Speech-Ridden Dipanwita Pal
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Debojit Saha
DEBOJIT SAHA Debojit hails from a quaint little town called Silchar, which is nestled in the picturesque Barak valley in Assam. His tryst with music is not limited to the last four years of fame and success that the Zee Saregamapa embraced him with, when he won the “Voice of India” title. Since childhood, he grew up amidst nature, feeling and appreciating the nuances of musical notes. He took up the job of a Civil engineer in PWD, Assam, in order to meet ends; while music was the only thing that kept running through his veins. His mother always desired to see him become a professional singer. These dreams shattered when Debojit lost his mother to an illness. His wife Bandana took over from there; encouraged him and gave him the impetus to chase those dreams. It was with her support, that he set out to pursue his dreams - and what followed one after the other was just inevitable! Debojit started out as a singer in All India Radio and the Doordarshan Kendra in Silchar. He also leveraged on several opportunities to sing in concerts around Assam and West Bengal. Finally, life brought him to a crossroad where he had to make his choice between his job and passion for music. He took the plunge to shift base to Mumbai along with Bandana and enrolled himself to learn Indian Classical music from the Maestro Pt Askaran Sharma. He got certified in Sangeet Visharad Part-I, which was one of the building blocks in his musical career. He won the “Mega- final Runner Up” position in a music contest called “GAZAL-e-SARA” on an E-TV’s Urdu Channel. -
Song Name Song Code Artist
Song Name Song Code Artist Ami Akash Hobo 52232 Fahmida Nabi Bishshas 52234 Mila Bondhu Doyamoy 52236 Beauty Bristi Nache Taletale 52237 Mila Dola Dance 52240 Mila Bishonno Mon 52233 Tausif Akash Bhora Tara 52231 Saju Bolona Bondhu 52235 Tausif Chader Buri 52238 Mila Charta Deyal Hothat Kheyal 52239 Fahmida Jaadu 52249 Mila Jala Bojhar Manush Nai 52250 Saju Nayok 52257 Leela Nirobe 52258 Mila Kolonko Na Lagle Gaye 52254 Saju Kotha Dao 52255 Tausif Kay Aankay Onno Schobi 52251 Tahsan Sokhi Bologo Amay 52262 Saju Hobo Dujon Sathi 52247 Fahmida Bappa Ei Mon 52243 Oni Doyal 52241 Ovi Hoyto Ami 52248 Ornob Du Par Chuya Bohoman Nadi 52242 Bappa Eto sohosay 52246 Shakib Jakir Eka Eka 52244 Tausif Ekhon Ami 52245 Sumon Paaper Pujari 52260 Mila Nisha 52259 Mila Khunshuti 52253 Shuvo Malikana Garikhana 52256 Saju Tomar Jonno 52265 Tausif Tare Chara 52264 Tausif Surjosane Chol 52263 Bappa Satranga Dukkha 52261 Sanjib Chowdhury Khola Akash 52252 Mila Ek Polokey 522113 Tausif Bondhur Prem 522106 Debashish Dhrubotara 522109 Face to Face Bristi 2 522107 Tausif Hate Deo Rakhi 522115 Fahmida Nobi Bappa Ei Jibon 522111 Tausif Ek Mutho Gaan 522112 Fahmida Nobi Ek Tukro Megh 522114 Tausif Danpite 522108 Minar Kurbani Kurbani 522304 Hasan Shihabi Premchara Cholena Duniya 522342 Saju Rodela Dupur 522348 Tahsan Mithila Jeona Durey Chole 522280 Bappa Toni Khachar Bhitor Ochin Pakhi 522291 Labonno Kumari 522303 Shohor Bondi Nach mayuri nach re 522341 Labonno Tumi Amar 522381 Shahed Chandkumari 522385 Purno Soilo Soi 522391 Purno Itihas 71 522534 ROCK 404 Chandrabindu -
Perception Analysis of TV Reality Shows: Perspective of Viewers’ and Entertainment Industry Professionals
International Journal of Media, Journalism and Mass Communications (IJMJMC) Volume 7, Issue 2, 2021, PP 22-31 ISSN 2454-9479 https://doi.org/10.20431/2454-9479.0702003 www.arcjournals.org Perception Analysis of TV Reality Shows: Perspective of Viewers’ and Entertainment Industry Professionals. Souvik Das*, Dr. Partha Sarkar, Dr.S.M Alfarid Hussain Department of Mass Communication, Assam University, Silchar, Assam. *Corresponding Author: Souvik Das, Department of Mass Communication, Assam University, Silchar, Assam. Abstract: Television content is predominantly classified into fiction and non-fiction category which further diversifies in various subcategories. Reality shows are propositioned as entertainment content under non-fiction format in contrast to fictionalised events that are acted in. Road to stardom and affluence is made easier through participation in Reality TV Shows. Extensive audience reach through Television Rating Points(TRP) and support over various social media platforms is achieved through the manufacturing of controversies. Channels are making use of viewer’s emotions both in positive as well as negative ways. Many viewers are obscure about the intent of the show makers. The authenticity of Reality TV Shows as real or unreal has been under contention. Therefore, in the present study, an attempt has been made to understand how an audience perceives the programming tools used in Reality TV shows and how the TV industry professionals perceive the way Reality TV Shows function and delivers their content to the audiences at large. The study employed mixed-method research. Keywords: Societal Perception, Reality Shows, TRPs, Celebrities, Audience Research 1. INTRODUCTION “The world of reality has its limits; the world of imagination is boundless.” – Jean Jacques Rousseau When the famous 18th-century philosopher and writer Jean Jacques Rousseau quoted the lines he too emphasised on the aspects of what appears as reality may have its limitations while the imaginative world is more boundless in presenting them. -
INDIA -.:: GEOCITIES.Ws
1 INDIA RISES IN THE WEST A HISTORY REWRITTEN RANGANATHAN MAGADI 2006 2 INDIA RISES IN THE WEST Author Ranganathan Magadi Copyrighted ©2006 by Ranganathan Magadi Published by Ranganathan Magadi, Shobha Sreenath and Jamuna Mysore No part of this book can be copied or reproduced in any form or in any manner without a written permission from the author or the publishers. First printed and published in USA in 2006 E mail address: [email protected] Or [email protected] 3 Author’s note This book is not a discourse on any abstract ideology but an attempt to provide a layman’s knowledge of India and its people, past and present; to portray the strength, weakness, and follies of their leaders and to sketch the lives and achievements of great men who made India great in the fields of political progress, economic development, social transformation, industrialization, education, literature, sports and entertainment. The author has collected materials from various sources and presented them in such a way as to provide sufficient knowledge regarding the bane and boon of the country, the frailty and strength of its leaders and the myth and reality of its people. While the material is based on historical facts and figures, the author claims that the observations made and the conclusions drawn are his own. The author has no intention of hurting the sentiments of anyone or any group of people and the observations made and the inferences drawn are purely based on author’s evaluation of events, personalities and achievements. There is need to rewrite the History of India because no other history has been so distorted as the History of India. -
Chapter Three Art and Identity: a Specific Reading of the Visual Arts Practices of Assam from 1970 Onwards
K a n d a l i | 86 CHAPTER THREE ART AND IDENTITY: A SPECIFIC READING OF THE VISUAL ARTS PRACTICES OF ASSAM FROM 1970 ONWARDS I IDENTITY: MODERN/POSTMODERN The “ethereal night-lamp” of classicist Basho disappears and the modernist moon emerging as the Sukantosque “Scorched bread” transforms into a postmodernist rectum (“asshole of the sky”- Milan Kundera). “Grand narratives” crumble in deconstructions; hierarchies of space/systems/categories are revised, the unified whole of Hegelian Absolute disseminates into a spectacle of plurality, a set of overlapping truth functionalities. The contemporary is indeed a vast theatre of contradictions and ironies. The political and economical regime offers globalisation, trans-national capitalism, and aspires for a uniformity of the lived qualitative experience. The cultural and social paradigms speak of multiculturalism and differentiations. This normative process of paradigmatic mutation in and through time encompasses the contemporary art discourses also, with the emergence of new categories in art (gender-subaltern-environmental, etc.) proliferation of new images/materials (material as metaphor) in the artistic practice, and translation of the cultural and artistic context/ parameters defined as national / modern into post colonial/post-modern. Of course, as to whether the post- modern is indeed a radically new disjuncture from modern is a contested issue. When the high modernist cultural pretensions – the autonomy of art/artistic freedom as pure form of creative impetus, the myth of auratic “artistic persona”, the claims of ‘originality’ and ‘uniqueness’ – are dismantled in this age of consumerism and mass production/reproduction of images, the binary division of art and life, culture and commerce get coalesced.