Shaheer Sheikh Feels There Is No Reason to Feel Motivated Due to Covid
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Movie Aquisitions in 2010 - Hindi Cinema
Movie Aquisitions in 2010 - Hindi Cinema CISCA thanks Professor Nirmal Kumar of Sri Venkateshwara Collega and Meghnath Bhattacharya of AKHRA Ranchi for great assistance in bringing the films to Aarhus. For questions regarding these acquisitions please contact CISCA at [email protected] (Listed by title) Aamir Aandhi Directed by Rajkumar Gupta Directed by Gulzar Produced by Ronnie Screwvala Produced by J. Om Prakash, Gulzar 2008 1975 UTV Spotboy Motion Pictures Filmyug PVT Ltd. Aar Paar Chak De India Directed and produced by Guru Dutt Directed by Shimit Amin 1954 Produced by Aditya Chopra/Yash Chopra Guru Dutt Production 2007 Yash Raj Films Amar Akbar Anthony Anwar Directed and produced by Manmohan Desai Directed by Manish Jha 1977 Produced by Rajesh Singh Hirawat Jain and Company 2007 Dayal Creations Pvt. Ltd. Aparajito (The Unvanquished) Awara Directed and produced by Satyajit Raj Produced and directed by Raj Kapoor 1956 1951 Epic Productions R.K. Films Ltd. Black Bobby Directed and produced by Sanjay Leela Bhansali Directed and produced by Raj Kapoor 2005 1973 Yash Raj Films R.K. Films Ltd. Border Charulata (The Lonely Wife) Directed and produced by J.P. Dutta Directed by Satyajit Raj 1997 1964 J.P. Films RDB Productions Chaudhvin ka Chand Dev D Directed by Mohammed Sadiq Directed by Anurag Kashyap Produced by Guru Dutt Produced by UTV Spotboy, Bindass 1960 2009 Guru Dutt Production UTV Motion Pictures, UTV Spot Boy Devdas Devdas Directed and Produced by Bimal Roy Directed and produced by Sanjay Leela Bhansali 1955 2002 Bimal Roy Productions -
Lata S Singh
Lata S Singh https://www.facebook.com/latassingh © All Rights Reserved Information Acting age 22 - 30 years Nationality Indian Year of birth 1993 (27 years) Languages Hindi: native-language Height (cm) 166 German: basic Weight (in kg) 52 English: fluent Eye color black French: basic Hair color Black Dialects English: always Hair length Very long Brooklyn-English: only when Stature female required Place of residence Mumbai Minnesota-English: only when Cities I could work in Berlin, Paris, Cardiff, required Hamburg American: always Accents Indian: always American: always Instruments Harmonica: medium Sport Bycicle racing, Climb, Cricket, Fitness, Floor Exercise, Free Climbing, Frisbee, Hiking, Martial Arts, Mountain hiking, Yoga Dance Indian dance: professional Musical theatre: professional Freestyle dance: professional Folk dance: professional Expressionist dance: professional Bollywood dance: professional Improvisation dance: professional Experimental dance: professional Argentine tango: basic Contact Improvisation: professional Classic Indian dance: basic Profession Actor, Speaker, Young actor Singing Song: basic folk song: basic Vita Lata S Singh by www.castupload.com — As of: 2021-05-16 Page 1 of 4 Pitch Alto Other licenses Motorbike test certificate Professional background Actor* Originally from Delhi, India where I found my foundation in street theatre during college. Currently lives in Mumbai. Will travel. Since 2015, I've been made to jump existential hoops by incredible mentors and theatre directors from France, Poland, UK, Portugal, -
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. -
Digital Studio 3
HOT VFX RC KAMALAKANNAN VFX SUPERVISOR, PULI The release of Puli was much-awaited, not just because it was a big budget film (its production budget was said to be around INR 120 crore) to hit Tamil cinema screens after a long time, or because Sridevi was appearing in her first Tamil language film after 29 years. It was because this Chimbu Devan-movie packed a wallop of visual eects by veteran RC Kamalakannan. KEITH DEVLIN The entire castle, even Sridevi’s hourglass VFX SUPERVISOR, PRIME FOCUS silhouette was crafted by VFX. Kamalakannan and the director had initially planned to merge Snow played an important role in Bajrangi Bhaijaan , but also caused some 2,600 scenes with graphics, but later brought it unusual issues. Since transporting the several hundred extras for the climax down to 2,200 scenes. Given Puli’s mammoth scene became difficult, about 75% of them had to be graphically generated scale and tight schedule, Kamalakannan collabo - using a crowd simulator called ‘Miarmy’. “Sometimes the CGI characters were rated with around 160 freelance animators in walking right next to the real extras we had on location, and even I could not Russia, Bulgaria, Ukraine, Netherlands, Iran as tell them apart. I would critique one guy for having a funny walk only to be well as studios in Chennai and Bangalore, split - told that it was actually a real person, not CGI!” Keith Devlin revealed. ting the work into smaller portions to ensure it got Many scenes had to be digitally manipulated to ensure Kashmir’s visual done faster. -
An Outline, Indian Film Theory Auteur Theory: the Term 'Auteu
Film Theory: key concepts- evolution, major features, theorists- an outline, Indian film theory Auteur Theory: politique des The term ‘auteur’ is the French term for author and became a part of the film studies auteurs Cahiers du cinema register in the 1950’s after the debate on the “polemic about authors” or the , when the French film critics associated with the film magazine adopted the term to recognize the director of the film as its author. It is he who is responsible for the aesthetic quality of the film. The critics came to be known as the Cahiers critics and included critics like François Truffaut and Jean-Luc Godard, who argued that since the director controlled all the aspects of film making and editing, it is only he who can employ them effectively to produce the desired aesthetic effect. The final artistic result is not the script writer’s but the director’s visualization has already been discussed in the section on film as art. This theory gave rise to the technique of recognition of peculiarities in the cinematographic techniques of a particular author, which eventually became his signature style- visible in his movies even if they differed in genre and themes. The concept of the auteur initially gave the critics the liberty to attribute the aesthetic quality of a film to the director, a proponent of this theory Andrew Harris went as far as to create a ranking system of the directors. However, the voices of dissent against this theory soon began in the 1960’s and 1970’s when the waves of structuralism, Marxism and psychoanalysis began influencing the film discourse. -
International Research Journal of Management Sociology & Humanities
International Research Journal of Management Sociology & Humanities ISSN 2277 – 9809 (online) ISSN 2348 - 9359 (Print) An Internationally Indexed Peer Reviewed & Refereed Journal Shri Param Hans Education & Research Foundation Trust www.IRJMSH.com www.SPHERT.org Published by iSaRa Solutions IRJMSH Vol 6 Issue 8 [Year 2015] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) Shakespeare’s Romeo & Juliet : A boon to B- Town “So long as men can breath or eyes can see, So long lives this, and this gives life to thee” (Shakespeare’s sonnet no. 18) Subhrasleta Banerjee Department of English Balurghat Mahila Mahavidyalaya The name is William Shakespeare who can easily prophesied about the power of his golden pen through which his beloved might not need children to preserve his youthful beauty and can defy time and last forever. It is surprisingly related today. The main theme of Shakespeare’s work is ‘LOVE’- ‘the blind fool’. He indirectly acknowledges there may be obstacles in true love and urges to marry with true ‘mind’ rather than merely two people. This love is a bold subject matter that has always lacked rules and always attracts controversy - specially within the strict norms of Asian Culture. These various challenges and obstacles make multistory-love-complex silently. Cinema woos audiences by offering this emotion. Modern Indian Cineme is already an indestructible massive field of art work which has been successfully taken the extract of the Shakespearean drama to serve the common. The literary works of Shakespeare reinvigorate uncountable people of the world. The unique excellence of Bard’s ‘violent delights’ and ‘violent ends’; excessive passion and love full of zeal; jealousy and romance; greed for empowerment and assassination; laughter and satire; aesthetic sensibility and of course the plot construction both in comedy and tragedy- are all time favourite to Bollywood screen. -
General Awareness–Current Affairs Month of March-2019
GENERAL AWARENESS–CURRENT AFFAIRS MONTH OF MARCH-2019 List of Important Days March 1 - Zero Discrimination Day (Theme – “Act to change laws that Discriminate”) March 4 - National Safety Day (Themes – “Cultivate and Sustain A Safety Culture for Building Nation”) Mar 4-10 - National Safety Week March 7 - Janaushadhi Diwas March 8 - International Women’s Day (Theme – “Think Equal, Build Smart, Innovate for Change”). March 12 - World Day against Cyber Censorship March 12 - 30th anniversary of the World Wide Web (WWW) March 14 - (2nd Thursday of March) World Kidney Day (Theme - “Kidney Health for Everyone Everywhere”) March 14 - Pi Day (Pi's value (3.14)) March 15 - World Consumer Rights Day (In India this day is celebrated as Viswa Upabhokta Adhikar Diwas). (Theme – “Trusted Smart Products”) March 20 - International Day of Happiness. (Theme – “Happier Together”) March 20 - World Day of Theatre for Children and Young People March 20 - World Sparrow Day. (Theme – “I LOVE Sparrows”) March 21 - International Day of Forests. (Theme “Forests and Education”) March 21 - World Poetry Day March 21 - World Down Syndrome Day March 21 - International Day for the Elimination of Racial Discrimination (Theme – “Mitigating and countering rising nationalist populism and extreme supremacist ideologies”) March 21 - World Puppetry Day March 22 - World Water Day (Theme – “Leaving no one behind”) March 23 - World Meteorological Day (Theme – “The Sun, the Earth and the Weather”) March 23 - 88th Shaheed Diwas (Martyr’s Day) March 24 - World Tuberculosis (TB) Day (Theme – “It’s time”) March 25 - International Day of Remembrance of the Victims of Slavery and Transatlantic Slave Trade. (Theme – “Remember Slavery: The Power of the Arts for Justice”) March 26 - Independence Day of Bangladesh March 27 - World Theatre Day (WTD) March 30 - Rajasthan Diwas Reserve Bank of India • The Reserve Bank of India (RBI) has fined Yes Bank ₹1 crore for not complying with its directions about SWIFT, a financial messaging software. -
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Kervan – International Journal of Afro-Asiatic Studies n. 21 (2017) Item Girls and Objects of Dreams: Why Indian Censors Agree to Bold Scenes in Bollywood Films Tatiana Szurlej The article presents the social background, which helped Bollywood film industry to develop the so-called “item numbers”, replace them by “dream sequences”, and come back to the “item number” formula again. The songs performed by the film vamp or the character, who takes no part in the story, the musical interludes, which replaced the first way to show on the screen all elements which are theoretically banned, and the guest appearances of film stars on the screen are a very clever ways to fight all the prohibitions imposed by Indian censors. Censors found that film censorship was necessary, because the film as a medium is much more popular than literature or theater, and therefore has an impact on all people. Indeed, the viewers perceive the screen story as the world around them, so it becomes easy for them to accept the screen reality and move it to everyday life. That’s why the movie, despite the fact that even the very process of its creation is much more conventional than, for example, the theater performance, seems to be much more “real” to the audience than any story shown on the stage. Therefore, despite the fact that one of the most dangerous elements on which Indian censorship seems to be extremely sensitive is eroticism, this is also the most desired part of cinema. Moreover, filmmakers, who are tightly constrained, need at the same time to provide pleasure to the audience to get the invested money back, so they invented various tricks by which they manage to bypass censorship. -
Page16.Qxd (Page 1)
TUESDAY, MARCH 23, 2021 (PAGE 16) DAILY EXCELSIOR, JAMMU National Film Award winners ‘thankful’, ‘overwhelmed’ after announcement NEW DELHI, Mar 22: “#TeriMitti still gives me goose- bumps every time I hear it and one Winners of National Film song I’m most proud of being part Awards, including actors Kangana of... Couldn’t be happier! @BPraak Ranaut, Manoj Bajpayee and #NationalFilmAwards2019,” the Vijay Sethupathi today expressed star tweeted. gratitude towards the members of South star Nani, whose sports the jury for honouring their work drama “Jersey” was named the for the year 2019. best Telugu film, shared a picture While Ranaut was named of himself on Twitter celebrating best actress for her roles in Kumararaja on Twitter. to Instagram to share his grati- Nitesh Tiwari, whose tude to fans and the makers of the win for the Gowtam Tinnanuri “Manikarnika” and “Panga” at directorial. the 67th National Film Awards, “Chhichhore” was named the best the Akshay Kumar-starrer. Hindi movie, said the news of the “I’m speechless. It is thanks Director Vivek Ranjan Manoj Bajpayee and Dhanush Agnihotri was named the best were announced the joint win- movie winning the National to your blessings and love that I Award “came out of the blue”. have won the National Award dialogue writer in the screenplay ners in the best actor category category for his film “Tashkent for their films “Bhonsle” and “I was not even thinking for #TeriMitti,” Praak wrote. about it. I am still surprised,” Kumar also congratulated Files”, which also helped “Asuran”, respectively. Agnihotri’s actor-wife Pallavi In a video on Twitter, Ranaut Tiwari said. -
Identity Politics and Hindu Nationalism in Bajirao Mastani and Padmaavat Baijayanti Roy Goethe University, Frankfurt Am Main, [email protected]
Journal of Religion & Film Volume 22 Issue 3 Special Issue: 2018 International Conference Article 9 on Religion and Film, Toronto 12-14-2018 Visual Grandeur, Imagined Glory: Identity Politics and Hindu Nationalism in Bajirao Mastani and Padmaavat Baijayanti Roy Goethe University, Frankfurt am Main, [email protected] Recommended Citation Roy, Baijayanti (2018) "Visual Grandeur, Imagined Glory: Identity Politics and Hindu Nationalism in Bajirao Mastani and Padmaavat," Journal of Religion & Film: Vol. 22 : Iss. 3 , Article 9. Available at: https://digitalcommons.unomaha.edu/jrf/vol22/iss3/9 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Visual Grandeur, Imagined Glory: Identity Politics and Hindu Nationalism in Bajirao Mastani and Padmaavat Abstract This paper examines the tropes through which the Hindi (Bollywood) historical films Bajirao Mastani (2015) and Padmaavat (2018) create idealised pasts on screen that speak to Hindu nationalist politics of present-day India. Bajirao Mastani is based on a popular tale of love, between Bajirao I (1700-1740), a powerful Brahmin general, and Mastani, daughter of a Hindu king and his Iranian mistress. The er lationship was socially disapproved because of Mastani`s mixed parentage. The film distorts India`s pluralistic heritage by idealising Bajirao as an embodiment of Hindu nationalism and portraying Islam as inimical to Hinduism. Padmaavat is a film about a legendary (Hindu) Rajput queen coveted by the Muslim emperor Alauddin Khilji (ruled from 1296-1316). -
“The Woman Waylaid at the Well” Or Paṇaghaṭa-Līlā an Indian Folk Theme Appropriated in Myth and Movies
Heidi Pauwels University of Washington, Seattle “The Woman Waylaid at the Well” or Paṇaghaṭa-līlā An Indian Folk Theme Appropriated in Myth and Movies This article seeks to contribute to studying the manifold and interesting ways Indian popular movies have appropriated folk and mythological materials by focusing on the paṇaghaṭa-līlā or the theme of “the woman waylaid at the well.” This theme is an important one because it raises the issue of so-called “eve-teasing,” a form of sexual harassment of women omnipresent in public spaces in South Asia. The article in turn discusses the folk and the mythologi- cal treatments of the paṇaghaṭa-līlā, before analyzing its adaptations in song in three popular Hindi movies: the recent remaking of Devdas by Sanjay Leela Bhansali (2002), P. L. Santoshi’s Barsaat ki Raat (1960), which deploys the theme in a Qawwālī context, and finally the classicMother India by Mehboob Khan (1957). Each movie illustrates a different type of contextualization of the theme. keywords: Women folk songs–—well—sexual harassment—Hindi popular movie—Qawwālī—Bhakti Asian Ethnology Volume 69, Number 1 • 2010, 1–33 © Nanzan Institute for Religion and Culture his article studies the interface between folklore, mythology, and movies. THindi popular movies often evoke folk and mythological themes. This is well- known, but has attracted little research. This article seeks to contribute to study- ing the manifold and interesting ways popular movies have appropriated folk and mythological materials with reference to gender. It looks at the transformations women’s folk songs undergo, first when they are adopted in religious contexts, and then when they spill over into the popular domain. -
UTV Announces Release Dates for Joker
UTV announces release dates for Joker Shirish Kunder directed Akshay Kumar starrer to hit cinemas worldwide on August 30th 2012 Mumbai, 1 November 2011: UTV Motion Pictures today announced the release date for Joker as August 30, 2012. A madcap comedy directed by Shirish Kunder and featuring Akshay Kumar and Sonakshi Sinha, this film promises an out-of-this-world experience. Quite literally so! Akshay Kumar returns to his hometown, a place that's so remote and crazy that it’s not even on the map. And then what follows puts this forgotten little town not just on the country's map, but makes it the focus of the entire globe! Aliens! Is the town really the site of an alien invasion? Will Akshay manage to change the game - just like the joker does in a pack of cards? Get set for India's coolest (and first ever) comedy starring aliens! In 3D! About UTV Motion Pictures: The Motion Pictures division of UTV, established in 2004, is an integrated studio model in the Indian film industry as well as in the whole of South Asia region. The activities of the studio span across creative development, production, marketing, distribution, licensing, merchandising and syndication of films worldwide. UTV has a library of over 50 films including Hindi, Regional, Animation and International Productions. The last decade in Indian cinema has seen UTV delivering some of the most iconic films including Swades, Rang De Basanti, Jodhaa Akbar, A Wednesday, Dev D, Khosla Ka Ghosla, The Namesake, Life in a Metro, Oye Lucky! Lucky Oye!, Kaminey and more recently Raajneeti, Udaan and Peepli [Live].