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Assets.Kpmg › Content › Dam › Kpmg › Pdf › 2012 › 05 › Report-2012.Pdf
Digitization of theatr Digital DawnSmar Tablets tphones Online applications The metamorphosis kingSmar Mobile payments or tphones Digital monetizationbegins Smartphones Digital cable FICCI-KPMG es Indian MeNicdia anhed E nconttertainmentent Tablets Social netw Mobile advertisingTablets HighIndus tdefinitionry Report 2012 E-books Tablets Smartphones Expansion of tier 2 and 3 cities 3D exhibition Digital cable Portals Home Video Pay TV Portals Online applications Social networkingDigitization of theatres Vernacular content Mobile advertising Mobile payments Console gaming Viral Digitization of theatres Tablets Mobile gaming marketing Growing sequels Digital cable Social networking Niche content Digital Rights Management Digital cable Regionalisation Advergaming DTH Mobile gamingSmartphones High definition Advergaming Mobile payments 3D exhibition Digital cable Smartphones Tablets Home Video Expansion of tier 2 and 3 cities Vernacular content Portals Mobile advertising Social networking Mobile advertising Social networking Tablets Digital cable Online applicationsDTH Tablets Growing sequels Micropayment Pay TV Niche content Portals Mobile payments Digital cable Console gaming Digital monetization DigitizationDTH Mobile gaming Smartphones E-books Smartphones Expansion of tier 2 and 3 cities Mobile advertising Mobile gaming Pay TV Digitization of theatres Mobile gamingDTHConsole gaming E-books Mobile advertising RegionalisationTablets Online applications Digital cable E-books Regionalisation Home Video Console gaming Pay TVOnline applications -
MARCHÉ DU FILM 2011 FOCUS World Film Market Trends Tendances Du Marché Mondial Du fi Lm
MARCHÉ DU FILM 2011 FOCUS World Film Market Trends Tendances du marché mondial du fi lm FOCUS-COVER-FINAL.indd 1 13/04/11 19:30 focus 2011 World Film Market Trends Tendances du marché mondial du film focus_2011.indd 1 26/04/11 19:11 Pages Pub int Focus 2010:Pub Focus 29/04/10 10:54 Page 1 Lay-out: Acom*Europe | © 2011, Marché du Film | Printed: Global Rouge, Les Deux-Ponts Imprimé sur papier labélisé issu de forêts gérées durablement. Printed on paper from sustainably managed forests. focus_2011.indd 2 26/04/11 19:11 Editorial We now find ourselves in an era where all chan- À l’heure où toute la filière cinématographique nels of cinematography are undergoing a transfor- poursuit sa mutation, où la VoD se positionne mation: VoD has become a realistic medium, the comme un écran crédible, où le passage au tout switch to all-digital is simply a matter of time and numérique n’est plus qu’une question de calen- 3D is becoming more and more ubiquitous. As drier, où la 3D commence à se banaliser, il est such, it is more crucial than ever for us, as profes- plus que jamais nécessaire, pour les profession- sionals, to identify major industry tendencies. nels que nous sommes, d’appréhender les grands I hope that Focus, now in its 14th year, will indicateurs du secteur. serve as an indispensable tool for you in analyzing Je souhaite que Focus, qui fête son 14e anni- and anticipating the challenges of tomorrow. versaire, vous apporte les clefs indispensables pour analyser et anticiper les enjeux de demain. -
Amfar India to Benefit Amfar, the Foundation for AIDS Research
amfAR India To Benefit amfAR, The Foundation for AIDS Research November 2014 Mumbai, India Event Produced by Andy Boose / AAB Productions A Golden Opportunity amfAR held its inaugural Indian fundraising gala in Mumbai in November 2013. The event was hosted by amfAR Global Fundraising Chairman Sharon Stone, and Bollywood stars Aishwarya Rai Bachchan and Abhishek Bachchan. It was chaired by amfAR Chairman Kenneth Cole, Vikram Chatwal, Anuj Gupta, Rocky Malhotra, and Hilary Swank. Memorable Moments The black-tie event, presented by Dr. Cyrus Poonawalla and held at The Taj Mahal Palace Hotel, featured a cocktail reception, dinner, and an exquisite gold-themed fashion show that showcased three of India’s most important fashion designers -- Rohit Bal, Abu Jani- Sandeep Khosla, and Tarun Tahiliani. The evening concluded with a spirited performance by pop sensation Ke$ha, whose Hilary Swank for amfAR India songs included her hits Animal, We R Who We R, and Tik Tok. Among the Guests Neeta Ambani, Torquhil Campbell, Duke of Argyll, Sonal Chauhan, Venugopal Dhoot, Nargis Fakhri, Sunil Gavaskar, Parmeshwar Godrej, Lisa Haydon, Dimple Kapadia, Tikka Kapurthala, Nandita Mahtani, Rocky The Love Gold Fashion Show for amfAR India Abhishek Bachchan, Sharon Stone, Nita Ambani, and Aishwarya Rai Bachchan for amfAR India Malhotra, Dino Morea, among many others. Kenneth Cole and Sharon Stone for amfAR India Total Media Impressions: 2.4 Billion Total Media Value: $1.6 Million Aishwarya Rai Bachchan for amfAR India The Love Gold Fashion Show for amfAR India A Star-Studded Cast amfAR’s fundraising events are world renowned for their ability to attract a glittering list of top celebrities, entertainment industry elite, and international society. -
Discourses of Merit and Agrarian Morality in Telugu Popular Cinema
Communication, Culture & Critique ISSN 1753-9129 ORIGINAL ARTICLE Looking Back at the Land: Discourses of Agrarian Morality in Telugu Popular Cinema and Information Technology Labor Padma Chirumamilla School of Information, University of Michigan, Ann Arbor, MI 48109, USA This article takes Anand Pandian’s notion of “agrarian civility” as a lens through which we can begin to understand the discourses of morality, merit, and exclusivity that color both popular Telugu film and Telugu IT workers’ understanding of their technologically enabled work. Popular Telugu film binds visual qualities of the landscape and depictions of heroic technological proficiency to protagonists’ internal dispositions and moralities. I examine the portrayal of the landscape and of technology in two Telugu films: Dhee … kotti chudu,and Nuvvostanante Nenoddantana, in order to more clearly discern the nature of this agrarian civility and—more importantly for thinking about Telugu IT workers— to make explicit its attribution of morality to “merit” and to technological proficiency. Keywords: Information Technology, Morality, Telugu Cinema, Merit, Agrarian Civility. doi:10.1111/cccr.12144 InachasesceneinthepopularTelugufilmDhee … kotti chudu,anameless gangster—having just killed off his rival’s family—is fleeing to Bangalore from Hyderabad, driving along roads surrounded by rocky, barren outcrops, and shriveled patches of trees. The rival’s boss confronts him unexpectedly on the deserted road, quickly and seemingly instantaneously surrounding him with his own men and vehicles, before killing him in retaliation. The film then quickly moves on to its main character, a rather comedic scam artist, and its main spaces, in the city of Hyderabad.1 This particular stretch of barren landscape—scene to the violence that underlies a significant revenge plot woven into the film’s story—is not returned to. -
Frankenstein's Avatars: Posthuman Monstrosity in Enthiran/Robot
Rupkatha Journal on Interdisciplinary Studies in Humanities (ISSN 0975-2935), Vol. 10, No. 2, 2018 [Indexed by Web of Science, Scopus & approved by UGC] DOI: https://dx.doi.org/10.21659/rupkatha.v10n2.23 Full Text: http://rupkatha.com/V10/n2/v10n223.pdf Frankenstein’s Avatars: Posthuman Monstrosity in Enthiran/Robot Abhishek V. Lakkad Doctoral Research Candidate, Centre for Studies in Science, Technology and Innovation Policy (CSSTIP), School of Social Sciences, Central University of Gujarat, Gujarat. ORCID ID: 0000-0002-0330-0661. Email: [email protected] Received January 31, 2018; Revised April 22, 2018; Accepted May 19, 2018; Published May 26, 2018. Abstract This paper engages with ‘Frankenstein’ as a narrative structure in Indian popular cinema, in the context of posthumanism. Scholarship pertaining to monsters/monstrosity in Indian films has generally been addressed within the horror genre. However, the present paper aspires to understand monstrosity/monsters as a repercussion of science and technology (S&T) through the cinematic depiction of Frankenstein-like characters, thus shifting the locus of examining monstrosity from the usual confines of horror to the domain of science fiction. The paper contends Enthiran/Robot (Shankar 2010 Tamil/Hindi) as an emblematic instance of posthuman monstrosity that employs a Frankenstein narrative. The paper hopes to bring out the significance of cinematic imagination concerning posthuman monstrosity, to engage with collective social fears and anxieties about various cutting-edge technologies as well as other socio-cultural concerns and desires at the interface of S&T, embodiment and the society/nation. Keywords: Posthumanism, Monstrosity, Frankenstein, Indian popular cinema, Science Fiction, Enthiran/Robot The Frankenstein narrative and Posthuman Monstrosity It has been argued that in contemporary techno-culture Science Fiction (hereafter SF) performs the role of “modern myth(s)” (Klein, 2010, p.137). -
FICCI FRAMES: a Brief Introduction the FICCI Media & Entertainment
FICCI FRAMES: A Brief Introduction The FICCI Media & Entertainment Committee, headed by the legendary Late Yash Chopra, one of the prominent film producers in India, comprising visionary thought leaders of the Indian entertainment industry, first met in 1999. An idea was born which crystallized into the first FICCI FRAMES, a platform and a voice for the entire Indian media and entertainment industry. The first ever industry report giving numbers to this industry was brought out by FICCI and is updated every year. Over the last 19 years, FICCI FRAMES, the most definitive annual global convention on the entertainment business in Asia, has grown in strength, stature and horizon. FRAMES not only facilitates communication and exchange between key industry figures, influencers and policy makers, it is also an unparalleled platform for the exchange of ideas and knowledge between individuals, countries and conglomerates. FRAMES has brought together more the 400,000 professionals from India and abroad representing the various sectors of the industry. The three eventful days of FRAMES are pulsating with activity – sessions, keynotes, workshops, masterclasses, policy roundtables, B2B meetings, exhibition, cultural evening, networking events and a meeting of the best minds in the business under a single umbrella. 20 th Edition of FICCI FRAMES: March 12 th -14 th , 2019 FRAMES 2019 will be the landmark 20 th Edition of FRAMES reflecting the richness of the platform which it has acquired over the years. Like every year, the world’s media and entertainment industry will be in attendance at FRAMES 2019, with nearly 2,000 Indian and over 600 foreign delegates representing the entire gamut of the sector, including Film, Broadcast (TV & Radio), Digital Entertainment, Animation, Gaming, VFX, etc. -
Top 10 Male Indian Singers
Top 10 Male Indian Singers 001asd Don't agree with the list? Vote for an existing item you think should be ranked higher or if you are a logged in,add a new item for others to vote on or create your own version of this list. Share on facebookShare on twitterShare on emailShare on printShare on gmailShare on stumbleupon4 The Top Ten TheTopTens List Your List 1Sonu Nigam +40Son should be at number 1 +30I feels that I have goten all types of happiness when I listen the songs of sonu nigam. He is my idol and sometimes I think that he is second rafi thumbs upthumbs down +13Die-heart fan... He's the best! Love you Sonu, your an idol. thumbs upthumbs down More comments about Sonu Nigam 2Mohamed Rafi +30Rafi the greatest singer in the whole wide world without doubt. People in the west have seen many T.V. adverts with M. Rafi songs and that is incediable and mind blowing. +21He is the greatest singer ever born in the world. He had a unique voice quality, If God once again tries to create voice like Rafi he wont be able to recreate it because God creates unique things only once and that is Rafi sahab's voice. thumbs upthumbs down +17Rafi is the best, legend of legends can sing any type of song with east, he can surf from high to low with ease. Equally melodious voice, well balanced with right base and high range. His diction is fantastic, you may feel every word. Incomparable. More comments about Mohamed Rafi 3Kumar Sanu +14He holds a Guinness World Record for recording 28 songs in a single day Awards *. -
281 © the Author(S) 2017 T. Kuldova, M.A. Varghese (Eds.), Urban
INDEX1 A appearance, 21, 23, 24, 43, 44, Aa Dekhen Zara, 102 46, 47, 50, 105, 106, 122, Aadhaar/UID, 112 228, 274–6 Action Replayy, 98, 102 Artificial Intelligence (AI), 105, 106 activism, 68, 140, 148, 157, 162, 214, Atal Mission for Rejuvenation and 216, 227–42 Urban Transformation Aditya 369, 98, 101 (AMRUT), 81, 89 aesthetic governance, 9, 39–41 Australia, 102, 104, 107, 111 aesthetic purity, 39 authenticity, 172, 174, 179, 180, aesthetics, 37–51, 170, 184 182, 201 aesthetics of globality, 47 autonomy, 82, 88, 104, 191 Ahmedabad, 87, 93n21 aviation, 54, 57–9, 69n3 aliens, 77, 87, 100, 130 Althusser, Louis, 5, 21, 273 Ambedkar (Dr. Bhimrao), 140–8, B 150–8, 160–2, 164n4, 164n6, Bangalore, 12, 57, 80, 88, 201, 165n13, 165n15 236, 247–63 AMRUT. See Atal Mission for Barazan Rejuvenation and Urban Basil, 124 Transformation (AMRUT) Bat-Yam, 172 androids, 103, 105, Batman, 34, 105 106, 108 Being Cyrus, 101 1 Note: Page numbers followed by ‘n’ denote end notes. © The Author(s) 2017 281 T. Kuldova, M.A. Varghese (eds.), Urban Utopias, Palgrave Studies in Urban Anthropology, DOI 10.1007/978-3-319-47623-0 282 INDEX benamis, 79 cinema Bharatiya Janata Party (BJP), 53, 60, Hindi, 97, 99, 102 99, 202n8, 203n24, 248, 250 Tamil, 97 biennale, 10, 169–75, 178–80, 182, cisgender, 234 183, 184n3, 185n11, 185n12 citizen, 4, 11, 27, 41, 49, 64, 92n6, Big Other, 23, 24 112, 122, 126, 129, 153, 172, biometric, 108 222, 223, 230, 232, 235, 249, biopolitical, 108, 112 255, 262, 270, 271, 274 biopolitical governmentality, 108 neoliberal Indian, 113, 114, 149, BJP. -
Central Board of Film Certification Pdf
Central Board Of Film Certification Pdf Sulkies and handworked Verge disabused his Nouakchott theologising rosins traditionally. Corollary Finn thieve or grimace some sinnets lucklessly, however brumal Emmit cements amiss or disembowelled. Cindery Jonathon plasmolyse, his barkentines aviating disinterred yestereve. Advent of bureaucracy: listen to claim credit of film in order to the Chairperson of film industry is set out to hatred towards marketing of. Kader Khan and Govinda in Dulhe Raja. CBFC in order to exhibit a film. Further, in order to compete with the global cinema, it is necessary that the rights of these artists are protected by ensuring that the certification process is eased out. The black and yellow Premier Padmini Taxis are iconic of Mumbai. UK included Avengers: Age of Ultron, Pan, Spectre, and Star Wars: The Force Awakens. To test or boat to test: How is India navigating the soul bind? Krrish, Enthiran, Eega and Ra. Why we also been appointed for film of certificates in a board of nearly fifteen hundred foot journey. India who come to specialised audience it is followed by the news channels in the manner, the advent of certificates in. Chairman, the adult of Film Censors is to consist of not fast than nine members. This provision of the minds of expression embodies the board of central government has been steadily declining traffic, doubtnut has played a film shall not? Everyone and of. It is asserted that the order was dictated by the Chairperson, immediately, upon viewing of the film. This picture was dominating the Indian scenario for adultery a challenge period. -
Updated All Sources Contracted & Commissioned- As on 31.10.2020
List of PPA Executed by MSEDCL for Purchase of Wind Power as on 31.10.2020 SCOD (Schedulded Sr. Capacity in Commissionin PPA tenure Vender location of Projects Evacuation level Tariff rate Date of EPA Commercial Remarks No. MW g Date From SCOD Operation date) As per list As per list As per list EPA on Preferrential tariff on 1 Various wind Generators (list attached) As per list attached As per PPA 2479 As per list attached As above list. attached attached attached MERC approval Village Dayapar, Dist Kutch, State:- 765/400/220 kV Bhuj GSS of 2 Adani Green Energy (MP) Limited 2.85 75 17.07.2018 18.01.2020 27.12.2019 25 years Competitive Bidding Gujarat PGCIL Village Kawaldhara and Surrounding 3 KCT Renewable Energy Private Limited Osmanabad MSETCL Substation 2.85 75 17.07.2018 31.07.2019 26.12.2019 25 years Competitive Bidding Villages, Dist Osmanabad Village Kotda, Laxmipar, Bhadra nana, 220KV bay of 765/400/220 KV 4 Inox Wind Limited Muru, Nagviri & others,Tehsil-Lakhpat & 2.86 50 17.07.2018 17.01.2020 25 years Competitive Bidding PGCIL Bhuj Nakhatrana, Dist Kutch 5 Mytrah Energy (India) Private Limited Village Jevli, Dist Osmanabad Naldurg 132/33 S/sn 2.86 100 16.07.2018 27.06.2020 25 years Competitive Bidding Anjanadi Site, Village-Malegaon Thokal, 6 Hero Wind Energy Private Limited Gaur Pimpari, Kannad & Phulambri 132/33 kV Naldurg 2.86 76 17.07.2018 23.06.2020 25 years Competitive Bidding Tehsil, Dist. Aurangabad Ujani - 132/33 / LILO on Ujani-Umarga S/C line 7 Torrent Power Limited Lohara and Koral, Dist Osmanabad at 132/33 kV S/sn. -
My Favourite Singers
MY FAVOURITE SINGERS 12 01 01 SAMJHAWAN 17 CHALE CHALO 33 BARSO RE 48 JEENA 63 AY HAIRATHE 79 DIL KYA KARE (SAD) 94 SAAJAN JI GHAR AAYE 108 CHHAP TILAK 123 TUM MILE (ROCK) 138 D SE DANCE ARTIST: ARIJIT SINGH, SHREYA GHOSHAL • ALBUM/FILM: HUMPTY SHARMA KI DULHANIA ARTIST: A. R. RAHMAN, SRINIVAS • ALBUM/FILM: LAGAAN ARTIST: SHREYA GHOSHAL, UDAY MAZUMDAR • ALBUM/FILM: GURU ARTIST: SONU NIGAM, SOWMYA RAOH • ALBUM/FILM: DUM ARTIST: ALKA YAGNIK, HARIHARAN • ALBUM/FILM: GURU ARTIST: KUMAR SANU, ALKA YAGNIK • ALBUM/FILM: DIL KYA KARE ARTIST: KAVITA KRISHNAMURTHY, ALKA YAGNIK, KUMAR SANU ARTIST: KAILASH KHER • ALBUM/FILM: KAILASA JHOOMO RE ARTIST: SHAFQAT AMANAT ALI • ALBUM/FILM: TUM MILE ARTIST: VISHAL DADLANI, SHALMALI KHOLGADE, ANUSHKA MANCHANDA 02 ENNA SONA 18 ROOBAROO 34 KHUSHAMDEED 49 WOH PEHLI BAAR 64 AGAR MAIN KAHOON 80 DEEWANA DIL DEEWANA ALBUM/FILM: KUCH KUCH HOTA HAI 109 CHAANDAN MEIN 124 TERE NAINA ALBUM/FILM: HUMPTY SHARMA KI DULHANIA ARTIST: ARIJIT SINGH • ALBUM/FILM: OK JAANU ARTIST: A. R. RAHMAN, NARESH IYER • ALBUM/FILM: RANG DE BASANTI ARTIST: SHREYA GHOSHAL • ALBUM/FILM: GO GOA GONE ARTIST: SHAAN • ALBUM/FILM: PYAAR MEIN KABHI KABHI ARTIST: ALKA YAGNIK, UDIT NARAYAN • ALBUM/FILM: LAKSHYA ARTIST: UDIT NARAYAN, AMIT KUMAR • ALBUM/FILM: KABHI HAAN KABHI NA 95 MAIN ALBELI ARTIST: KAILASH KHER • ALBUM/FILM: KAILASA CHAANDAN MEIN ARTIST: SHAFQAT AMANAT ALI • ALBUM/FILM: MY NAME IS KHAN 139 VELE 03 GERUA 19 TERE BINA 35 BAHARA 50 TUNE MUJHE PEHCHAANA NAHIN 65 KUCH TO HUA HAI 81 KUCH KUCH HOTA HAI ARTIST: KAVITA KRISHNAMURTHY, SUKHWINDER SINGH • ALBUM/FILM: ZUBEIDAA 110 AA TAYAR HOJA 125 AKHIYAN ARTIST: VISHAL DADLANI, SHEKHAR RAVJIANI • ALBUM/FILM: STUDENT OF THE YEAR ARTIST: ARIJIT SINGH, ANTARA MITRA • ALBUM/FILM: DILWALE ARTIST: A. -
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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.