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Yash Chopra the Legend
YASH CHOPRA THE LEGEND Visionary. Director. Producer. Legendary Dream Merchant of Indian Cinema. And a trailblazer who paved the way for the Indian entertainment industry. 1932 - 2012 Genre defining director, star-maker and a studio mogul, Yash Chopra has been instrumental in shaping the symbolism of mainstream Hindi cinema across the globe. Popularly known as the ‘King of Romance’ for his string of hit romantic films spanning over a five-decade career, he redefined drama and romance onscreen. Born on 27 September 1932, Yash Chopra's journey began from the lush green fields of Punjab, which kept reappearing in his films in all their splendour. © Yash Raj Films Pvt. Ltd. 1 www.yashrajfilms.com Yash Chopra started out as an assistant to his brother, B. R. Chopra, and went on to direct 5 very successful films for his brother’s banner - B. R. Films, each of which proved to be a significant milestone in his development as a world class director of blockbusters. These were DHOOL KA PHOOL (1959), DHARMPUTRA (1961), WAQT (1965) - India’s first true multi-starrer generational family drama, ITTEFAQ (1969) & AADMI AUR INSAAN (1969). He has wielded the baton additionally for 4 films made by other film companies - JOSHILA (1973), DEEWAAR (1975), TRISHUL (1978) & PARAMPARA (1993). But his greatest repertoire of work were the 50 plus films made under the banner that he launched - the banner that stands for the best of Hindi cinema - YRF. Out of these films, he directed 13 himself and these films have defined much of the language of Hindi films as we know them today. -
The Ethical, Relational and Pedagogical Possibilities of Talking with Young People About Pornography
MORE THAN AN “UNHAPPY OBJECT”: THE ETHICAL, RELATIONAL AND PEDAGOGICAL POSSIBILITIES OF TALKING WITH YOUNG PEOPLE ABOUT PORNOGRAPHY ALANNA CAROLINE GOLDSTEIN A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN EDUCATION YORK UNIVERSITY TORONTO, ONTARIO June 2018 © Alanna Goldstein, 2018 Abstract Despite its ubiquity, online pornography has retained its status as an “unhappy object” (Ahmed, 2008) that is taken-for-granted as uniquely and inherently harmful for viewers, for participants, and for society in general. This is considered particularly true for young people, who are constructed as incapable of engaging with pornography in critical or nuanced ways; assumptions that have resulted in pornography’s continued omission as a topic in contemporary sexual health education curricula. But what happens when we actually talk to young people about their relationship to pornography? What do we learn about how young people engage with pornography, and how might these conversations challenge the things we think we know about youth, sexuality, pornography, and about the point and purpose of education altogether? This dissertation draws on data from four focus groups undertaken with undergraduate students at a Canadian university around the topics of online pornography and sex education to consider the value of addressing pornography in our pedagogies. Using narrative thematic analysis and case-centred analysis methodologies (Riessman, -
How Shock Porn Shaped American Sexual Culture A
HOW SHOCK PORN SHAPED AMERICAN SEXUAL CULTURE A Thesis submitted to the faculty of San Francisco State University In partial fulfillment of the requirements for the Degree KMS* . Master of Arts In Human Sexuality Studies by Alicia Marie Jimenez San Francisco, California May 2017 Copyright by Alicia Marie Jimenez 2017 CERTIFICATION OF APPROVAL I certify that I have read How Shock Porn Shaped American Sexual Culture by Alicia Marie Jimenez, and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirement for the degree Master of Arts in Sexuality Studies at San Francisco State University. Clare Sears Ph.D. Associate Professor HOW SHOCK PORN SHAPED AMERICAN SEXUAL CULTURE Alicia Marie Jimenez San Francisco, California 2017 This paper is about the lasting impact of “2 girls 1 cup” on American sexual identity. I analyze reaction videos focusing on three key themes; Fame, fear, and humor to understand how shock porn and internet culture came together in 2007. Centered around the creation of viral video, internet stardom, and a deep investment in American sexuality I focus very specific moment that allowed for viral stardom and the multitude of reaction videos recorded. The pop culture controversy surrounding “2 girls 1 cup” is part of a long history of abjection and censorship for explicit content.. I outline the widespread preoccupation and fascination with shock porn, as well as its lasting impacts on Americans’ sense of sexual self. I certify that the Abstract is a correct representation of the content of this thesis. S /W i7 Chair, Thesis Committee Date ACKNOWLEDGEMENTS Thank you to my family, who pushed me to pursue higher education and supported me and foster my deep love of learning. -
“YRF BIG SCREEN CELEBRATIONS” (“ Film
Terms and Conditions of the YRF 50 BIG SCREEN CELEBRATIONS The YRF 50 film festival “YRF BIG SCREEN CELEBRATIONS” (“Film Festival”) is organized to celebrate 50 years of films produced under the Yash Raj Films banner /Yash Raj Films Private Limited (“YRF”) between November 12, 2020 till November 19, 2020 at select cities and cinemas across India. The below mentioned terms and conditions govern the Film Festival from YRF’s perspective. Terms and Conditions: 1. The following films which are owned and produced by YRF (“YRF Films”) will be screened as part of the Film Festival at the sole discretion of YRF’s exhibition partners which own and operate the cinemas – PVR Cinemas, INOX and Cinepolis (each “Cinema Partner”): a. Dilwale Dulhania Le Jayenge b. Veer-Zaara c. Daag d. Kabhi Kabhie e. Mashaal f. Dil To Pagal Hai g. Bunty Aur Babli h. Chak De India i. New York j. Ek Tha Tiger k. Dum Laga Ke Haisha l. Band Bajaa Baraat m. Mardaani n. Tiger Zinda Hai o. Chandni p. Lamhe q. Silsila r. Sathiya s. Rab Ne bana di Jodi t. Sultan u. War v. Darr w. Hum Tum x. Mohabbatein 2. The show timings, the price of the tickets, cinemas and cities of cinema where the YRF Films are exhibited would be solely controlled by the Cinema Partners without any liability to YRF. 3. The Film Festival will be governed by the terms and conditions of each Cinema Partner which may be available at the Cinema Partner’s websites and/or official social media handles. 4. -
1997 Sundance Film Festival Awards Jurors
1997 SUNDANCE FILM FESTIVAL The 1997 Sundance Film Festival continued to attract crowds, international attention and an appreciative group of alumni fi lmmakers. Many of the Premiere fi lmmakers were returning directors (Errol Morris, Tom DiCillo, Victor Nunez, Gregg Araki, Kevin Smith), whose earlier, sometimes unknown, work had received a warm reception at Sundance. The Piper-Heidsieck tribute to independent vision went to actor/director Tim Robbins, and a major retrospective of the works of German New-Wave giant Rainer Werner Fassbinder was staged, with many of his original actors fl own in for forums. It was a fi tting tribute to both Fassbinder and the Festival and the ways that American independent cinema was indeed becoming international. AWARDS GRAND JURY PRIZE JURY PRIZE IN LATIN AMERICAN CINEMA Documentary—GIRLS LIKE US, directed by Jane C. Wagner and LANDSCAPES OF MEMORY (O SERTÃO DAS MEMÓRIAS), directed by José Araújo Tina DiFeliciantonio SPECIAL JURY AWARD IN LATIN AMERICAN CINEMA Dramatic—SUNDAY, directed by Jonathan Nossiter DEEP CRIMSON, directed by Arturo Ripstein AUDIENCE AWARD JURY PRIZE IN SHORT FILMMAKING Documentary—Paul Monette: THE BRINK OF SUMMER’S END, directed by MAN ABOUT TOWN, directed by Kris Isacsson Monte Bramer Dramatic—HURRICANE, directed by Morgan J. Freeman; and LOVE JONES, HONORABLE MENTIONS IN SHORT FILMMAKING directed by Theodore Witcher (shared) BIRDHOUSE, directed by Richard C. Zimmerman; and SYPHON-GUN, directed by KC Amos FILMMAKERS TROPHY Documentary—LICENSED TO KILL, directed by Arthur Dong Dramatic—IN THE COMPANY OF MEN, directed by Neil LaBute DIRECTING AWARD Documentary—ARTHUR DONG, director of Licensed To Kill Dramatic—MORGAN J. -
Veer–Zaara Regie: Yash Chopra
Veer–Zaara Regie: Yash Chopra Land: Indien 2004. Produktion: Yash Raj Films (Mumbai). Regie: Yash Chopra. Buch: Aditya Chopra. Regie Actionszenen: Allan Amin. Kamera: Anil Mehta. Ton: Anuj Mathur. Musik: Madan Mohan. Neueinspielung: Sanjeev Kohli. Arrangements: R.S. Mani. Liedtexte: Javed Akhtar. Sänger: Lata Mangeshkar, Udit Narayan, Sonu Nigam, Roop Kumar Rathod, Gurdas Mann, Ahmed Hussain, Mohammed Hussain, Mohammed Vakil, Javed Hussain, Pritha Majumder. Ausstattung: Sharmishta Roy. Choreographie: Saroj Khan, Vaibhavi Merchant. Kostüme: Manish Malhotra. Beratung (Drehbuch & Ausstattung): Nasreen Rehman. Schnitt: Ritesh Soni. Produzenten: Yash Chopra, Aditya Chopra. Co-Produzenten: Pamela Chopra, Uday Chopra, Payal Chopra. Aufnahmeleitung: Sanjay Shivalkar, Padam Bhushan. Darsteller: Shahrukh Khan (Veer Pratap Singh), Rani Mukerji (Saamiya Siddiqui), Preity Zinta (Zaara), Kirron Kher, Divya Dutta, Boman Irani, Anupam Kher, Amitabh Bachchan, Hema Malini, Manoj Bajpai, Zohra Segal (Bebe), S.M. Zaheer (Justice Qureshi), Tom Alter (Dr. Yusuf), Gurdas Mann (als er selbst), Arun Bali (Abdul Mallik Shirazi, Razas Vater), Akhilendra Mishra (Gefängniswärter Majid Khan), Rushad Rana (Saahil), Vinod Negi (Ranjeet), Balwant Bansal (Qazi), Rajesh Jolly (Priester), Anup Kanwal Singh (Sänger), Kanwar Jagdish (Glatzkopf im Bus), Dev K. Kantawalla (Munir), Vicky Ahuja (Vernehmungsbeamtin), Ranjeev Verma (Vernehmungsbeamter), Jas Keerat (Junger Cricket-Spieler), Sanjay Singh Bhadli (Bauer), Kulbir Baderson (Töpferin), Shivaya Singh (Kamli), Huzeifa Gadiwalla -
Teen Sexting THINK TWICE Before You Hit "Send"
Teen Sexting THINK TWICE before you hit "send" ? Male and female teens IN WHAT IS sext at the 7 10 SEXTING? same rate. Sending or getting sexually explicit photos, videos, or Roughly 7 in 10 youth But females are messages through have felt some ? more pressured pressure to sext for your cellphone to sext. or online. reasons like making their romantic partner happy or getting someone's attention. HOW MANY TEENS SEXT? 15% I've sent a sext. 27% 12% I've received a sext. I've sent a sext from someone else without asking permission. WHY IS IT RISKY? Sexting can have legal Online photos Sexts can be used consequences like child live forever and to hurt you and pornography charges or can get into the be shared without having to register as a wrong hands. your consent. sex offender. HOW CAN I PREVENT IT ? "I don't think that would be good for us." Protect yourself and others by not taking sexually explicit pictures or videos. "I'd rather do other things with you." Speak up when someone makes you uncomfortable with their "I'm not ready texts or what they send you. for that yet." Respect others by not pressuring them to sext you. I RECEIVED OR SENT A SEXT. NOW WHAT? Delete the picture or video. Share your concerns with a Report a sext that was sent parent or trusted adult. to you or shared without your consent to the Cyber Tip Line. To report an explicit image or video: Call the Cyber Tip Line (800) 843-5678 or visit https://report.cybertip.org/ To remove sexual pictures and videos from the internet: Visit http://www.missingkids.com/gethelpnow/is-your-explicit-image-out-there- Visit https://cdn.netsmartz.org/tipsheets/You_Sent_A_Sext_Now_What.pdf To learn more about your safety and how to deal with sexting: Visit https://cyberbullying.org/sexting-advice-for-teens.pdf Click to Visit https://cdn.netsmartz.org/tipsheets/sexting.pdf learn more SOURCES Connect Safely. -
Criminalization Downloads Evil: Reexamining the Approach to Electronic Possession When Child Pornography Goes International
\\jciprod01\productn\B\BIN\34-2\BIN203.txt unknown Seq: 1 2-JUN-16 14:19 CRIMINALIZATION DOWNLOADS EVIL: REEXAMINING THE APPROACH TO ELECTRONIC POSSESSION WHEN CHILD PORNOGRAPHY GOES INTERNATIONAL Asaf Harduf* INTRODUCTION ................................................... 280 R I. THE LADDER OF CRIMINALIZATION ....................... 281 R A. The Matter of Criminalization ......................... 282 R B. The Rungs of the Ladder of Criminalization ........... 284 R 1. First Rung: Identifying the Conduct, Causation, and Harm ......................................... 285 R 2. Second Rung: Examining the Ability to Achieve Goals ............................................. 286 R 3. Third Rung: Examining Alternatives to Criminalization .................................... 287 R 4. Fourth Rung: Assessing the Social Costs of Solutions and Striking a Balance .................. 288 R C. Towards an Analysis of Child Pornography Possession ............................................. 288 R II. APPLICATION TO THE ELECTRONIC POSSESSION OF CHILD PORNOGRAPHY ............................................ 289 R A. First Rung: The Offensive Conduct of Electronic Possession ............................................. 292 R 1. Conduct of Electronic Possession .................. 292 R 2. Harms to Children ................................ 294 R 3. Causation: Four Possible Links .................... 295 R 4. Offensiveness: Summation ......................... 302 R B. Second Rung: Criminal Law’s Ability to Reduce Harm to Children ........................................... -
No No 45058 45217 45203 45109 45174 45144 45218 45116 45096
HINDI SONG Ace Karaoke Corp. NO TITLE SINGER NO TITLE SINGER 45058 Aa bhi ja Lucky Ali 45217 Chand Sa Mukhra Ali Haider(P) 45203 Aadat (P) Jal 45109 Chand sitare Kumar Sanu 45174 Aaj Main Oopar Kavita Krishnamoorthy & Kumar Sanu 45176 Chandu Ke Chacha 45144 Aajmain Oopar Kumar Sanu 45218 Channo ki aankh mein(P) Ali Zafar 45116 Aanewala pal jaanewala hai Kishore Kumar 45096 Chhadh Gayi Sonu Nigam & Anuradha Sriram 45141 Aankhe Khuli ho ya ho band Lata Mangeskar 45130 Chhoti chhoti raatein Sonu Nigam 45001 Aankhon se tune ye kya keh diya Kumar Sanu 45047 Chingari koi Bhadke Kishore Kumar 45201 Aao Na Sadhana Sargam & Udit Narayan 45072 Chinna chinna aasai Minmini 45077 Aap jai sa koi meri Nazia Hassan 45069 Choti si Asha Minmini 45045 Aapke pyar mein Alka Yagnik 45063 Chukar mere hum ko Kishore Kumar 45257 Aashiq Banaya Aapne HIMESH RESHAMMIYA, SHREYA GHOSHAL 45284 Chupke Chupke(P) Ghulam Ali 45061 Aashiq hoon mein Sonu Nigam 45121 Chura liya hai tum ne Asha Bosle 45142 Aate aate Alka Yagnik 45148 Churao na dil Udit Narayan 45002 Aati kya Khandala Aamir Khan & Alka Yagnik 45219 Cinderella Sajjad Ali(P) 45003 Ab tere bin Kumar Sanu & Alka Yagnik 45183 Dam Maaro Dam Asha Bhosle 45004 Ae mere humsafar Udit Narayan & Alka Yagnik 45285 Deedar De SUNIDHI CHAUHAN 45173 Agar Main Kahoon Udit Narayan & Alka Yagnik 45097 Deewana Deewana Udit Narayan 45211 Agar Tum Mil Jao SHREYA GHOSHAL 45177 Dekh Le Sunidhi Chauhan & Anu Malik 45098 Ai ajnabee Babul Supriyo 45059 Dekha na Kishore Kumar 45143 Aisa Jadoo Sunidhi Chauhan 45149 Der Se Hua Nadeem shravan -
Casting Couch
The Casting Couch The ‘casting couch’ scenario: Impact of perceived employment benefit, reporting delay, complainant gender, and participant gender on juror decision-making in rape cases. Shona Mcintosh and Josh P Davis Department of Psychology, Social Work and Counselling, University of Greenwich, UK Correspondence to: Dr Josh P Davis Reader in Applied Psychology School of Human Sciences University of Greenwich London, SE10 9LS, UK [email protected] Keywords Casting couch, Jury decision making, juror decision making, rape myths, sexual assault Thanks To Bethan Burnside and Katy Weatherley for help with this project. 1 The Casting Couch Abstract Recent media reports of contemporary and historical rape and sexual assault cases have focused on the entertainment industry, particularly around the notion of the ‘casting couch’. This scenario in which a powerful figure obtains sexual acts from subordinate actors in exchange for employment was used to explore the influence of rape myths and Sexual Economic Theory on mock-juror decision-making. Participant-jurors (n = 907) viewed video and written testimony of a male or female complainant, accusing a male producer of rape. Delay before reporting the incident to the police (immediately, six months, ten years), and whether the complainant secured the acting role or not were varied. Females (79.7%) were significantly more likely than males (62.7%) to deliver a guilty verdict and to recommend longer prison sentences. When the complainant did not secure the acting role, and they delayed reporting the incident for six months, there was a trend for guilty verdict rates to be slightly higher when the complainant was male (80.5%) than female (64.5%). -
Harm Being Done to Australian Children Through Access to Pornography on the Internet
Harm being done to Australian children through access to pornography on the Internet That the following matter be referred to the Environment and Communications References Committee for inquiry and report by the first sitting day in December 2016: Harm being done to Australian children through access to pornography on the Internet, with particular reference to: trends of online consumption of pornography by children and their impact on the development of healthy and respectful relationships; current methods taken towards harm minimisation in other jurisdictions, and the effectiveness of those methods; the identification of any measures with the potential for implementation in Australia; and any other related matters Who we are The South Eastern Centre Against Sexual Assault (SECASA) provides sexual assault and family violence services in Victoria within the Mornington Peninsula, Frankston, Bayside, Port Phillip, Stonnington, Glen Eira and Kingston local government areas. We also work in the Greater Dandenong, Casey and Cardinia growth corridor. South Eastern Center Against Sexual Assault and Family Violence PO Box 72 East Bentleigh Victoria 3165 Prepared by: Carolyn Worth, Manager 10 March 2016 Phone: 03 99288741 Fax: 03 99288749 Introduction “Before the invention of the Internet, children and young people curious about sexual terms, phrases or the act itself were likely to talk to each other, or older siblings about it; these days they ‘Google it’. Even phrases which seem, on the face of it, innocent can lead children towards websites hosting adult content. Research also shows that young people are prone to seeking out sexual material, to discuss with friends or for their own sexual gratification.” (The Lucy Faithfull Foundation) “Exposure to pornography is routine among children and young people, with a range of notable and often troubling effects. -
Sexting Or Self-Produced Child Pornography – the Dialogue Continues – Structured Prosecutorial Discretion Within a Multidisciplinary Response
The Catholic University of America, Columbus School of Law CUA Law Scholarship Repository Scholarly Articles and Other Contributions Faculty Scholarship 2010 Sexting or Self-Produced Child Pornography – The Dialogue Continues – Structured Prosecutorial Discretion Within a Multidisciplinary Response Mary Graw Leary The Catholic University of America, Columbus School of Law Follow this and additional works at: https://scholarship.law.edu/scholar Part of the Criminal Law Commons Recommended Citation Mary Graw Leary, Sexting or Self-Produced Child Pornography – The Dialogue Continues – Structured Prosecutorial Discretion Within a Multidisciplinary Response, 17 VA. J. SOC. POL’Y & L. 486 (2010). This Article is brought to you for free and open access by the Faculty Scholarship at CUA Law Scholarship Repository. It has been accepted for inclusion in Scholarly Articles and Other Contributions by an authorized administrator of CUA Law Scholarship Repository. For more information, please contact [email protected]. SEXTING OR SELF-PRODUCED CHILD PORNOGRAPHY? THE DIALOG CONTINUES - STRUCTURED PROSECUTORIAL DISCRETION WITHIN A MULTIDISCIPLINARY RESPONSE Mary Graw Leary* CONTENTS Introduction ......................................................................................... 4 87 I. Clarifying Definitions: "Sexting" vs. Self-Produced Child Pornography ................................................................................ 491 A. Self-Produced Child Pornography ............................................. 491 B . "Sexting" .............................................