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Actress Suchitra Krishnamoorthi's Biographical Play to Debut in New
Actress Suchitra Krishnamoorthi’s biographical play to debut in New Delhi By : INVC Team Published On : 4 Oct, 2017 12:00 AM IST INVC NEWS Mumbai , India’s largest theatre production company AGP World will stage the multifaceted film actor, writer, singer, painter & candle-maker, Suchitra Krishnamoorthi’s biographical play ‘Drama Queen’ for the first time to audiences in New Delhi. Starring Suchitra Krishnamoorthi, and directed by Inaayat Ali Sami this gripping performance will be showcased at the old world theatre festival at The Stein Auditorium, India Habitat Center, New Delhi on 6th October 2017. Her new theatrical innings titled ‘Drama Queen’ presented by AGP World draws inspiration from her biography and will expose her in a never seen before avatar for the first time after a hiatus of more than a decade. Irrepressibly Saucy Drama Queen is an honest play that will make you laugh, cry and look at the modern Indian woman in a whole new light with all her vulnerabilities and strengths. Speaking about her debut on stage, Director Inaayat Ali Sami says, “Suchitra is a flawless actor and it has taken us nearly a year to be fully prepared for this theatrical public showcase. We are confident we can do full justice to the theatrical interpretation of her novel and bring to the fore Suchitra in totality, not as the world knows her but as what she really is.” Ashvin Gidwani, Producer & MD, AGP World elaborates, “It gives me great pleasure to present to the world a facet of an icon who has always preferred to be reserved about her personal affairs. -
Postcoloniality, Science Fiction and India Suparno Banerjee Louisiana State University and Agricultural and Mechanical College, Banerjee [email protected]
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2010 Other tomorrows: postcoloniality, science fiction and India Suparno Banerjee Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the English Language and Literature Commons Recommended Citation Banerjee, Suparno, "Other tomorrows: postcoloniality, science fiction and India" (2010). LSU Doctoral Dissertations. 3181. https://digitalcommons.lsu.edu/gradschool_dissertations/3181 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. OTHER TOMORROWS: POSTCOLONIALITY, SCIENCE FICTION AND INDIA A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College In partial fulfillment of the Requirements for the degree of Doctor of Philosophy In The Department of English By Suparno Banerjee B. A., Visva-Bharati University, Santiniketan, West Bengal, India, 2000 M. A., Visva-Bharati University, Santiniketan, West Bengal, India, 2002 August 2010 ©Copyright 2010 Suparno Banerjee All Rights Reserved ii ACKNOWLEDGEMENTS My dissertation would not have been possible without the constant support of my professors, peers, friends and family. Both my supervisors, Dr. Pallavi Rastogi and Dr. Carl Freedman, guided the committee proficiently and helped me maintain a steady progress towards completion. Dr. Rastogi provided useful insights into the field of postcolonial studies, while Dr. Freedman shared his invaluable knowledge of science fiction. Without Dr. Robin Roberts I would not have become aware of the immensely powerful tradition of feminist science fiction. -
THE DIASPORA a Symposium On
THE DIASPORA a symposium on Indian-Americans and the motherland symposium participants THE PROBLEM A short statement of the issues involved LABOUR AND LONGING Vinay Lal, Associate Professor of History, University of California, Los Angeles DUSRA HINDUSTAN Vijay Prashad, International Studies Program, Trinity College, Hartford, Connecticut FIRM OPINIONS, INFIRM FACTS Devesh Kapur, Associate Professor of Government, Harvard University, Cambridge, Massachusetts LUNCH WITH A BIGOT Amitava Kumar, Professor of English, Penn State University, Pennsylvania WHOSE IDENTITY IS IT ANYWAY? Shekhar Deshpande, Associate Professor and Director Communications Program, Arcadia University; Media Editor, ‘Little India Magazine’, Glenside, PA PROFILE OF A DIASPORIC COMMUNITY Sonalde Desai, Associate Professor, Department of Sociology, University of Maryland, MD and Rahul Kanakia, student, Stanford University, California ARTS AND THE DIASPORA Vidya Dahejia, holds the Barbara Stoler Miller Chair of Indian Art at Columbia University, New York, and is Director of Columbia’s Southern Asian Institute, NY CONSTRICTING HYBRIDITY Rajika Puri, is an exponent of Bharatnatyam and Odissi; Contributing Editor, ‘NewsIndia Times’, New York THROUGH THE LOOKING GLASS Sangeeta Ray, Associate Professor of English, University of Maryland, MD WASHINGTON’S NEW STRATEGIC PARTNERSHIP Robert M. Hathaway, Director, South Asia Program, Woodrow Wilson International Center for Scholars, Washington DC LIVING THE AMERICAN DREAM Marina Budhos, author, Maplewood, New Jersey LIGHTS, CAMERA, ACTION Mira Kamdar, Senior Fellow, World Policy Institute at New School University, New York BOOKS Reviewed by Aloka Parasher-Sen, Ratnakar Tripathy and Rajat Khosla COMMENT Received from Susan Visvanathan, JNU, Delhi IN MEMORIAM Komal Kothari BACKPAGE COVER Designed by Akila Seshasayee The problem DESPITE a long history of exchange and migration, it is only recently that Indians abroad have started attracting attention. -
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Kervan – International Journal of Afro-Asiatic Studies n. 21 (2017) Item Girls and Objects of Dreams: Why Indian Censors Agree to Bold Scenes in Bollywood Films Tatiana Szurlej The article presents the social background, which helped Bollywood film industry to develop the so-called “item numbers”, replace them by “dream sequences”, and come back to the “item number” formula again. The songs performed by the film vamp or the character, who takes no part in the story, the musical interludes, which replaced the first way to show on the screen all elements which are theoretically banned, and the guest appearances of film stars on the screen are a very clever ways to fight all the prohibitions imposed by Indian censors. Censors found that film censorship was necessary, because the film as a medium is much more popular than literature or theater, and therefore has an impact on all people. Indeed, the viewers perceive the screen story as the world around them, so it becomes easy for them to accept the screen reality and move it to everyday life. That’s why the movie, despite the fact that even the very process of its creation is much more conventional than, for example, the theater performance, seems to be much more “real” to the audience than any story shown on the stage. Therefore, despite the fact that one of the most dangerous elements on which Indian censorship seems to be extremely sensitive is eroticism, this is also the most desired part of cinema. Moreover, filmmakers, who are tightly constrained, need at the same time to provide pleasure to the audience to get the invested money back, so they invented various tricks by which they manage to bypass censorship. -
Dialogo Oriente-Occidente
DIALOGO ORIENTE-OCCIDENTE: CULTURAS, RELIGIÓN Y SECULARISMO Valladolid, 5 y 6 de julio 2004 DIALOGO ORIENTE-OCCIDENTE: CULTURAS, RELIGIÓN Y SECULARISMO Valladolid, 5 y 6 de julio 2004 5 de julio a las 20:00 h Proyección de la película Mr. India de Shekhar Kapur (1987. India. Subt. en inglés) Película presentada por Shekhar Kapur Lugar: Salón de Actos del Museo Patio Herreriano (Entrada libre hasta completar aforo) 6 de Julio a las 11:30 h Mesa redonda sobre Diálogo Oriente-Occidente Shekhar Kapur. Director de cine, India. Siddhartha. Periodista y activista social, India. Peter Pandimakil. Agustino. Profesor de USP Ottawa y Estudio Agustiniano Valladolid. Oscar Pujol. Indólogo. Director de Programas Educativos de Casa Asia, Barcelona. Moderador: Guillermo Rodríguez Martín. Director ejecutivo de la Casa de la India Lugar: Aula Triste del Palacio Santa Cruz (Entrada libre hasta completar aforo) Organizan: Colaboran: DIALOGO ORIENTE-OCCIDENTE: CULTURAS, RELIGIÓN Y SECULARISMO Valladolid, 5 y 6 de julio 2004 PRESENTACIÓN: Durante los días 1-3 de julio el Forum Barcelona 2004 celebra dentro de la sección “Diálogos” del Forum el Diálogo Oriente-Occidente, un encuentro abierto con personalidades invitadas de todo el mundo para debatir sobre el diálogo intercultural en la sociedad actual. Casa Asia de Barcelona, organizador del Diálogo Oriente- Occidente, y el Forum Barcelona 2004, le han brindado a la Casa de la India de Valladolid la posibilidad de formar parte de este proceso con la organización de unas actividades en las que participan algunos de los protagonistas de este Diálogo. El Diálogo Oriente – Occidente, cuyo antecedente está en la resolución de Naciones Unidas para promover El Diálogo entre Civilizaciones, pretende impulsar un foro de discusión y análisis sobre el papel que tienen los intercambios entre civilizaciones de Oriente y Occidente. -
Addressing the Queen: Costumes and Elizabeth I in Film
ADDRESSING THE QUEEN: COSTUMES AND ELIZABETH I IN FILM by LISA WARD BOLDING Under the Direction of Frances Teague ABSTRACT This work focuses on how costumes convey meaning about Queen Elizabeth I in her biopics. First, I will examine the queen’s costume in the final scene of Shekhar Kapur’s 1998 film Elizabeth as a response to the heritage film debate. By conflating two famous portrait gowns, Kapur plays upon the audience’s visual expectations of historical film, thereby separating his film from those that had been criticized as “heritage films.” After using Elizabeth to complicate questions of genre, I will turn to Henry Koster’s 1955 film The Virgin Queen in order to examine how Elizabeth’s costumes depict her as a frustrated, passive figure juxtaposed against Sir Walter Raleigh, who actively fashions his identity by choosing his own clothing. INDEX WORDS: Queen Elizabeth I, Cate Blanchett, Bette Davis, Shekhar Kapur, Henry Koster, costumes, historical film, heritage film, national identity, British national identity, royal portraits, iconography ADDRESSING THE QUEEN: COSTUMES AND ELIZABETH I IN FILM by LISA WARD BOLDING B.A., Wofford College, 2001 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2005 © 2005 Lisa Ward Bolding All Rights Reserved ADDRESSING THE QUEEN: COSTUMES AND ELIZABETH I IN FILM by LISA WARD BOLDING Major Professor: Frances Teague Committee: Christy Desmet Hugh Ruppersburg Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia December 2005 DEDICATION To Mom and Nana, for all your generous gifts; my love of stories comes from you. -
The Future of India's Entertainment Industry
EMBRACING NONLINEARITY: THE FUTURE OF INDIA’S ENTERTAINMENT INDUSTRY November 2020 | No. 005 1 AUTHORS SHEKHAR KAPUR VANI TRIPATHI TIKOO IS AN AWARD-WINNING FILMMAKER AND IS A CREATIVE PROFESSIONAL, AN ACTOR, CHAIRMAN OF THE FILM AND TELEVISION PRODUCER AND MEMBER, CENTRAL BOARD INSTITUTE OF INDIA OF FILM CERTIFICATION. AKSHAT AGARWAL VIVAN SHARAN IS A LAWYER . IS ADVISOR, ESYA CENTRE. DESIGN : ILLUSTRATIONS BY TANIYA O’CONNOR, DESIGN BY DRISHTI KHOKHAR THE ESYA CENTRE IS A NEW DELHI BASED THINK TANK. THE CENTRE’S MISSION IS TO GENERATE EMPIRICAL RESEARCH AND INFORM THOUGHT LEADERSHIP TO CATALYSE NEW POLICY CONSTRUCTS FOR THE FUTURE. IT AIMS TO BUILD INSTITUTIONAL CAPACITIES FOR GENERATING IDEAS THAT WILL CONNECT THE TRIAD OF PEOPLE, INNOVATION AND VALUE, TO HELP REIMAGINE THE PUBLIC POLICY DISCOURSE IN INDIA. MORE DETAILS CAN BE FOUND AT WWW.ESYACENTRE.ORG 2 TABLE OF CONTENTS SUMMARY / 5 THE NEW MEDIA / 7 OTT – A MEANS AND NOT AN END / 8 I. THE OTT EFFECT / 9 II. UNLEASHING CREATIVE EXPRESSION / 9 III. EXPANSION OF CHOICE / 10 IV. HYPER-PERSONALIZED ENTERTAINMENT / 12 V. OPPORTUNITIES FOR FUTURE GROWTH / 12 THE FUTURE OF STORYTELLING / 15 I. ARTIFICIAL INTELLIGENCE / 15 II. GAMING / 17 III. VIRTUAL AND AUGMENTED REALITY / 18 LEVERAGING OUR STRENGTHS / 21 I. OUR CULTURE / 21 II. OUR PEOPLE / 22 III. OUR CREATIVE INDUSTRIES / 23 ENABLING ESSENTIAL TRANSFORMATIONS / 27 I. CREATIVE FREEDOM / 27 II. UNLEASHING VALUE THROUGH HARDWARE LOCALISATION / 27 III. PRINCIPLE BASED REGULATION: LEVELLING THE PLAYING FIELD BETWEEN CREATIVE INDUSTRIES / 28 NOTES / 29 3 4 SUMMARY India’s media and entertainment industries have always We examine the factors that can make India a dominant been an important part of our national story. -
The King, the Queen, the Virgin, and the Cross: Catholicism Versus Protestantism in Elizabeth and Elizabeth: the Golden Age
The King, the Queen, the Virgin, and the Cross: Catholicism versus Protestantism in Elizabeth and Elizabeth: The Golden Age Aidan Norrie University of Otago The way that historical films depict conflict often says much more about the contemporary religious and political climate than it does about the period depicted on the screen. Both of Shekhar Kapur’s films about Queen Elizabeth I of England – Elizabeth (1998) and Elizabeth: the Golden Age (2007) – clearly reflect and repurpose contemporary religious tensions. While a film about Elizabethan England cannot avoid engaging with religious politics, with this paper I will argue that Kapur took contemporary religious debates, and repurposed them for his films. This repurposing is visible in the depictions of Catholics and Protestants: Catholics are depicted as evil and scheming – a metaphor for modern religious fundamentalism; whereas the Protestants, embodied by Elizabeth, are depicted as being moderate, rational, and secular—people who wish to rise above religious divides, and rule for the common good. Due to time constraints, my paper will only look at one particular scene in detail—the passing of the Act of Uniformity—but will devote more time to looking at the criticisms that were levelled at the films for their depiction of Catholics, and suggest that repurposing the past to comment on the present is often rather fraught. Elizabeth premiered at the Venice Film Festival on the 8th of September 1998. It received its cinematic premier in London the 2nd of October. Much of the writing and principal photography of the film took place against the backdrop of the Troubles—a very modern and contemporary parallel of Kapur’s subject matter. -
LIST of HINDI CINEMA AS on 17.10.2017 1 Title : 100 Days
LIST OF HINDI CINEMA AS ON 17.10.2017 1 Title : 100 Days/ Directed by- Partho Ghosh Class No : 100 HFC Accn No. : FC003137 Location : gsl 2 Title : 15 Park Avenue Class No : FIF HFC Accn No. : FC001288 Location : gsl 3 Title : 1947 Earth Class No : EAR HFC Accn No. : FC001859 Location : gsl 4 Title : 27 Down Class No : TWD HFC Accn No. : FC003381 Location : gsl 5 Title : 3 Bachelors Class No : THR(3) HFC Accn No. : FC003337 Location : gsl 6 Title : 3 Idiots Class No : THR HFC Accn No. : FC001999 Location : gsl 7 Title : 36 China Town Mn.Entr. : Mustan, Abbas Class No : THI HFC Accn No. : FC001100 Location : gsl 8 Title : 36 Chowringhee Lane Class No : THI HFC Accn No. : FC001264 Location : gsl 9 Title : 3G ( three G):a killer connection Class No : THR HFC Accn No. : FC003469 Location : gsl 10 Title : 7 khoon maaf/ Vishal Bharadwaj Film Class No : SAA HFC Accn No. : FC002198 Location : gsl 11 Title : 8 x 10 Tasveer / a film by Nagesh Kukunoor: Eight into ten tasveer Class No : EIG HFC Accn No. : FC002638 Location : gsl 12 Title : Aadmi aur Insaan / .R. Chopra film Class No : AAD HFC Accn No. : FC002409 Location : gsl 13 Title : Aadmi / Dir. A. Bhimsingh Class No : AAD HFC Accn No. : FC002640 Location : gsl 14 Title : Aag Class No : AAG HFC Accn No. : FC001678 Location : gsl 15 Title : Aag Mn.Entr. : Raj Kapoor Class No : AAG HFC Accn No. : FC000105 Location : MSR 16 Title : Aaj aur kal / Dir. by Vasant Jogalekar Class No : AAJ HFC Accn No. : FC002641 Location : gsl 17 Title : Aaja Nachle Class No : AAJ HFC Accn No. -
Cinema at the End of Empire: a Politics of Transition
cinema at the end of empire CINEMA AT duke university press * Durham and London * 2006 priya jaikumar THE END OF EMPIRE A Politics of Transition in Britain and India © 2006 Duke University Press * All rights reserved Printed in the United States of America on acid-free paper Designed by Amy Ruth Buchanan Typeset in Quadraat by Tseng Information Systems, Inc. Library of Congress Cataloging-in-Publication Data and permissions information appear on the last printed page of this book. For my parents malati and jaikumar * * As we look back at the cultural archive, we begin to reread it not univocally but contrapuntally, with a simultaneous awareness both of the metropolitan history that is narrated and of those other histories against which (and together with which) the dominating discourse acts. —Edward Said, Culture and Imperialism CONTENTS List of Illustrations xi Acknowledgments xiii Introduction 1 1. Film Policy and Film Aesthetics as Cultural Archives 13 part one * imperial governmentality 2. Acts of Transition: The British Cinematograph Films Acts of 1927 and 1938 41 3. Empire and Embarrassment: Colonial Forms of Knowledge about Cinema 65 part two * imperial redemption 4. Realism and Empire 107 5. Romance and Empire 135 6. Modernism and Empire 165 part three * colonial autonomy 7. Historical Romances and Modernist Myths in Indian Cinema 195 Notes 239 Bibliography 289 Index of Films 309 General Index 313 ILLUSTRATIONS 1. Reproduction of ‘‘Following the E.M.B.’s Lead,’’ The Bioscope Service Supplement (11 August 1927) 24 2. ‘‘Of cource [sic] it is unjust, but what can we do before the authority.’’ Intertitles from Ghulami nu Patan (Agarwal, 1931) 32 3. -
Our Padma Honorees Dean AA 2019 DU Ach 76 Padmas to DU Alumni File 130 8 Padma Vibhushans , 25 Padma Bhushans and 43 Padma Shris …
alft 080 Our Padma Honorees Dean AA 2019 DU Ach 76 Padmas to DU alumni File 130 8 Padma Vibhushans , 25 Padma Bhushans and 43 Padma Shris … 1965 2001 Captain M S Kohli Padma Bhushan Uma Sharma Padma Bhushan Rahul Bajaj Padma Bhushan 1984 Aamir Raza Husain Padma Shri Dr Vera Hingorani Padma Shri 2002 1991 Nirmal Verma Padma Bhushan Passed Away 2005 Dr Shelja Mehra Padma Shri Jaspal Rana Padma Shri Shadi Lal Dhawan Padma Shri Kiran Martin Padma Shri 1992 2003 Sunita Kohli Padma Shri Prabhu Dayal Chawla Padma Bhushan Manoj Kumar Padma Shri 2004 1994 Dr CH Hanumantha Rao Padma Bhushan Dr Sneh Bhargava Padma Shri Dr Gopi Chand Narang Padma Bhushan 1998 2005 Dr Hem Lata Gupta Padma Bhushan Dr Karan Singh Padma Vibhushan J N Dixit Padma Vibhushan Passed away 2005 1999 Andre Beteille Padma Bhushan Shobha Deepak Singh Padma Shri Chitra Narain Padma Shri 2000 2006 Sikander Bakht Padma Vibhushan S Ramadorai Padma Bhushan Passed away 2004 Shekhar Kapur Padma Shri Anjolie Ela Menon Padma Shri 2007 2011 Khushwant Singh Padma Vibhushan Montek Singh Ahluwalia Padma Vibhushan Passed away 2007 Dr Meenakshi Gopinath Padma Shri Dr Kapila Vatsyayan Padma Vibhushan Dr Ananda Shankar Jayant Padma Shri Analjit Singh Padma Bhushan Naina Lal Kidwai Padma Shri Urvashi Butalia Padma Shri Dr Leela Omchery Padma Shri 2008 Professor Prithvi Nath Dhar Padma Vibhushan 2012 Passed away 2012 Dr Kaushik Basu Padma Shri Mira Nair Padma Bhushan Dr Bina Agarwal Padma Shri Dr Uma Tuli Padma Shri Barkha Dutt Padma Shri Irwin Allan Sealy Padma Shri Madan Mohan Sabharwal Padma -
The Development and Implementation of Tobacco-Free Movie Rules in India
THE DEVELOPMENT AND IMPLEMENTATION OF TOBACCO-FREE MOVIE RULES IN INDIA Amit Yadav, Ph.D. Stanton A. Glantz, Ph.D. Center for Tobacco Control Research and Education School of Medicine University of California, San Francisco San Francisco, CA 94143-1390 December 2020 THE DEVELOPMENT AND IMPLEMENTATION OF TOBACCO-FREE MOVIE RULES IN INDIA Amit Yadav, Ph.D. Stanton A. Glantz, Ph.D. Center for Tobacco Control Research and Education School of Medicine University of California, San Francisco San Francisco, CA 94143-1390 December 2020 This work was supported by National Cancer Institute grant CA-087472, the funding agency played no role in the conduct of the research or preparation of the manuscript. Opinions expressed reflect the views of the authors and do not necessarily represent the sponsoring agency. This report is available on the World Wide Web at https://escholarship.org/uc/item/75j1b2cg. 1 EXECUTIVE SUMMARY • The Indian film industry releases the largest number of movies in the world, 1500-2000 movies in Hindi and other regional languages, which are watched by more than 2 billion Indian moviegoers and millions more worldwide. • The tobacco industry has been using movies to promote their products for over a century. • In India, the Cinematograph Act, 1952, and Cable Television Networks Amendment Act, 1994, nominally provide for regulation of tobacco imagery in film and TV, but the Ministry of Information and Broadcast (MoIB), the nodal ministry, has not considered tobacco imagery. • The Cigarettes and Other Tobacco Products Act, 2003 (COPTA), enforced by the Ministry of Health and Family Welfare (MoHFW), prohibited direct and indirect advertisement of tobacco products.