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First Ever Women Mart Opened in BAMYAN
Eye on the News [email protected] Truthful, Factual and Unbiased Vol:IX Issue No:248 Price: Afs.15 MONDAY. APRIL 13 . 2015 -Hamal 24, 1394 HS www.afghanistantimes.af www.facebook.com/ afghanistantimeswww.twitter.com/ afghanistantimes Civilian casualties Taliban engaged hit record high as NUG leaders urged in psychological no end in sight to warfare: Seddiqi ground battles to bury hatchet, AT News Report AT News Report KABUL: Commenting on the re- overcome lease of Mullah Omar s biography by the Taliban insurgents in such a Abdul Zuhoor Qayomi further said that Jurm, Wardoj and is growing so rapidly and what KABUL: The United Nations Yangam districts of Badakhshan plans they got to tackle it. Nadir Assistance Mission in Afghanistan time when the war is coming to a close and Daesh is appearing in the KABUL: The Meshrano Jirga or are going to fall to the Taliban, if Baloch said the president and CEO (UNAMA) recorded eight percent economic crisis the government does not support should keep aside their differenc- country, the Ministry of Interior Senate on Sunday expressed seri- increase in civilian casualties in the ous concern over insecurity and police. Gul Ahmad Azami, a sena- es and pay attention to the prob- first three months of the current (MoI) said that it s a part of their psychological warfare and a media asked the government to take con- tor from Farah, said that insecuri- lems that have affected lives of ci- year as compared to the same pe- crete steps to improve the law and ty is a sensitive issue and number vilians. -
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Filming Pakistan in Zero Budget
Filming Pakistan in Zero Budget Dr. Ahmad Bilal* ABSTRACT: In 2009-10, I have decided to do the doctorate in the art of filmmaking. Those were the years of extreme decline for Pakistan’s film industry. Pakistani film was almost over and there was no evidence of the resurrection of this destroyed industry. Indeed, the future of film industry was doubtful, and the same could be the case for a film researcher. Most of the friends, after knowing my field of research, often asked me that why would I chose to do PhD in the subject of film. As, according to them, this is one of the obnoxious and intolerable field, as it is ruining the society by offering and promoting sinful and immoral acts. So a PhD in such a field might not be fruitful in this world, as well as hereafter. I started thinking about one of the very basic questions that how this perception about the art of making film was built. The study of traditional Pakistani cinema, ‘established cinema’, has disclosed that the medium of film was facing a control from the very beginning. Indeed, the policy of censorship was rooted in the times of imperialism. The censorship policy of the British rule was executed only to restrain socialist political ideology and nationalistic themes (Pendakur 1996; Shoesmith 2009). The main emphasis of the policy focus of mass media systems during colonial regimes was on furthering administrative efficiency” (McMillin 71). The government of Pakistan had inherited the policies of their colonial masters; hence, they executed similar censorship policies even after Independence. -
ICI PAKISTAN LIMITED Interim Dividend 78 (50%) List of Shareholders Whose CNIC Not Available with Company for the Year Ending June 30, 2015
ICI PAKISTAN LIMITED Interim Dividend 78 (50%) List of Shareholders whose CNIC not available with company for the year ending June 30, 2015 S.NO. FOLIO NAME ADDRESS Net Amount 1 47525 MS ARAMITA PRECY D'SOUZA C/O AFONSO CARVALHO 427 E MYRTLE CANTON ILL UNITED STATE OF AMERICA 61520 USA 1,648 2 53621 MR MAJID GANI 98, MITCHAM ROAD, LONDON SW 17 9NS, UNITED KINGDOM 3,107 3 87080 CITIBANK N.A. HONG KONG A/C THE PAKISTAN FUND C/O CITIBANK N.A.I I CHUNDRIGAR RD STATE LIFE BLDG NO. 1, P O BOX 4889 KARACHI 773 4 87092 W I CARR (FAR EAST) LTD C/O CITIBANK N.A. STATE LIFE BUILDING NO.1 P O BOX 4889, I I CHUNDRIGAR ROAD KARACHI 310 5 87147 BANKERS TRUST CO C/O STANDARD CHARTERED BANK P O BOX 4896 I I CHUNDRIGAR ROAD KARACHI 153 6 10 MR MOHAMMAD ABBAS C/O M/S GULNOOR TRADING CORPORATION SAIFEE MANZIL ALTAF HUSAIN ROAD KARACHI 64 7 13 SAHIBZADI GHULAM SADIQUAH ABBASI FLAT NO.F-1-G/1 BLOCK-3 THE MARINE BLESSINGS KHAYABAN-E-SAADI CLIFTON KARACHI 2,979 8 14 SAHIBZADI SHAFIQUAH ABBASI C/O BEGUM KHALIQUAH JATOI HOUSE NO.17, 18TH STREET KHAYABAN-E-JANBAZ, PHASE V DEFENCE OFFICERS HOUSING AUTHO KARACHI 892 9 19 MR ABDUL GHAFFAR ABDULLAH 20/4 BEHAR COLONY 2ND FLOOR ROOM NO 5 H ROAD AYESHA BAI MANZIL KARACHI 21 10 21 MR ABDUL RAZAK ABDULLA C/O MUHAMMAD HAJI GANI (PVT) LTD 20/13 NEWNAHM ROAD KARACHI 234 11 30 MR SUBHAN ABDULLA 82 OVERSEAS HOUSING SOCIETY BLOCK NO.7 & 8 KARACHI 183 12 50 MR MOHAMED ABUBAKER IQBAL MANZIL FLAT NO 9 CAMPBELL ROAD KARACHI 3,808 13 52 MST HANIFA HAJEE ADAM PLOT NO 10 IST FLOOR MEGHRAJ DUWARKADAS BUILDING OUTRAM ROAD NEAR PAKISTAN -
Achievements by CMA Students
CMA PARTICIPATIONS & ACHIEVEMENTS EVENT TOPIC PARTICIPANTS POSITION HOST Film Making ‘Maalik’ The Sami Rehman, Assistant Movie Faizan Wadera, Directors Sidra Muzaffar First Animated 3 Bahadur Muhammad Awais CMA Student Sharmeen Obaid Movie of Pakistan Haris Aqeel Chinoy Films International ‘Bilal’ The Movie Junaid Baig Lighting based 3D Supervisor Animated Movie Creative Expo Photography and Syed Muzaffar 1st and 2nd Prize Creative Expo Competition Poster Competition Men Double Saad Ahmed Runner up - Tennis trophy Tournamant PAF Project Short video – 270 Degree films - - Golden Jubilee of Pakistan’s victory 1965 Short Film Baadban Danish Hashmi 1st Prize Green card Competition Capital Blind Folded - Tooba Tahir 1st Prize Debates Society Speech Competition ROTATE - 24 Teams Winning Rotary Club Parliamentary Champions Debate Trophy Annual - - - Ziauddin Parliamentary University PLAY TV VJ Hunt Hassan Qureshi - Competition Declamation Justice delayed is PAF-KIET, English 1st Position - Contest justice denied Dept. Declamation We are ruled by Over 30 1st Position Ziauddin Contest Media Universities University Fi-LUMS Short Film Over 300 1st Position LUMS-Lahore Competition Participants Short Film First Annual - Baadbaan" wins SoundView Competition Heroes of Pakistan $1000 Broadcasting International - Syed Muzaffar 1st Postion - Islamic Moin Calligraphy Competition FiLUMS “Thoughtless” Rida Zahra, Sami 1st Position Rehman, Anam “Best Sound Baig, Faizan Khan Direction” Ghori and Tanvir Ahmed Declamation Nabiha Zeeshan 1st Position Defense College Contest (English). for Women Ph-8 Muhammad Ali 1st Position (Urdu). ARY 60 Seconds I Fear Mubeen ul Haq, 1st Postion 60 sec Film Film Festival. Sara Mazhar and Festival Farzan Akmal ARY Films Festival "Sindh Munjhi 400 entries from 1st Position Maa" all over the world. -
Qatar Hikes Petrol Price, Diesel Stays Unchanged
BUSINESS | Page 1 SPORT | Page 1 Qatar face Iran in bid for second INDEX DOW JONES QE NYMEX QATAR 2, 20 COMMENT 17, 18 RasGas delivers fi rst ARAB WORLD 3, 4 BUSINESS 1-12 successive LNG cargo to India’s 16,465.44 9,185.12 31.17 INTERNATIONAL 5-15,19 CLASSIFIED 9 +314.03 -220.26 +0.69 ISLAM 16 SPORT 1-12 Petronet under new deal +1.94% -2.34% +2.26% victory Latest Figures published in QATAR since 1978 FRIDAY Vol. XXXVI No. 9968 January 15, 2016 Rabia II 5, 1437 AH GULF TIMES www. gulf-times.com 2 Riyals Qatar hikes In brief petrol price, QATAR | Reconstruction Houses for Palestinian families from tomorrow Palestinian Minister of Public Works and Housing Mofeed al-Hasayneh, diesel stays and the Chairman of the Qatari Committee for the Reconstruction of Gaza, Ambassador Mohamed HH the Deputy Emir Sheikh Abdullah bin Hamad al-Thani met at his Emiri Diwan off ice yesterday with the UN High al-Emadi, announced in a joint press Commissioner for Human Rights Prince Zeid bin Ra’ad al-Hussein and his accompanying delegation. During the meeting, they statement yesterday the start of reviewed a number of topics of mutual interest. the distribution of apartments of unchanged HH Sheikh Hamad residential city in the first phase from tomorrow. atar Fuel (Woqod) has hiked them from QR1/litre to QR1.50 for local The statement added that a big petrol prices steeply with eff ect companies, and QR1.80/litre for joint celebration will be held on the Qfrom yesterday midnight. -
Vol 2 Issue-05 May 2015
1 Vol 2, Issue 04 www.syncmag.ca | 01st Apr - 30th Apr 2015 2 Vol 2, Issue 04 www.syncmag.ca | 01st Apr - 30th Apr 2015 3 Vol 2, Issue 04 www.syncmag.ca | 01st Apr - 30th Apr 2015 4 Vol 2, Issue 04 10. Sunsilk Fashion Week 2015 Cover Credits: Wedding Season in Full Swing In Sync: 06 Liberal ‘Open Government’ Plan Would Allow Advocacy Work By Charities Rush Makes The Cover Of Rolling Stone Sync Pink : 25 How to Groom Yourself Sync paparaazi : 30 Desi Thursday Dairy Of The Month: 34 Adnan Pardesy Inaugurates New Studio Space Sana Safinaz Launch Flagship Outlet Maybelline New York’s Centennial Celebrations Sync Tainments: 39 36. Reel Review: 3 Bahadur YOCA Launches ‘Bambini’ 38. 3 Bahadur Launch The Second Track www.syncmag.ca | 01st Apr - 30th Apr 2015 Editor’s Letter 5 Vol 2, Issue 04 Dear Readers, We are back with another exciting issue; we hope you’ve enjoyed reading our last issue. We once again put an effort to amaze our beloved readers as we feature all the major enticing happening from around Pakistan, Dubai & Canada. Some of our features include one of the Pakistan’s prestigious clothing brand Sana Safinaz launching their largest store in Lahore, leading high street label ‘Beechtree’ opening doors to its new retail store in Karachi, another exalted clothing brand Adnan Pardesy inaugurating New Studio Space at Karachi, Pakistan’s premiere home couture brand ‘YOCA’ creating buzz with their innovative steps appraising fashion by complemented their new furniture collection ‘Bambini’ with fascinating line of children wears. -
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Citizenship and State in Pakistani Animated Films Mohammad Azeem
Animating Subjects: Citizenship and State in Pakistani Animated Films Mohammad Azeem Abstract This paper engages in textual analysis of 3 Bahadur (dir. Sharmeen O. Chinoy, 2015) and Allahyar and The Legend of the Markhor (dir. Uzair Zaheer Khan, 2018) to explore the portrayal of archetypal good and evil, the ideal male and female citizen, and the depiction of the enemy. The analysis is built upon the idea of ‘politics of innocence’ and the relationship of films with the audience's deep-rooted concerns about life. In this case, all the questions that arise from engaging with the aforementioned themes. The paper finds that while in 3 Bahadur, the ideal citizen embraces the power to fight the enemy that takes birth within the community, Allahyar and The Legend of the Markhor (ALM) pictures the enemy as someone residing outside the country and portrays Allahyar as the ‘Protector’. It also finds a different treatment of female protagonists in both films; where Mehru in ALM, though adventurous, is trapped by guilt for being one while Amna in 3 Bahadur, is supported by his father to fight off the villain. This analysis is primarily necessitated by the idea of innocence, employed by selected films, to scrutinize the didactic messaging which would otherwise go unchecked, for the innocence gives the tinge of ‘unintentional’ design making it more persuasive for the audience. Keywords: Pakistani Animation, Sharmeen Obaid-Chinoy, Uzair Zaheer Khan, Citizenship, Nation in Cinema The Pakistani cinema industry took a brutal hit during the martial law era of dictator Zia-ul-Haq, beginning in 1977 (Gazdar). -
Centro De Filosofia E Ciências Humanas Escola De Comunicação
Centro de Filosofia e Ciências Humanas Escola de Comunicação CENAS VIOLENTAS CONTRA MULHERES: FEMINISMO E DISCRIMINAÇÃO DE GÊNERO E TRANSGÊNERO NO FILME “BOL”: Indústria do cinema Paquistanês e Indiano Chand Emmanuel Rio de Janeiro Maio 2020 UNIVERSIDADE FEDERAL DO RIO DE JANEIRO Centro de Filosofia e Ciências Humanas 1 Escola de Comunicação CENAS VIOLENTAS CONTRA MULHERES: FEMINISMO E DISCRIMINAÇÃO DE GÊNERO E TRANSGÊNERO NO FILME “BOL”: Indústria do cinema Paquistanês e Indiano Chand Emmanuel Dissertação apresentada ao programa de pós graduação em Comunicação e Cultura - Linha Tecnologias da Comunicação e Estética, Universidade Federal do Rio de Janeiro, como parte dos requisitos necessários à obtenção do título de Mestre. Orientadora: Ivana Bentes. Rio de Janeiro Maio 2020 AGRADECIMENTOS 2 Agradeço a minha orientadora Ivana Bentes Oliveira, aos professores(as) da banca professor (a) Chalini Torquato Gonçalves de Barros e Suzy Dos Santos, e aos amigos(as) Matheuz Catrinck, Pedro Lauria e especialmente Viviane Rodrigues Gomes, que deram as suas contribuições para a realização deste trabalho. Agradeço, também, à instituição Universidade Federal do Rio de Janeiro que cedeu espaço para a produção deste exame. 3 RESUMO Este trabalho aborda a influência do cinema na aceitação cultural da violência doméstica contra mulheres e a discriminação contra transgêneros. A aceitação do espectador paquistanês com relação à violência contra mulheres e transgêneros no cinema pode ser sentida a cada sessão, embora, também haja manifestações em contrário. Na maioria dos casos, os risos dos espectadores nas cenas de violência contra mulheres e transgêneros evidenciam a normalidade da cultura em favor desse tipo de violência. Neste trabalho, busco analisar através do filme ―Bol‖ como uma narrativa em defesa das mulheres e dos transgêneros gerou uma recepção negativa por parte do público paquistanês. -
This Paper Focuses on Gender Disparity Behind the Camera, As Seen in Film Industries Worldwide, with a Focus on Contemporary Pakistani Cinema
This paper focuses on gender disparity behind the camera, as seen in film industries worldwide, with a focus on contemporary Pakistani cinema. Not only is there an obvious lack of gender parity in on-screen film representations, but this disproportionality increases when one looks at the gender of individuals behind the lens. Directors, writers, producers, editors, cinematographers, and composers are just a few of the people who must work y behind the scenes to bring a story to life on the big screen. As in many other industries, women are underrepresented in filmmaking while systemic biases in the film industry inhibit the inclusion of women within all technological departments. This study addresses this inequality by exploring local socioeconomic factors and questions the repercussions of this imbalance on the final screen texts. There has been no previous in- depth analysis of this issue within the Pakistani film industry, hence statistical models are presented using data from mainstream digital films released from 2013 to 2018. This analysis also relies on interviews of individuals currently working in the industry with the goal of including first- Keywords: Gender Disparity, Film Production, Pakistani Cinema, Pakistani Digital Cinema, Female Directors The dominant discourse on gender and film tends to focus on the representation of women on-screen: the unequal power dynamics, the hyper-sexualized objectification, the excessive use of the male gaze, and a conspicuous lack of main-stream female stories. Increasingly though the conversation has started to shift towards issues previously overlooked, including the widening pay gap, misogynistic discrimination and sexual harassment which have led to the emergence of charged global movements such as Me Too and assault in the workplace and more specifically in the film industry. -
Recent Quest for Distinctive Identity in Pakistani Cinema
Recent Quest for Distinctive Identity in Pakistani Cinema Ahmad Bilal Ph.D. Researcher, School of Art and Design Nottingham Trent University, Nottingham. UK. & University of the Punjab, Pakistan. Abstract Pakistan film industry (Lollywood) has been searching for its distinctive cultural identity, since its inception in 1947. Pakistan and India have been sharing a common cultural history; hence, the basic form of film is also similar, known as masala. Indian films have been considered as one of the biggest threats to the local industry due to the similar language and their high budget. The ban on Indian films in the 1950s has helped the local industry, and more than 100 films per year have been producing in the 1970s and 80s. In 2007, Indian films have been allowed officially to be screened in Pakistan. This has further damaged the traditional masala cinema of Pakistan; however, it also has reactivated the quest for the distinctive cultural identity. Films like Khuda Kay Liay (2007) and Bol (2011) by Shoab Mansoor has worked as a source of inspiration for the new generation of moviemakers, and a new style of cinema has been evolving in Pakistan which is consciously experimenting with various genres. This paper has named it „emergent cinema‟. The data emerged from the semi- structured interviews with the top practitioners of the Pakistan‟s film industry, Syed Noor, Shoab Mansoor, and Bilal Lashari, has disclosed that the emergence of new and convergent media, socio-political actions and globalization have been influencing the path of Pakistani cinema and its search for distinctive cultural identity.