His Memorable Lyrics Continue to Haunt the Nation
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Ashoke Kumar
Ashoke Kumar The boss's wife and leading actress of a leading Film Company runs off with her lead man. She is caught and taken back but not the lead man who is unceremoniously dismissed. So now the company needs a new hero. The boss decides his laboratory assistant would be the Film Company's next leading man. A bizzare film plot??? Hardly. This real life story starred the Bombay Talkies Film Company, it's boss Himansu Rai , lead actress Devika Rani and lead man Najam-ul-Hussain and last but not least its laboratory assistant Ashok Kumar. And thus began an extremely successful acting career that lasted six decades! Ashok Kumar aka Dadamoni was born Kumudlal Kunjilal Ganguly in Bhagalpur and grew up in Khandwa. He briefly studied law in Calcutta, then joined his future brother-in-law Shashadhar Mukherjee at Bombay Talkies as laboratory assistant before being made its leading man. Ashok Kumar made his debut opposite Devika Rani in Jeevan Naiya (1936) but became a well known face with Achut Kanya (1936) . Devika Rani and he did a string of films together - Izzat (1937) , Savitri (1937) , Nirmala (1938) among others but she was the bigger star and chief attraction in all those films. It was with his trio of hits opposite Leela Chitnis - Kangan (1939) , Bandhan (1940) and Jhoola (1941) that Ashok Kumar really came into his own. Going with the trend he sang his own songs and some of them like Main Ban ki Chidiya , Chal Chal re Naujawaan and Na Jaane Kidhar Aaj Meri Nao Chali Re were extremely popular! Ashok Kumar initiated a more natural style of acting compared to the prevaling style that followed theatrical trends. -
Women Performing Artists in Colonial India There Were Few Women Painters in Colonial India
I. (A) Personal Details Role Name Affiliation Principal Investigator Prof. Sumita University of Allhabad Parmar Paper Coordinator Prof Rekha Pande University of Hyderabad Author Dr. Archana Verma Independent Scholar Content Reviewer (CR) Prof Rekha Pande University of Hyderabad Language Editor (LE) Prof. Sumita University of Allhabad Parmar (B) Description of Module Items Description of Module Subject Name Women’s Studies Paper Name Women and History Module Name/ Title, Women performers in colonial India description Module ID Paper- 3, Module-30 Pre-requisites None Objectives To explore the achievements of women performers in colonial period Keywords Indian art, women in performance, cinema and women, India cinema, Hindi cinema Women Performing Artists in Colonial India There were few women painters in Colonial India. But in the performing arts, especially acting, women artists were found in large numbers in this period. At first they acted on the stage in theatre groups. Later, with the coming of cinema, they began to act for the screen. Cinema gave them a channel for expressing their acting talent as no other medium had before. Apart from acting, some of them even began to direct films at this early stage in the history of Indian cinema. Thus, acting and film direction was not an exclusive arena of men where women were mostly subjects. It was an arena where women became the creators of this art form and they commanded a lot of fame, glory and money in this field. In this module, we will study about some of these women. Nati Binodini (1862-1941) Fig. 1 – Nati Binodini (get copyright for use – (https://commons.wikimedia.org/wiki/File:Binodini_dasi.jpg) Nati Binodini was a Calcutta based renowned actress, who began to act at the age of 12. -
Unit Indian Cinema
Popular Culture .UNIT INDIAN CINEMA Structure Objectives Introduction Introducing Indian Cinema 13.2.1 Era of Silent Films 13.2.2 Pre-Independence Talkies 13.2.3 Post Independence Cinema Indian Cinema as an Industry Indian Cinema : Fantasy or Reality Indian Cinema in Political Perspective Image of Hero Image of Woman Music And Dance in Indian Cinema Achievements of Indian Cinema Let Us Sum Up Answers to Check Your Progress Exercises A 13.0 OBJECTIVES This Unit discusses about Indian cinema. Indian cinema has been a very powerful medium for the popular expression of India's cultural identity. After reading this Unit you will be able to: familiarize yourself with the achievements of about a hundred years of Indian cinema, trace the development of Indian cinema as an industry, spell out the various ways in which social reality has been portrayed in Indian cinema, place Indian cinema in a political perspective, define the specificities of the images of men and women in Indian cinema, . outline the importance of music in cinema, and get an idea of the main achievements of Indian cinema. 13.1 INTRODUCTION .p It is not possible to fully comprehend the various facets of modern Indan culture without understanding Indian cinema. Although primarily a source of entertainment, Indian cinema has nonetheless played an important role in carving out areas of unity between various groups and communities based on caste, religion and language. Indian cinema is almost as old as world cinema. On the one hand it has gdted to the world great film makers like Satyajit Ray, , it has also, on the other hand, evolved melodramatic forms of popular films which have gone beyond the Indian frontiers to create an impact in regions of South west Asia. -
Stamps of India Collectors Companion
ISSN 0972-3587 Stamps of India Collectors Companion The News, Views, & Features on Philately & Postal Services of India December 15, 2011 | Published Every Thursday | Edited by Madhukar and Savita Jhingan | 501 Back Issues http://www.stampsofindia.com/newssite/Download/archives.htm Unsubscribe http://www.stampsofindia.com/other/unsubscribe.htm l In This Issue New Record Price of Mahatma Gandhi 1948 Forthcoming Stamp Issues New Stamp Released Dandi March Postcards My Stamp Update Parcel Packing Centres at Post Offices Sharp Decline in Post Card’s Usage Stamps of India Online Offers Recent & Forthcoming Events NewsScan: Postal Dept Stares At R 6,000-Crore Loss, Blames Managerial Failure For Sales Dip Jhingans Jottings Hi Many thanks for your good wishes for this digital weekly reaching the milestone of 500th issue. With this issue we rededicate ourselves not only to carry on but also to improve in many ways for enhanced reading experience. As always we seek your inputs and suggestions. Until next week, please enjoy the rest of the newsletter. - M&SJ Our thanks to the Contributors and Sources to this issue: Gautam Rohatgi, Dipak Dave, Prashant H Pandya, K G Balakrishnan, Ganesh Bhat, Mahesh Reddiar We invite your inputs [email protected] New Record Price of Mahatma Gandhi 1948 An un-mounted mint set of Mahatma Gandhi issue of 1948 with lower margins was Lot# 647 estimated at £170-190 at the Stanley Gibbons public auction sale # 5864 held at London. It was sold to a bidder in the auction room for a whopping £460 + 15% Buyers Premium + VAT on December 8, 2011 in the afternoon session. -
Uncorrected/ Not for Publication-07.08.2014 1 TDB/MP/1A/11.00 the House Met at Eleven of the Clock, MR. CHAIRMAN in the Chair.
1 Uncorrected/ Not for Publication-07.08.2014 TDB/MP/1A/11.00 The House met at eleven of the clock, MR. CHAIRMAN in the Chair. ----- MR. CHAIRMAN: Question No.421. ...(Interruptions)... SHRI DEREK O’BRIEN: Sir, we have given a notice... ...(Interruptions)... SHRI TAPAN KUMAR SEN: Sir, FDI is being introduced in Railways. ...(Interruptions)... MR. CHAIRMAN: Please allow the Question Hour. ...(Interruptions)... This is not the time for it. ...(Interruptions)... SHRI TAPAN KUMAR SEN: Sir, FDI cannot be allowed in Railways. It is a serious issue, and it should be discussed. It is not in the national interest. ...(Interruptions)... MR. CHAIRMAN: This is not the time for it. ...(Interruptions)... Please allow the Question Hour to proceed. ...(Interruptions)... SHRI DEREK O’BRIEN: Sir, last night, there was a Cabinet meeting... ...(Interruptions)... 2 Uncorrected/ Not for Publication-07.08.2014 MR. CHAIRMAN: Please allow the Question Hour. ...(Interruptions)... Please allow the Question Hour. ...(Interruptions)... SHRI TAPAN KUMAR SEN: Sir, the hon. Prime Minister is also sitting here. ...(Interruptions)... SHRI SITARAM YECHURY: Sir, this is a serious matter. You just give a ruling that you will permit it in the Zero Hour. ...(Interruptions)... MR. CHAIRMAN: You raise a discussion on it. But you can’t do it during the Question Hour. ...(Interruptions)... SHRI SITARAM YECHURY: Sir, there is already a notice on it. ...(Interruptions)... Sir, a notice is there. ...(Interruptions)... SHRI DEREK O’BRIEN: Sir, there is a notice. ...(Interruptions)... SHRI SITARAM YECHURY: Sir, a notice is there. So, we want you to, at least, say that you will allow this to be discussed at 12 o’clock. -
Tnpsc Current Affairs - English April-2021 the Way to Your Destiny | Since 2014
TNPSC CURRENT AFFAIRS - ENGLISH APRIL-2021 THE WAY TO YOUR DESTINY | SINCE 2014 S.NO INDEX PAGE NO 1. TAMILNADU NEWS 2 2. SPECIAL NEWS 16 3. IMPORTANT EVENTS 33 4. PERSON IN NEWS 40 5. ECONOMIC AFFAIRS 51 6. SCIENCE & TECHNOLOGY 61 7. NATIONAL NEWS 69 8. INTERNATIONAL NEWS 74 9. OTHER STATE NEWS 89 10. SPORTS NEWS 94 11. IMPORTANT DAYS 99 TNPSC CURRENT AFFAIRS – ENGLISH APRIL-2021 Page | 1 THE WAY TO YOUR DESTINY | SINCE 2014 1. TAMIL NADU NEWS Activities which held up in Tamil Nadu during April 2021 Any one of the 12 documents is enough to vote Voters can cast their ballots even if they do not have a voter ID card with photo to vote in the Legislative Assembly. Boy must be on the voter list. Voters can cast their ballots by displaying any of the 11 documents defined by the Board of Trustees in the absence of a voter ID card from the voter list. Details of 11 documents defined by the Total Authority: 1. Aadhar card. 2. Passport. 3. Driving license. 4. Identity card with photo for working in Central, State Governments, Public Sector Undertakings. 5. Bank or Postal Savings Account Book. 6. Smart card issued by National Population Register. 7. Card for one hundred day work plan. 8. Pan Card (Permanent Account Number) 9. Health Insurance Card of the Department of Labor Welfare. 10. Retirement document with photo. 11. Official Identity Card for MPs and MLAs. 2021 Assembly poll holds similarities to 2016 The 2021 Assembly election has similarities to the 2016 election, going by an analysis of the voter turnout data. -
Sample Pages
Between the Studio and the World Built Sets and Outdoor Locations in the Films of Bombay Talkies ¢ Debashree Mukherjee ¢ Cinema is a form that forces us to question distinctions between the natural world and a world made by humans. Film studios manufacture natural environments with as much finesse as they fabricate built environments. Even when shooting outdoors, film crews alter and choreograph their surroundings in order to produce artful visions of nature. This historical proclivity has led theorists such as Jennifer Fay to name cinema as the “aesthetic practice of the Anthropocene,” that is, an art form that intervenes in and interferes with the natural world, mirroring humankind’s calamitous impact on the planet since the Industrial Revolution (2018, 4). In what follows, my concern is with thinking about how the indoor and the outdoor, Publishingthe world of the studio and the many worlds outside, are co-constituted through the act of filming. I am interested in how we can think of a mutual exertion of spatial influence and the co-production of space by multiple actors. Once framed by the camera, nature becomes a set of values (purity, regeneration, unpredictability), as does the city (freedom, anonymity, danger). The Wirsching collection allows us to examine these values and their construction by keeping in view both the filmed narrative as well as parafilmic images of production. By examining the physical and imaginative worlds that were manufactured in the early films of Bombay Talkies—built sets, Mapin painted backdrops, carefully calibrated outdoor locations—I pursue some meanings of “place” that unfold outwards from the film frame, and how an idea of place is critical to establishing the identity of characters. -
Donald Duck Mitalidusad01@ Friend, Mickey Mouse
www.fi rstindia.co.in I www.fi rstindia.co.in/epaper/ I twitter.com/thefi rstindia facebook.com/thefi rstindia I instagram.com/thefi rstindia 09 JAIPUR, THURSDAY JUNE 10, 2021 OF TWO ICONIC STARS WITH THE TEMPERATURES TOUCHING THE SKIES, THIS THROWBACK THURSDAY WE BRING YOU PAIGHAM, WATCH IT ON A HOT SLUMBERING AFTERNOON FOR ANITA HADA THE PERFORMANCES BY DILIP AND RAAJ- THE TWO SUPERSTARS! [email protected] actually watched Paigham when Sauda- gar was released in 1991, there was so much hype I about the two iconic stars Dilip Kumar and Raaj Kumar starring to- gether after 32 years. Paigham gives more than a glimpse of why Dilip Kumar con- tinues to rule generations of ac- tors with his acting abilities, sense of timing and dialogue de- livery. Raaj, who played Dilip’s elder brother is the perfect foil to him. I loved the scenes where the brothers spar over ethics, values, loyalty, principles and more. Both of them, true artists who matched each other note by note with dia- logue delivery and expressions! Amazing! Magical! Vijyantimala was beautiful, restrained with sparks of flirta- tious humour as she sparkled on the screen, the chemistry of this pair spanned a line of hits as we all know. I fell in love with the way she used her eyes to show love, shyness, jealousy and was excellent in the dramatic scenes. The music of Paigham is nothing to write home about for me the only song which comes to my mind now and then is ‘yahi pagham hamara….’ but the movie is a good watch other- wise, it manages to walk the fine line between preachy and ideal- istic watch and the dialogues are like music at times with the fine delivery. -
21 Aug Page 07.Qxd
SWAPNIL SANSAR, ENGLISH WEEKLY,LUCKNOW, 28,MARCH, (07) Tragedy Queen of Indian Cinema Contd.From Page no.06 the film's music and lyrics were by Roshan and Sahir to August, Meena Kumari was in the hands of Dr. Sheila Sherlock.Upon Ludhianvi and noted for songs such as "Sansaar Se Bhaage Phirte Ho" and recovery, Meena Kumari returned to India in September 1968 and on the fifth "Mann Re Tu Kaahe". Ghazal directed by Ved-Madan, starring Meena Kumari day after her arrival, Meena Kumari, contrary to doctors' instructionsAAfter their and Sunil Dutt, was a Muslim social film about the right of the young generation marriage, Kamal Amrohi allowed Meena Kumari to continue her actiresumed to the marriage of their choice. It had music by Madan Mohan with lyrics by work. Suffering from cirrhosis of the liver, although Meena Kumari temporarily Sahir Ludhianvi, featuring notable filmi-ghazals such as "Rang Aur Noor Ki recovered but was now much weak and thin. She eventually shifted her focus Baraat", performed by Mohammed Rafi and "Naghma O Sher Ki Saugaat" on more 'acting oriented' or character roles. Out of her last six releases namely performed by Lata Mangeshkar. Main Bhi Ladki Hoon was directed by A. C. Jawab, Saat Phere, Mere Apne, Dushman, Pakeezah & Gomti Ke Kinare, she Tirulokchandar. The film stars Meena Kumari with newcomer Dharmendra. only had a lead role in Pakeezah. In Mere Apne and Gomti Ke Kinare, although Critical acclaim (1962) Sahib Bibi Aur she didn't play a typical heroine role, but her character was actually the central Ghulam (1962) character of the story. -
Bombay Talkies
A Cinematic Imagination: Josef Wirsching and The Bombay Talkies Debashree Mukherjee Encounters, Exile, Belonging The story of how Josef Wirsching came to work in Bombay is fascinating and full of meandering details. In brief, it’s a story of creative confluence and, well, serendipity … the right people with the right ideas getting together at the right time. Thus, the theme of encounters – cultural, personal, intermedial – is key to understanding Josef Wirsching’s career and its significance. Born in Munich in 1903, Wirsching experienced all the cultural ferment of the interwar years. Cinema was still a fledgling art form at the time, and was radically influenced by Munich’s robust theatre and photography scene. For example, the Ostermayr brothers (Franz, Peter, Ottmarr) ran a photography studio, studied acting, and worked at Max Reinhardt’s Kammertheater before they turned wholeheartedly to filmmaking. Josef Wirsching himself was slated to take over his father’s costume and set design studios, but had a career epiphany when he was gifted a still camera on his 16th birthday. Against initial family resistance, Josef enrolled in a prestigious 1 industrial arts school to study photography and subsequently joined Weiss-Blau-Film as an apprentice photographer. By the early 1920s, Peter Ostermayr’s Emelka film company had 51 Projects / Processes become a greatly desired destination for young people wanting to make a name in cinema. Josef Wirsching joined Emelka at this time, as did another young man named Alfred Hitchcock. Back in India, at the turn of the century, Indian artists were actively trying to forge an aesthetic language that could be simultaneously nationalist as well as modern. -
Nation, Fantasy, and Mimicry: Elements of Political Resistance in Postcolonial Indian Cinema
University of Kentucky UKnowledge University of Kentucky Doctoral Dissertations Graduate School 2011 NATION, FANTASY, AND MIMICRY: ELEMENTS OF POLITICAL RESISTANCE IN POSTCOLONIAL INDIAN CINEMA Aparajita Sengupta University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Sengupta, Aparajita, "NATION, FANTASY, AND MIMICRY: ELEMENTS OF POLITICAL RESISTANCE IN POSTCOLONIAL INDIAN CINEMA" (2011). University of Kentucky Doctoral Dissertations. 129. https://uknowledge.uky.edu/gradschool_diss/129 This Dissertation is brought to you for free and open access by the Graduate School at UKnowledge. It has been accepted for inclusion in University of Kentucky Doctoral Dissertations by an authorized administrator of UKnowledge. For more information, please contact [email protected]. ABSTRACT OF DISSERTATION Aparajita Sengupta The Graduate School University of Kentucky 2011 NATION, FANTASY, AND MIMICRY: ELEMENTS OF POLITICAL RESISTANCE IN POSTCOLONIAL INDIAN CINEMA ABSTRACT OF DISSERTATION A dissertation submitted in partial fulfillment of the requirements for the degree Doctor of Philosophy in the College of Arts and Sciences at the University of Kentucky By Aparajita Sengupta Lexington, Kentucky Director: Dr. Michel Trask, Professor of English Lexington, Kentucky 2011 Copyright© Aparajita Sengupta 2011 ABSTRACT OF DISSERTATION NATION, FANTASY, AND MIMICRY: ELEMENTS OF POLITICAL RESISTANCE IN POSTCOLONIAL INDIAN CINEMA In spite of the substantial amount of critical work that has been produced on Indian cinema in the last decade, misconceptions about Indian cinema still abound. Indian cinema is a subject about which conceptions are still muddy, even within prominent academic circles. The majority of the recent critical work on the subject endeavors to correct misconceptions, analyze cinematic norms and lay down the theoretical foundations for Indian cinema. -
Our Seating Is an Integral Part of Every, Show, Movie Etc. Over the Past 90 Years Have Proudly Installed Quality, Comfortable Seating’S for Our Valued Cinema Clients
Our Seating is an integral part of every, show, movie etc. Over the past 90 years have proudly installed quality, comfortable seating’s for our Valued Cinema Clients Liberty Talkies Mumbai Photophone Equipments Limited Mumbai Embassy Theater , Studio Mumbai Famous Cine Laboratories & Studio Limited Mumbai Famous Pictures, Studio Mumbai Kardar Studio Mumbai United Artists, Studio Mumbai Strand, Studio Mumbai Strand Cinema Mumbai Raxi Talkies Mumbai Kum Kum Talkies Mumbai Swastic Talkies Mumbai Super Talkies Mumbai Navelti Talkies Mumbai Bandra Talkies Mumbai Neptune Talkies Mumbai Rivoli Talkies Mumbai Paradise Talkies Mumbai City Light Talkies Mumbai Chitra Talkies Mumbai New Talkies Mumbai Kismet Talkies Mumbai Jai Hind Talkies Mumbai Edward Talkies Mumbai Ashok Talkies Mumbai New Roshan Talkies Mumbai Deepak Talkies Mumbai Prabath Talkies Mumbai New Model Talkies Mumbai New Prakash Talkies Mumbai Imperial Cinema Mumbai Shri Laxmi Talkies Mumbai Raj Kamal LakaMandir, Sudio Mumbai Defense Services Cinema Mumbai Apsara Cinema Mumbai Nazrana Talkies Mumbai Ranjit Studio Mumbai Venus Talkies Mumbai R. K. Studio Mumbai Chaaya Talkies Mumbai Alwin Talkies Mumbai New Empire Talkies Mumbai Kohinoor Talkies Mumbai Usha Talkies Mumbai Surya Talkies Mumbai Bhiwandi Talkies Mumbai Roop Talkies Mumbai Royal Talkies Mumbai Bombay Theatre Mumbai Royal Opera House Mumbai Uday Talkies Mumbai Akash Talkies Mumbai Anupan Chitra Mandir Mumbai Topiwala Theatre Mumbai Vijay Talkies Mumbai Rex Cinema Mumbai Lotus Cinema Mumbai Jaya Talkies Mumbai Krishna Talkies Mumbai Krishna Talkies, Kalyan Mumbai Paramount Talkies Mumbai Oscar Cinema Mumbai Amber Cinema Mumbai Minor Cinema Mumbai Kasturba Cinema Mumbai Milap Cinemas Mumbai Sahakar Chitra Mandir Mumbai Taj Cinema Mumbai Kareer Mini Theatre Mumbai Deep Mandir Mumbai Bharat Trading Company, Exports Mumbai Anand Talkies Mumbai Gopi Chitra Mandir Mumbai Dahisar Theatres Pvt.