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Clare M. Wilkinson-Weber
Clare M. Wilkinson-Weber TAILORING EXPECTATIONS How film costumes become the audience’s clothes ‘Bollywood’ film costume has inspired clothing trends for many years. Female consumers have managed their relation to film costume through negotiations with their tailor as to how film outfits can be modified. These efforts have coincided with, and reinforced, a semiotic of female film costume where eroticized Indian clothing, and most forms of western clothing set the vamp apart from the heroine. Since the late 1980s, consumer capitalism in India has flourished, as have films that combine the display of material excess with conservative moral values. New film costume designers, well connected to the fashion industry, dress heroines in lavish Indian outfits and western clothes; what had previously symbolized the excessive and immoral expression of modernity has become an acceptable marker of global cosmopolitanism. Material scarcity made earlier excessive costume display difficult to achieve. The altered meaning of women’s costume in film corresponds with the availability of ready-to-wear clothing, and the desire and ability of costume designers to intervene in fashion retailing. Most recently, as the volume and diversity of commoditised clothing increases, designers find that sartorial choices ‘‘on the street’’ can inspire them, as they in turn continue to shape consumer choice. Introduction Film’s ability to stimulate consumption (responding to, and further stimulating certain kinds of commodity production) has been amply explored in the case of Hollywood (Eckert, 1990; Stacey, 1994). That the pleasures associated with film going have influenced consumption in India is also true; the impact of film on various fashion trends is recognized by scholars (Dwyer and Patel, 2002, pp. -
Dilip-Kumar-The-Substance-And-The
No book on Hindi cinema has ever been as keenly anticipated as this one …. With many a delightful nugget, The Substance and the Shadow presents a wide-ranging narrative across of plenty of ground … is a gold mine of information. – Saibal Chatterjee, Tehelka The voice that comes through in this intriguingly titled autobiography is measured, evidently calibrated and impossibly calm… – Madhu Jain, India Today Candid and politically correct in equal measure … – Mint, New Delhi An outstanding book on Dilip and his films … – Free Press Journal, Mumbai Hay House Publishers (India) Pvt. Ltd. Muskaan Complex, Plot No.3, B-2 Vasant Kunj, New Delhi-110 070, India Hay House Inc., PO Box 5100, Carlsbad, CA 92018-5100, USA Hay House UK, Ltd., Astley House, 33 Notting Hill Gate, London W11 3JQ, UK Hay House Australia Pty Ltd., 18/36 Ralph St., Alexandria NSW 2015, Australia Hay House SA (Pty) Ltd., PO Box 990, Witkoppen 2068, South Africa Hay House Publishing, Ltd., 17/F, One Hysan Ave., Causeway Bay, Hong Kong Raincoast, 9050 Shaughnessy St., Vancouver, BC V6P 6E5, Canada Email: [email protected] www.hayhouse.co.in Copyright © Dilip Kumar 2014 First reprint 2014 Second reprint 2014 The moral right of the author has been asserted. The views and opinions expressed in this book are the author’s own and the facts are as reported by him, which have been verified to the extent possible, and the publishers are not in any way liable for the same. All photographs used are from the author’s personal collection. All rights reserved. -
1St Filmfare Awards 1953
FILMFARE NOMINEES AND WINNER FILMFARE NOMINEES AND WINNER................................................................................ 1 1st Filmfare Awards 1953.......................................................................................................... 3 2nd Filmfare Awards 1954......................................................................................................... 3 3rd Filmfare Awards 1955 ......................................................................................................... 4 4th Filmfare Awards 1956.......................................................................................................... 5 5th Filmfare Awards 1957.......................................................................................................... 6 6th Filmfare Awards 1958.......................................................................................................... 7 7th Filmfare Awards 1959.......................................................................................................... 9 8th Filmfare Awards 1960........................................................................................................ 11 9th Filmfare Awards 1961........................................................................................................ 13 10th Filmfare Awards 1962...................................................................................................... 15 11st Filmfare Awards 1963..................................................................................................... -
EROS INTERNATIONAL COLLECTION of INDIAN CINEMA on DVD Last Update: 2008-05-21 Collection 26
EROS INTERNATIONAL COLLECTION OF INDIAN CINEMA ON DVD Last Update: 2008-05-21 Collection 26 DVDs grouped by year of original theatrical release Request Titles by Study Copy No. YEAR OF THEATRICAL COLOR / RUNNING STUDY COPY NO. CODE FILM TITLE RELEASE B&W TIME GENRE DIRECTOR(S) CAST 1 DVD5768 M DVD-E-079 MOTHER INDIA 1957 color 2:43:00 Drama Mehoob Khan Nargis, Sunil Dutt, Raj Kumar 2 DVD5797 M DVD-E-751 KAAGAZ KE PHOOL 1959 color 2:23:00 Romance Guru Dutt Guru Dutt, Waheeda Rehman, Johnny Walker 3 DVD5765 M DVD-E-1060 MUGHAL-E-AZAM 1960, 2004 color 2:57:00 Epic K. Asif Zulfi Syed, Yash Pandit, Priya, re-release Samiksha 3.1 DVD5766 M DVD-E-1060 MUGHAL-E-AZAM bonus material: premier color in Mumbai; interviews; "A classic redesigned;" deleted scene & song 4 DVD5815 M DVD-E-392 CHAUDHVIN KA CHAND 1960 b&w 2:35:00 Romance M. Sadiq Guru Dutt, Waheeda Rehman, Rehman 5 DVD5825 M DVD-E-187 SAHIB BIBI AUR GHULAM 1962 b&w 2:42:00 Drama Abrar Alvi Guru Dutt, Meena Kuman, Waheeda Rehman 6 DVD5772 M DVD-E-066 SEETA AUR GEETA 1972 color 2:39:00 Drama Ramesh Sippy Dharmendra, Sanjeev Kumar, Hema Malini 7 DVD5784 M DVD-E-026 DEEWAAR 1975 color 2:40:00 Drama Yash Chopra Amitabh Bachchan, Shashi Kapoor, Parveen Babi, Neetu Singh 8 DVD5788 M DVD-E-016 SHOLAY 1975 color 3:24:00 Action Ramesh Sippy Amitabh Bachchan, Dharmendra, Sanjeev Kumar, Hema Malini 9 DVD5807 M DVD-E-256 HERA PHERI 1976 color 2:37:00 Comedy Prakash Mehra Amitabh Bachchan, Vinod Khanna, Saira Banu, Sulakshana Pandit 10 DVD5802 M DVD-E-140 KHOON PASINA 1977 color 2:31:00 Drama Rakesh Kumar Amitabh Bachchan, Vinod Khanna, Rekha 11 DVD5816 M DVD-E-845 DON 1978 color 2:40:00 Action Chandra Barot Amitabh Bachchan, Zeenat Aman, Pran 12 DVD5811 M DVD-E-024 MR. -
It's the Month of February and Valentines Day Sprinkles Stardust
✱ COVER STORY POWER COUPLESIt’s the month of February and Valentines Day sprinkles stardust around, love is in the air and cupid is ready to strike her darts at love-laced hearts. 44 Issue 6 ✱ Febryary 2010 Bollywood Lifestyle Magazine t’s the power of love that has kept this world together and it is the glue that will keep it going strong forever. You must have also seen many love birds around, but let us have a close view of Bollywood’s couples who are madly in love with each other. Here we dissect their charisma and their on-screen chemistry that packs a punch. Bollywood brings us many good looking on-screen couples, however some pairs are very unique. Their amazing chemis- try, perfect emotion, high comfort level and not to forget the secret “X” factor makes them the on-screen power couple that lend excitement to the film and at times they become the reason for the hits, or misses of the year. Together these couples not only attract the paparazzi, but also arouse the interest of large corporate houses that pay them astronomical sums for product endorsements that today they make more in brand endorsements than in films! Let us look at Tinsel town’s top five power couples. TOP FIVE POWER COUPLES OF THIS ERA SAIF ALI look sizzling hot, they Saif. In 2004 she began POWER 1KHAN AND definitely make it as one of dating actor Shahid Kapoor KAREENA Bollywood’s power couple whom she eventually KAPOOR LOVE HISTORY: parted ways with during Both Kareena and Saif are Saif had married actress the filming of “Jab We Ifamous for their baggage Amrita Singh in October Met” in early 2007. -
The Nostalgia of Performing Hajj from Qatar
06 Thursday, July 8, 2021 ESTABLISHED SEPTEMBER 3, 2006 HAMAD BIN SUHAIM AL THANI CHAIRMAN Opinion ADEL ALI BIN ALI MANAGING DIRECTOR DR HASSAN MOHAMMED AL ANSARI EDITOR-IN-CHIEF China And India Join The Campaign The Nostalgia Of Performing For A Global Minimum Tax Hajj From Qatar ONALD Trump’s global eco- nomic strategy was to rail Dagainst other nations for rip- ping us off while doing little to A journey that took months in the past now is performed in a few days level the playing field. Indeed, the trade wars he started harmed MOHAMED HAMMAM FIKRI During the reign of Sheikh Ali bin Abdul- American consumers and cost tax- lah Al Thani, the fourth ruler of Qatar in the payers billions in subsidies paid to period from 1949-1960, pilgrims’ centers US farmers. EOPLE of Qatar never stopped recall- were opened for the first time on the edge of Joe Biden looks upon Ameri- ing their memories of Hajj, for the ritu- Doha. It was a point of assembly for pilgrims can leadership differently. His and als had always been present in their before they start their journey. Along the way, Treasury Secretary Janet Yellen’s hearts and minds. They were confident mosques were built and services provided, so-far successful campaign to in their return to the House of God to and it was all supervised by Sheikh Abdullah implement a global minimum Pperform the religious duty, and now they are bin Ibrahim Al-Ansari and other sheikhs. 15% corporate tax is an early sign looking forward avidly to visit the holy place Since 1957, the Qatari Department of that there’s a far better way than once again. -
Features Lifestyle
Established 1961 11 Lifestyle Features Thursday, July 8, 2021 Saira Banu (third left), wife of late Bollywood actor Dilip Kumar, mourns near his body at her residence along with People pray for late Bollywood actor Dilip Kumar, who died today in Mumbai at the age of 98, outside his ancestral Chief Minister of Maharashtra Uddhav Thackeray (left) and actor Dharmendra (right) after he died at the age of 98 in home in Peshawar. Mumbai yesterday. — AFP photos ributes poured in yesterday from father’s stall in Bombay-now Mumbai-by Tactors, politicians, sports stars and actress Devika Rani, who convinced him even an animal rights group after to try acting. much-loved Bollywood veteran Dilip Changing his name to hide his profes- Kumar died aged 98. Born Mohammed sion from his disapproving father, he went Yusuf Khan in Peshawar-now part of on to become a beloved household name Pakistan — in 1922, Kumar became a who transcended generations, as well as major star in Indian cinema’s golden age India’s social and religious divides. between the 1940s and 1960s, starring in Pakistan Prime Minister Imran Khan said nearly 60 films in a career spanning 50 he was “saddened” by the news, and years. He died in a Mumbai hospital early praised Kumar’s charity work. Amitabh yesterday. “Dilip Kumar... will be remem- Bachchan, Bollywood’s biggest star, bered as a cinematic legend,” Indian called Kumar his “idol” and said on Prime Minister Narendra Modi said on Twitter: “An epic era has drawn curtains... Twitter. Never to happen again.” “An institution Saira Banu, wife of late Bollywood actor Dilip Kumar, sits in a car as she leaves her resi- dence for his funeral after he died. -
Dual Edition
YEARS # 1 Indian American Weekly : Since 2006 VOL 15 ISSUE 28 ● NEW YORK / DALLAS ● JULY 09 - 15, 2021 ● ENQUIRIES: 646-247-9458 ● [email protected] www.theindianpanorama.news India’s PM Narendra Modi in a India celebrates the 75th Independence Day on August 15,2021. major reshuffle drops 12 senior To commemorate the historic event, we are bringing out a profusely ministers and inducts a younger team illustrated special edition. Besides the commissioned articles, we invite readers to contribute. Please send in your articles by August 01, 2021 to [email protected]. Advertising space may please be booked by July 26, 2021 at [email protected] For more information, please visit www.theindianpanorama.news For all inquiries, please call 646-247-9458 or email to [email protected] The new inductees in the council of ministers with India's President Ram Nath Kovind, 8th from left, and Prime Minister Narendra Modi, 6th from left. - Photo / Courtesy PIB INDIAN AMERICAN I.S. SALUJA dropping 12 ministers and inducting 15 in a few States, the most important being NEW DELHI (TIP): In a balancing act cabinet ministers and 28 junior Uttar Pradesh, a State which plays a ASTRONAUT SIRISHA and to refurbish the image of the ministers. decisive role in the fortunes of political BANDLA SET TO FLY OFF government, Prime Minister of India The exercise is believed to have been parties and the federal government. INTO SPACE ON JULY 11 Narendra Modi, reshuffled his ministry, necessitated by the upcoming elections CONTD ON PAGE 38 Third woman of Indian descent to fly LEGENDARY INDIAN ACTOR into space will be a mission specialist Indian Ambassador to the US Taranjit Singh on Virgin Galactic’s ‘Unity 22’ flight. -
Changing Roles of Women in Indian Cinema
Changing Roles of Women in Indian Cinema Ruchi Agarwal Mahidol University International College Nakorn Pathom, Thailand *Corresponding author: [email protected] Abstract Men in most societies were seen as breadwinners while role of women was restricted to being a good homemaker and a good mother. This applies to women in a highly patriarchal society of India. As societies entered the world of modernization, the role of women changed dramatically. Media played an important role in the modernization of societies and greatly affected the image of women in today’s modern world. A number of researches have been done on the role of women in different societies. However little has been said about the importance of films in portraying women in shifting roles over different decades and the impact it has on societies in general. Over past decades, Indian cinema has witnessed a significant transformation in the way women are portrayed through films. Contemporary films portray women as more independent, confident, and career oriented This article deals with these fast changing role of women portrayed in Indian cinema and its influence on the patriarchal Indian society with a focus on some representative Bollywood films. The aim is to link the changing character played by women in films with the emerging status of women in India, as films are a reflection of changes in the social structure. Key words: Bollywood, India, Roles, Films, Women Silpakorn University Journal of Social Sciences, Humanities, and Arts Vol.14(2) : 117-132, 2014 Changing Roles of Women in Indian Cinema Ruchi Agarwal Introduction In the 60 years since Independence, Indian cinema has gone through a lot of changes including a shift from classic mythological blockbusters to “Bollywoodised” remakes of Hollywood’s successful films. -
Indian Films – Strengthening Cultural Ties Between Japan & India
3 Indian Films – Strengthening Cultural Ties Between Japan & India Author Rajesh Williams By Rajesh Williams In recent decades, Indian films have contributed to strengthening Asian Film Festival. cultural ties between Japan and India even further. Nowadays, it is Speaking about the award, she said, “I didn’t expect to win the quite common for young Japanese women to travel to India to learn award. It was a big surprise for me because I’m not a confident actor Bollywood dances. Many young women find the prodigious dance yet. But I’m truly honored and happy to know my acting moved scenes in Indian films quite appealing; it is such dance scenes that someone’s heart. I couldn’t have achieved what I did without support draw most of them towards Indian films. After learning a few from everyone in the team. They are all talented and great people. Bollywood dance moves as a hobby, some young women have even Being involved in this film sort of made clear to me what kind of path become professional dance performers. Young women in Japan have I want to take as an actress. So it may take time but hopefully I can also been greatly influenced by visiting artistes from India; and as keep going.” they regard dancing as a skill that can be acquired within a few days, Another film with a Japan connection is The Japanese Wife they feel that they can return and begin performing. When people (2010). Directed by Bengali filmmaker Aparna Sen, this film is an watch their performances, they too are inspired to learn. -
Puja Special
Director’s Cut “I’mindebtedtomyactors” SIMPLY CELEBRATE GOES ON A JOURNEY WITH fered a breakdown. If people have accepted the mor”; these are Radha’s words. Imagine Tagore’s RITUPARNO GHOSH, BENGAL’S EDGIEST FILMMAKER casting of Swatilekha in Ghare Baire, then what’s sensitivity when he writes “amar e ghor bohu jo- wrong with Aishwarya Rai in Chokher Bali? Just ton kore dhutey hobe muchhtey hobe morey, AND UNABASHED VOICE OF ALTERNATE SEXUALITY By TITHI SARKAR because she is not a Bengali? In this century, amare je jagte hobe ke jaane se ashbe kobe”. should we still have regionalism on our minds? Pronouns and verbs in the Bengali language SUVASHIS MULLICK/www.indiatodayimages.com Q: There has also been a lot of talk about sex- are not gender-sensitive. The mysterious and ituparno Ghosh’s life is one unending celebration. National uality with respect to you as well as your films. mystical ambiguity of androgyny in Tagore’s writ- awards have come to be associated with almost every film of How comfortable are you with this? ings is a treasure we have inherited from one of A: Antarmahal was about sexuality. Paroma our greatest legends but haven’t utilised enough. Ghosh’s. Even before he appeared last year before the camera is also a strong film on sexuality. At one time, the When Joy (Goswami) writes “Benimadhab, Beni- in Aarekti Premer Golpo the film’s posters literally sent shock- values that directors upheld were secularism, madhab, tomar bari jabo” in Malatibala Balika Rwaves across the city as viewers waited anxiously to welcome the new ‘hero- non-communalism and anti-caste and class sys- Bidyalaya, or Manna De sings “Lolita oke aaj ine’ of the Bengali film industry. -
Reconnecting to the NRI Through Popular Hindi Cinema
BOLLYWOODIZING DIASPORAS: Reconnecting to the NRI through Popular Hindi Cinema A thesis submitted to the Miami University Honors Program in partial fulfillment of the requirements for University Honors with Distinction. and Submitted to the School of Interdisciplinary Studies (Western College Program) in partial fulfillment of the requirements for the degree of Bachelor of Philosophy in Interdisciplinary Studies. By Pulkit Datta Miami University Oxford, Ohio 2008 2 ABSTRACT _____________________________ This project explores the recent shift in focus of popular Hindi (Bollywood) films from domestic characters encountering social issues, to members of the South Asian diaspora (primarily in the West) negotiating their ethnic identities. This project offers insights into the evolution of the Bollywood narrative where identities are being renegotiated and connections with traditional Indian culture are being challenged. Acknowledging the economic liberalization of India as catalyst, this paper examines the representation of the Non-Resident Indians (NRIs) and their connectedness with the diasporic reality in which they live. The representation is discussed in terms of the impact that religion, gender, sexuality, and regional/national politics have on the creation of a hybridized ethnic identity. Moreover, recent NRI-centric films are openly utilizing the diasporic characters as a safer experimental platform to negotiate these complex issues. The 2003 release of Kal Ho Naa Ho acts as the central example of a film that follows all the Bollywood conventions, yet due to its complete focus on the diaspora, can also be seen as non-Bollywood. The film's multiple subplots, tackling a wide range of issues among the diaspora, offer an engaging explanation of India's portrayal of its expatriates as a socially liberal, affluent, culturally liminal, and hybridized ethnic population within their host societies.