the “item number”,3 a hyper-sexualised cinematic performance that is both paradoxically and quintessentially Bollywood. -
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. -
66Th Miff Announces Full Program
66TH MIFF ANNOUNCES FULL PROGRAM GURRUMUL WORLD PREMIERE AT CLOSING NIGHT JANE CAMPION, MELISSA GEORGE AND LUCA GUADAGNINO LEAD GUEST LINE-UP SALLY POTTER AND PIONEERING WOMEN RETROSPECTIVES UNVEILED MELBOURNE, 12 JULY 2017 – Celebrating its 66th year, the Melbourne International FIlm Festival (MIFF) unleashes its full program with a mammoth line-up of more than 358 films representing 68 countries, including 251 features, 88 shorts, 17 Virtual Reality experiences, 12 MIFF Talks events, 31 world premieres and 135 Australian premieres. It all happens over 18 days, spanning 13 venues across Melbourne, from 3 to 20 August 2017. “What a pleasure it is to launch this year’s Melbourne International Film Festival,” said Artistic Director Michelle Carey. “This year’s program offers audiences an amazing opportunity to explore new worlds through film – from our Pioneering Women and Sally Potter retrospectives to the return of our Virtual Reality program as well as a particularly strong line-up of special events, we can’t wait to open the doors to MIFF 2017.” After kicking-off the festival with the Opening Night Gala screening of Greg McLean’s MIFF Premiere Fund-supported JUNGLE, presented by Grey Goose Vodka, the festival will wind up with the world premiere CLOSING NIGHT screening of Paul Williams’ GURRUMUL. A profound exploration of the life and music of revered Australian artist Geoffrey Gurrumul Yunupingu, the film uses the tools of the artist’s music – chord, melody, song – and the sounds of the land to craft an audio-first cinematic experience, offering a rare insight into a reclusive master. After the film, the audience will enjoy MIFF’s famous Closing Night party at the Festival Lounge. -
2017 Program PDF 1.12 MB
► JACQUES TOURNEUR Thursday 26 October at 6.00pm RE-DISCOVERED Friday 27 October at 6.00pm OPENING NIGHT CAT PEOPlE HOME BY CHRISTMAS Director: Jacques Tourneur | 1942 | 74 mins | USA | Classified M Director: Gaylene Preston | 2010 | 92 mins | New Zealand | Classified M Perhaps Tourneur’s best known film, CAT woman obsessed with ancient legends and Gaylene Preston’s poignant drama based on war, to find that his world has changed. Tony PEOPlE is a superb example of his art. Made panthers, the film was one of a series that her interviews with her father, gives Barry rises to the challenge superbly, giving for a tiny budget that would have crippled Tourneur made for producer Val Lewton. In Australian actor, Tony Barry , a rare a performance that reveals the depths of other directors, Tourneur delivered a all of them, but especially CAT PEOPlE , opportunity to move into a leading role Ed’s experiences that he cannot express in psychological thriller that created suspense Tourneur makes a virtue of his sparse worthy of his talents. He plays Ed, who enlists words. Criminally unknown in Australia, this through sound and shadow, through a resources to build work that critic James in the NZ Army in 1940 and heads overseas film is a seamless and innovative hybrid of brooding sense of paranoia, rather than Agee described as “consistently alive, leaving his pregnant wife behind, promising re-enactment and authentic dialogue. special effects: the art of showing less and limber, poetic, humane, (and) eager he’ll be home by Christmas. Four years later “A gentle, funny, utterly truthful film” suggesting more. -
Djalu' Gurruwiwi, Garma Festival 2002, Gu`Ku`A, Northeast Arnhem Land
Djalu' Gurruwiwi, Garma Festival 2002, Gu`ku`a, Northeast Arnhem Land Language: G^lpu (Dha\u) Translation and notes by Randin Graves, Waymamba Gaykama\u and Dh^\ga` Gurruwiwi This paper, a key part of Randin' Graves research on the cultural foundation of the yi[aki in northeast Arnhem Land, also contributes to the recording of life stories of Yol\u elders and documentation of the Dha\u language. Originating as the answer to the simple question, “tell us a story about yi[aki,” it contains stories about different types of clan-specific yi[aki, Djalu's experiences with the instrument, details of kinship, and his feelings on the state of Yol\u learning today. The first column is a transcription of a speech given by Djalu, the second and third provide literal and free translations. Outline: 1 The story of the G^lpu yi[aki called Dju\girriny' and an introduction to those who hold the story. 2 Expression of Djalu's openness to non-Aboriginal visitors interested in the yi[aki. 3 Introduction of holders of Gumatj knowledge and their Dju\gaya, or cultural custodians. 4 More discussion of overseas visitors who come to learn from Djalu'. 5 Introduction to the Gu`ku`a area and discussion of the maintenance of knowledge. 6 Description of family lines and totemically associated physical landmarks, again moving to importance of sharing knowledge. 7 The significance of knowledge, Yothu Yindi relationships, and ceremonial behaviour. 8 More discussion of Yol\u kinship, naming of ancestors. 9 The local mining operations and sharing of knowledge and ceremony. -
375 © the Author(S) 2019 S. Sengupta Et Al. (Eds.), 'Bad' Women
INDEX1 A Anti-Sikh riots, 242, 243, 249 Aarti, 54 Apsaras, 13, 95–97, 100, 105 Achhut Kanya, 30, 31, 37 Aranyer Din Ratri, 143 Actress, 9, 18, 45n1, 54, 67, 88, 109, Armed Forces Special Powers Act, 170, 187, 213, 269, 342, 347–362, 255, 255n24 365–367, 369, 372, 373 Astitva, 69 Adalat, 115, 203 Atankvadi, 241–256 Akhir Kyon, 69 Azmi, Shabana, 54, 68 Akhtar, Farhan, 307, 317n13 Alvi, Abrar, 60 Ambedkar, B.R., 31, 279n2 B Ameeta, 135 Babri Masjid, 156, 160 Amrapali, 93–109, 125 Bachchan, Amitabh, 67, 203, 204, Amu, 243–249 210, 218 Anaarkali of Aarah, 365, 367, 370, 373 Bagbaan, 69 Anand, Dev, 7n25, 8n27, 64 Bahl, Mohnish, 300 Anarkali, 116, 368–369 Bandini, 18, 126, 187–199 Andarmahal, 49, 53 Bandit Queen, 223–237 Andaz, 277–293 Bar dancer, 151 Angry Young Man, 67, 203–205, 208, Barjatya, Sooraj, 297, 300, 373 218, 219 Basu Bhattacharya, 348, 355 Ankush, 69 Basu, Bipasha, 88 1 Note: Page numbers followed by ‘n’ refer to notes. © The Author(s) 2019 375 S. Sengupta et al. (eds.), ‘Bad’ Women of Bombay Films, https://doi.org/10.1007/978-3-030-26788-9 376 INDEX Bedi, Bobby, 232–235 237, 261, 266–268, 278, 279, Benaras, 333, 334 283, 283n8, 285, 291, 318, 332, Benegal, Shyam, 7n23, 11, 11n35, 13, 334, 335, 338, 343, 350, 351, 13n47, 68, 172n9, 348, 351, 366 355, 356, 359, 361, 372n3 Beshya/baiji, 48, 49, 55, 56 Central Board of Film Certification Bhaduri, Jaya, 209, 218 (CBFC), 224, 246, 335, Bhagwad Gita, 301 335n1, 336 Bhakti, 95, 98, 99, 101, 191n11, 195, Chak De! India, 70 195n18, 196 Chameli, 179–181 Bhakti movement, 320 Chastity, 82, -
Learning in Both Worlds: Academic Journalism As a Research Outcome
Research Journalism Volume 2 Issue 1 Article 1 October 2012 Learning in Both Worlds: Academic Journalism as a Research Outcome Lisa J. Waller Deakin University Follow this and additional works at: https://ro.ecu.edu.au/research_journalism Waller, Lisa J. (2012) "Learning in Both Worlds: Academic Journalism as a Research Outcome," Research Journalism: Vol. 2: Iss. 1, Article 1. Available at: https://ro.ecu.edu.au/research_journalism/vol2/iss1/1 This work is licensed under a Creative Commons Attribution-Share Alike 2.5 Australia. This Journal Article is brought to you by Research Online. It has been accepted for inclusion in Research Journalism by an authorized administrator of Research Online. For more information, please contact [email protected]. Learning in Both Worlds: Academic Journalism as a Research Outcome Cover Page Footnote Lisa Waller is a PhD candidate at the University of Canberra researching the relationship between news media and bilingual education policy in the Northern Territory as part of the Australian Research Council Discovery Project, Australian News Media and Indigenous Policymaking 1988–2008. She lectures in journalism at Deakin University and has worked as a journalist for the Canberra Times, the Australian and the Australian Financial Review. This journal article is available in Research Journalism: https://ro.ecu.edu.au/research_journalism/vol2/iss1/1 Learning in both worlds: Academic journalism as a research outcome Introduction Writing mainstream journalism on the issue of bilingual education policy from the viewpoint of Yolngu participants was agreed upon as an important outcome for my doctoral research 1 from early in its design. Their ongoing consent to participate rested on me agreeing to wear my journalist hat as well as my academic hat. -
The Angry Woman of Indian Cinema - a Saga of the Marginal
High Technology Letters ISSN NO : 1006-6748 The Angry woman of Indian Cinema - A Saga of the Marginal 1Ms. Dharna Bhatt, 2Dr. Barnali Chetia 1 Research Scholar, 2Assistant Professor 1,2Department of Humanities and Social Sciences, 1,2Indian Institute of Information Technology Vadodara, Gandhinagar, Gujarat, India Abstract In Indian cinema, the concept of anger was associated with men, popularizing the idea of 'Angry young man' not 'Angry young woman,' which in fact catapulted many male actors career to undisputed stardom. Women remained marginalized even in this sector. As per the gender stereotype of emotion, anger is associated with men. However, there are some women characters in Indian cinema whose bold portrayal of the emotion of anger has rightfully caught the eyes of the critics. This paper is an attempt to portray the anger of women in different roles- mother, wife, sister, friend, and prostitute, to name a few. This study is based on some selected 'angry' female characters of Indian cinema who were more often than not overshadowed by the 'angry' male characters. The study is qualitative in nature which follows the form of narration for analyzing the emotion of anger in women of Indian cinema. Key Words:- Emotion, Anger, Women, Marginal, Indian Cinema. I. Introduction Emotion is a conscious mental reaction (as anger or fear) subjectively experienced as strong feeling usually directed towards a specific object and typically accompanied by physiological and behavioural changes in the body. Happiness, love, fear, anger, hatred, trust, joy, grief, hurt, shame, loneliness, etc. are some terms to express Emotion. Among the above, anger is a natural emotion experienced by everyone and impossible to avoid. -
Declaration by the Candidate
DECLARATION BY THE CANDIDATE I hereby declare that the dissertation entitled “Objectification and commodification of women in the visual media: A critical study” submitted at National Law University, Delhi is the outcome of my own work carried out under the supervision of Dr. Sushila, Assistant Professor (Law), National Law University, Delhi. I further declare that to the best of my knowledge, the dissertation does not contain any part of my work, which has been submitted for the award of any degree either in this University or in any other institution without proper citation. Vighnesh Balaji 27/ LLM /18 Place: New Delhi National Law University, Delhi Date: 23.05.19 I CERTIFICATE OF SUPERVISOR This is to certify that the work reported in the LL.M. dissertation titled “Objectification and Commodification of Women in the Visual Media: A Critical Study” submitted by Vighnesh Balaji at National Law University, Delhi is a bona fide record of his original work carried out under my supervision. Dr. Sushila Assistant Professor (Law) Place: New Delhi National Law University, Delhi Date: 23.05.19 II ACKNOWLEDGMENT First, and foremost I would like to thank my wonderful supervisor Dr. Sushila who has always believed in me and has provided me insightful suggestions and has been a constant pillar of support throughout the dissertation period. My father, for always trying to balance me, My sisters, for holding my back, my friends, to whom I owe the world, NLU-Delhi for teaching me much more than the prescribed syllabus. Last but never the least; I thank Lord Shiva with all my heart for my unconditional mother, Suseela Ravichandran who has always firmly believed that the odds have to favour me. -
Womadelaide 1992 – 2016 Artists Listed by Year/Festival
WOMADELAIDE 1992 – 2016 ARTISTS LISTED BY YEAR/FESTIVAL 2016 47SOUL (Palestine/Syria/Jordan) Ainslie Wills (Australia) Ajak Kwai (Sudan/Australia) All Our Exes Live in Texas (Australia) Alpine (Australia) Alsarah & the Nubatones (Sudan/USA) Angelique Kidjo (Benin) & the Adelaide Symphony Orchestra (Australia) APY Choir (Australia) Asha Bhosle (India) Asian Dub Foundation (UK) Australian Dance Theatre “The Beginning of Nature” (Australia) Calexico (USA) Cedric Burnside Project (USA) DakhaBrakha (Ukraine) Datakae – Electrolounge (Australia) De La Soul (USA) Debashish Bhattacharya (India) Diego el Cigala (Spain) Djuki Mala (Australia) Edmar Castañeda Trio (Colombia/USA) Eska (UK) – one show with Adelaide [big] String Ester Rada (Ethiopia/Israel) Hazmat Modine (USA) Husky (Australia) Ibeyi (Cuba/France) John Grant (USA) Kev Carmody (Australia) Ladysmith Black Mambazo (South Africa) Mahsa & Marjan Vahdat (Iran) Marcellus Pittman - DJ (USA) Marlon Williams & the Yarra Benders (NZ/Australia) Miles Cleret - DJ (UK) Mojo Juju (Australia) Mortisville vs The Chief – Electrolounge (Australia) Mountain Mocha Kilimanjaro (Japan) NO ZU (Australia) Orange Blossom (France/Egypt) Osunlade - DJ (USA) Problems - Electrolounge (Australia) Quarter Street (Australia) Radical Son (Tonga/Australia) Ripley (Australia) Sadar Bahar - DJ (USA) Sampa the Great (Zambia/Australia) Sarah Blasko (Australia) Savina Yannatou & Primavera en Salonico (Greece) Seun Kuti & Egypt 80 (Nigeria) Songhoy Blues (Mali) Spiro (UK) St Germain (France) Surahn (Australia) Tek Tek Ensemble -
Women in Films: Revisiting the Censorship Debate
Journal of Critical Reviews ISSN- 2394-5125 Vol 6, Issue 6, 2019 Women in Films: Revisiting the Censorship Debate Dr. Manika Kamthan, Assistant Professor, Symbiosis Law School, Pune, Symbiosis International (Deemed University) Ms. Titiksha Kumari Research Scholar LLM, Symbiosis Law School, Pune, Symbiosis International (Deemed University) Mr. Shashank Shekhar Pandey Research Scholar LLM Symbiosis Law School, Pune, Symbiosis International (Deemed University) Received: 08.11.2019 Revised: 10.12.2019 Accepted: 19.12.2019 Abstract The censorship in India is motivated towards ensuring the stereotypical flawless imagery of women in films. The gendered interpretation of obscenity laws led stereotyping women body as obscene. Films have a very complex relationship with society. It depicts what is happening in the society; also it impacts the society in various ways. In this paper we endeavour to question the censorship which in the era of over the top platforms is becoming redundant as they are not subjected to censorship. We revisit the censorship debate through several case laws and how gradually the judiciary is also liberally interpreting the censorship laws and the evolution of jurisprudence is aimed towards establishing censorship as a restriction on the freedom of speech of speech and expression. Keywords: obscenity, media, films, women, censorship, OTT platforms © 2019 by Advance Scientific Research. This is an open-access article under the CC BY license (http://creativecommons.org/licenses/by/4.0/ ) DOI: http://dx.doi.org/10.22159/jcr.06.06.42 Introduction Media plays a pivotal role in constructing gender and also which knowingly or unknowingly applauds the imagery and towards gender sensitization. -
Westwind: Djalu's Legacy
Screen Australia Presents a Jonnie & Kate Films Madman Production Company Production In Association with Melbourne International Film Festival Premiere Fund Film Victoria Screen Territory & National Indigenous Television Directed by Ben Strunin Produced by Kate Pappas, Virginia Whitwell, Nick Batzias, Ben Pederick & Ben Strunin westwindthefilm.com Running time: 86 Mins @ 24FPS Language: English Aspect ratio: 16.9 Year of Production: 2017 ANZ Distributor: Madman Entertainment PRODUCTION COMPANY (AUS) Jonnie & Kate Films Level 1, 274 Barkly Street Brunswick VIC 3056 PRODUCTION COMPANY (AUS) Madman Production Company Building 1, Level 1, 21-31 Goodwood Street Richmond VIC Australia 3121 T: +61 3 9261 9200 ONE LINER Ancient knowledge. A way forward. A legacy shared. An Old Man, Djalu Gurruwiwi warrior, shaman, and father, must find a way to bring two worlds together to save his sons and his culture. ONE PARAGRAPH SYNOPSIS Djalu Gurruwiwi is an aging elder in a line 60,000 years long who is running out of time to pass on the Yidaki Songlines entrusted to him for the future of his people, before it dies with him. His sons and community, struggling to come to terms with the consequences of colonisation, are lost. When Djalu breaks with tradition to try and save it, world famous musician Gotye becomes an unexpected family member and helps heal Djalu’s sons and amplify his songs to the world. ONE PAGE SYNOPSIS Djalu Gurruwiwi, an aging Elder in a line 60,000 years long, is running out of time to pass on the Yidaki Songlines entrusted to him for the future of his people, before they die with him.