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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. -
Utopias and Dystopias in World Literature
MEJO The MELOW Journal of World Literature Volume 4 February 2020 ISSN: 2581-5768 A peer-refereed journal published annually by MELOW (The Society for the Study of the Multi-Ethnic Literatures of the World) Sunny Pleasure Domes and Caves of Ice: Utopias and Dystopias in World Literature Editor Manpreet Kaur Kang Volume Sub-Editors Neela Sarkar Barnali Saha 1 Editor Manpreet Kaur Kang, Professor of English, Guru Gobind Singh IP University, Delhi Email: [email protected] Volume Sub-Editors Neela Sarkar, Associate Professor, New Alipore College, W.B. Email: [email protected] Barnali Saha, Research Scholar, Guru Gobind Singh IP University, Delhi Email: [email protected] Editorial Board: Anil Raina, Professor of English, Panjab University Email: [email protected] Debarati Bandyopadhyay, Professor of English, Visva-Bharati, Santiniketan Email: [email protected] Himadri Lahiri, Professor of English, University of Burdwan Email: [email protected] Manju Jaidka, Professor, Shoolini University, Solan Email: [email protected] Rimika Singhvi, Associate Professor, IIS University, Jaipur Email: [email protected] Roshan Lal Sharma, Professor, Central University of Himachal Pradesh, Dharamshala Email: [email protected] 2 3 EDITORIAL NOTE MEJO, or the MELOW Journal of World Literature, is a peer-refereed E-journal brought out biannually by MELOW, the Society for the Study of the Multi-Ethnic Literatures of the World. It is a reincarnation of the previous publications brought out in book or printed form by the Society right since its inception in 1998. MELOW is an academic organization, one of the foremost of its kind in India. -
A Study on Screen Adaptations from Literature with Reference to Chetan
Journal of Advanced Research in Journalism & Mass Communication Volume 5, Issue 1&2 - 2018, Pg. No. 1-6 Peer Reviewed Journal Research Article A Study on Screen Adaptations from Literature with Reference to Chetan Bhagat’s Novel Manmeet Kaur1, Divya Rastogi Kapoor2 1,2Assistant Professors, Delhi Metropolitan Education, Sector-62, Noida. DOI: https://doi.org/10.24321/2395.3810.201801 Abstract In order to cater a huge audience, film makers from all over the world have adopted literature writings for movie making. The key purpose of these screen adaptations lies in giving visual appeal to the black and white words of the author’s writings. Furthermore, there are restricted readers for different genres and subject of novel and literature respectively. But film making satisfies the hunger of a large heterogeneous audience with the element of ‘entertainment’. The idea of screen adaptations dates back years ago when people had limited options for entertainment and recreational activities. The study is based on movies made in Bollywood which have been inspired by the writings of novelists. This is a qualitative research in which Chetan Bhagat’s novel ‘Five Point Someone’ and ‘2 States’have been take up by Bollywood film makers to make movies ‘3 Idiots’ and ‘2 States’ respectively. The research methodology will be content analysis that how writer’s experience with words can make movie audience fall for it through the adaptations. Keywords: Audience, Content analysis, Novels, Screen adaptations, Bollywood film maker, 2 States, five point someone Introduction cult, classic, animated and soon2(i). In the year 2013, we have celebrated 100 years of Indian cinema which was Film spectators/audiences are important in making a started with the vision and passion of Dadasaheb Phalke, movie a grand success. -
A History of the Indian Novel in English
A HISTORY OF THE INDIAN NOVEL IN ENGLISH EDITED BY ULKA ANJARIA Brandeis University' · ,, CAMBRIDGE ::: UNIVERSITY PRESS CAMBRIDGE UNIVERSITY PRESS 32 Avenue of the Americas, New York, NY IOOI3-2473, USA Cambridge University Press is parr of the University of Cambridge. Ir furthers che University's mission by disseminating knowledge in the pursuit of education, learning, and research ar the highest international levels of excellence. www.cambridge.org Information on chis tide: W\VW".cambridge.org/978II0707996o © Ulka Anjaria 2015 1his publication is in copyright. Subject ro staturory exception and ro the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2015 Printed in the United Scates of America A catalog record for this publication is available .from the British Library( Library ofCongress Cattdoging in Publication Data A history of the Indian novel in English I edited by Ulka Anjaria, Brandeis University. pages em ISBN 978-1-107-07996-o (hardback) 1. Indic fiction (English) -History and criticism. I. Anjaria, Ulka, 1979- editor. PR9492.2.H57 201) 823.009 1954-dc23 201)004873 ISBN 978-I-107-07996-o Hardback Cambridge University Press has no responsibility for the persistence or accuracy of URLS for external or third-party Internet Web sites referred to in this publication and does nor guarantee that any content on such 'Web sites is, or will remain, accurate or appropriate. Contents List ofFigures page viii -
Representation of Problems of Youth and Fraudulent Society in Chetan Bhagat’S Revolution 2020
SOCIAL REALISM: REPRESENTATION OF PROBLEMS OF YOUTH AND FRAUDULENT SOCIETY IN CHETAN BHAGAT’S REVOLUTION 2020 DIGAMBAR S. KULKARNI Department of English Hon. Shri. Annasaheb Dange A.C.S. College, Hatkanangale (MS) (INDIA) The present paper is an honest attempt to understand the concept of social realism in literature. Realism, broadly speaking, is the faithful or truthful representation of the events in a matter of fact way avoiding any kind of embellishment or glorification. In literature, the term ‘realism’ is associated with a number of prefixes that varies its trends of presentation. There may be philosophical realism, magic realism, surrealism, hallucinatory realism, social realism and many more. Social realism is a literary technique that presents a true picture of society. It also mirrors the life as it is and offers social commentary. The novelists who use the technique of social realism often present the social evils, social injustice and social issues that affect the life of middle class particularly. Chetan Bhagat is the well known author of six novels and all these novels are about the youth, their aspirations and problems, their struggle, success and failures. According to Chetan Bhagat, the young generation of India is on the verge of destruction. They are indulged in drinking, smoking, sex and illegal business. Gopal, the narrator-cum-protagonist of Bhagat’s fifth novel Revolution 2020: Love, Corruption, Ambition (2010) symbolically stands for the young generation of India who are walking on the wrong path. Aarti, the only female character in the novel enjoys Gopal’s company for drinking and develops sexual relations with him though she loves Raghav. -
Anurag Kashyap, Guneet Monga, Nawazuddin Siddiqui, Richa Chadda, Vikramaditya Motwane
[LISTED] THE UNDERDOG TURNED SUPERSTAR ANURAG KASHYAP, GUNEET MONGA, NAWAZUDDIN SIDDIQUI, RICHA CHADDA, VIKRAMADITYA MOTWANE Text Shahnaz Siganporia Photography Ishika Mohan Motwane N THE INDIAN FILM INDUSTRY, there are good and bad words. ‘Un- derdog’, ‘struggler’, ‘starlet’ are clubbed into the ‘bad’ category while I words such as ‘Superstar’, ‘100 Crore Club’, ‘legacy’ fall into the ‘good’ category. However, sometimes the two combine to form a heady cocktail. The starlet bags a 100 crore film and the underdog becomes the superstar. The latter is a tricky balance—there’s the formulaic superstar and then there’s the superstar who paves his or her own way and creates cinema that goes way beyond the norm. Over the last few years, the tides have been busy changing, contorting and transforming our home-grown film industry. And let’s face it, in an industry raking in the moolah, thanks to wish-fulfilment and feel- good stories, we’re suckers for the runt who becomes the alpha. In the 100th year of Indian cinema, Platform celebrates the erstwhile underdogs who have gone on to carve out a space for themselves and have begun their ascent to stardom. NOV/DEC 2013 · PLATFORM · CREATIVE LIFESTYLE · 031 [LISTED] Anurag Kashyap FROM BANNED TO LAUDED THE BEGINNING I don’t know why I wanted to make films. It’s like asking yourself why you love someone. How do you explain that? You just do, you know? I just knew that filmmaking is what I wanted to do. I was studying to be a scientist and something just snapped—I knew that I should have- been making films. -
Representation of a New Generation in Bhagat's Five
www.ijcrt.org © 2020 IJCRT | Volume 8, Issue 6 June 2020 | ISSN: 2320-2882 REPRESENTATION OF A NEW GENERATION IN BHAGAT’S FIVE POINT SOMEONE Mr. Sakhare Gangadhar Dhondiba JJTU Research Scholar English Language and Literature. Abstract: The liberalization of the Indian economy has dramatically and drastically influenced social life in India and scholars have commented extensively upon how the image of a ‘New India’ brand has been created by media, corporate power houses and politicians based on the changes witnessed as a result of economic reformation. The creation of this ‘New India’ brand accompanies the attempt to construct a new generation Indian subject who will play an integral role in narrating this new liberalized nation. Bhagat’s novels and protagonists are, in part, representative of the new generation Indian youth in more ways, as his novels center on the dynamics of metropolitan life and the influence of economic liberalization amongst this new generation Indian youth. The present research paper significantly sheds light on the new generation youth expressed and delineated through the dynamic characters in Five Point Someone. Keywords: New India, Zippes, liberalization, privatization, globalization, modernization etc. The generation of young India post liberalization, privatization and globalization in the early 1990s can be classified as the ‘New Generation Indian.’ Economic liberalization has increased the presence of capital, technology and information by decreasing the barriers to foreign investment and through its promotion of the modernization of telecommunications. This has resulted in a globalization of not just the economy but also lifestyles at an accelerated speed, particularly among those of the middle class belonging to the urban centres of India. -
From Mother India to Queen
KCG-Portal of Journals Continuous Issue-36 | October – November 2018 A study of Female hero: From Mother India to Queen Movies are considered to be a source of entertainment though they carry some societal reflection, significantly, most of the movies are made keeping public taste in mind. But few are made to highlight the social evil, out dated rituals and tradition prevalent in the society; providentially, condition of woman is among them. Usually, in most of the Indian movies the role of a female counterpart (heroine) is to entertain the public by dancing, singing and by acting on some romantic scenes; thus, the role of a heroine in most of the movies is to add spices and seductive flavor by exposing her figure, while acting is not so important. Consequently, role of a heroine in most of the Indian movies is narrowed down and she is used just to sell the product, mere commoditization of a woman body, nothing else!Humorously, the condition of a female shown in most of the movies projects advancement in style of costumes, make up and life styles but thinking is still outdated. But certain categories of movies have female heroes.They steer the movie on her shoulders without any dominant male counterpart. And they leave behind a long lasting message for the society as they attack those apparently spotless surface of social evil, patriarch locked perception! Though Indian cinema, especially, Bollywood has produced many movies in which women have main lead creating a tiny revolution of 21st century! For instance Fashion(2008), narrating a story of an ambitious girl, there are movies like Chak de India (2007)Mary Kom(2014), Dangal(2016), two of them are based on real life story, it also brought in an issue of promoting girls for sports. -
Priyanka Chopra Jonas Is the New Chairperson of Jio MAMI Mumbai Academy of Moving Image Unveils Plans for 2021-22
Priyanka Chopra Jonas is the new Chairperson of Jio MAMI Mumbai Academy of Moving Image unveils plans for 2021-22 17th August, 2021, Mumbai - The Mumbai Academy of Moving Image (MAMI) today unveiled its plans for the coming year and edition. The blueprint for the festival will feature new leadership and a new creative vision that is attuned to the radical changes the world has witnessed in the last two years. Taking over the reins as Chairperson is actor, producer and author Priyanka Chopra Jonas. She was unanimously nominated by MAMI’s Board of Trustees which comprises Nita M. Ambani (Co- Chairperson), Anupama Chopra (Festival Director), Ajay Bijli, Anand G. Mahindra, Farhan Akhtar, Isha Ambani, Kabir Khan, Kaustubh Dhavse, Kiran Rao, Rana Daggubati, Riteish Deshmukh, Rohan Sippy, Siddharth Roy Kapur, Vikramaditya Motwane, Vishal Bhardwaj and Zoya Akhtar. The board also welcomed two new members to its fold, acclaimed filmmaker Anjali Menon and renowned filmmaker and archivist Shivendra Singh Dungarpur. "For us, building a unique cultural space and platform for cinema like the Jio MAMI Mumbai Film Festival over six years has been immensely fulfilling. Now more than ever, we need to nurture the power of cinema and art to heal and help humanity move forward. I look forward to my dear friend Priyanka Chopra Jonas joining our team and leading the way for Jio MAMI to reach new heights. She is a multifaceted global artist and a force of nature, we are privileged to have her on board," said Isha Ambani (Board of Trustees, MAMI) “Continuing Jio MAMI’s strong tradition of female leadership, the indomitable Priyanka Chopra Jonas now joins as chairperson. -
Download Full Length Paper
International Journal of Research in Social Sciences Volume 8, Issue 11 (November 2018) ISSN: 2249-2496 Impact Factor: 7.081 Journal Homepage: http://www.ijmra.us, Email: [email protected] Double-Blind Peer Reviewed Refereed Open Access International Journal - Included in the International Serial Directories Indexed & Listed at: Ulrich's Periodicals Directory ©, U.S.A., Open J-Gate as well as in Cabell’s Directories of Publishing Opportunities, U.S.A ChetanBhagatAs a Campus Writer Dr Piragouda A Ghanti Government First Grade Women College, Belagavi Abstract ChetanBhagat is the author of eleven blockbuster books. These include eight novels—Five Point Someone (2004), One Night @ the Call Center (2005), The 3 Mistakes of My Life (2008), 2 States (2009), Revolution 2020 (2011), Half Girlfriend (2014) One Indian Girl (2016) and The Girl in Room 105 (2018) and three non-fiction titles— What Young India Wants (2012) Making India Awesome(2015) and India Positive (2019). Chetan’s books have remained bestsellers since their release. Five out of his eight novels have been already adapted into successful Bollywood films and the others are in process of being adapted as well. The New York Times called him the ‘the biggest selling English language novelist in India’s history’. Time magazine named him amongst the ‘100 most influential people in the world’ and Fast Company, USA, listed him as one of the world’s ‘100 most creative people in business’. Chetan writes columns for leading English and Hindi newspapers, focusing on youth and national development issues. He is also a motivational speaker and screenplay writer. -
Eros International Plc
Eros International Plc 6.50 PER CENT. STERLING BONDS DUE 2021 AN INVESTMENT IN THE BONDS INVOLVES CERTAIN RISKS. YOU SHOULD HAVE REGARD TO THE FACTORS DESCRIBED IN SECTION 2 (RISK FACTORS) OF THIS PROSPECTUS. YOU SHOULD ALSO READ CAREFULLY SECTION 10 (IMPORTANT LEGAL INFORMATION) Lead Manager INVESTEC PROSPECTUS DATED 25 SEPTEMBER 2014 IMPORTANT NOTICES reproduced and, as far as the Issuer is aware and About this document is able to ascertain from information published by This document (the “Prospectus”) has been that third party, no facts have been omitted which prepared in accordance with the Prospectus Rules would render the reproduced information of the United Kingdom Financial Conduct inaccurate or misleading. The source of third Authority (the “FCA”) and relates to the offer by party information is identified where used. Eros International Plc (the “Issuer”) of its sterling Use of defined terms in this Prospectus denominated 6.50 per cent. bonds due 2021 (the Certain terms or phrases in this Prospectus are “Bonds”) at a price of 100 per cent. of their defined in bold and in “double quotation” marks nominal amount. and subsequent references to that term are The Bonds are freely transferable unsecured debt designated with initial capital letters. instruments and are due to be issued by the Issuer In this Prospectus, references to the “Issuer” are on 15 October 2014. The nominal amount of each to Eros International Plc, which is the issuer of the Bond (being the amount which is used to calculate Bonds. All references to the “Group” are to Eros payments made on each Bond) is £100; however International Plc and its subsidiaries taken as a the minimum subscription amount per investor is whole. -
Festival Catalogue 2015
Jio MAMI 17th MUMBAI FILM FESTIVAL with 29 OCTOBER–5 NOVEMBER 2015 1 2 3 4 5 12 October 2015 MESSAGE I am pleased to know that the 17th Jio MAMI Mumbai Film Festival is being organised by the Mumbai Academy of Moving Image (MAMI) in Mumbai from 29th October to 5th November 2015. Mumbai is the undisputed capital of Indian cinema. This festival celebrates Mumbai’s long and fruitful relationship with cinema. For the past sixteen years, the festival has continued promoting cultural and MRXIPPIGXYEP I\GLERKI FIX[IIR ½PQ MRHYWXV]QIHME TVSJIWWMSREPW ERH GMRIQE IRXLYWMEWXW%W E QYGL awaited annual culktural event, this festival directs international focus to Mumbai and its continued success highlights the prominence of the city as a global cultural capital. I am also happy to note that the 5th Mumbai Film Mart will also be held as part of the 17th Mumbai Film Festival, ensuring wider distribution for our cinema. I congratulate the Mumbai Academy of Moving Image for its continued good work and renewed vision and wish the 17th Jio MAMI Mumbai Film Festival and Mumbai Film Mart grand success. (CH Vidyasagar Rao) 6 MESSAGE Mumbai, with its legacy, vibrancy and cultural milieu, is globally recognised as a Financial, Commercial and Cultural hub. Driven by spirited Mumbaikars with an indomitable spirit and great affection for the city, it has always promoted inclusion and progress whilst maintaining its social fabric. ,SQIXSXLI,MRHMERH1EVEXLM½PQMRHYWXV]1YQFEMMWXLIYRHMWTYXIH*MPQ'ETMXEPSJXLIGSYRXV] +MZIRXLEX&SPP][SSHMWXLIQSWXTVSPM½GMRHYWXV]MRXLI[SVPHMXMWSRP]FI½XXMRKXLEXE*MPQ*IWXMZEP that celebrates world cinema in its various genres is hosted in Mumbai.