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Mumbai Macbeth: Gender and Identity in Bollywood Adaptations Rashmila Maiti University of Arkansas, Fayetteville
University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 8-2018 Mumbai Macbeth: Gender and Identity in Bollywood Adaptations Rashmila Maiti University of Arkansas, Fayetteville Follow this and additional works at: http://scholarworks.uark.edu/etd Part of the Asian Studies Commons, Comparative Literature Commons, and the Literature in English, British Isles Commons Recommended Citation Maiti, Rashmila, "Mumbai Macbeth: Gender and Identity in Bollywood Adaptations" (2018). Theses and Dissertations. 2905. http://scholarworks.uark.edu/etd/2905 This Dissertation is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected], [email protected]. Mumbai Macbeth: Gender and Identity in Bollywood Adaptations A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Comparative Literature and Cultural Studies by Rashmila Maiti Jadavpur University Bachelor of Arts in English Literature, 2007 Jadavpur University Master of Arts in English Literature, 2009 August 2018 University of Arkansas This dissertation is approved for recommendation to the Graduate Council. M. Keith Booker, PhD Dissertation Director Yajaira M. Padilla, PhD Frank Scheide, PhD Committee Member Committee Member Abstract This project analyzes adaptation in the Hindi film industry and how the concepts of gender and identity have changed from the original text to the contemporary adaptation. The original texts include religious epics, Shakespeare’s plays, Bengali novels which were written pre- independence, and Hollywood films. This venture uses adaptation theory as well as postmodernist and postcolonial theories to examine how women and men are represented in the adaptations as well as how contemporary audience expectations help to create the identity of the characters in the films. -
Shemaroo Entertainment Limited
DRAFT RED HERRING PROSPECTUS Dated September 19, 2011 Please read section 60B of the Companies Act, 1956 (This Draft Red Herring Prospectus will be updated upon filing with the RoC) 100% Book Building Issue SHEMAROO ENTERTAINMENT LIMITED Our Company was originally incorporated as a private limited company under the Companies Act, 1956 on December 23, 2005, with the name Shemaroo Holdings Private Limited. Subsequently, pursuant to a Scheme of Arrangement approved by the Hon’ble High Court of Bombay vide order dated March 7, 2008 and by the special resolution of our shareholders dated May 28, 2008, the name of our Company was changed to Shemaroo Entertainment Private Limited and a fresh certificate of incorporation was granted to our Company on June 3, 2008, by the RoC. Thereafter, pursuant to a special resolution of our shareholders dated March 26, 2011, our Company was converted to a public limited company and a fresh certificate of incorporation consequent to the change of status was granted on April 1, 2011, by the RoC. For further details in connection with changes in the name and registered office of our Company, please refer to the section titled “History and Certain Corporate Matters” on page 95 of this Draft Red Herring Prospectus. Registered and Corporate Office: Shemaroo House, Plot No.18, Marol Co-operative Industrial Estate, Off Andheri Kurla Road, Andheri East, Mumbai- 400059 Telephone: +91 22 4031 9911; Facsimile: +91 22 2851 9770 Contact Person and Compliance Officer: Mr. Ankit Singh, Company Secretary; Telephone: +91 22 4031 9911; Facsimile: +91 22 2851 9770 E-mail: [email protected]; Website: www.shemaroo.com PROMOTERS OF OUR COMPANY: MR. -
A Reading from Shaikpet Sarai Qutb Shahi, Hyderabad
hyderabad | Sriganesh Rajendran A READING FROM SHAIKPET SARAI QUTB SHAHI, HYDERABAD Serai: The usual meaning in India is that of a building for the accommodation of travellers with their pack-animals; consisting of an enclosed yard with chambers around it. (Hobson-Jobson, 1903) A large building for the accommodation of travellers, common in Eastern countries. The word is Persian and means in that language, ‘a place, the king’s court, a large edifice’; hence karavan-serai, by corruption caravanserie, i.e. place of rest of caravans. The erection of these buildings is considered highly meritorious by Hindus as well as Mohammedans, who frequently endow them with rents for their support. (The Penny Cyclopedia of The Society for the Diffusion of Useful Knowledge. Vol XXI. London. 1829) Towards B 9 idar 4 5 10 5 A 3 12 7 8 2 13 Towards 11 6 Machilipatnam 1 34 landscape 52 | 2017 hyderabad | he historic reign of the Qutb Shahi dynasty/Golconda Sultanate (1512- T1687) inherited a complex terrain of hillocks and fractures as the settings for their architecture. Judicious interpretation of the natural landscape led Shaikpet Mosque (c. 1978) to the siting of trade routes, fortifications, tomb complexes, water reservoirs, Source: dome.mit.edu percolation ponds, stepped wells, aqueducts and subterranean conveyance sys- Recent conservation works by Government of tems, pleasure gardens, orchards and water distribution mechanisms. Some of Telangana included structural restoration and these systems lie in close proximity to erstwhile settlements or remnant his- protection from encroachments. toric building complexes, while others are found today in the midst of dense SHAIKPET SARAI modern-day settlements. -
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. -
The Amalgamation of Indo-Islamic Architecture of the Deccan
Islamic Heritage Architecture and Art II 255 THE AMALGAMATION OF INDO-ISLAMIC ARCHITECTURE OF THE DECCAN SHARMILA DURAI Department of Architecture, School of Planning & Architecture, Jawaharlal Nehru Architecture & Fine Arts University, India ABSTRACT A fundamental proportion of this work is to introduce the Islamic Civilization, which was dominant from the seventh century in its influence over political, social, economic and cultural traits in the Indian subcontinent. This paper presents a discussion on the Sultanate period, the Monarchs and Mughal emperors who patronized many arts and skills such as textiles, carpet weaving, tent covering, regal costume design, metallic and decorative work, jewellery, ornamentation, painting, calligraphy, illustrated manuscripts and architecture with their excellence. It lays emphasis on the spread of Islamic Architecture across India, embracing an ever-increasing variety of climates for the better flow of air which is essential for comfort in the various climatic zones. The Indian subcontinent has produced some of the finest expressions of Islamic Art known to the intellectual and artistic vigour. The aim here lies in evaluating the numerous subtleties of forms, spaces, massing and architectural character which were developed during Muslim Civilization (with special reference to Hyderabad). Keywords: climatic zones, architectural character, forms and spaces, cultural traits, calligraphic designs. 1 INTRODUCTION India, a land enriched with its unique cultural traits, traditional values, religious beliefs and heritage has always surprised historians with an amalgamation of varying influences of new civilizations that have adapted foreign cultures. The advent of Islam in India was at the beginning of 11th century [1]. Islam, the third great monotheistic religion, sprung from the Semitic people and flourished in most parts of the world. -
Impact of Urban Growth on Water Bodies the Case of Hyderabad
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Research Papers in Economics Working Paper No. 60 September 2004 Impact of Urban Growth on Water Bodies The Case of Hyderabad C. Ramachandraiah Sheela Prasad CENTRE FOR ECONOMIC AND SOCIAL STUDIES Begumpet, Hyderabad-500016 1 Impact of Urban Growth on Water Bodies The Case of Hyderabad C. Ramachandraiah* Sheela Prasad** Abstract Being located in the Deccan Plateau region, Hyderabad city has been dotted with a number of lakes, which formed very important component of its physical environment. With the increasing control of the State and private agencies over the years, and rapid urban sprawl of the city, many of the water bodies have been totally lost. Many have been shrunk in size while the waters of several lakes got polluted with the discharge of untreated domestic and industrial effluents. This study makes an attempt to analyse the transformation of common property resources (the lakes) into private property. The adverse consequences of the loss of water bodies are felt in the steep decline in water table and the resultant water crisis in several areas. Further, the severity of flooding that was witnessed in August 2000 was also due to a reduction in the carrying capacity of lakes and water channels. The State has not bothered to either implement the existing laws or pay attention to the suggestions of environmental organisations in this regard. The paper argues that in this process of loss of water bodies in Hyderabad, the State is as much responsible as private agencies in terms of the policies that it has formulated and the lack of ensuring legislation and implementation. -
PANEL - C) MEMBERS As on 31St May, 2021
THE FEDERATION OF TELANGANA CHAMBERS OF COMMERCE AND INDUSTRY . LIST OF COMPANY (PANEL - C) MEMBERS as on 31st May, 2021 Federation House, FTCCI Marg, 11-6-841, Red Hills, P.B.No.14, Hyderabad – 500 004. Phone Nos. : 91 40 23395515 to 24; Fax : 91 40 23395525 E-mail : [email protected] Web: www.ftcci.in CIN U91110TG1964NPL001030 ALPHABETICAL INDEX OF MEMBERS S.No Panel Name Page S.No Panel Name Page S.No Panel Name Page No. No. No. No. No. No. A 45 687 ARKA MEDIA WORKS PVT.LTD. 26 88 320 BIOSERVE BIOTECHNOLOGIES 46 421 ARKIN SOFTWARE (INDIA) PVT.LTD 15 1 273 3F INDUSTRIES LIMITED 59 TECHNOLOGIES PVT. LTD. 19 89 1577 BIZBRAIN TECHNOLOGY SOLUTIONS PVT. LTD. 52 2 1552 A & A GLOBAL CORPORATE 47 911 ARUNODAYA PRINT PACK SOLUTIONS PVT. LTD. 49 PVT. LTD. 30 90 1614 BIZGAZE LTD. 54 3 1105 AARKAY KAMAL JEWELLERS 48 1284 ARVENSIS ENERGY PVT. LTD. 39 91 1104 BNR UDYOG LTD. 34 PVT. LTD. 34 49 288 ASA BHANU TECHNICAL 92 1257 BOTANIC HEALTHCARE PVT. LTD. 38 4 1468 AASEYA IT SERVICES PVT. LTD. 44 SERVICES LTD. 13 93 1215 BRIO TECHNOLOGIES PVT LTD 37 5 1644 AASNAA ENGINEERS PVT. LTD. 57 50 1396 ASARA MANAGEMENT ADVISORS 94 1649 BROADRIDGE FINANCIAL PVT. LTD. 41 6 608 ACESS MEDITECH PVT. LTD. 24 SOLUTIONS (INDIA) PVT .LTD 57 51 328 ASIAN AGRI GENETICS LTD. 15 7 1331 ACURA LABS PVT LTD. 40 95 166 BSCPL INFRASTRUCTURE LTD. 7 52 1349 ASPIRO PHARMA LTD. 40 8 1598 ADITRI PHARMA SCIENCES 96 1031 BTC STEELS PVT.LTD. -
Adaptation of Shakespeare in Recent Bollywood Movies Dr
Adaptation of Shakespeare in Recent Bollywood Movies Dr. Charu C Mishra Assoc. Prof. (English) KG Arts & Science College Raigarh, Chhatisgarh India Abstract Thanks to our drama professor who initiated us to the sheer joy of reading the high flown language and acting in Shakespeare‟s plays that eventually left us spellbound for life. Watching Shakespeare‟s plays in theatre for the yester year English educated Indians has been a hobby. This infatuation with the greatest dramatist has led some Film directors to experiment on the themes of comedies and tragedies. In recent years, director Vishal Bhardwaj holds the credit of adapting themes of his great tragedies to contemporary situation and work wonder through his experimentation. Maqbool is a 2003 Indian crime drama, an adaptation of the play Macbeth. The film had its North American premiere at the 2003 Toronto International Film Festival and was screened in the Marché du Film section of the 2004 Cannes Film Festival. Bhardwaj then moved on to adapt Othello in his 2006 film Omkara which won him commercial as well as critical success and Francis Ford Coppola's attention. Haider is the third installment of Bhardwaj's Shakespearean trilogy. The film is a modern-day adaptation of William Shakespeare's tragedy Hamlet, set amidst the insurgency-hit Kashmir during conflicts of 1995 and civilian disappearances. The film was screened at the 19th Busan International Film Festival and released worldwide on 2 October 2014 to wide critical acclaim, and garnered attention from the media due to its controversial subject matter. The present paper intends to study how the movies inspired by Shakespeare still appeal 21st century audience to concur his universality in changing times. -
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UTV's Metro Premières in World Metros
UTV’s Metro premières in world metros- Dubai, London, Melbourne, Mumbai this May The beats of Band Metro to travel across India as part of the film promotion. Mumbai April 24, 2007: From the euphoria of a fast paced life, to the breakdown of a short-lived relationship…it’s a journey everybody staying in metros across the world undertake daily. UTV’s film ‘Metro’ depicts this aspect, in director Anurag Basu’s signature style. The very aptly named ‘Metro’, which already has garnered brand associations worth Rs. 2.25 crs, releases worldwide on May 11 with a 3 continent première that includes metros like Dubai, London, Melbourne, Mumbai -first time for an Indian film. Starring Shilpa Shetty, Shiney Ahuja, Kay Kay Menon, Konkana Sen Sharma, Sharman Joshi, Kangna Ranaut, the film is about the thrills and shrills of being a metro citizen. The action does not stop here…also seen strumming the strings of the guitar will be Band Metro, a melting pot of musical talent that consists of Pritam (music director for Metro), James, Soham, Suhail, as they set out for a 4 city tour across India in cities like Kolkata, Delhi, Pune, Bangalore, where they would perform live at theatres, clubs, pubs to give the audience a slice of the film through music, which is an integral part of the film storyline. The film would be released online on Rajshri.com on the date of the theatrical release on May 11, 2007. Says Siddharth Roy Kapur, EVP – Marketing, Distribution & Syndication, UTV “We plan to take the film Metro across the globe as it’s the story of people living in a metro, they could be anywhere in the world. -
Indian Cinema, Postcolonialism, and Social Justice: an Interview with Nandita Das1
Postcolonial Text, Vol 13, No 3 (2018) Indian Cinema, Postcolonialism, and Social Justice: An Interview with Nandita Das1 Manav Ratti Salisbury University, Maryland, USA Introduction Nandita Das (b. 1969) is one of India’s most eminent filmmakers and actors, renowned in particular for her work in art cinema (or parallel cinema, as it is also called in India), the genre of pioneering filmmakers Ritwik Ghatak (1925-1976), Satyajit Ray (1921-1992), Mrinal Sen (b. 1923), and Tapan Sinha (1924-2009). Das (Figure 1) has, in some respects, pursued an unconventional path into the Indian film industry, for it is not her first professional pursuit, and she does not hail from a film family (distinguished in their fields, her father, Jatin Das, is a painter; and her mother, Varsha Das, is a writer). Born in Mumbai and growing up in New Delhi, Das worked with NGOs for several years before entering the film industry, building on her Master’s degree from the Delhi School of Social Work in the University of Delhi. Fig. 1. Nandita Das at the Cannes Film Festival, 2017. Photo courtesy of Nandita Das Perhaps this unconventional, even outsider’s, path has informed Das’s use of films to question the norms of gender, religion, caste, sexuality, class, and nation, among others. Her work has gained recognition and respect for its uniqueness, urgency, awareness, and authenticity. Known for her social justice advocacy, Das’s national and international commitments span a range of issues, such as violence against women, children’s rights, HIV/AIDS, poverty, and interreligious harmony. She has supported India’s “Dark is Beautiful” campaign, which raises awareness about colourism, a form of prejudice and discrimination that devalues darker skin colours while privileging lighter ones. -
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