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In Young India Young in Gold’ Is ‘Old
downloaded from : www.visionias.net downloaded from : https://t.me/Material_For_Exam follow us: friday, february 2, 2018 Delhi City Edition thehindu.com 36 pages ț 10.00 facebook.com/thehindu twitter.com/the_hindu Printed at . Chennai . Coimbatore . Bengaluru . Hyderabad . Madurai . Noida . Visakhapatnam . Thiruvananthapuram . Kochi . Vijayawada . Mangaluru . Tiruchirapalli . Kolkata . Hubballi . Mohali . Malappuram . Mumbai . Tirupati . lucknow In a preelection Budget, Finance Minister Arun Jaitley serves up a mix of populism and prudence FARMER SUTRA Special Correspondent <> The focus of the litre has been levied to fund NEW DELHI Budget is farmers, projects. Unlike excise du With a clear eye on the Lok rural India, ties, the Centre is not re Sabha election, Union Fi healthcare and quired to share cess receipts nance Minister Arun Jaitley with the States. education pulled out all the stops in The government’s inabili Arun Jaitley the Narendra Modi govern Finance Minister ty to give away too many ment’s last full Budget to goodies were largely due to promise a better deal for show that individual busi its scal constraints, with farmers, boost the rural nesspersons paid less aver this year’s scal decit over economy and make the age tax than the salaried shooting the 3.2% of GDP poor less vulnerable to class, he reintroduced a at target and likely to touch health exigencies. 40,000 deduction from 3.5% on account of the GST Responding to the dis taxable income for the latter related issues. Instead of a tress in the agriculture in lieu of the existing tax ex 3% decit in the coming sector that has reared its emptions for transport and year, the Centre settled to head in various States medical allowance and ex target the 3.3% mark, defer over the past year, the tended this relief to pen ring the glide path to 3% to government has decid sioners. -
Understanding Meaningful Cinema
[ VOLUME 5 I ISSUE 3 I JULY– SEPT 2018] E ISSN 2348 –1269, PRINT ISSN 2349-5138 Understanding Meaningful Cinema Dr. Debarati Dhar Assistant Professor, Vivekananda School of Journalism and Mass Communication Vivekananda Institute of Professional Studies, New Delhi. Received: June 23 , 2018 Accepted: August 03, 2018 Introduction: Cinephilia Cineastes say that films help the audience to reflect on the divergent cultures and justify the presence of multi-cultural, multi-ethnic audience in view of this divergence. The language of cinema continues to evolve in a living tradition and the filmmakers trace the ever-changing language of this medium from the silent era to the talkies, from the days when screen went from black and white and got colorized. Emotional appeal, subtlety in its communication and most importantly throwing a new light on the world, as we know it counted a lot to the audience. Filmmakers now work across the spectrum of media including painting, novels, theatre and opera. In the global cinema, in general, the production has become more accessible today, the qualitative aspects have sadly given way to quantity and so, films often miss emotional and spiritual richness. The world is a closer place today. Perhaps it is cinema that helps to blur the boundaries. The concept of film as a commercial art form started in fifties. The fifties and sixties are generally known as the golden period of Indian cinema not only because masterpieces were being made, but because of the popularity of the songs of that era. One of the distinctive features of Indian cinema is its narrative structure. -
New and Bestselling Titles Sociology 2016-2017
New and Bestselling titles Sociology 2016-2017 www.sagepub.in Sociology | 2016-17 Seconds with Alice W Clark How is this book helpful for young women of Any memorable experience that you hadhadw whilehile rural areas with career aspirations? writing this book? Many rural families are now keeping their girls Becoming part of the Women’s Studies program in school longer, and this book encourages at Allahabad University; sharing in the colourful page 27A these families to see real benefit for themselves student and faculty life of SNDT University in supporting career development for their in Mumbai; living in Vadodara again after daughters. It contributes in this way by many years, enjoying friends and colleagues; identifying the individual roles that can be played reconnecting with friendships made in by supportive fathers and mothers, even those Bangalore. Being given entrée to lively students with very little education themselves. by professors who cared greatly about them. Being treated wonderfully by my interviewees. What facets of this book bring-in international Any particular advice that you would like to readership? share with young women aiming for a successful Views of women’s striving for self-identity career? through professionalism; the factors motivating For women not yet in college: Find supporters and encouraging them or setting barriers to their in your family to help argue your case to those accomplishments. who aren’t so supportive. Often it’s submissive Upward trends in women’s education, the and dutiful mothers who need a prompt from narrowing of the gender gap, and the effects a relative with a broader viewpoint. -
Stk7rocmumbai 28122018.Pdf
Sr No CIN Company Name 1 U70100MH1988PTC047470 ATAN DWEEP PROPERTIES AND RESORTSPRIVATE LIMITED 2 U99999MH1986PTC039423 0HRI SWAMI SAMARTHAICE PRODUCTS PRIVATE LTD 3 U65990MH1990PLC058141 20TH CENTURY CAPITAL VENTURE CORPORATION LIMITED 4 U99999MH1981PTC024821 20TH CENTURY-ORIENTLEASING PVT LTD 5 U65990MH1993PTC075614 3RIYESHA LEASING AND FINANCE P.LTD. 6 U74990MH2012PTC227156 5 GEN INTERNATIONALPRIVATE LIMITED 7 U40101MH2010PTC201852 A B J POWER GEN PRIVATE LIMITED 8 U45208MH2009PTC197088 A C BUSINESS PRIVATE LIMITED 9 U99999MH1955PTC009548 A ISMAIL AND COMPAYPRIVATE LIMITED 10 U92200MH1959PTC011358 A J PRIVATE LIMITED 11 U74140MH2003PTC138956 A M PROJECTS AND SERVICES PRIVATELIMITED 12 U99999MH1953PTC008983 A RAMSON AND CO PVTLTD 13 U99999MH1951PTC008623 A SHANKARLAL AND COPVT LTD 14 U74140PN1989PTC052484 A V BHAT MANAGEMENTAND CONSULTANCYSERVICES PVT LTD. 15 U74900MH2010PTC209161 A. J. BEAUTY AND HEALTH PRIVATE LIMITED 16 U92120MH2007PTC168557 A. J. ENTERTAINMENTPRIVATE LIMITED 17 U70102MH2012PTC229595 A. S. A. R. PROPERTIES & ESTATES PRIVATE LIMITED 18 U26260MH1960PLC011560 A. T. E. LIMITED 19 U99999MH1997PTC106970 A.B.V. EXIM (INDIA)PRIVATE LIMITED 20 U45400MH2012PTC229003 A.D REALTY PRIVATE LIMITED 21 U51216MH1995PTC092639 A.DANIF AND COMPANYLEATHERS PRIVATELIMITED 22 U50100MH1997PTC109748 A.G. MOTORS PRIVATELIMITED 23 U51900MH1995PTC093677 A.K.MERCANTILE PRIVATE LIMITED 24 U24132MH1983PLC031623 A.K.STRUCTURAL FOAMLIMITED 25 U99999MH1997PTC109211 A.M.FINCONS PRIVATELIMITED 26 U51396MH1941PTC003382 A.MACRACE AND COMPANY PRIVATE LIMITED -
Women in Higher Education in India
Women in Higher Education in India Women in Higher Education in India: Perspectives and Challenges Edited by Hari Ponnamma Rani and Madhavi Kesari Women in Higher Education in India: Perspectives and Challenges Edited by Hari Ponnamma Rani and Madhavi Kesari This book first published 2018 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2018 by Hari Ponnamma Rani, Madhavi Kesari and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-0854-4 ISBN (13): 978-1-5275-0854-5 CONTENTS Chapter One ................................................................................................ 1 Streeling-Punling-Samething H.P. Rani, G. Siranjeevi, B. Sai Krishna Chapter Two ................................................................................................ 8 Transforming the Identity of Women—From Tradition to Modernity— Through Cinema: Towards Gender Equality Madhavi Kesari Chapter Three ............................................................................................ 14 Gender Discrimination in India: A Fly in the Ointment Suneetha Yedla, Sailaja Mukku Chapter Four ............................................................................................. -
Nation, Fantasy, and Mimicry: Elements of Political Resistance in Postcolonial Indian Cinema
University of Kentucky UKnowledge University of Kentucky Doctoral Dissertations Graduate School 2011 NATION, FANTASY, AND MIMICRY: ELEMENTS OF POLITICAL RESISTANCE IN POSTCOLONIAL INDIAN CINEMA Aparajita Sengupta University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Sengupta, Aparajita, "NATION, FANTASY, AND MIMICRY: ELEMENTS OF POLITICAL RESISTANCE IN POSTCOLONIAL INDIAN CINEMA" (2011). University of Kentucky Doctoral Dissertations. 129. https://uknowledge.uky.edu/gradschool_diss/129 This Dissertation is brought to you for free and open access by the Graduate School at UKnowledge. It has been accepted for inclusion in University of Kentucky Doctoral Dissertations by an authorized administrator of UKnowledge. For more information, please contact [email protected]. ABSTRACT OF DISSERTATION Aparajita Sengupta The Graduate School University of Kentucky 2011 NATION, FANTASY, AND MIMICRY: ELEMENTS OF POLITICAL RESISTANCE IN POSTCOLONIAL INDIAN CINEMA ABSTRACT OF DISSERTATION A dissertation submitted in partial fulfillment of the requirements for the degree Doctor of Philosophy in the College of Arts and Sciences at the University of Kentucky By Aparajita Sengupta Lexington, Kentucky Director: Dr. Michel Trask, Professor of English Lexington, Kentucky 2011 Copyright© Aparajita Sengupta 2011 ABSTRACT OF DISSERTATION NATION, FANTASY, AND MIMICRY: ELEMENTS OF POLITICAL RESISTANCE IN POSTCOLONIAL INDIAN CINEMA In spite of the substantial amount of critical work that has been produced on Indian cinema in the last decade, misconceptions about Indian cinema still abound. Indian cinema is a subject about which conceptions are still muddy, even within prominent academic circles. The majority of the recent critical work on the subject endeavors to correct misconceptions, analyze cinematic norms and lay down the theoretical foundations for Indian cinema. -
Social Science TABLE of CONTENTS
2015 Social Science TABLE OF CONTENTS Academic Tools 79 Labour Economics 71 Agrarian Studies & Agriculture 60 Law & Justice 53 Communication & Media Studies 74-78 Literature 13-14 Counselling & Psychotherapy 84 7LHJL *VUÅPJ[:[\KPLZ 44-48 Criminology 49 Philosophy 24 Cultural Studies 9-13 Policy Studies 43 Dalit Sociology 8 Politics & International Relations 31-42 Development Communication 78 Psychology 80-84 Development Studies 69-70 Research Methods 94-95 Economic & Development Studies 61-69 SAGE Classics 22-23 Education 89-92 SAGE Impact 72-74 Environment Studies 58-59 SAGE Law 51-53 Family Studies 88 SAGE Studies in India’s North East 54-55 Film & Theatre Studies 15-18 Social Work 92-93 Gender Studies 19-21 Sociology & Social Theory 1-7 Governance 50 Special Education 88 Health & Nursing 85-87 Sport Studies 71 History 25-30 Urban Studies 56-57 Information Security Management 71 Water Management 59 Journalism 79 Index 96-100 SOCIOLOGY & SOCIAL THEORY HINDUISM IN INDIA A MOVING FAITH Modern and Contemporary Movements Mega Churches Go South Edited by Will Sweetman and Aditya Malik Edited by Jonathan D James Edith Cowan University, Perth Hinduism in India is a major contribution towards ongoing debates on the nature and history of the religion In A Moving Faith by Dr Jonathan James, we see for in India. Taking into account the global impact and the first time in a single coherent volume, not only that influence of Hindu movements, gathering momentum global Christianity in the mega church is on the rise, even outside of India, the emphasis is on Hinduism but in a concrete way, we are able to observe in detail as it arose and developed in sub-continent itself – an what this looks like across a wide variety of locations, approach which facilitates greater attention to detail cultures, and habitus. -
Personal Profile ~ Sridhar Rangayan
Sridhar Rangayan profile A Graduate in Engineering and Post-graduate in Design from IIT, Bombay, Sridhar Rangayan switched tracks from designing carpets to apprenticing with eminent Indian directors like Sai Paranjpye, Kalpana Lajmi and Dev Benegal. Setting off as an independant writer / director in 1999 he has scripted and directed television content covering various genres - comedy, romance, drama and thrillers. His latest serial was the first Indian serial to be shot on a luxury cruiseliner and in Singapore & Malaysia. His award winnng debut short film ‘The Pink Mirror’, produced by his own company Solaris Pictures, has screened at a record number of 56 international film festivals till date. It also garnered global attention for being the first film on Indian drag queens and is one of the very few independent films from India to acquire distribution in US and Europe. His first 35mm feature, a children film that combines breezy fun-filled adventure with social values, won the Bronze Remi Award at WorldFest, Houston and has been screened at international children film festivals. Apart from filmmaking, he is also actively involved with human rights issues and the disability sector. awards Jury Award for Best Film at ‘Fire Island Film Festival 2004, New York, USA (for film “Gulabi Aaina) Bronze Remi Award at WorldFest 2004, Houston (for children film “Yeh Hai Chakkad Bakkad Bumbe Bo’ – CFSI ) Best Film of the Festival award at ‘Question de Genre’ film festival 2003, Lille, France (for film “Gulabi Aaina) RAPA award for Best Comedy Episode, -
Festival of Letters 2014
DELHI Festival of Letters 2014 Conglemeration of Writers Festival of Letters 2014 (Sahityotsav) was organised in Delhi on a grand scale from 10-15 March 2014 at a few venues, Meghadoot Theatre Complex, Kamani Auditorium and Rabindra Bhawan lawns and Sahitya Akademi auditorium. It is the only inclusive literary festival in the country that truly represents 24 Indian languages and literature in India. Festival of Letters 2014 sought to reach out to the writers of all age groups across the country. Noteworthy feature of this year was a massive ‘Akademi Exhibition’ with rare collage of photographs and texts depicting the journey of the Akademi in the last 60 years. Felicitation of Sahitya Akademi Fellows was held as a part of the celebration of the jubilee year. The events of the festival included Sahitya Akademi Award Presentation Ceremony, Writers’ Meet, Samvatsar and Foundation Day Lectures, Face to Face programmmes, Live Performances of Artists (Loka: The Many Voices), Purvottari: Northern and North-Eastern Writers’ Meet, Felicitation of Akademi Fellows, Young Poets’ Meet, Bal Sahiti: Spin-A-Tale and a National Seminar on ‘Literary Criticism Today: Text, Trends and Issues’. n exhibition depicting the epochs Adown its journey of 60 years of its establishment organised at Rabindra Bhawan lawns, New Delhi was inaugurated on 10 March 2014. Nabneeta Debsen, a leading Bengali writer inaugurated the exhibition in the presence of Akademi President Vishwanath Prasad Tiwari, veteran Hindi poet, its Vice-President Chandrasekhar Kambar, veteran Kannada writer, the members of the Akademi General Council, the media persons and the writers and readers from Indian literary feternity. -
Alphabetical List of Recommendations Received for Padma Awards - 2014
Alphabetical List of recommendations received for Padma Awards - 2014 Sl. No. Name Recommending Authority 1. Shri Manoj Tibrewal Aakash Shri Sriprakash Jaiswal, Minister of Coal, Govt. of India. 2. Dr. (Smt.) Durga Pathak Aarti 1.Dr. Raman Singh, Chief Minister, Govt. of Chhattisgarh. 2.Shri Madhusudan Yadav, MP, Lok Sabha. 3.Shri Motilal Vora, MP, Rajya Sabha. 4.Shri Nand Kumar Saay, MP, Rajya Sabha. 5.Shri Nirmal Kumar Richhariya, Raipur, Chhattisgarh. 6.Shri N.K. Richarya, Chhattisgarh. 3. Dr. Naheed Abidi Dr. Karan Singh, MP, Rajya Sabha & Padma Vibhushan awardee. 4. Dr. Thomas Abraham Shri Inder Singh, Chairman, Global Organization of People Indian Origin, USA. 5. Dr. Yash Pal Abrol Prof. M.S. Swaminathan, Padma Vibhushan awardee. 6. Shri S.K. Acharigi Self 7. Dr. Subrat Kumar Acharya Padma Award Committee. 8. Shri Achintya Kumar Acharya Self 9. Dr. Hariram Acharya Government of Rajasthan. 10. Guru Shashadhar Acharya Ministry of Culture, Govt. of India. 11. Shri Somnath Adhikary Self 12. Dr. Sunkara Venkata Adinarayana Rao Shri Ganta Srinivasa Rao, Minister for Infrastructure & Investments, Ports, Airporst & Natural Gas, Govt. of Andhra Pradesh. 13. Prof. S.H. Advani Dr. S.K. Rana, Consultant Cardiologist & Physician, Kolkata. 14. Shri Vikas Agarwal Self 15. Prof. Amar Agarwal Shri M. Anandan, MP, Lok Sabha. 16. Shri Apoorv Agarwal 1.Shri Praveen Singh Aron, MP, Lok Sabha. 2.Dr. Arun Kumar Saxena, MLA, Uttar Pradesh. 17. Shri Uttam Prakash Agarwal Dr. Deepak K. Tempe, Dean, Maulana Azad Medical College. 18. Dr. Shekhar Agarwal 1.Dr. Ashok Kumar Walia, Minister of Health & Family Welfare, Higher Education & TTE, Skill Mission/Labour, Irrigation & Floods Control, Govt. -
Bulletin Online 06.2017
bulletin online 06.2017 Tests on Grain Structure and Scan Resolution: Comparison of 35mm and DCP A FIAF Technical Commission Workshop in Los Angeles bulletin online 06.2017 Editorial Dear colleagues, The wealth of news reported in this packed issue of the FIAF Bulletin online attests to both the dynamism of our affiliates and the flurry activity of our Fe- deration over the last six months. Let me highlight a couple of key events here. From 27 April-3 May, the Academy Film Archive and the UCLA Film and Television Archive hosted a hugely successful FIAF Congress (if the posi- tive feedback received from many colleagues is to be believed), 22 years after the last one in Los Angeles. I would like to take the opportunity of this editorial to express our very warm thanks to our Michael Pogorzelski, Joe Lindner, May Haduong and Dan Faltz (Academy Film Archive) and Jan-Christopher Horak (UCLA Film & Television Archive) for their very hard work over the last year (or more) to ensure that everything ran smoothly and that our 356 registered delegates had the best possible time in Los Angeles. From the FIAF Secretariat’s perspective, it was a pleasure to work with them on the organization of our 73rd Congress. The FIAF community elected a new Executive Committee and has a new President. I would like to express my personal gratitude to our outgoing CONTENTS President Eric Le Roy for his support of my work and that of the Secreta- riat over the last six years, and for his twelve years of dedicated service 01 News from on the Executive Committee. -
History of Indian Cinema.Pdf
CHAPTER – 2 A BRIEF HISTORY OF INDIAN CINEMA Indian films are unquestionably the most –seen movies in the world. Not just talking about the billion- strong audiences in India itself, where 12 million people are said to go to the cinema every day, but of large audiences well beyond the Indian subcontinent and the Diaspora, in such unlikely places as Russia, China, the Middle East, the Far East Egypt, Turkey and Africa. People from very different cultural and social worlds have a great love for Indian popular cinema, and many have been Hindi Films fans for over fifty years. Indian cinema is world – famous for the staggering amount of films it produces: the number is constantly on the increase, and recent sources estimate that a total output of some 800 films a year are made in different cities including Madrass , Bangalore , Calcutta and Hyderabad . Of this astonishing number, those films made in Bombay, in a seamless blend of Hindi and Urdu, have the widest distribution within India and Internationally. The two sister languages are spoken in six northern states and understood by over 500 million people on the Indian sub – continent alone – reason enough for Hindi and Urdu to be chosen above the fourteen official Indian languages to become the languages of Indian Popular cinema when sound came to the Indian Silver screen in 1931 . Silent Era – The cinematographe (from where we have the name cinema) invented by the Lumiere brothers functioned better the Kinetoscope of Edison and Dickson. The Lumiere brothers who invented the cinematographe started projection of short (very short, one to two minutes long) films for the Parsian public on November 28, 1895.