DOCSLIB.ORG

Book > Discovering Indian Independent Cinema: the Films of Girish

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Book > Discovering Indian Independent Cinema: the Films of Girish 5SDA7DM8HW / Discovering Indian Independent Cinema: The Films of Girish Kasaravalli (Paperback) < Book Discovering Indian Independent Cinema: Th e Films of Girish Kasaravalli (Paperback) By Sakti Sengupta Createspace Independent Publishing Platform, United States, 2015. Paperback. Condition: New. Language: English . Brand New Book ***** Print on Demand *****. For over four decades, Girish Kasaravalli has been fulfilling Satyajit Ray s prediction that the future lies in Kannada cinema. Kasaravalli first emerged as a major force of the Indian New Wave in 1977 with Ghatashraddha (The Ritual), which won Best Feature Film, among other awards, in his home state of Karnataka, India; it was the only Indian film included in a list of 100 important world films compiled by the Cinematheque Francaise. Like other filmmakers of his generation working outside the Bollywood mainstream, Kasaravalli has focused on injustices and inequality perpetrated by the caste system, Brahmin orthodoxy, and patriarchy, as well as by chronic corruption, a ruinous push for gentrification, and unprecedented, disruptive global forces in the new India. Yet his films can never be reduced to protest art. Rather, his extraordinarily diverse body of work is marked by a consistent attitude toward cinema s need to raise questions rather than provide answers. In films that range from experimentalism to lush historical drama to an inventive cinema verite, Kasaravalli allows viewers to explore on their own terms the... READ ONLINE [ 2.31 MB ] Reviews Simply no words to explain. It really is basic but shocks from the fifty percent of the ebook. I am just happy to explain how this is the finest pdf we have read within my personal life and could be he best ebook for possibly. -- Blair Monahan This ebook will be worth acquiring. It is actually writter in basic phrases instead of hard to understand. It is extremely diicult to leave it before concluding, once you begin to read the book. -- Trystan Yundt ETI7FK6KIF # Discovering Indian Independent Cinema: The Films of Girish Kasaravalli (Paperback) > PDF Oth er eBooks Weebies Family Halloween Night English Language: English Language British Full Colour Createspace, United States, 2014. Paperback. Book Condition: New. 229 x 152 mm. Language: English . Brand New Book ***** Print on Demand *****.Children s Weebies Family Halloween Night Book 20 starts to teach Pre-School and Junior Children how to read with this... Games with Books : 28 of the Best Childrens Books and How to Use Them to Help Your Child Learn - From Preschool to Third Grade Book Condition: Brand New. Book Condition: Brand New. Childrens Educational Book Junior Vincent van Gogh A Kids Introduction to the Artist and his Paintings. Age 7 8 9 10 year-olds SMART READS for . - Expand Inspire Young Minds Volume 1 CreateSpace Independent Publishing Platform. Paperback. Book Condition: New. This item is printed on demand. Paperback. 26 pages. Dimensions: 9.8in. x 6.7in. x 0.2in.Van Gogh for Kids 9. 754. 99-PaperbackABOUT SMART READS for Kids. Love Art, Love LearningWelcome. Designed to expand... The Wolf Who Wanted to Change His Color My Little Picture Book Auzou. Paperback. Book Condition: New. Eleonore Thuillier (illustrator). Paperback. 32 pages. Dimensions: 8.2in. x 8.2in. x 0.3in.Mr. Wolf is in a very bad mood. This morning, he does not like his color anymore!He really wants to try another one, just to see... Games with Books : Twenty-Eight of the Best Childrens Books and How to Use Them to Help Your Child Learn - from Preschool to Third Grade Book Condition: Brand New. Book Condition: Brand New. The Whale Tells His Side of the Story Hey God, Ive Got Some Guy Named Jonah in My Stomach and I Think Im Gonna Throw Up B&H Kids. Hardcover. Book Condition: New. Cory Jones (illustrator). Hardcover. 32 pages. Dimensions: 9.1in. x 7.2in. x 0.3in.Oh sure, well all heard the story of Jonah and the Whale a hundred times. But have we heard it from the perspective of the... DMCA Notice | Terms.
Load more

Recommended publications
  • EMPIRICAL ARTICLE a STUDY on CONTEMPORARY KANNADA CINEMA and HUMAN RIGHTS Jayadatta S1, Krishna Murthy B
    DOI: 10.14260/jadbm/2015/35 EMPIRICAL ARTICLE A STUDY ON CONTEMPORARY KANNADA CINEMA AND HUMAN RIGHTS Jayadatta S1, Krishna Murthy B. Y2 HOW TO CITE THIS ARTICLE: Jayadatta S, Krishna Murthy B. Y. “A Study on Contemporary Kannada Cinema and Human Rights”. Journal of Advances in Business Management; Vol. 1, Issue 3, July-September 2015; Page: 305-310, DOI: 10.14260/jadbm/2015/35 INTRODUCTION: India is the larger film producer in world. It produces nearly 800-1000 films per year. Out of which regional language films also add their contribution to national and international scenario. Bollywood is the name of Hindi cinema, Tollywood is of Telugu cinema, Molly wood is of Tamil cinema, Sandal wood is of Kannada cinema etc. Celebrated its 75th year in 2009 and moving towards century. Kannada film industry has its own history from 1934 Saathi sulochana to Puttakkana Highway-2012 industry has seen many up and downs. It has its audience across all over the globe. Industry has the great talented directors, actors, novel writers like late Dr. Rajakumar and Mr. V. K. Murthy have been honored by prestigious Dada Saheb Palake awarded, the director like late Mr. Puttanna Kanagal, late Lakshmi Narayana Rao, Mr. Girish Kasaravalli, Late Mr. G. V. Iyer, Actor/director Jnanapeeta award Dr. Girish Karnad, Late Shankarna, etc Have contributed their achievements and laid milestone in film industry. Master Kishan’s Care of Footpath and Film Shanthi received in the book of Gunnies Award. Observing the film trends from past 1934-2011 it can be conclude that the early film age was about theater oriented content, 1940-50 was on mythology and social oriented subjects, 50-60s were the devotional subjects, 60-70s were based on Kannada Unification stories, 70-80s were on aggressive and love stories, Women oriented majority based on Novels works.80-90s on mixed western culture with crime stories, 90-2000 expose of half nudity and double meaning in dialogue and songs, 2001- 2011 half nudity, crime, violence, vulgarity themes.
    [Show full text]
  • World Cinema Amsterd Am 2
    WORLD CINEMA AMSTERDAM 2011 3 FOREWORD RAYMOND WALRAVENS 6 WORLD CINEMA AMSTERDAM JURY AWARD 7 OPENING AND CLOSING CEREMONY / AWARDS 8 WORLD CINEMA AMSTERDAM COMPETITION 18 INDIAN CINEMA: COOLLY TAKING ON HOLLYWOOD 20 THE INDIA STORY: WHY WE ARE POISED FOR TAKE-OFF 24 SOUL OF INDIA FEATURES 36 SOUL OF INDIA SHORTS 40 SPECIAL SCREENINGS (OUT OF COMPETITION) 47 WORLD CINEMA AMSTERDAM OPEN AIR 54 PREVIEW, FILM ROUTES AND HET PAROOL FILM DAY 55 PARTIES AND DJS 56 WORLD CINEMA AMSTERDAM ON TOUR 58 THANK YOU 62 INDEX FILMMAKERS A – Z 63 INDEX FILMS A – Z 64 SPONSORS AND PARTNERS WELCOME World Cinema Amsterdam 2011, which takes place WORLD CINEMA AMSTERDAM COMPETITION from 10 to 21 August, will present the best world The 2011 World Cinema Amsterdam competition cinema currently has to offer, with independently program features nine truly exceptional films, taking produced films from Latin America, Asia and Africa. us on a grandiose journey around the world with stops World Cinema Amsterdam is an initiative of in Iran, Kyrgyzstan, India, Congo, Columbia, Argentina independent art cinema Rialto, which has been (twice), Brazil and Turkey and presenting work by promoting the presentation of films and filmmakers established filmmakers as well as directorial debuts by from Africa, Asia and Latin America for many years. new, young talents. In 2006, Rialto started working towards the realization Award winners from renowned international festivals of a long-cherished dream: a self-organized festival such as Cannes and Berlin, but also other films that featuring the many pearls of world cinema. Argentine have captured our attention, will have their Dutch or cinema took center stage at the successful Nuevo Cine European premieres during the festival.
    [Show full text]
  • Girish Kasaravalli Film Festival 25 / 26 / 27 / 28 / 29 July 2015
    Bharatiya Vidya Bhavan Bengaluru Presents Girish Kasaravalli Film Festival 25 / 26 / 27 / 28 / 29 July 2015 • Gulabi Talkies • Naayi Neralu • Kraurya • Thayi Saheba • Ghatashraddha • Tabarana Kathe • Dweepa • Kanasembo Kudureyaneri • Haseena • Koormavatara Photo Exhibition on Girish Kasaravalli organised by Sri. K.S. Rajaram, Noted Photographer Venue : Khincha Auditorium, Bharatiya Vidya Bhavan, Race Course Road, Bengaluru - 560 001 All are cordially Invited Girish Kasaravalli Girish Kasaravalli (December 3, 1950) is a ilm director of the Kannada cinema, and a pioneer of the parallel cinema movement. Known internationally, he has won the National Film Award for Best Feature Film four times - Ghatashraddha (1977), Tabarana Kathe (1986), Thaayi Saheba (1997) and Dweepa (2002). In 2011, he was awarded Padma Shri, the fourth highest civilian award by Government of India. A gold medalist from the Film and Television Institute of India, Pune, Kasaravalli started his career in ilms with Ghatashraddha (1977). Over the next 30 years he directed 11 ilms and a tele serial. The ilm he made to fulill his diploma, Avashesh, was awarded the Best Student Film and the National Film Award for Best Short Fiction Film for that year. He has received thirteen National Film Awards. The International Film Festival of Rotterdam held a retrospective of Girish Kasaravalli's ilms in 2003. Girish Kasaravalli Film Festival - 2015 - Calendar of Events July 25, 2015, Saturday Programme 10.30 a.m. Inauguration : Smt. Umashri Hon’ble Minister for Kannada and Culture, Women and Child Development, Govt. of Karnataka Chief Guests : Dr. L. Hanumanthaiah, Ex MLC, Chairman, Kannada Development Authority Dr. Vijaya, Noted Film Journalist Smt.
    [Show full text]
  • Your Gateway to the Film Industry
    MIT SCHOOL OF FILM & TELEVISION at Raj Kapoor Memorial, Pune MITSFT - your Gateway to the Film Industry www.mitsft.in PDF compression, OCR, web optimization using a watermarked evaluation copy of CVISION PDFCompressor VISION MIT School of Film and Television, MIT School of Film and Television, Rajbaug, Pune is committed to providing Rajbaug, Pune envisages a 'niche position' advanced training and thus nurturing for Indian films, film m‘ akers and ‘ knowledge-driven visionary filmmakers ‘ ‘ technicians in the world of cinema, where who will have great potential and creative they will be considered as a benchmark of SION abilities and who will make the finest films quality all across the globe. in world cinema, while exhibiting their talent in all departments of film making. MIS 1) RajbaugCONTENTS – The Garden of The King...........................................................................................................04 16) Art Direction and Production Design...........................................................................................................30 2) Raj Kapoor Memorial...............................................................................................................................07 17) Television Production.................................................................................................................................32 3) Raj Kapoor – The Legend, The Man..........................................................................................................08 18) Admission Procedure................................................................................................................................33
    [Show full text]
  • EVENT Year Lib. No. Name of the Film Director 35MM DCP BRD DVD/CD Sub-Title Language BETA/DVC Lenght B&W Gujrat Festival 553 ANDHA DIGANTHA (P
    UMATIC/DG Duration/ Col./ EVENT Year Lib. No. Name of the Film Director 35MM DCP BRD DVD/CD Sub-Title Language BETA/DVC Lenght B&W Gujrat Festival 553 ANDHA DIGANTHA (P. B.) Man Mohan Mahapatra 06Reels HST Col. Oriya I. P. 1982-83 73 APAROOPA Jahnu Barua 07Reels EST Col. Assamese I. P. 1985-86 201 AGNISNAAN DR. Bhabendra Nath Saikia 09Reels EST Col. Assamese I. P. 1986-87 242 PAPORI Jahnu Barua 07Reels EST Col. Assamese I. P. 1987-88 252 HALODHIA CHORAYE BAODHAN KHAI Jahnu Barua 07Reels EST Col. Assamese I. P. 1988-89 294 KOLAHAL Dr. Bhabendra Nath Saikia 06Reels EST Col. Assamese F.O.I. 1985-86 429 AGANISNAAN Dr. Bhabendranath Saikia 09Reels EST Col. Assamese I. P. 1988-89 440 KOLAHAL Dr. Bhabendranath Saikia 06Reels SST Col. Assamese I. P. 1989-90 450 BANANI Jahnu Barua 06Reels EST Col. Assamese I. P. 1996-97 483 ADAJYA (P. B.) Satwana Bardoloi 05Reels EST Col. Assamese I. P. 1996-97 494 RAAG BIRAG (P. B.) Bidyut Chakravarty 06Reels EST Col. Assamese I. P. 1996-97 500 HASTIR KANYA(P. B.) Prabin Hazarika 03Reels EST Col. Assamese I. P. 1987-88 509 HALODHIA CHORYE BAODHAN KHAI Jahnu Barua 07Reels EST Col. Assamese I. P. 1987-88 522 HALODIA CHORAYE BAODHAN KHAI Jahnu Barua 07Reels FST Col. Assamese I. P. 1990-91 574 BANANI Jahnu Barua 12Reels HST Col. Assamese I. P. 1991-92 660 FIRINGOTI (P. B.) Jahnu Barua 06Reels EST Col. Assamese I. P. 1992-93 692 SAROTHI (P. B.) Dr. Bhabendranath Saikia 05Reels EST Col.
    [Show full text]
  • Details of Various Committees of Films Division\
    Section 4(1)(b)(viii) A statement of the boards, councils, committees and other bodies consisting of two or more persons constituted as a part of Directorate General: Films Division or for the purpose of its advice, and as to whether meetings of those boards, councils, committees and other bodies are open to the public, or the minutes of such meetings are accessible for public DETAILS OF VARIOUS COMMITTEES OF FILMS DIVISION\ Documentary Film Purchase Committee and Pricing Committee Sr. Particulars Requisite details / information No. 1 Name of the Committee / Documentary Film Purchase Committee and Advisory Board/ Corporation/ Pricing Committee Parishad etc. 2 Number and date of the Order 309/4/2003-F(A) dt. 26.12.2003 & 301/1/2004-F(A) under which the Committee dt. 22.9.2004 constituted by the Ministry 3 Composition of the Official Members. Committee/Advisory Board/ 1.Jt. Secretary( Films), Min. of I&B-Chairman. Corporation/ Parishad etc. 2. Director General, Films Division----Member 3.Representative of DG Doordarshan-Member 4. Representative of AS&FA, Min. of I&B—Member ( Below the level of Dy. Secretary) 5.Representative of Dte. Of Field Publicity-Member 6. Representative of NFDC.-Member 7. Internal Financial Adviser, FD,-Member Non-Official Members 1. Shri Aribam Shyam Sharma, Assam 2. Shri Girish Kasaravalli, Karnataka. 3. Dr. Jabbar Patel, Maharashtra. 4. Shri Gautam Ghosh, West Bengal 5. Shri Naresh Bedi, New Delhi. 6. Shri Ram Mohan, Animator, Mumbai. ( Chairperson has the option to co-opt all the six non-official members) 4 Term of Office of the members The official members will continue to be members of of the Committee/ Board/ the Committee by virtue of the office held by them.
    [Show full text]
  • Viewers As Much As Cinema Because of the Message They Sought to Convey
    fl hadahammer, sang US enter­ tainer Trini Lopez long ago, I ’d hammer out a warning. I The Bangalore Film Society and fellow organisations have no hammer. Still, for four days in early June, they hammered out a warning, with cinema as their tool. The purpose: to generate awareness about the vital importance of water, its destructive capacity and the havoc man wreaks on it through ill-con­ ceived development. In the second edition of a multi­ pronged exposition titled Voices from the Waters, five organisations screened documentaries and award­ winning feature films based on water. Interactive sessions with common people who strived to find viable, eco- friendly solutions to their own water- related problems were also held. The documentaries were from India, Nepal, China, Iran, Italy and Mexico. Many cast a spell on the viewers as much as cinema because of the message they sought to convey. The images on the screen had even the college crowd glued because of their sheer power and beauty. Though most of the film-makers have to struggle for finances, they make no compromise on the qual­ Images with a message: (Clockwise ity of their creation. They pay keen from above) Girish Karnad, Nandita Das attention to imaginative taking and and Rohini Nilekani at the inauguration cutting, shot mixing and audiogra- of the festival: stills from The Shadows phy. L et’s not Disturb the W ater from of the Tehri and Climatic Refugees Iran is a superb example. Two other short films dealt with opposite ends of the water spectrum. from different relatives and friends.
    [Show full text]
  • December 1: Textual and Narrative Representation of P Sheshadri's Film
    Review Article Global Media Journal 2021 ISSN 1550-7521 Vol. 19 No.40: 246 December 1: Textual and Narrative Representation of P Sheshadri’s Film. December 1: Illustrating Documentary Description of P Sheshadri’s Film Illustrating Documentary Description of P Sheshadri’s Film D r. Prashanth G Malur* Manipal Academy of Higher Education, MGA-BFSI Campus, Bangalore, India *Corresponding author: Dr. Prashanth G Malur, Associate Professor-Digital Media, Manipal Academy of Higher Education, MGA-BFSI Campus, Bangalore, India, E-mail: [email protected] Received date: April 30, 2021; Accepted date: May 14, 2021; Published date: May 21, 2021 Copyright: © 2021 Malur PG. This is an open-access article distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. Citation: Malur PG (2021) Illustrating Documentary Description of P Sheshadri’s Film. Global Media Journal. 19.40 from academic circle and critics from the scholars pursuing media Abstract studies. The first film Kannada film industry (presently popular as A Sign is the primary non-verbal visual language to Sandalwood), produced was film Bhakta Kabir, a play enacted communicate and communicating through a sequence of sign by veteran theatre artist Gubbi Veeranna who tried to film it, in forms a vital structure adopted to display the theme in films. 1924. Ten years later in 1934 Sati Sulochana made its first release The study attempts to analyse the thematic narration of the and hence is considered as the first film of the language, followed film December 1, drawing upon the social reality of a political by Bhakta Dhruva.
    [Show full text]
  • Parichya Patra.P65
    Student Paper PARICHAY PATRA Spectres of the New Wave : The State of the Work of Mourning, and the New Cinema Aesthetic in a Regional Industry 1 Introduction My title refers to Derrida’s controversial account of his concern with Marx amidst the din and bustle of the ‘end of history’. Time was certainly out of joint and the pluralistic outlook of the great thinker was pitted against the monolith that orthodox communists used to uphold. My primary concern in the paper would be an account of the Malayalam film industry in its post-New Wave phase as well as a handful of filmmakers whose works seem to be difficult to categorize. Within the domain of the popular and amidst the mourning from the film society circle for the movement that lasted no longer than a decade, these films evoke the popular memory of the New Wave. Though up in arms against the worthy ancestors, these filmmakers are unable to conceal their indebtedness to the latter. The New Wave too was not without its heterogeneity, and the “disjointed now” that I am talking about is something “whose border would still be determinable”. I would like to consider the possibility of moving towards translocal contexts without shifting our focus from a specific site of inquiry which, in this case, is Malayalam cinema. The paper will concentrate upon the phenomenon known JOURNAL OF THE MOVING IMAGE 81 as the resurfacing/resurgence of art cinema aesthetics in Indian cinema. Recent scholarly interest in the history of this forgotten film movement is noticeable, more so because it was ignored in the age of disciplinary incarnation of cinematic scholarship in India.
    [Show full text]
  • 1.2.1-Ens507
    MANGALORE UNIVERSITY DEPARTMENT OF ENGLISH Semester III (Soft Core 4) ENS 507: INTRODUCTION TO INDIAN CINEMA • Soft Core: 4 credits (3 lectures and one tutorial) • End Semester Examination 70 marks • Internal Assessment 30 marks – Monthly Tests/ Assignments/ Class Reports COURSE OBJECTIVES • To understand the socio-cultural moorings of Indian cinema and related issues of ideology and representation. • To provide conceptual foundations to help students problematisehe ground of Indian cinema. • To acquire dome familiarity with the technicalities of filming through practicals. • To understand the genre of cinema and its relevance to the world. LEARNING OUTCOMES At the end of the course, the student should be able to: • appreciate the ground of Indian cinema • understand Indian cinema as a pan-Indian phenomenon. • shoot videos at an amateur level and apply these learnings to the appreciation of cinema. • become familiar with the essential glossary of cinema ENS 507: INTRODUCTION TO INDIAN CINEMA • Soft Core: 4 credits (3 lectures and one tutorial) • End Semester Examination 70 marks • Internal Assessment 30 marks – Monthly Tests/ Assignments/ Class Reports SECTION A: THEORY • The semiotics of cinema Ideology and representation Auteur theory • Film movements: Italian neo-realism, French new wave, German expressionism • Film genres, Documentary cinema, middle cinema, new wave, parallel cinema, art cinema, film noir, counter cinema, queer cinema, • Growth of Indian cinema Bollywood and its avatars The cult actors: Raj Kumar, MGR, Rajanikanth • Deep focus, emblematic shot, flashback, mise-en-abime, mise-en-scene Mediation, scopophilia, the gendered spectator SECTION B Franz Osten and Himanshu Rai: Achhut Kanya Chetan Anand: Neecha Nagar Mehboob: Mother India RitwikGhatak: MegheDaka Tara M.
    [Show full text]
  • Museum of the Moving Image and the India Center Foundation Partner to Launch India Kaleidoscope Film Festival, December 8–11, 2016
    FOR IMMEDIATE RELEASE MUSEUM OF THE MOVING IMAGE AND THE INDIA CENTER FOUNDATION PARTNER TO LAUNCH INDIA KALEIDOSCOPE FILM FESTIVAL, DECEMBER 8–11, 2016 U.S. Premiere of India in a Day from Executive Producer Ridley Scott and Google to open the festival NEW YORK, NY, November 1, 2016—Museum of the Moving Image (MoMI) and The India Center Foundation are launching India Kaleidoscope, an exciting new festival that will present film lovers with a chance to immerse themselves in the unique sights and sounds that make up the Indian regional, independent film landscape. These films, which delve into the most relevant and pressing topics facing India, are being made by today’s most progressive filmmakers working in regional languages such as Marathi, Kannada, Tamil, and Bengali. Their films are insightful, topical, and provocative, bringing to light the dynamism and the challenges that face modern India and her many diverse communities. “Consistent with our mission to offer a platform for barrier-breaking and emerging work from the subcontinent, the films featured in India Kaleidoscope film festival are eye opening studies from all corners of India,” said Priya Giri Desai, a Founding Director of The India Center Foundation. “The India Center Foundation is proud to present many of these new voices for the very first time in North America. The festival represents the kind of work we hope to continue: quality collaborations that result in exposure to new sights and sounds to inspire our audience.” “India Kaleidoscope is an auspicious start to MoMI’s collaboration with The India Center Foundation. This dynamic partnership is proven by the quality of the Festival lineup and the participation of so many emerging and established film directors,” said the Museum’s Chief Curator, David Schwartz.
    [Show full text]
  • South Asian Film & Television 16 + Guide
    SOUTH ASIAN FILM & TELEVISION 16 + GUIDE www.bfi.org.uk/imagineasia This and other bfi National Library 16+ guides are available from http://www.bfi.org.uk/16+ IMAGINEASIA - SOUTH ASIAN FILM & TELEVISION Contents Page IMPORTANT NOTE ........................................................................................ 1 GENERAL INFORMATION ............................................................................. 2 APPROACHES TO RESEARCH, by Samantha Bakhurst.................................. 4 INTRODUCTION ............................................................................................ 6 BANGLADESH............................................................................................... 7 Focus on Filmmakers: Zahir Raihan................................................................. 9 BHUTAN, NEPAL & TIBET.............................................................................. 9 PAKISTAN..................................................................................................... 10 Focus on Filmmakers: Jamil Dehlavi ................................................................ 16 SRI LANKA .................................................................................................... 17 Focus on Filmmakers: Lester James Peries ..................................................... 20 INDIA · General References............................................................................ 22 · Culture, Society and Film Theory ......................................................... 33 · Film
    [Show full text]