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1513057317774-Profile of Thiruvananthapuram Division.Pdf
1 2 3 4 Acknowledgement Shri. K.P.Srikanth, FOIS implementer /TVC has taken special interest in maintaining key commercial data of the division including location-wise, day-wise earnings statistics of both UTS and PRS locations. Besides furnishing the data which has made this book possible, he has also made very significant contribution in shaping the final outcome of this book. Shri.V.Rajeev, Chief Booking Supervisor, Kollam has put in the painstaking efforts in actual compilation of the data in a booklet form. 5 6 INDEX Note: While Thiruvananthapuram Central (TVC), in view of its prominence and proximity to divisional headquarters, has been included as the first station under the section “Station-wise profile” at Page No 37, the other stations comprising the division appear in geographical order commencing from the southern end and progressing towards the north. Hence, Melapalayam station follows TVC and so on. After Tripunithura, the stations on the Kayankulam- Alapuzha route i.e from Cheppad to Tirunettur has been included. The northwardly pattern continues from Ernakulam Jn onwards (page 235); and needless to add, the final station Vallatholnagar winds up this section. Some useful information like contact numbers of Commercial controllers of all divisions in Indian Railway has been incorporated at the fag end of the compilation. No Title Page No i About the Division 9 ii Categorization of stations 23 iii Divisional Cumulative Earnings 2016-17 30 iv Station wise originating Earnings summary 2016-17 31 STATION-WISE PROFILE (A1 & A Category -
South Asia Multidisciplinary Academic Journal , Free-Standing Articles Madurai Formula Films: Caste Pride and Politics in Tamil Cinema 2
Edinburgh Research Explorer Madurai Formula Films Citation for published version: Damodaran, K & Gorringe, H 2017, 'Madurai Formula Films', South Asia Multidisciplinary Academic Journal (SAMAJ), pp. 1-30. <https://samaj.revues.org/4359> Link: Link to publication record in Edinburgh Research Explorer Document Version: Publisher's PDF, also known as Version of record Published In: South Asia Multidisciplinary Academic Journal (SAMAJ) General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 28. Sep. 2021 South Asia Multidisciplinary Academic Journal Free-Standing Articles Madurai Formula Films: Caste Pride and Politics in Tamil Cinema Karthikeyan Damodaran and Hugo Gorringe Publisher Association pour la recherche sur l'Asie du Sud (ARAS) Electronic version URL: http://samaj.revues.org/4359 ISSN: 1960-6060 Electronic reference Karthikeyan Damodaran and Hugo Gorringe, « Madurai Formula Films: Caste Pride and Politics in Tamil Cinema », South Asia Multidisciplinary Academic Journal [Online], Free-Standing Articles, Online since 22 June 2017, connection on 22 June 2017. URL : http://samaj.revues.org/4359 This text was automatically generated on 22 June 2017. -
Cinema of the Social: Stars, Fans and the Standardization of Genre in Tamil Cinema
Western University Scholarship@Western Digitized Theses Digitized Special Collections 2011 CINEMA OF THE SOCIAL: STARS, FANS AND THE STANDARDIZATION OF GENRE IN TAMIL CINEMA Ganga Rudraiah Follow this and additional works at: https://ir.lib.uwo.ca/digitizedtheses Recommended Citation Rudraiah, Ganga, "CINEMA OF THE SOCIAL: STARS, FANS AND THE STANDARDIZATION OF GENRE IN TAMIL CINEMA" (2011). Digitized Theses. 3315. https://ir.lib.uwo.ca/digitizedtheses/3315 This Thesis is brought to you for free and open access by the Digitized Special Collections at Scholarship@Western. It has been accepted for inclusion in Digitized Theses by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. CINEMA OF THE SOCIAL: STARS, FANS AND THE STANDARDIZATION OF GENRE IN TAMIL CINEMA r , ' (Spine title: CINEMA OF THE SOCIAL) (Thesis Format: Monograph) by : Ganga Rudraiah Graduate Program in Film Studies A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Ganga Rudraiah 2011 THE UNIVERSITY OF WESTERN ONTARIO SCHOOL OF GRADUATE AND POSTDOCTORAL STUDIES CERTIFICATE OF EXAMINATION r Supervisor Examiners Dr. Christopher E. Glttings Dr. James Prakash Younger Supervisory Committee Dr. Constanza Burucúa Dr. Chris Holmlund The thesis by Ganga Rudraiah entitled: Cinema of the Social: Stars, Fans and the Standardization of Genre in Tamil Cinema is accepted in partial fulfillment of the requirements for the degree of Master of Arts Date Chair of the Thesis Examination Board Abstract The star machinery of Tamil cinema presents itself as a nearly unfathomable system that produces stars and politicians out of actors and fans out of audiences in an organized fashion. -
The Chennai Comprehensive Transportation Study (CCTS)
ACKNOWLEDGEMENT The consultants are grateful to Tmt. Susan Mathew, I.A.S., Addl. Chief Secretary to Govt. & Vice-Chairperson, CMDA and Thiru Dayanand Kataria, I.A.S., Member - Secretary, CMDA for the valuable support and encouragement extended to the Study. Our thanks are also due to the former Vice-Chairman, Thiru T.R. Srinivasan, I.A.S., (Retd.) and former Member-Secretary Thiru Md. Nasimuddin, I.A.S. for having given an opportunity to undertake the Chennai Comprehensive Transportation Study. The consultants also thank Thiru.Vikram Kapur, I.A.S. for the guidance and encouragement given in taking the Study forward. We place our record of sincere gratitude to the Project Management Unit of TNUDP-III in CMDA, comprising Thiru K. Kumar, Chief Planner, Thiru M. Sivashanmugam, Senior Planner, & Tmt. R. Meena, Assistant Planner for their unstinted and valuable contribution throughout the assignment. We thank Thiru C. Palanivelu, Member-Chief Planner for the guidance and support extended. The comments and suggestions of the World Bank on the stage reports are duly acknowledged. The consultants are thankful to the Steering Committee comprising the Secretaries to Govt., and Heads of Departments concerned with urban transport, chaired by Vice- Chairperson, CMDA and the Technical Committee chaired by the Chief Planner, CMDA and represented by Department of Highways, Southern Railways, Metropolitan Transport Corporation, Chennai Municipal Corporation, Chennai Port Trust, Chennai Traffic Police, Chennai Sub-urban Police, Commissionerate of Municipal Administration, IIT-Madras and the representatives of NGOs. The consultants place on record the support and cooperation extended by the officers and staff of CMDA and various project implementing organizations and the residents of Chennai, without whom the study would not have been successful. -
Chennai Division Revamps Chennai Egmore Railway Station
दक्षिण रेलवे/Southern Railway चेन्नैमंडल/Chennai Division No.PUB/MAS/2019/Press release Date. 22.11.2019 प्रेस क्षवज्ञप्ति / PRESS RELEASE CHENNAI DIVISION REVAMPS CHENNAI EGMORE RAILWAY STATION Chennai Egmore Railway Station, hailed as ‘Gateway to South’ is the second terminal and a largest railhead in the city of Chennai registering thousands of footfalls every day. The railway station is all set to get completely renovated under the Station Redevelopment programme. Chennai Division of Southern Railway has initiated the work of providing enhanced passenger amenities at the station at a cost of Rs.20 Crores sanctioned by Railway Board. The works are already in progress and expected to be completed by 31.03.2020. Three Waiting Halls, duly renovated with improved amenities have been proposed to be provided at Chennai Egmore, i.e., a Pre-paid AC Waiting Hall, an Upper Class Waiting Hall and a Second Class Waiting hall. Pre-paid AC Waiting Hall and Second Class Waiting Hall will be equipped with disabled-friendly toilets, Baby feeding room and Dress Change room. AC dormitories and Retiring rooms at the first floor of the station building are also being renovated and works are under progress. The renovated AC dormitory will be equipped with 14 beds. 16 Retiring Rooms (8 AC & 8 Non-AC ) will also be commissioned and works are underway. 3 nos. of lifts are being provided at Platform No.4 for ease of access to the AC waiting hall, AC dormitories and Retiring Rooms located in the first floor of the station building. To facilitate ease of access for passengers from circulating area/concourse to the Platforms, five new escalators will be installed at Chennai Egmore Station. -
Spectacle Spaces: Production of Caste in Recent Tamil Films
South Asian Popular Culture ISSN: 1474-6689 (Print) 1474-6697 (Online) Journal homepage: http://www.tandfonline.com/loi/rsap20 Spectacle spaces: Production of caste in recent Tamil films Dickens Leonard To cite this article: Dickens Leonard (2015) Spectacle spaces: Production of caste in recent Tamil films, South Asian Popular Culture, 13:2, 155-173, DOI: 10.1080/14746689.2015.1088499 To link to this article: http://dx.doi.org/10.1080/14746689.2015.1088499 Published online: 23 Oct 2015. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rsap20 Download by: [University of Hyderabad] Date: 25 October 2015, At: 01:16 South Asian Popular Culture, 2015 Vol. 13, No. 2, 155–173, http://dx.doi.org/10.1080/14746689.2015.1088499 Spectacle spaces: Production of caste in recent Tamil films Dickens Leonard* Centre for Comparative Literature, University of Hyderabad, Hyderabad, India This paper analyses contemporary, popular Tamil films set in Madurai with respect to space and caste. These films actualize region as a cinematic imaginary through its authenticity markers – caste/ist practices explicitly, which earlier films constructed as a ‘trope’. The paper uses the concept of Heterotopias to analyse the recurrence of spectacle spaces in the construction of Madurai, and the production of caste in contemporary films. In this pursuit, it interrogates the implications of such spatial discourses. Spectacle spaces: Production of caste in recent Tamil films To foreground the study of caste in Tamil films and to link it with the rise of ‘caste- gestapo’ networks that execute honour killings and murders as a reaction to ‘inter-caste love dramas’ in Tamil Nadu,1 let me narrate a political incident that occurred in Tamil Nadu – that of the formation of a socio-political movement against Dalit assertion in December 2012. -
Chengalpattu District
DISTRICT DISASTER MANAGEMENT PLAN 2020 CHENGALPATTU DISTRICT District Disaster Management Authority Chengalpattu District, Tamil Nadu DISTRICT DISASTER MANAGEMENT PLAN 2020 DISTRICT DISASTER MANAGEMENT AUTHORITY CHENGALPATTU DISTRICT TAMIL NADU PREFACE Endowed with all the graces of nature’s beauty and abundance, the newly created district of Chengalpattu is a vibrant administrative entity on the North eastern part of the state of Tamil Nadu. In spite of the district’s top-notch status in terms of high educational, human development index and humungous industrial productivity, given its geography, climate and certain other socio-political attributes, the district administration and its people have to co-exist with the probabilities of hazards like floods, cyclone, Tsunami, drought, heat wave, lightning and chemical, biological, radiological and nuclear emergencies. The Disastrous events in the recent past like the Tsunami of 2004, the catastrophic floods of year 2015, the cyclone of year 2016 and most recently the COVID-19 pandemic, will serve as a testament to the district’s vulnerability to such hazards. How the society responds to such vagaries of nature decides the magnitude and intensity of the destruction that may entail hazardous events. It is against this back drop, the roll of the District Disaster Management Authority can be ideally understood. The change in perspective from a relief- based approach to a more holistic disaster management approach has already begun to gain currency among the policy makers due to its substantial success in efficient handling of recent disasters across the globe. The need of the hour, therefore, is a comprehensive disaster management plan which is participative and people-friendly with the component of inter- departmental co-ordination at its crux. -
Why India Doesn't Make Enough 3D Films
Publication: Mint Date: 08/07/2017 Why India doesn’t make enough 3D films Rajinikanth’s ‘2.0’ and director Vikram Bhatt’s 2015 vigilante thriller ‘Mr. X’ are among few films in India that have actually been shot in 3D 3D viewing is increasing day by day in India. Photo: Reuters New Delhi: In the run-up to the January release of its science fiction film 2.0, starring Rajinikanth, Lyca Productions organized a “meet-and-greet” with exhibitors across Tamil Nadu earlier this week to make sure more screens become 3D enabled by the time the film arrives in theatres to maximize its box office prospects. 2.0, a sequel to Rajinikanth’s 2010 hit Enthiran that has been made at a budget of Rs400 crore, has been directed by S. Shankar and also features Bollywood actor Akshay Kumar. Perhaps one reason the film is so particular about getting the right showcasing is that it has actually been shot in 3D. Most Indian films, however, convert to 3D from 2D during post-production to save costs which is one major reason, say industry experts, for 3D not really having caught on in the country. Online Link - http://www.livemint.com/Consumer/RP43NNUCL7ifbcUEkWxCuJ/Why- India-doesnt-make-enough-3D-films.html Publication: Mint Date: 08/07/2017 “Even in the early phase of the 3D movie spurt, one of the difficulties in India was that people tried to ride the wave by taking a shortcut and converting films shot in 2D into 3D,” said Rajesh Mishra, chief executive officer of Indian Operations, at cinema distribution network UFO Moviez. -
Locating South Asians in 21St Century American Popular Media
Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 2013 Just Like Everyone Else? Locating South Asians in 21st Century American Popular Media Bhoomi K. Thakore Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_diss Part of the Sociology Commons Recommended Citation Thakore, Bhoomi K., "Just Like Everyone Else? Locating South Asians in 21st Century American Popular Media" (2013). Dissertations. 549. https://ecommons.luc.edu/luc_diss/549 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 2013 Bhoomi K. Thakore LOYOLA UNIVERSITY CHICAGO JUST LIKE EVERYONE ELSE? LOCATING SOUTH ASIANS IN 21st CENTURY AMERICAN POPULAR MEDIA A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY PROGRAM IN SOCIOLOGY BY BHOOMI K. THAKORE CHICAGO, IL MAY 2013 Copyright by Bhoomi K. Thakore, 2013 All rights reserved. ACKNOWLEDGEMENTS This dissertation would have not been possible without the guidance of my committee members. First, I would like to thank my chair, Dr. J. Talmadge Wright. During the 2+ years that we have worked together, I have learned a great deal from you about audience studies and the very unique world of media sociology. In the fall of 2012 leading up to my dissertation defense, I had the privilege of meeting with you on a weekly basis to talk about my research, my teaching, my job market status, and everything in between. -
Bollywood and Postmodernism Popular Indian Cinema in the 21St Century
Bollywood and Postmodernism Popular Indian Cinema in the 21st Century Neelam Sidhar Wright For my parents, Kiran and Sharda In memory of Rameshwar Dutt Sidhar © Neelam Sidhar Wright, 2015 Edinburgh University Press Ltd The Tun – Holyrood Road 12 (2f) Jackson’s Entry Edinburgh EH8 8PJ www.euppublishing.com Typeset in 11/13 Monotype Ehrhardt by Servis Filmsetting Ltd, Stockport, Cheshire, and printed and bound in Great Britain by CPI Group (UK) Ltd, Croydon CR0 4YY A CIP record for this book is available from the British Library ISBN 978 0 7486 9634 5 (hardback) ISBN 978 0 7486 9635 2 (webready PDF) ISBN 978 1 4744 0356 6 (epub) The right of Neelam Sidhar Wright to be identified as author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 and the Copyright and Related Rights Regulations 2003 (SI No. 2498). Contents Acknowledgements vi List of Figures vii List of Abbreviations of Film Titles viii 1 Introduction: The Bollywood Eclipse 1 2 Anti-Bollywood: Traditional Modes of Studying Indian Cinema 21 3 Pedagogic Practices and Newer Approaches to Contemporary Bollywood Cinema 46 4 Postmodernism and India 63 5 Postmodern Bollywood 79 6 Indian Cinema: A History of Repetition 128 7 Contemporary Bollywood Remakes 148 8 Conclusion: A Bollywood Renaissance? 190 Bibliography 201 List of Additional Reading 213 Appendix: Popular Indian Film Remakes 215 Filmography 220 Index 225 Acknowledgements I am grateful to the following people for all their support, guidance, feedback and encouragement throughout the course of researching and writing this book: Richard Murphy, Thomas Austin, Andy Medhurst, Sue Thornham, Shohini Chaudhuri, Margaret Reynolds, Steve Jones, Sharif Mowlabocus, the D.Phil. -
Woman Becomes Goddess in Bollywood: Justice, Violence, and the Feminine in Popular Hindi Film Kathleen M
Journal of Religion & Film Volume 17 Article 1 Issue 2 October 2013 10-2-2013 Woman Becomes Goddess in Bollywood: Justice, Violence, and the Feminine in Popular Hindi Film Kathleen M. Erndl Florida State University, [email protected] Recommended Citation Erndl, Kathleen M. (2013) "Woman Becomes Goddess in Bollywood: Justice, Violence, and the Feminine in Popular Hindi Film," Journal of Religion & Film: Vol. 17 : Iss. 2 , Article 1. Available at: https://digitalcommons.unomaha.edu/jrf/vol17/iss2/1 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]. Woman Becomes Goddess in Bollywood: Justice, Violence, and the Feminine in Popular Hindi Film Abstract What happens “when a woman becomes Chandika?” This essay contributes to an on-going discussion of the theme of “avenging women” in popular Indian cinema, with particular focus on the transformation of a woman into a fierce Goddess who avenges oppression and re-establishes justice. Analysis of the story line and selected song sequences from the Hindi language film Anjaam (“Outcome,” 1994) in light of themes from the Hindu Sanskrit text, the Devi-Mahatmya (“Greatness of the Goddess,” 5thc. C.E.) shows how traditional religious images and values are adapted and transformed in a modern context. Keywords Goddess, Bollywood, Indian cinema, Devi-Mahatmya, Hinduism, Madhuri Dixit, Shahrukh Khan Author Notes Kathleen M. Erndl is Associate Professor of Religion at the Florida State University, where she teaches in the field of South Asian religions. -
B.Sc. B.Ed. Syllabus
MOHAN LAL SUKHADIA UNIVERSITY, UDAIPUR (Raj.) SYALLBUS FACULTY OF EDUCATION SCHEME OF EXAMINATION & COURSE OF STUDIES B.Sc.B.Ed. FOUR- YEARS INTEGRATED PROGRAMME Mohanlal Sukhadia University, Udaipur (Raj.) – 313 001 MOHAN LAL SUKHADIA UNIVERSITY, UDAIPUR (Raj.) MOHAN LAL SUKHADIA UNIVERSITY, UDAIPUR (Raj.) Scheme of Examination and Course of Studies BACHELOR OF SCIENCE (B.Sc) & BACHELOR OF EDUCATION (B.Ed.) B.Sc.B.Ed FOUR YEARS INTEGRATED COURSE (B.Sc.B.Ed. Programme Is a Full Time, Four Academic Session Programme; Each Session Will Be of 200 Days Duration) 1. INTRODUCTION Destiny of a nation is shaped in its classrooms and teacher is the architect who shapes the destiny. Enlightened, emancipated and empowered teachers lead communities and nations towards better and higher quality of life. Teachers are expected to create soul cohesion, national integration and learning society. They disseminate knowledge and generate new knowledge. It is therefore, essential for nation to have a sound and effective programme of teacher preparation. The teacher education programme needs to be upgraded and updated periodically. A perusal of the reports of various commissions and committees indicate the preference for longer duration of B.Sc.B.Ed.course. It was also endorsed by the Hon‟ble Supreme Court of India in its judgement on 15 June 1993. “The Teachers Training Institutes are meant to teach children of impressionable age and we cannot let loose on the innocent and unwary children the teachers who have not received proper and adequate training. True, they will be required to pass the examination but that may not be enough.