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Statistical Yearbook 2019
STATISTICAL YEARBOOK 2019 Welcome to the 2019 BFI Statistical Yearbook. Compiled by the Research and Statistics Unit, this Yearbook presents the most comprehensive picture of film in the UK and the performance of British films abroad during 2018. This publication is one of the ways the BFI delivers on its commitment to evidence-based policy for film. We hope you enjoy this Yearbook and find it useful. 3 The BFI is the lead organisation for film in the UK. Founded in 1933, it is a registered charity governed by Royal Charter. In 2011, it was given additional responsibilities, becoming a Government arm’s-length body and distributor of Lottery funds for film, widening its strategic focus. The BFI now combines a cultural, creative and industrial role. The role brings together activities including the BFI National Archive, distribution, cultural programming, publishing and festivals with Lottery investment for film production, distribution, education, audience development, and market intelligence and research. The BFI Board of Governors is chaired by Josh Berger. We want to ensure that there are no barriers to accessing our publications. If you, or someone you know, would like a large print version of this report, please contact: Research and Statistics Unit British Film Institute 21 Stephen Street London W1T 1LN Email: [email protected] T: +44 (0)20 7173 3248 www.bfi.org.uk/statistics The British Film Institute is registered in England as a charity, number 287780. Registered address: 21 Stephen Street London W1T 1LN 4 Contents Film at the cinema -
Jodhaa Akbar
JODHAA AKBAR ein Film von Ashutosh Gowariker Indien 2008 ▪ 213 Min. ▪ 35mm ▪ Farbe ▪ OmU KINO START: 22. Mai 2008 www.jodhaaakbar.com polyfilm Verleih Margaretenstrasse 78 1050 Wien Tel.:+43-1-581 39 00-20 www:polyfilm.at [email protected] Pressebetreuung: Allesandra Thiele Tel.:+43-1-581 39 00-14 oder0676-3983813 Credits ...................................................2 Kurzinhalt...............................................3 Pressenotiz ............................................3 Historischer Hintergrund ........................3 Regisseur Ashutosh Gowariker..............4 Komponist A.R. Rahman .......................5 Darsteller ...............................................6 Pressestimmen ......................................9 .......................................................................................Credits JODHAA AKBAR Originaltitel: JODHAA AKBAR Indien 2008 · 213 Minuten · OmU · 35mm · FSK ab 12 beantragt Offizielle Homepage: www.jodhaaakbar.com Regie ................................................Ashutosh Gowariker Drehbuch..........................................Ashutosh Gowariker, Haidar Ali Produzenten .....................................Ronnie Screwvala and Ashutosh Gowariker Musik ................................................A. R. Rahman Lyrics ................................................Javed Akhtar Kamera.............................................Kiiran Deohans Ausführende Produzentin.................Sunita Gowariker Koproduzenten .................................Zarina Mehta, Deven Khote -
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’. -
Fascist Imaginaries and Clandestine Critiques: Young Hindi Film Viewers Respond to Violence, Xenophobia and Love in Cross- Border Romances
CORE Metadata, citation and similar papers at core.ac.uk Provided by LSE Research Online Shakuntala Banaji Fascist imaginaries and clandestine critiques: young Hindi film viewers respond to violence, xenophobia and love in cross- border romances Book section Original citation: Banaji, Shakuntala (2007) Fascist imaginaries and clandestine critiques: young Hindi film viewers respond to violence, xenophobia and love in cross-border romances. In: Bharat, Meenakshi and Kumar, Nirmal, (eds.) Filming the line of control: the Indo–Pak relationship through the cinematic lens. Routledge, Oxford, UK. ISBN 9780415460941 © 2007 Routledge This version available at: http://eprints.lse.ac.uk/27360/ Available in LSE Research Online: May 2011 LSE has developed LSE Research Online so that users may access research output of the School. Copyright © and Moral Rights for the papers on this site are retained by the individual authors and/or other copyright owners. Users may download and/or print one copy of any article(s) in LSE Research Online to facilitate their private study or for non-commercial research. You may not engage in further distribution of the material or use it for any profit-making activities or any commercial gain. You may freely distribute the URL (http://eprints.lse.ac.uk) of the LSE Research Online website. This document is the author’s submitted version of the book section. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. Fascist imaginaries and clandestine critiques: young Hindi film viewers respond to violence, xenophobia and love in cross-border romances Shakuntala Banaji1 Tarang: I’ve watched Hindi films all my life. -
Semi-Supervised Automatic Generation of Wikipedia Articles for Named Entities
The Workshops of the Tenth International AAAI Conference on Web and Social Media Wiki: Technical Report WS-16-17 Semi-Supervised Automatic Generation of Wikipedia Articles for Named Entities Yashaswi Pochampally Kamalakar Karlapalem Navya Yarrabelly IIIT Hyderabad, India IIIT Hyderabad / IIT Gandhinagar, India IIIT Hyderabad , India [email protected] [email protected] [email protected] Abstract would help in maintaining similarity of article structure across articles of a Wikipedia category, but at the cost of We investigate the automatic generation of Wikipedia articles as an alternative to its manual creation. We pro- losing uncommon headings that might be important for the pose a framework for creating a Wikipedia article for topic chosen. For instance, the common headings for film ac- a named entity which not only looks similar to other tors are early life, career, filmography and awards. But the Wikipedia articles in its category but also aggregates Wikipedia article generated by this method for some expired the diverse aspects related to that named entity from the actor, say Uday Kiran, while including the aforementioned Web. In particular, a semi-supervised method is used headings still would not contain information about his death. for determining the headings and identifying the con- An unsupervised approach which clusters text related to the tent for each heading in the Wikipedia article generated. topic into various headings would include all topic-specific Evaluations show that articles created by our system for headings and solve the issue, but at the cost of losing simi- categories like actors are more reliable and informative larity in article structure (common headings) across articles compared to those generated by previous approaches of Wikipedia article automation. -
A Pedagogical Tool for the Application of Critical Discourse Analysis in the Interpretation of Film and Other Multimodal Discursive Practices
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 12-2015 Active Critical Engagement (ACE): A Pedagogical Tool for the Application of Critical Discourse Analysis in the Interpretation of Film and Other Multimodal Discursive Practices Sultana Aaliuah Shabazz University of Tennessee - Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Social and Philosophical Foundations of Education Commons Recommended Citation Shabazz, Sultana Aaliuah, "Active Critical Engagement (ACE): A Pedagogical Tool for the Application of Critical Discourse Analysis in the Interpretation of Film and Other Multimodal Discursive Practices. " PhD diss., University of Tennessee, 2015. https://trace.tennessee.edu/utk_graddiss/3607 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Sultana Aaliuah Shabazz entitled "Active Critical Engagement (ACE): A Pedagogical Tool for the Application of Critical Discourse Analysis in the Interpretation of Film and Other Multimodal Discursive Practices." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in Education. Barbara J. Thayer-Bacon, Major Professor We have read this dissertation and recommend its acceptance: Harry Dahms, Rebecca Klenk, Lois Presser Accepted for the Council: Carolyn R. -
2021 USFHP Provider & Pharmacy Directory
Provider Directory Houston, Texas Table of Contents Hospital/Facility - 655 Providers .................................................................. 1 Ambulatory Surgical.....................................................................................................1 Anatomic Pathology & Clinical Pathology.................................................................. 1 Body Imaging ................................................................................................................1 Clinic/Center..................................................................................................................1 Clinical Medical Laboratory .........................................................................................1 Clinical Pathology.........................................................................................................4 Critical Access Hospital ...............................................................................................4 Dialysis Equipment & Supplies ...................................................................................4 Dialysis, Peritoneal .......................................................................................................4 Durable Medical Equipment & Medical Supplies .......................................................4 End-Stage Renal Disease (Esrd) Treatment ...............................................................6 Endoscopy...................................................................................................................10 -
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. -
Bio Dillywood 21Pd
164 WEST 25TH ST. SUITE 4F, NEW YORK, NY 10001 USA [email protected] • TEL +1.646.202.9478 • FAX +1.815.550.2861 Dillywood, Inc. is a motion picture production company based in New York that develops and produces film and media projects with a distinctly international focus. Founded in 2004 by producers Anadil Hossain and Driss Benyaklef, the company has been built on their hybrid cultural backgrounds and breadth of experience in film, media, advertising, web content, and large-scale corporate event production. Since then, the company has worked on a gamut of productions in over 25 countries on five continents, establishing long-standing networks in places such as India, U.K., Jordan, Morocco, Kenya, and Hong Kong. The company also has a wide range of experience and know-how working across the US and North America. Dillywood has worked with directors such as Mira Nair (The Namesake, The Reluctant Fundamentalist), Doug Liman (Fair Game), and Wes Anderson (The Darjeeling Limited). Most recently, Dillywood worked on the international segment of Jobs, the biopic of Steve Jobs, starring Ashton Kutcher, and directed by Joshua Stern. The company serves as a creative and logistical bridge between filmmakers and settings, crews, and governments where the films are shot. Dillywood pioneered how large-scale Indian films are shot in the US by producing the US segment of Kal Ho Naa Ho, the first major Indian film to shoot almost entirely in the US. Subsequently, Dillywood worked on the productions of acclaimed directors Karan Johar (Kabhie Alvida Naa Kehna), Rakeysh Mehra (Delhi 6), and with the director of Oscar-nominated Lagaan, Ashutosh Gowariker (Swades, What’s Your Raashee). -
Happy Birthday Sanju Wishes
Happy Birthday Sanju Wishes Footworn and exasperating Wye still grees his flyboats redeemably. Crumblier Paddy styes scarcely. Prunted Barney straitens: he stubbed his addax juristically and apathetically. Safe in the real sense of mushrooms could not a personalized videos for. Wish Bollywood's 'Munnabhai' on his birthday Times of India. Please do sure to submit full text with your comment. Happy Birthday Wishes Cards Sanju Free Happy Gajab Life. Caption courtesy Times of India. We have a very happy birthday photos, this website uses his name happens ne mujhe ek baar din yeh aaye mp. Ajax error while we only. Please provide valid name to comment. Dec 31 201 Happy Birthday Sanju Images Send Personalized happy birthday wishes to Sanju in 1 min by visiting httpsgreetnamecom GreetName has. It was at this stage that opening two ferocious hitters came together. Write daily on Beautiful Birthday Wishes Elegant Cake. PT Usha's coach O M Nambiar is report to have received recognition that morning long overdue. Happy birthday dear Mama ji! Credit Card, for validation. All three red lovers can try kind of highway to duke a statement. Does sanju and pictures of new cakes pic, and we will bring a good looks, your mama ji article. Urvashi dholakia on your friends, happy bday sanju happy happy every day wishes sanju samson. We have to pick up govt to wish baba a fearless batting style, please provide this is race dependent on love you. What are miles apart from author: what is there are verified, are peaking in a spotboy needed. -
Till 25-08-2021 to 10-09-2021 Untrained Data PDF.Xlsx
INTIMATION FOR REASONED HEARING IN C/W 1ST SLST (UP), 2016 (EXCEPT PHYSICAL EDUCATION AND WORK EDUCATION) Venue: West Bengal Central School Service Commission (Second Campus) DK- 7/2, Sector-II, Salt Lake, Kolkata -700091. (Behind Anandolok Hospital, Karunamoyee) Sl. No. RollNo Name Board Reporting Date Reporting Time 1 212010600939 SUDIP MITRA B-1 25-08-2021 10:30 AM 2 212014416926 JHUMPA BHOWMIK B-2 25-08-2021 10:30 AM 3 212014703182 SOMANJAN RAY B-3 25-08-2021 10:30 AM 4 212014900395 BIMAL PATRA B-4 25-08-2021 10:30 AM 5 412014505992 TAPAS DAS B-5 25-08-2021 10:30 AM 6 10215010004738 NUR MAHAMMAD SEIKH B-6 25-08-2021 10:30 AM 7 10215020002963 POULAMI BANERJEE B-1 25-08-2021 10:30 AM 8 20215040006633 TOFAZZUL HOSSAIN B-2 25-08-2021 10:30 AM 9 20215040007571 RANJAN MODAK B-3 25-08-2021 10:30 AM 10 20215040009006 RAHUL ROY B-4 25-08-2021 10:30 AM 11 20215040009019 SAROJ DHAR B-5 25-08-2021 10:30 AM 12 20215040013187 JANMEJOY BARMAN B-6 25-08-2021 10:30 AM 13 20215060000295 PIYALI SARKAR B-1 25-08-2021 10:30 AM 14 20215060001062 MITHUN ROY B-2 25-08-2021 10:30 AM 15 20215060001085 HARI PADA ROY B-3 25-08-2021 10:30 AM 16 20215070000540 MD HANIF B-4 25-08-2021 10:30 AM 17 20215100004499 NAJMA YEASMIN B-5 25-08-2021 10:30 AM 18 20215100025376 SAMBAL DAS B-6 25-08-2021 10:30 AM 19 20215200000227 KALYANI DEBNATH B-1 25-08-2021 10:30 AM 20 30215110003349 NABAMITA BHUIYA B-2 25-08-2021 10:30 AM 21 30215120009309 SUDIPTA PAHARI B-3 25-08-2021 10:30 AM 22 30215130011566 SWAPAN PARIA B-4 25-08-2021 10:30 AM 23 50215190034681 SOUMYADIPTA SAHA B-5 -
My Favourite Singers
MY FAVOURITE SINGERS 12 01 01 SAMJHAWAN 17 CHALE CHALO 33 BARSO RE 48 JEENA 63 AY HAIRATHE 79 DIL KYA KARE (SAD) 94 SAAJAN JI GHAR AAYE 108 CHHAP TILAK 123 TUM MILE (ROCK) 138 D SE DANCE ARTIST: ARIJIT SINGH, SHREYA GHOSHAL • ALBUM/FILM: HUMPTY SHARMA KI DULHANIA ARTIST: A. R. RAHMAN, SRINIVAS • ALBUM/FILM: LAGAAN ARTIST: SHREYA GHOSHAL, UDAY MAZUMDAR • ALBUM/FILM: GURU ARTIST: SONU NIGAM, SOWMYA RAOH • ALBUM/FILM: DUM ARTIST: ALKA YAGNIK, HARIHARAN • ALBUM/FILM: GURU ARTIST: KUMAR SANU, ALKA YAGNIK • ALBUM/FILM: DIL KYA KARE ARTIST: KAVITA KRISHNAMURTHY, ALKA YAGNIK, KUMAR SANU ARTIST: KAILASH KHER • ALBUM/FILM: KAILASA JHOOMO RE ARTIST: SHAFQAT AMANAT ALI • ALBUM/FILM: TUM MILE ARTIST: VISHAL DADLANI, SHALMALI KHOLGADE, ANUSHKA MANCHANDA 02 ENNA SONA 18 ROOBAROO 34 KHUSHAMDEED 49 WOH PEHLI BAAR 64 AGAR MAIN KAHOON 80 DEEWANA DIL DEEWANA ALBUM/FILM: KUCH KUCH HOTA HAI 109 CHAANDAN MEIN 124 TERE NAINA ALBUM/FILM: HUMPTY SHARMA KI DULHANIA ARTIST: ARIJIT SINGH • ALBUM/FILM: OK JAANU ARTIST: A. R. RAHMAN, NARESH IYER • ALBUM/FILM: RANG DE BASANTI ARTIST: SHREYA GHOSHAL • ALBUM/FILM: GO GOA GONE ARTIST: SHAAN • ALBUM/FILM: PYAAR MEIN KABHI KABHI ARTIST: ALKA YAGNIK, UDIT NARAYAN • ALBUM/FILM: LAKSHYA ARTIST: UDIT NARAYAN, AMIT KUMAR • ALBUM/FILM: KABHI HAAN KABHI NA 95 MAIN ALBELI ARTIST: KAILASH KHER • ALBUM/FILM: KAILASA CHAANDAN MEIN ARTIST: SHAFQAT AMANAT ALI • ALBUM/FILM: MY NAME IS KHAN 139 VELE 03 GERUA 19 TERE BINA 35 BAHARA 50 TUNE MUJHE PEHCHAANA NAHIN 65 KUCH TO HUA HAI 81 KUCH KUCH HOTA HAI ARTIST: KAVITA KRISHNAMURTHY, SUKHWINDER SINGH • ALBUM/FILM: ZUBEIDAA 110 AA TAYAR HOJA 125 AKHIYAN ARTIST: VISHAL DADLANI, SHEKHAR RAVJIANI • ALBUM/FILM: STUDENT OF THE YEAR ARTIST: ARIJIT SINGH, ANTARA MITRA • ALBUM/FILM: DILWALE ARTIST: A.