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Akshay Kumar
Akshay Kumar Topic relevant selected content from the highest rated wiki entries, typeset, printed and shipped. Combine the advantages of up-to-date and in-depth knowledge with the convenience of printed books. A portion of the proceeds of each book will be donated to the Wikimedia Foundation to support their mis- sion: to empower and engage people around the world to collect and develop educational content under a free license or in the public domain, and to disseminate it effectively and globally. The content within this book was generated collaboratively by volunteers. Please be advised that nothing found here has necessarily been reviewed by people with the expertise required to provide you with complete, accu- rate or reliable information. Some information in this book maybe misleading or simply wrong. The publisher does not guarantee the validity of the information found here. If you need specific advice (for example, medi- cal, legal, financial, or risk management) please seek a professional who is licensed or knowledgeable in that area. Sources, licenses and contributors of the articles and images are listed in the section entitled “References”. Parts of the books may be licensed under the GNU Free Documentation License. A copy of this license is included in the section entitled “GNU Free Documentation License” All used third-party trademarks belong to their respective owners. Contents Articles Akshay Kumar 1 List of awards and nominations received by Akshay Kumar 8 Saugandh 13 Dancer (1991 film) 14 Mr Bond 15 Khiladi 16 Deedar (1992 film) 19 Ashaant 20 Dil Ki Baazi 21 Kayda Kanoon 22 Waqt Hamara Hai 23 Sainik 24 Elaan (1994 film) 25 Yeh Dillagi 26 Jai Kishen 29 Mohra 30 Main Khiladi Tu Anari 34 Ikke Pe Ikka 36 Amanaat 37 Suhaag (1994 film) 38 Nazar Ke Samne 40 Zakhmi Dil (1994 film) 41 Zaalim 42 Hum Hain Bemisaal 43 Paandav 44 Maidan-E-Jung 45 Sabse Bada Khiladi 46 Tu Chor Main Sipahi 48 Khiladiyon Ka Khiladi 49 Sapoot 51 Lahu Ke Do Rang (1997 film) 52 Insaaf (film) 53 Daava 55 Tarazu 57 Mr.
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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.
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CLOSE ENCOUNTERS OF A DIFFERENT KIND Film producers and directors, studios and financiers from Bollywood and Hollywood are increasing their exposure and stake in each other’s markets. A report by Dipta Joshi. 42 Entertainment Namaste Hollywood: Bollywood stars Katrina Kaif and Akshay Kumar in Namastey London UCH before British director ready films has added immense value to Danny Boyle’s Oscar-award our existing library.” winning film on Mumbai, SPE was one of the first Hollywood ‘Slumdog Millionaire’, took studios to get the government’s approval MIndia to Hollywood, some of its biggest as early as 1996, to set up a presence in studios had already recognised the poten- India. Though it’s first Hindi movie produc- tial in India. tion, ‘Saawariya’ (November 2007), did Investing in offices and other facili- not last long at the theatres, the company ties in India, these Hollywood studios are stays committed to its plans for the Indian now making movies to offer audiences entertainment market. everything that blockbuster Hindi films It has been associated with a number do. Bollywood too is reaching out to the of big- and mid-size productions like ‘Raaz American film industry to garner a share – the mystery continues’, ‘Hello’ and the in the global entertainment business. soon-to-be-released ‘Tere Sang’. Hollywood’s biggest players have Another Hollywood major, Walt Disney stepped up their Indian plans to operate Studios, has tied up with one of India’s and gain a major share in India’s biggest production houses, Yash Raj burgeoning entertainment pie. No longer Films, to co-produce a series of animated are these players content with a few films for Indian audiences.
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Entertainment Worldwelcome to Entertainment World HERE You
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Indywood The Indian Film Industry September 2016 Indywood | The Indian Film Industry 2 Indywood | The Indian Film Industry Contents Foreword 3 Executive Summary 5 Make in India Initiative and the Film Industry 6 India’s Film Industry 6 Industry Overview 7 Key Trends in the Indian Film Industry 10 Growth Drivers and Opportunities 15 Key Challenges in the Industry 17 Key Focus Areas for the Film Industry 21 Technological Advancements in the Film Industry 24 Skill Development in the Film Industry 32 Film Tourism in India 34 Background and Global Perspective 34 Film Tourism in India: An Overview 40 Recent initiatives to Improve Film Tourism 40 Next Steps and Initiatives 46 International Best Practices: Case Studies 50 Case Study: Film Tourism in the UK 50 Case Study: Film Tourism in New Zealand 54 Shooting of Foreign Films in India – Tax Aspects 59 Authors, Acknowledgments and Contacts 62 3 Indywood | The Indian Film Industry Foreword Welcome to the Indian Film Industry Report critical to remain at the forefront of global for the Indywood Film Carnival taking place trends. The report analyses the methods to during September 24 – 27, 2016 in Ramoji achieve this including technology transfers, Film City, Hyderabad. The film industry collaboration with international studios and has been earmarked as a key sector in the development of technical skills in-country. Make in India campaign. As part of this, Another endeavour of the Make in India the Government of India is taking several campaign has been to develop technical initiatives to effect growth in the sector skills for film production, post production as well as promote foreign film shootings and VFX.
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Indian Cinema from Bruce Lee to Chandni Chowk to China
1-3 _________________________________________________________ Representing Asia: Indian Cinema from Bruce Lee to Chandni Chowk to China S.V. Srinivas In spite of a large consumer base at home, the film industries in Asia have had serious problems in making significant inroads into international markets that are comparable to those of Hollywood. Observers have pointed out that even the Japanese entertainment industry, the largest in Asia, is largely confined to the domestic market and it is only in the twenty-first century that overseas markets have become an important consideration for the industry and Japanese government alike. The South Korean film industry’s attempt to export its blockbusters (hallyu) has had limited success. Hong Kong, which had a significant international market for its films since the 1960s, has been caught in the high-volume, low-worth trap for decades now: hundreds of Hong Kong films have circulated all over Southeast Asia and South Asia, but the income generated from these markets has generally been modest. This was especially the case with the Indian market where Hong Kong films circulated in large numbers through the 1980s and 1990s but returning modest, almost negligible, revenues for the Hong Kong industry. It is possible to extend Paul Willemen’s argument about Korean cinema to suggest that the circulation of Asian film in global markets is limited, if not entirely blocked, by its being permeated with its context of production (Willemen 2002). Indeed, notwithstanding the spectacular success of the south Indian superstar Rajnikanth’s Muthu in Japan, nobody, neither stars nor producers, knows why it was well received.1 How then do Asian films travel? In the first section of this paper, I examine the evolution of Hong Kong films in India, focusing on the south Indian state of Andhra Pradesh, which is the single largest market for cinema in the country, to explore this question.
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History of Indian Cinema 12-15
Project report on Movie Marketing By Mr. Punit Ketan Thakkar T.Y.B.M.S. Div – B Roll No – 109 Academic year 2010-2011 Project Guide Prof. Pankaj Natu DATE OF SUBMISSION 30TH September, 2010 SVKM’s Narsee Monjee College of Commerce and Economics Vile Parle (W), Mumbai-400053 - 1 - DECLARATION I, Punit Thakkar of SVKM’s Narsee Monjee College of Commerce and Economics of TYBMS, hereby declare that I have completed the project on Movie Marketing in the academic year 2010-2011 The information is true and original to the best of my knowledge. Punit Thakkar - 2 - CERTIFICATE I, Mr. Pankaj Natu, hereby certify that PUNIT THAKKAR of SVKM’s Narsee Monjee college of Commerce and Economics of TYBMS (Semester V) has completed the project on “Movie Marketing” in the academic year 2010-11 under my guidance. Prof. Pankaj Natu Prof. Sunil B Mantri ( Project Guide) (Principal) N.M. College N.M. College Acknowledgement - 3 - I would like to acknowledge the following for being the idealistic channel and fresh dimension in the completion of this project. I take this opportunity to thank the University of Mumbai for giving me a chance to do this project. I wish to appreciate the SVKM management for providing the state of the art facilities, the Principal Prof Sunil B. Mantri for his dynamic leadership and the library staff for their support in providing academic content, and the teaching and supporting staff of N.M. College, for providing the entire state of the art infrastructure and resources to enable the completion and enrichment of my project.
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Silhouetting the Shifting Perspective of Bollywood from 'Machismo' To
Journal of English Language and Literature Volume 8 No. 1 August 2017 Silhouetting the Shifting Perspective of Bollywood from ‘Machismo’ to ‘Metrosexuality’ Partha Bhattacharjee1*, Priyanka Tripathi2 Research Scholar1, Assistant Professor2 Department of Humanities and Social Sciences, IIT Patna *Corresponding Author Abstract-“Machismo” and “Metrosexual” are two trending but contradictory terms that are used to fathom the portrayal of men in the visual art such as cinema, media, advertisements etc. Derived from the Spanish word ‘Macho’, ‘Machismo’ reflects strength, aggression and masculine pride whereas ‘Metrosexual’ is a portmanteau word combining– ‘Metropolitan’ and ‘Sexual ‘referring to men who are living in an urban society and investing a great deal on their appearance and lifestyle. The paper intends to focus on the transition of this portrayal of men in Hindi films, popularly termed as Bollywood. To elucidate further the paper will take its references from the films of the Sholay era till the contemporary times in which films like Ki n Ka changed the sketch, the set and the setting of the male word/world. In between these two films, one can truly demarcate the world of Hindi films in terms of how the audience will see their men. Therefore, the paper, broadly taking its references from Hindi Films, Advertisements and Daily Soaps will establish the men’s makeover over a period of time. Keywords- Bollywood, Machismo; Metrosexual; Men’s Studies; Daily Soap 1. INTRODUCTION will highlight the interplay of society into films and vice versa. Bombay based Hindi film industry, popularly known as On this note, defining both the trendy terms “Bollywood”, has been a buzz word for long time now.
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