Unit 2 Radio, Television and Cinema
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Research Paper Impact Factor
Research Paper IJBARR Impact Factor: 3.072 E- ISSN -2347-856X Peer Reviewed, Listed & Indexed ISSN -2348-0653 HISTORY OF INDIAN CINEMA Dr. B.P.Mahesh Chandra Guru * Dr.M.S.Sapna** M.Prabhudev*** Mr.M.Dileep Kumar**** * Professor, Dept. of Studies in Communication and Journalism, University of Mysore, Manasagangotri, Karnataka, India. **Assistant Professor, Department of Studies in Communication and Journalism, University of Mysore, Manasagangotri, Karnataka, India. ***Research Scholar, Department of Studies in Communication and Journalism, University of Mysore, Manasagangotri, Karnataka, India. ***RGNF Research Scholar, Department of Studies in Communication and Journalism, University of Mysore, Manasagangothri, Mysore-570006, Karnataka, India. Abstract The Lumiere brothers came over to India in 1896 and exhibited some films for the benefit of publics. D.G.Phalke is known as the founding father of Indian film industry. The first Indian talkie film Alam Ara was produced in 1931 by Ardeshir Irani. In the age of mooki films, about 1000 films were made in India. A new age of talkie films began in India in 1929. The decade of 1940s witnessed remarkable growth of Indian film industry. The Indian films grew well statistically and qualitatively in the post-independence period. In the decade of 1960s, Bollywood and regional films grew very well in the country because of the technological advancements and creative ventures. In the decade of 1970s, new experiments were conducted by the progressive film makers in India. In the decade of 1980s, the commercial films were produced in large number in order to entertain the masses and generate income. Television also gave a tough challenge to the film industry in the decade of 1990s. -
EXIGENCY of INDIAN CINEMA in NIGERIA Kaveri Devi MISHRA
Annals of the Academy of Romanian Scientists Series on Philosophy, Psychology, Theology and Journalism 80 Volume 9, Number 1–2/2017 ISSN 2067 – 113x A LOVE STORY OF FANTASY AND FASCINATION: EXIGENCY OF INDIAN CINEMA IN NIGERIA Kaveri Devi MISHRA Abstract. The prevalence of Indian cinema in Nigeria has been very interesting since early 1950s. The first Indian movie introduced in Nigeria was “Mother India”, which was a blockbuster across Asia, Africa, central Asia and India. It became one of the most popular films among the Nigerians. Majority of the people were able to relate this movie along story line. It was largely appreciated and well received across all age groups. There has been a lot of similarity of attitudes within Indian and Nigerian who were enjoying freedom after the oppression and struggle against colonialism. During 1970’s Indian cinema brought in a new genre portraying joy and happiness. This genre of movies appeared with vibrant and bold colors, singing, dancing sharing family bond was a big hit in Nigeria. This paper examines the journey of Indian Cinema in Nigeria instituting love and fantasy. It also traces the success of cultural bonding between two countries disseminating strong cultural exchanges thereof. Keywords: Indian cinema, Bollywood, Nigeria. Introduction: Backdrop of Indian Cinema Indian Cinema (Bollywood) is one of the most vibrant and entertaining industries on earth. In 1896 the Lumière brothers, introduced the art of cinema in India by setting up the industry with the screening of few short films for limited audience in Bombay (present Mumbai). The turning point for Indian Cinema came into being in 1913 when Dada Saheb Phalke considered as the father of Indian Cinema. -
May 2013 India Review Ambassador’S PAGE America Needs More High-Skilled Worker Visas a Generous Visa Policy for Highly Skilled Workers Would Help Everyone
A Publication of the Embassy of India, Washington, D.C. May 1, 2013 I India RevieI w Vol. 9 Issue 5 www.indianembassy.org IMFC Finance Ministers and Bank Governors during a photo-op at the IMF Headquarters in Washington, D.C. on April 20. Overseas capital best protected in India — Finance Minister P. Chidambaram n India announces n scientist U.R. Rao n Pran honored incentives to boost inducted into with Dadasaheb exports Satellite Hall of Fame Phalke award Ambassador’s PAGE India is ready for U.S. natural gas There is ample evidence that the U.S. economy will benefit if LNG exports are increased he relationship between India and the United States is vibrant and growing. Near its T heart is the subject of energy — how to use and secure it in the cleanest, most efficient way possible. The India-U.S. Energy Dialogue, established in 2005, has allowed our two countries to engage on many issues. Yet as India’s energy needs con - tinue to rise and the U.S. looks to expand the marketplace for its vast cache of energy resources, our partner - ship stands to be strengthened even facilities and ports to distribute it macroeconomic scenarios, and under further. globally. every one of them the U.S. economy Despite the global economic slow - There is a significant potential for would experience a net benefit if LNG down, India’s economy has grown at a U.S. exports of LNG to grow expo - exports were increased. relatively brisk pace over the past five nentially. So far, however, while all ter - A boost in LNG exports would have years and India is now the world’s minals in the U.S. -
Community Radio Journalism in India
News by any other name: community radio journalism in India Bridget Backhaus* Griffith University, Australia Abstract Community radio journalism is a cultural resource that offers a voice to local communities and works to democratise media landscapes. Despite its indisputable value, community radio journalism in India faces a unique set of challenges: the foremost being that, officially, it does not exist. According to government policy, community radio stations are prohibited from broadcasting any news and current affairs content. The situation is further complicated by the presence of a development discourse underpinning the entire rationale for the sector. Instead of serving their listeners, community radio stations are beholden to a nebulous ‘development’ agenda. Under such circumstances, it is unsurprising that community radio journalism in India is relatively unexplored in the literature. This paper aims to address this gap by exploring how community radio practitioners in India source content and work around their restrictions in order to provide their listeners with relevant information and news. Keywords Community radio, India, news, journalism, development, social change Introduction Community radio is considered to be a voice for the voiceless and a stronghold of alternative views. Similarly, community radio journalism also has a tradition of democratising the media and acting as a cultural resource to provide communities with a local voice (Forde, Meadows & Foxwell-Norton, 2002). In India however, community radio journalism faces a unique set of challenges: the foremost of which being that, officially, it does not exist. Government policy prevents community radio stations in India from broadcasting any news or current affairs coverage. Employing the concept of community radio as rhizome as a theoretical framework, this article explores the fluid and contingent nature of community radio news and journalism in an environment where it officially does not exist. -
2. a Superhit Goddess
Ganesh, lord of auspicious beginnings and father of goddess Santoshi Ma. A Superhit Goddess Jai Santoshi Maa and Caste Hierarchy in Indian Films Part One Philip Lutgendorf “Audiences were showering coins, perennials of its vast output, yet they quarter of national cinematic output) flower petals and rice at the screen constitute one of the least-studied enjoys the largest audience in appreciation of the film. They aspects of this comparatively under- throughout the Indian subcontinent entered the cinema barefoot and set studied cinema. Indeed, I will venture and beyond. Sholay (“Flames”) and up a small temple outside…. In that for scholars and critics, Deewar (“The Wall”), were both Bandra, where mythological films mythologicals have generally been heavily-promoted “multi-starrers” aren’t shown, it ran for fifty weeks. It “hard to see.” Yet DeMille’s words belonging to the then-dominant genre was a miracle”. —Anita Guha, also belie the fact that most sometimes referred to as the masala (actress who played goddess mythologicals—like most commercial (“spicy”) film: a multi-course cinematic Santoshi Ma; cited in Kabir films of any genre—flop at the box banquet incorporating suspenseful office. The comparatively few that drama, romance, comedy, violent 2001:115). have enjoyed remarkable and action sequences, and song and Genre, Film & Phenomenon sustained acclaim hence merit study dance. Both were expensive and Cecil B. DeMille’s famously both as religious expressions and as slickly made by the standards of the cynical adage, “God is box office,” successful examples of popular art and industry, and both featured Amitabh may be applied to Indian popular entertainment. -
National Museum, New Delhi
TREASURES The National Culture Fund (NCF) was The Treasures series brings to you objects of great aesthetic quality and National Museum This volume highlights the treasures of established by the Ministry of Culture in historic significance from collections of major Indian museums. Each the National Museum—New Delhi. 1996 and is a Trust under the Charitable book has an introduction to the particular museum, set in broad thematic NEW DELHI The museum has over 2,10,000 works Endowments Act of 1890. It is governed sections. Several significant treasures have been selected and presented of art representing 5,000 years of Indian by a Council with the Hon’ble Minister with an introduction by the Director and staff of the museum. art and craftsmanship. The collection for Culture as its chairperson and includes sculptures in stone, bronze, managed by an Executive Committee This Treasures series is an initiative of the Ministry of Culture, terracotta and wood, miniature paintings chaired by the Secretary, Ministry of Government of India, in collaboration with major Indian museums, and manuscripts, coins, arms and armour, Culture, Government of India. and the National Culture Fund (NCF) has been entrusted with the Museum National jewellery and anthropological objects. Antiquities from Central Asia and pre- The primary mandate of the NCF responsibility for its production. Columbian artefacts form the two non- is to nurture Public Private Partnerships Indian collections in the museum. The (PPP), to mobilise resources from The aim of the Treasures series is to create a lasting interest in Indian museum is the custodian of this treasure the public and private sector for the art and inspire more visitors to enjoy the wonders of India’s great trove of our multilayered history and restoration, conservation, protection cultural legacy. -
Mjmc 2020-22
c MJMC (SESSTON- 2020-2022) SYLLABUS Master of Journalism and Mass Communication Four Semester Course Under Choice Based Credit System .IIWAJI UNMRSITY, GWALIOR 2020-2022 "t\7 \/' \\/ : :1; MJMC (sESSroN- 2020-2A22) JIWAJI UNIVERSITY, GWALIOR (Established in 1964) NAAC Accredited 'A' crade University MASTER OF JOURNALISM AND MASS COMMUNICATION (Choice Based Credit System) ( 2O2O-22) 1. Eligibility for Admission : Graduate in any discipline from any University recognized by Jiwaji University, Gwalior 2. No. of seats :30 Admission On the basis of merit 4. Duration 2 years (4 Semester) regular course. 6 Objectives of Course: Objectives of Course are - (1) To familiarize the students with the working of media print, electronic and cyber media. (2\ To develop working skills needed for newspapers! Radio, T V and Web Journalism. (3) To develop research aptitude and research skills to understand media and to make use of them. (4) To develop understanding of development and its relationship with media. (5) To develop writing skills for different formats of writing used in media. (6) To develop understanding of the role of media in society. (7) To sensitize students about human values, culture, development of society, environment etc. in relation to media. (8) To develop competence to supervise and guide the working of media and the spirit of a team head. (9) To develop aptitude and competence to analyze and interpret the events. (10) Focus of the course will be on print journalism. Scheme of Study for M.J.M.C. Programme : (1) M.J. M. C. Programme is divided into four semesters. (2) Student will have to successfully undergo theory courses, seminars, assignments and internship. -
English and Communicative English
UNIVERSITY OF KERALA FIRST DEGREE PROGRAMME IN Career related 2(a) ENGLISH AND COMMUNICATIVE ENGLISH (CBCS SYSTEM) 2013 Admissions onwards SEMESTERS I to 6 (Core, Complementary, Vocational Open Courses) SYLLABI 2 SEMESTER I CAREER RELATED FIRST DEGREE PROGRAMME 2(a) (CBCS System) COMMUNICATIVE ENGLISH Core Course I – READING POETRY: CG 1141 No. of credits: 3 No. of instructional hours: 5 per week (Total: 90 hrs) AIMS 1. To sensitize students to the language, forms and types of poetry. 2. To make them aware of the diverse poetic devices and strategies. 3. To help them read, analyse and appreciate poetry. 4. To enhance the level of literary and aesthetic experience and to help them respond creatively. OBJECTIVES On completion of the course, the students should be able to 1. identify the various forms and types of poetry 2. explain the diverse poetic devices and strategies employed by poets. 3. read, analyse and appreciate poetry critically. 4. respond critically and creatively to the world around. COURSE OUTLINE Module 1: • Subjective and Objective Poetry • Types of Poetry: Lyric, Ode, Sonnet, Elegy, Ballad, Epic, Mock Epic, Dramatic Monologue, Haiku. • Stanza – couplet, tercet, terza rima, ottava rima, quatrain, spensarian stanza, rime royal. • Poetic devices: alliteration, assonance, simile, metaphor, image, symbol, rhythm, rhyme. • Meter: Heroic Couplet, Free Verse and Blank Verse. Module 2: Representative poetry from British literature. Module 3: Representative poetry from American, Irish, German, Russian, Australian and Indian literatures. Module 4: Practical criticism – intensive reading of poems at phonological, structural and semantic levels. Critical analysis and appreciation of unseen poem. 3 COURSE MATERIAL Module 1: Core reading: Chapter 1 from A Concise Companion to Literary Forms. -
A Study on the Role of Public and Private Sector Radio in Women's
Athens Journal of Mass Media and Communications- Volume 4, Issue 2 – Pages 121-140 A Study on the Role of Public and Private Sector Radio in Women’s Development with Special Reference to India By Afreen Rikzana Abdul Rasheed Neelamalar Maraimalai† Radio plays an important role in the lives of women belonging to all sections of society, but especially for homemakers to relieve them from isolation and help them to lighten their spirit by hearing radio programs. Women today play almost every role in the Radio Industry - as Radio Jockeys, Program Executives, Sound Engineers and so on in both public and private radio broadcasting and also in community radio. All India Radio (AIR) constitutes the public radio broadcasting sector of India, and it has been serving to inform, educate and entertain the masses. In addition, the private radio stations started to emerge in India from 2001. The study focuses on private and public radio stations in Chennai, which is an important metropolitan city in India, and on how they contribute towards the development of women in society. Keywords: All India Radio, private radio station, public broadcasting, radio, women’s development Introduction Women play a vital role in the process of a nation’s change and development. The Indian Constitution provides equal status to men and women. The status of women in India has massively transformed over the past few years in terms of their access to education, politics, media, art and culture, service sectors, science and technology activities etc. (Agarwal, 2008). As a result, though Indian women have the responsibilities of maintaining their family’s welfare, they also enjoy more liberty and opportunities to chase their dreams. -
Unit-2 Silent Era to Talkies, Cinema in Later Decades
Bachelor of Arts (Honors) in Journalism& Mass Communication (BJMC) BJMC-6 HISTORY OF THE MEDIA Block - 4 VISUAL MEDIA UNIT-1 EARLY YEARS OF PHOTOGRAPHY, LITHOGRAPHY AND CINEMA UNIT-2 SILENT ERA TO TALKIES, CINEMA IN LATER DECADES UNIT-3 COMING OF TELEVISION AND STATE’S DEVELOPMENT AGENDA UNIT-4 ARRIVAL OF TRANSNATIONAL TELEVISION; FORMATION OF PRASAR BHARATI The Course follows the UGC prescribed syllabus for BA(Honors) Journalism under Choice Based Credit System (CBCS). Course Writer Course Editor Dr. Narsingh Majhi Dr. Sudarshan Yadav Assistant Professor Assistant Professor Journalism and Mass Communication Dept. of Mass Communication, Sri Sri University, Cuttack Central University of Jharkhand Material Production Dr. Manas Ranjan Pujari Registrar Odisha State Open University, Sambalpur (CC) OSOU, JUNE 2020. VISUAL MEDIA is made available under a Creative Commons Attribution-ShareAlike 4.0 http://creativecommons.org/licences/by-sa/4.0 Printedby: UNIT-1EARLY YEARS OF PHOTOGRAPHY, LITHOGRAPHY AND CINEMA Unit Structure 1.1. Learning Objective 1.2. Introduction 1.3. Evolution of Photography 1.4. History of Lithography 1.5. Evolution of Cinema 1.6. Check Your Progress 1.1.LEARNING OBJECTIVE After completing this unit, learners should be able to understand: the technological development of photography; the history and development of printing; and the development of the motion picture industry and technology. 1.2.INTRODUCTION Learners as you are aware that we are going to discuss the technological development of photography, lithography and motion picture. In the present times, the human society is very hard to think if the invention of photography hasn‘t been materialized. It is hard to imagine the world without photography. -
Raja Harishchandra Is a Most Thrilling Story from Indian Mythology. Harishchandra Was a Great King of India, Who Flourished Several Centuries Before the Christian Era
Notes The Times of India gave pre-screening publicity as follows: 'Raja Harishchandra is a most thrilling story from Indian mythology. Harishchandra was a great king of India, who flourished several centuries before the Christian era. He (sic) and his wife's names were household words in every Indian home for their truthfulness and chastity respectively. Their son Rohidas was a marvellous type of noble manhood. What Job was in Christian (sic) Bible, so Harischandra was in the Indian mythology. The patience of this king was tried so much that he was reduced to utter poverty and he had to pass his days in jungles in the company of cruel beasts. The same fate overcame his faithful wife and the dutiful son. But truth tri- umphed at last and they came out successfully through the ordeal. Several Indian scenes as depicted in this film are sim- ply marvellous. It is really a pleasure to see this piece of Indian workmanship'. The Bombay Chronicle, while reviewing Raja Harishchandra in its issue of Monday, 5th May 1913 said, 'An interesting de- parture is made this week by the management of Coronation Cinematographer. The first great Indian dramatic film on the lines of the great epics of the western world ... it is curious that the first experiment in this direction was so long in com- ing (sic) ... all the stories of Indian mythology era will long make their appearance ... followed by representations of modern dramas and comedies, another field which opens up vast possibilities ... it is to Mr Phalke that Bombay owes this .. -
Films Screenings to Mark 151St Birth Anniversary of Dadasaheb Phalke, Father of Indian Cinema
Press Release Films Division Ministry of Information & Broadcasting Government of India MUMBAI – 400 026 Date: 28th April, 2021 Films screenings to mark 151st Birth Anniversary of Dadasaheb Phalke, Father of Indian Cinema Dhundiraj Govind Phalke, popularly known as ‘Dadasaheb Phalke’ (1870-1944), introduced the art of cinema in India and opened the door of unlimited imagination before the countrymen. His visionary ambition laid a strong base for today’s flourished Indian entertainment industry. Paying tributes to the legend, popularly known as the Father of Indian Cinema, on his 151st Birth Anniversary on 30th April, 2021, Films Division is organizing a two-days festival of documentary and animation films on 29th and 30th April, 2021. The films being streamed on FD website and You Tube channel are: Dream Takes Wings (16Mins/English/1972/Gajanan Jagirdar - a biopic on the Dadasaheb Phalke, Phalke Children(20Mins/English/1994/Kamal Swaroop) - a film that traces his life and career through the reminiscence of surviving children and family photographs, The Pea Plant Legacy (11 Mins/Music/2015/Ram Mohan) - an animation film on Dadasaheb Phalke and Tracing Phalke (102 Mins/English/2015/Kamal Swaroop) – a film which traces the places Phalke lived and worked through the people who belonged to those cities, trying to tell stories about his life in those places and Rangbhoomi (90Mins/Hindi/2013/Kamal Swaroop) - a part fiction, part documentary that attempts to trace the contours of Phalke’s life in Varanasi after he withdrew, disillusioned, from the world of cinema and decided to take up theatre. The films will be streamed on 29th and 30th April, 2021 on https://filmsdivision.org/ Documentary of the Week and on https://www.youtube.com/user/FilmsDivision.