India's Plural Soul
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
P30-31S Layout 1
Established 1961 31 Wednesday, December 6, 2017 Lifestyle Obituary Bollywood bids farewell to Indian film legend Shashi Kapoor ollywood stars paid their last respects to most famous lines-’Mere paas maa hai’ (I have a screen legend Shashi Kapoor at his funeral mother). Shashi appeared in the Merchant Ivory Byesterday as tributes poured in for the mul- films “The Householder” (1963), “Heat and Dust” tiple award-winning actor who died after a long (1983) and “Shakespeare Wallah” (1965).In 1972 illness. Veteran Indian cinema icon Amitabh he starred alongside actress Simi Garewal in the Bachchan, who starred alongside Kapoor in sev- American film “Siddhartha”. Garewal said she was eral hit Hindi films of the 1970s, and actor Shah “deeply saddened” by Kapoor’s death. “The last Rukh Khan were among mourners at the ceremo- of that generation of Kapoors is gone. A gentle- ny in Mumbai, the home of Bollywood. Kapoor man and friend is gone. All that remain are his appeared in more than 150 films and was a mem- memories,” read a post on her Twitter page. ber of Indian cinema’s most famous acting Acclaimed director Karan Johar described dynasty. He died on Monday aged 79 after a Kapoor as “the most charming and enigmatic years-long battle with kidney disease. actor ever... a gentleman movie star!” “His legacy Actors and directors from across the Hindi in film and theatre is exceptional...thoughts and movie industry paid tribute to Kapoor who was prayers with the family....his work will always live one of the first Indian actors to work abroad, on...” Johar wrote on Twitter. -
Master of the Sights and Sounds of India
M129 JUNE 2014 Presented by INDIA ABROAD PERSON OF THE YEAR 2013 INDIA ABROAD FRIEND FRANCO ORIGLIA/GETTY IMAGES OF INDIA AWARD 2013 MASTER OF THE SIGHTS JAMES IVORY AND SOUNDS OF INDIA M130 JUNE 2014 Presented by INDIA ABROAD PERSON OF THE YEAR 2013 ‘I still dream about India’ Director James Ivory , winner of the India Abroad Friend of India Award 2013 , speaks to Aseem Chhabra in his most eloquent interview yet about his elegant and memorable films set India Director James Ivory, left, and the late producer Ismail Merchant arrive at the Deauville American Film Festival in France, where Ivory was honored, in 2003. Their partnership lasted over four decades, till Merchant’s death in May 2005. James Ivory For elegantly creating a classic genre; for a repertoire of exquisitely crafted films; for taking India to the world through cinema. PHILIPPE WOJAZER/REUTERS ames Ivory’s association with India goes back nearly remember it very clearly. When we made Shakespeare Wallah it six decades when he first made two documentaries We made four feature films in a row and I think of that was much better. Plus we couldn’t see our about India. He later directed six features in India — time as a heroic period in the history of MIP ( Merchant rushes. We weren’t near any place where Jeach an iconic representation of India of that time Ivory Productions ). We had no money and it was very hard we could project rushes with sound. For period. to raise money to make the kind of films we wanted to The Householder we found a movie theater Ivory, 86, recently sat in the sprawling garden of his coun - make. -
Supreme Court Refuses to Defer Ayodhya Case Hearing
downloaded from : www.visionias.net downloaded from : https://t.me/Material_For_Exam follow us: wednesday, december 6, 2017 Delhi City Edition thehindu.com 24 pages ț 10.00 facebook.com/thehindu twitter.com/the_hindu Printed at . Chennai . Coimbatore . Bengaluru . Hyderabad . Madurai . Noida . Visakhapatnam . Thiruvananthapuram . Kochi . Vijayawada . Mangaluru . Tiruchirapalli . Kolkata . Hubballi . Mohali . Malappuram . Mumbai . Tirupati . lucknow NEARBY Supreme Court refuses to Delhi court verdict in defer Ayodhya case hearing 2G case on Dec. 21 Ruling will also be pronounced in two related cases Sunni Waqf Board sought to postpone case till the 2019 general election No ECG tracing done on Nirnimesh Kumar baby at Max: report Krishnadas Rajagopal NEW DELHI NEW DELHI NEW DELHI Drama at A Delhi court on Tuesday Doctors at Max Hospital, The Supreme Court on Tues xed December 21 for pro Shalimar Bagh, failed to day refused requests by ap highvoltage nouncement of judgment in conduct the ECG tracing pellant parties from the mi the 2G spectrum allocation before declaring dead a baby nority community to defer hearing scam case. that was later found alive last the hearing in the Ramjan Special judge O.P. Saini week, the Delhi mabhoomiBabri Masjid Legal Correspondent announced the date in the government’s preliminary land dispute till after July 15, NEW DELHI presence of the accused and inquiry has found. The hospital had declared 2019, that is, post the next The highvoltage hearing on counsel for the CBI and the premature twins born to general election. Tuesday had moments of Enforcement Directorate. Varsha and Ashish on On the eve of the 25th an sheer drama — from the “I have perused the les November 30 dead. -
3-Garcia Periago Defx
The re-birth of Shakespeare in India: 1 celebrating and Indianizing the Bard in 1964 Rosa M. García-Periago Universidad de Murcia ABSTRACT While the Tercentenary of Shakespeare’s death (1916) was hardly celebrated in India and marked the beginning of a period in which Shakespeare was hidden, the Quartercentenary of his birth (1964) spawned a large number of collections, theatre performances and even exhibitions to pay homage to the Bard. Although a special issue of the journal Indian Literature published in 1964 contributed to the re-emergence of Shakespeare, the most revolutionary projects in the making of a vernacular Shakespeare occurred on the Indian stage via Utpal Dutt’s Shakespearean productions in Bengali. Following Arjun Appadurai, this paper argues that Utpal Dutt’s Bengali theatre productions in 1964 participate in a “decolonization” of Shakespeare, consisting in liberating Shakespeare “the text” and Shakespeare “the author” from the bonds of the empire, from restrictive colonial associations. Two out of his three theatre performances produced in 1964 – Romeo and Juliet and Julius Caesar – are symptomatic of the effects of “glocalizing” the Shakespearean texts since the original place names and names of the characters are combined with the Bengali language and some unavoidable localization. Thus, Shakespeare’s Quartercentenary in India not only saw the re-emergence of the Bard, but also took its first steps in his indigenization. KEYWORDS : Shakespeare, appropriation, theatre performances, Quartercentenary, India. 1 This article is part of the project FFI2011-24347 “Cultures of Commemoration II: Remembering Shakespeare” funded by the Spanish Ministerio de Ciencia e Innovación (MICINN). Sederi 22 (2012: 51-68) R. -
Shashi Kapoor
NUMBER. 1 2015 SHASHI KAPOOR NATIONAL DOCUMENTATION CENTRE ON MASS COMMUNICATION NEW MEDIA WING (FORMERLY RESEARCH REFERENCE AND TRAINING DIVISION) (MINISTRY OF INFORMATION AND BROADCASTING) Room No.437-442, Phase IV, Soochana Bhavan, CGO Complex, New Delhi Compiled, Edited & Issued by National Documentation Centre on Mass Communication New Media Wing (Formerly Research, Reference & Training Division) Ministry of Information & Broadcasting Chief Editor L. R. Vishwanath Editor H. M. Sharma Assistant Editor Alka Mathur SHASHI KAPOOR Veteran actor Shashi Kapoor who is known for his considerable and versatile acting skills, a producer of off-beat films and a patron of theatre has been conferred the Dada Saheb Phakle Award for the year 2014. He is the 46th recipient of the award. He has been selected for his outstanding contribution to the growth and development of Indian cinema. He gets a Swarna Kamal, a cash prize of Rs. 10 lakh and a shawl. Shashi Kapoor was born as Balbir Raj Kapoor in Calcutta on March18, 1938 to Prithviraj Kapoor and Ramsarni Devi. He is the younger brother of Raj Kapoor and Shammi Kapoor. From the age of four, Shashi Kapoor acted in plays directed and produced by his father Prithviraj Kapoor while travelling with Prithvi Theaters. He started acting in films as a child artiste in the late 1940s appearing in commercial films including Sangram (1950) and Dana Pani (1953) under the name of Shashiraj as there was another actor by the same name who used to act in mythogical films as a child artiste. His best known performances as a child artiste were in Aag (1948) and Awaara (1951) where he played the younger version of the characters played by his brother Raj Kapoor and in Sangram (1950) where he played younger version of Ashok Kumar. -
Reunited! Shashi Was the Youngest of the Three Kapoor Brothers - Raj and Shammi with Sharmila Tagore Being the Others - in What’S Regarded As Bollywood’S Family No 1
TOWN & COUNTRY DN page30 THURSDAY, DECEMBER 7, 2017 With Hema Malini hashihah sshi KaKapoor,ppoor whosewhose crooked teeth, devastating good looks and urbane charm made generations of women swoon; MADHURI whose celluloid partnership with Amitabh Bachchan caused serpen- Stine queues before movie halls for films such as ‘Deewar’, ‘Kabhi Kabhie’, and ANIL ‘Trishul’ and many more; who produced the finest in meaningful alternative cinema, built the iconic Prithvi Theatre and was among India’s first crossover stars, passed away in Mumbai’s Kokilaben Ambani Hospital on Monday around 5.20 pm. reunited! Shashi was the youngest of the three Kapoor brothers - Raj and Shammi With Sharmila Tagore being the others - in what’s regarded as Bollywood’s family No 1. Now all three are gone. With Amitabh An era is over. he hit onscreen couple of Bachchan Raj created the golden hearted tramp; songs such as ‘Awara hoon’ and ‘Mera joota hai Madhuri Dixit and Anil Japani’ became global anthems. Shammi’s primeval yell, ‘Yahoo!’ altered the idea of roman- Kapoor are set to reteam tic ardour in Bollywood. Shashi’s screen persona wasn’t clearly defined like his brothers. But for a film after a gap of 17 his imprint on India’s performing arts runs deeper. years for Inder Kumar’s Equally vital was Shashi’s love for theatre - where he found the other great love of his life, ‘Total Dhamaal’. Jennifer Kendal. One of Shashi’s great dreams was to build a place for performing arts. The T Last seen together in dream became a reality when the Prithvi Theatres building was readied in 1978. -
Breaking in / out of Bollywood
Breaking in / out of Bollywood : stratégies et trajectoires des productions et personas du nouveau cinéma de l’industrie du film de Mumbai depuis l’arrivée du multiplexe Catherine Bernier Thèse présentée à l’école de cinéma Mel Hoppenheim comme exigence partielle au grade de Philosophae doctor (Ph.D.) Université Concordia Montréal, Québec, Canada Mai 2018 © Catherine Bernier, 2018 CONCORDIA UNIVERSITY SCHOOL OF GRADUATE STUDIES This is to certify that the thesis prepared By: Catherine Bernier Entitled: Breaking in/out of Bollywood: stratégies et trajectoires des productions et personas du nouveau cinéma de l’industrie du film de Mumbai depuis l’arrivée du multiplexe and submitted in partial fulfillment of the requirements for the degree of Doctor Of Philosophy (Film and Moving Image Studies) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: Chair Dr. Daniel Salée External Examiner Dr. Bernard Bernier External to Program Dr. Rachel Berger Examiner Dr. Charles Acland Examiner Dr. Marc Steinberg Thesis Supervisor Dr. Thomas Waugh Approved by Dr. Martin Lefebvre, Graduate Program Director Thursday, June 14, 2018 Dr. Rebecca Taylor Duclos, Dean Faculty of Fine Arts Résumé Breaking in / out of Bollywood : stratégies et trajectoires des productions et personas du nouveau cinéma de l’industrie du film de Mumbai depuis l’arrivée du multiplexe Catherine Bernier, Ph.D. Université Concordia, 2018 Cette thèse documente l’émergence d’un nouveau cinéma à Mumbai qui défie les conventions ayant traditionnellement contribué à distinguer le cinéma populaire et parallèle dans le contexte indien. -
Film-Utsav Schedule
The Museum of Modern Art Department of Film 11 West 53 Street, New York, N.Y. 10019 Tel: 212-708-9400 Cable: MODERNART Telex: 62370 MODART FILM-UTSAV INDIA Part I: PROFILES; October 25 - December 15, 1985 Schedule Unless otherwise noted, all films will be screened in The Roy and Niuta Titus Theater 1 and wTl 1 be spoken in Hindi with English subtitled Friday, October 25 at 2:00 p.m.: Aag (Fire). 1948. Raj Kapoor. With Raj Kapoor, Nargis. 140 min. Friday, October 25 at 6:00 p.m.: Awara (The Vagabond). 1951. Raj Kapoor. With Raj Kapoor, Nargis, Prithviraj Kapoor. 170 min. TOTAPOOR WILL INTRODUCE THE FILM. Saturday, October 26 at 1:00 p.m.: Awara (The Vagabond). See Friday, October 25 at 6:00 p.m. Saturday, October 26 at 5:00 p.m.: Aag (Fire). See Friday, October 25 at 6:00 p.m. Sunday, October 27 at 1:00 p.m.: Shree 420 (Mr. 420). 1955. Raj Kapoor. With Raj Kapoor, Nargis, Nadira. 169 min. Sunday, October 27 at 5:00 p.m.: Boot Polish. 1954. Produced by Raj Kapoor, directed by Prakash Arora. With Baby Naaz, Ratan Kumar, and David. 140 min. Monday, October 28 at 2:30 p.m.: Boot Polish. See Sunday, October 27 at 5:00 p.m. Monday, October 28 at 6:00 p.m.: Shree 420 (Mr. 420). See Sunday, October 27 at 1:00 p.m. Saturday, November 2 at 1:00 p.m.: Barsaat (Monsoon). 1949. Raj Kapoor. With Raj Kapoor, Nargis, Premnath. 164 min. Saturday, November 2 at 5:00 p.m.: Satyam Shivam Sundaram (Love Sublime/Love Truth and Beauty). -
Univerzita Karlova / Charles University Universidade Do Porto / University of Porto
Univerzita Karlova / Charles University Universidade do Porto / University of Porto Filozofická fakulta / Faculty of Arts (Prague) Faculdade de Letras / Faculty of Arts and Humanities (Porto) Ústav anglofonních literatur a kultur / Department of Anglophone Literatures and Cultures (Prague) Departamento de Estudos Anglo-Americanos / Department of Anglo-American Studies (Porto) Text and Event in Early Modern Europe (TEEME) An Erasmus Mundus Joint Doctorate Ph.D. dissertation The Shakespeare Salesman Saksham Sharda Supervisors: Professor Martin Procházka (Charles University) Professor Rui Carvalho Homem (University of Porto) 2018 English Abstract The Shakespeare Salesman The Shakespeare Salesman offers a comprehensive analysis of Vishal Bhardwaj’s Shakespeare trilogy that consists of the films: Maqbool (2003), Omkara (2006), and Haider (2014). The trilogy only recently being completed, previous attempts to study Bhardwaj’s work have been confined to chapters in books, with their analysis often relegated to the understanding of a greater theme about the industry as a whole, and hence this work intends to accord due space to Bhardwaj’s films by making them the centre of the discussion. The analyses of these films show that Bhardwaj’s work is torn between issues of authenticity, fidelity, and originality, often leading to what the thesis defines as “narrative crises” that are resolved with thought-provoking, at times problematic, but largely unique methods. Hence each of the three chapters, accorded to the respective film being discussed, focuses on the said crisis. By focusing specifically on these aspects the argument does not, by any means, intend to lessen or mis-portray the achievements, contribution and importance of Bhardwaj’s work. -
Globalizing Nature on the Shakespearean Stage
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations Dissertations and Theses March 2019 Globalizing Nature on the Shakespearean Stage William Steffen University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_2 Part of the Dramatic Literature, Criticism and Theory Commons, Literature in English, British Isles Commons, and the Theatre History Commons Recommended Citation Steffen, William, "Globalizing Nature on the Shakespearean Stage" (2019). Doctoral Dissertations. 1532. https://doi.org/10.7275/12844672 https://scholarworks.umass.edu/dissertations_2/1532 This Open Access Dissertation is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Globalizing Nature on the Shakespearean Stage A Dissertation Presented by WILLIAM H. STEFFEN Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY February 2019 English © Copyright by William H. Steffen 2019 All Rights Reserved Globalizing Nature on the Shakespearean Stage A Dissertation Presented by WILLIAM H. STEFFEN Approved as to style and content by: Jane Degenhardt, Chair Malcolm Sen, Member Brian Ogilvie, Member Adam Zucker, Member Randall Knoper, Department Head English Department DEDICATION To Anna-Claire, Oscar, and Calliope, my muses, who never let me down. ACKNOWLEDGMENTS I would like to thank my advisor, Jane Degenhardt, for her years of dedicated and unwavering support. Jane’s generous feedback, helpful guidance, professional advice, and commitment to my project has been invaluable to me, and I am grateful to have had such an admirable mentor and model instructor steering my dissertation. -
The Museum of Modern Art Department of Film
The Museum of Modern Art Department of Film 11 West 53 Street, New York, N.Y. 10019 Tel: 212-708-9400 Cable: MODERNARTTelex: 62370 MODART ENTRANCE at 18 W. 54 #67 FOR IMMEDIATE RELEASE COMPLETE RETROSPECTIVE OF MERCHANT IVORY FILMS TO BEGIN DECEMBER 8 AT THE MUSEUM OF MODERN ART This year marks the twenty-first anniversary of the founding of Merchant Ivory Productions, a remarkable and enduring collaboration among producer Ismail Merchant, director James Ivory, and novelist- screenwriter Ruth Prawer Jhabvala. In honor of this occasion, the Department of Film is presenting a comprehensive retrospective, MERCHANT IVORY PRODUCTIONS: TWENTY-ONE YEARS OF FILMMAKING, from December 8 through December 30 in the Museum's Roy and Niuta Titus Theater 2. The Merchant-Ivory-Jhabvala works encompass short films and features, films made initially for television and for the big screen, docu mentaries and fictional works and blends of both. Many of the most distinctive Merchant Ivory films—including Shakespeare Wallah and the current Heat and Dust—were set and shot in India and focus on the uneasy encounter between Western and Eastern values. Yet this team is equally at home with American subjects, as evidenced by Roseland and The Wild Party, the latter an idiosyncratic view of Hollywood in the 1920s. In addition to their satirical eye for social nuances and their rare literary bent, the Merchant Ivory films also feature a host of memorable performances, both from Indian stars (including Shashi Kapoor and Saeed and Madhur Jaffrey) and such Western performers as Julie Christie, Maggie Smith, Lee Remick, Alan Bates, and James Mason. -
Redalyc.More Than an Indian Teen Shrew: Postcolonialism And
SEDERI Yearbook ISSN: 1135-7789 [email protected] Spanish and Portuguese Society for English Renaissance Studies España García-Periago, Rosa M. More than an Indian teen shrew: Postcolonialism and feminism in Isi Life Mein SEDERI Yearbook, núm. 26, 2016, pp. 109-127 Spanish and Portuguese Society for English Renaissance Studies Valladolid, España Available in: http://www.redalyc.org/articulo.oa?id=333549411005 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative More than an Indian teen shrew: Postcolonialism and feminism in Isi Life Mein * Más que una fierecilla india adolescente: poscolonialismo y feminismo en Isi Life Mein Rosa M. García-Periago Universidad de Murcia, Spain ABSTRACT RESUMEN This essay explores a Bollywood movie Este artículo explora una película bollywoodiense entitled Isi Life Mein (dir. Vidhi Kasliwal, llamada Isi Life Mein (dir. Vidhi Kasliwal, 2010), 2010), which exploits The Taming of the que utiliza La Fierecilla Domada como obra teatral Shrew as a play-within-the-film for the first dentro de la película por primera vez en time in Bollywood, and even as an intertext Bollywood e incluso como intertexto en algunas on some occasions. Although apparently a ocasiones. Aunque parezca aparentemente una mere teen movie, this article sheds light on simple película de adolescentes, este artículo the importance of the Indian location, enfatiza la importancia del lugar en que transcurre which invites postcolonial readings of the la acción, India, pues invita a lecturas text.