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Shah Rukh Khan from Wikipedia, the Free Encyclopedia "SRK" Redirects Here
Shah Rukh Khan From Wikipedia, the free encyclopedia "SRK" redirects here. For other uses, see SRK (disambiguation). Shah Rukh Khan Shah Rukh Khan in a white shirt is interacting with the media Khan at a media event for Kolkata Knight Riders in 2012 Born Shahrukh Khan 2 November 1965 (age 50)[1] New Delhi, India[2] Residence Mumbai, Maharashtra, India Occupation Actor, producer, television presenter Years active 1988present Religion Islam Spouse(s) Gauri Khan (m. 1991) Children 3 Signature ShahRukh Khan Sgnature transparent.png Shah Rukh Khan (born Shahrukh Khan, 2 November 1965), also known as SRK, is an I ndian film actor, producer and television personality. Referred to in the media as "Baadshah of Bollywood", "King of Bollywood" or "King Khan", he has appeared in more than 80 Bollywood films. Khan has been described by Steven Zeitchik of t he Los Angeles Times as "perhaps the world's biggest movie star".[3] Khan has a significant following in Asia and the Indian diaspora worldwide. He is one of th e richest actors in the world, with an estimated net worth of US$400600 million, and his work in Bollywood has earned him numerous accolades, including 14 Filmfa re Awards. Khan started his career with appearances in several television series in the lat e 1980s. He made his Bollywood debut in 1992 with Deewana. Early in his career, Khan was recognised for portraying villainous roles in the films Darr (1993), Ba azigar (1993) and Anjaam (1994). He then rose to prominence after starring in a series of romantic films, including Dilwale Dulhania Le Jayenge (1995), Dil To P agal Hai (1997), Kuch Kuch Hota Hai (1998) and Kabhi Khushi Kabhie Gham.. -
In Remembrance of Om Puri and Kundan Shah, the Jio MAMI 19Th Mumbai Film Festival with Star Go Down Memory Lane of Jaane Bhi Do Yaaron
In remembrance of Om Puri and Kundan Shah, the Jio MAMI 19th Mumbai Film Festival with Star go down memory lane of Jaane Bhi Do Yaaron Ranjit Kapoor, Satish Kaushik, Vidhu Vinod Chopra and Sudhir Mishra in conversation with Victor Acharya Jaane Bhi Do Yaaro screening held at PVR ECX Mumbai, 15th October: Jaane Bhi Do Yaaro is a cult comedy film which released in 1983. It is one of Kundan Shah’s notable works. MAMI brings alive the magic of Kundan Shah’s Jaane Bhi Do Yaaro in an interactive session with the team of the film. A screening of the same was hosted at PVR ECX which was followed by a Q&A where the panel comprised of Satish Kaushik, Ranjit Kapoor, Vidhu Vinod Chopra, Sudhir Mishra which was curated by Victor Acharya. The cast shared few sneak peeks and behind the scene stories of the process that went on to become one of the most celebrated films of the industry. Kundan Shah studied direction at FTII in Pune. He is the recipient of the Indira Gandhi Award for Best First Film of a Director for Jaane Bhi Do Yaaro and also the Filmfare Critics Award for Best Movie for Kabhi Haan Kabhi Naa. Om Puri was a Padma Shri recipient. He was an actor who appeared equally in mainstream and independent art films. Puri was an alumni of the National School of Drama where he pursued theatre. He took up further studies in FTII. He has won the National Award, Filmfare Award and many more to his credit. -
EVENT Year Lib. No. Name of the Film Director 35MM DCP BRD DVD/CD Sub-Title Language BETA/DVC Lenght B&W Gujrat Festival 553 ANDHA DIGANTHA (P
UMATIC/DG Duration/ Col./ EVENT Year Lib. No. Name of the Film Director 35MM DCP BRD DVD/CD Sub-Title Language BETA/DVC Lenght B&W Gujrat Festival 553 ANDHA DIGANTHA (P. B.) Man Mohan Mahapatra 06Reels HST Col. Oriya I. P. 1982-83 73 APAROOPA Jahnu Barua 07Reels EST Col. Assamese I. P. 1985-86 201 AGNISNAAN DR. Bhabendra Nath Saikia 09Reels EST Col. Assamese I. P. 1986-87 242 PAPORI Jahnu Barua 07Reels EST Col. Assamese I. P. 1987-88 252 HALODHIA CHORAYE BAODHAN KHAI Jahnu Barua 07Reels EST Col. Assamese I. P. 1988-89 294 KOLAHAL Dr. Bhabendra Nath Saikia 06Reels EST Col. Assamese F.O.I. 1985-86 429 AGANISNAAN Dr. Bhabendranath Saikia 09Reels EST Col. Assamese I. P. 1988-89 440 KOLAHAL Dr. Bhabendranath Saikia 06Reels SST Col. Assamese I. P. 1989-90 450 BANANI Jahnu Barua 06Reels EST Col. Assamese I. P. 1996-97 483 ADAJYA (P. B.) Satwana Bardoloi 05Reels EST Col. Assamese I. P. 1996-97 494 RAAG BIRAG (P. B.) Bidyut Chakravarty 06Reels EST Col. Assamese I. P. 1996-97 500 HASTIR KANYA(P. B.) Prabin Hazarika 03Reels EST Col. Assamese I. P. 1987-88 509 HALODHIA CHORYE BAODHAN KHAI Jahnu Barua 07Reels EST Col. Assamese I. P. 1987-88 522 HALODIA CHORAYE BAODHAN KHAI Jahnu Barua 07Reels FST Col. Assamese I. P. 1990-91 574 BANANI Jahnu Barua 12Reels HST Col. Assamese I. P. 1991-92 660 FIRINGOTI (P. B.) Jahnu Barua 06Reels EST Col. Assamese I. P. 1992-93 692 SAROTHI (P. B.) Dr. Bhabendranath Saikia 05Reels EST Col. -
The Making of the Man's Man: Stardom and the Cultural Politics of Neoliberalism in Hindutva India
Southern Illinois University Carbondale OpenSIUC Dissertations Theses and Dissertations 6-1-2021 THE MAKING OF THE MAN’S MAN: STARDOM AND THE CULTURAL POLITICS OF NEOLIBERALISM IN HINDUTVA INDIA Soumik Pal Southern Illinois University Carbondale, [email protected] Follow this and additional works at: https://opensiuc.lib.siu.edu/dissertations Recommended Citation Pal, Soumik, "THE MAKING OF THE MAN’S MAN: STARDOM AND THE CULTURAL POLITICS OF NEOLIBERALISM IN HINDUTVA INDIA" (2021). Dissertations. 1916. https://opensiuc.lib.siu.edu/dissertations/1916 This Open Access Dissertation is brought to you for free and open access by the Theses and Dissertations at OpenSIUC. It has been accepted for inclusion in Dissertations by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. THE MAKING OF THE MAN’S MAN: STARDOM AND THE CULTURAL POLITICS OF NEOLIBERALISM IN HINDUTVA INDIA by Soumik Pal B.A., Ramakrishna Mission Residential College, Narendrapur, 2005 M.A., Jadavpur University, 2007 PGDM (Communications), Mudra Institute of Communications, Ahmedabad, 2009 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Doctor of Philosophy Degree College of Mass Communication and Media Arts in the Graduate School Southern Illinois University Carbondale May 2021 DISSERTATION APPROVAL THE MAKING OF THE MAN’S MAN: STARDOM AND THE CULTURAL POLITICS OF NEOLIBERALISM IN HINDUTVA INDIA by Soumik Pal A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the field of Mass Communication and Media Arts Approved by: Dr. Jyotsna Kapur, Chair Dr. Walter Metz Dr. Deborah Tudor Dr. Novotny Lawrence Dr. -
Westminsterresearch the Digital Turn in Indian Film Sound
WestminsterResearch http://www.westminster.ac.uk/westminsterresearch The Digital Turn in Indian Film Sound: Ontologies and Aesthetics Bhattacharya, I. This is an electronic version of a PhD thesis awarded by the University of Westminster. © Mr Indranil Bhattacharya, 2019. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] THE DIGITAL TURN IN INDIAN FILM SOUND: ONTOLOGIES AND AESTHETICS Indranil Bhattacharya A thesis submitted in partial fulfilment of the requirements of the University of Westminster for the degree of Doctor of Philosophy March 2019 ii Abstract My project maps film sound practices in India against the backdrop of the digital turn. It is a critical-historical account of the transitional era, roughly from 1998 to 2018, and examines practices and decisions taken ‘on the ground’ by film sound recordists, editors, designers and mixers. My work explores the histories and genealogies of the transition by analysing the individual, as well as collective, aesthetic concerns of film workers migrating from the celluloid to the digital age. My inquiry aimed to explore linkages between the digital turn and shifts in production practices, notably sound recording, sound design and sound mixing. The study probes the various ways in which these shifts shaped the aesthetics, styles, genre conventions, and norms of image-sound relationships in Indian cinema in comparison with similar practices from Euro-American film industries. -
9-11 February 2014-Lao Pdr
9-11 FEBRUARY 2014-LAO PDR MINISTRY OF CULTURE, GOVERNMENT OF INDIA MINISTRY OF CULTURE, GOVERNMENT OF INDIA Design: [email protected] MESSAGE Festivals of India abroad give wonderful opportunities for the Indian Diaspora to rejuvenate their hereditary cultural inclinations. I am glad that Festival of India is happening in Lao PDR where large number of artists and artisans are participating. I take this opportunity to compliment the officials of Ministry of Culture and its various participating organisations that have made lot of efforts in putting together this colourful extravaganza. I extend a very warm invitation to the people of Lao PDR to come in large numbers and enjoy the cultural feast being organised for them. I wish the Festival of India in Lao PDR a grand success. 13 January, 2014 (CHANDRESH KUMARI KATOCH) Buddh Mahotsava, Sand Mandala organised as part of A Mandala is a cosmic diagram that represents the dwelling place or celestial mansion of this, will witness the a deity. Both the deity, who reside in the mandala and the mandala itself, are recognized as construction of Sand pure expressions of Buddha’s fully enlightened mind. Mandala can be visualized, painted or Mandala, Butter Sculpture, constructed with wood, precious jewels, rice, flower and the like. Sand is considered to be Sacred Dance and Lama a superb medium because of its number and the great skill required to create the Mandala’s Dhamma Talks, Meditation, Chant by the monks from exquisite details. The artist will chant before starting the Mandala creation. Then the blue the Himalayan region. -
The Time of Television: Broadcasting, Daily Life, and the New Indian Middle Class
Running Head: TIME OF TELEVISION 1 Abstract This article develops a temporal framework for analyzing television’s role in shaping the formation of a new and powerful urban middle class in 1980s India. Focusing on the first sitcom produced in India, Yeh Jo Hai Zindagi [Such is Life], we argue that the unique temporal affordances of broadcast television facilitated a broader shift in the national imaginary. Not only did broadcast television, via the vehicle of such neglected genres as sitcoms, synchronize the rhythms of daily life to its schedules, but sitcoms also recast the daily lives and experiences of the middle classes as ordinary, relatable, and achievable. Casting the 1980s as the time of television illuminates a critical period and medium of communication in Indian cultural history. Keywords: Media history, Nation-State, Middle Class, Sitcom, Temporality, Daily Life This is the author manuscript accepted for publication and has undergone full peer review but has not been through the copyediting, typesetting, pagination and proofreading process, which may lead to differences between this version and the Version of Record. Please cite this article as doi: 10.1111/cccr.12164 This article is protected by copyright. All rights reserved. TIME OF TELEVISION 2 The Time of Television: Broadcasting, Daily Life, and the New Indian Middle Class The 1980s are widely remembered as the “time of television” in India. As even a casual glimpse at YouTube collections, Facebook pages, and blogs reveals, television programs from the 1980s offer a rich set of imaginative resources for remembering life in urban India at the time. Largely nostalgic in nature, these myriad references to the iconography, advertisements, and programs aired on Doordarshan, the state-run broadcast network, suggest an affective charge that is distinct and specific to the period’s newly forged urban middle class. -
1St Filmfare Awards 1953
FILMFARE NOMINEES AND WINNER FILMFARE NOMINEES AND WINNER................................................................................ 1 1st Filmfare Awards 1953.......................................................................................................... 3 2nd Filmfare Awards 1954......................................................................................................... 3 3rd Filmfare Awards 1955 ......................................................................................................... 4 4th Filmfare Awards 1956.......................................................................................................... 5 5th Filmfare Awards 1957.......................................................................................................... 6 6th Filmfare Awards 1958.......................................................................................................... 7 7th Filmfare Awards 1959.......................................................................................................... 9 8th Filmfare Awards 1960........................................................................................................ 11 9th Filmfare Awards 1961........................................................................................................ 13 10th Filmfare Awards 1962...................................................................................................... 15 11st Filmfare Awards 1963..................................................................................................... -
13 AI') Noct4,-Re
13 A I') noct4,-re, - SCHEME OF ARRANGEMENT AND DEMERGER BETWEEN Tips Industries Limited (TIL) Demerged Company AND Tips Films Limited (TEL' .... Resulting Company AND THEIR RESPECTIVE SHAREHOLDERS AND CREDITORS IN RESPECT OF DEMERGER OF FILM DIVISION OF TIPS INDUSTRIES LIMITED INTO TIPS FILMS LIMITED UNDETI SECTIONS 230 TO 232 READ WITH SECTIONS 52, 66 OF THE COMPANIES ACT, 2013 OVERVIEW, OBJECTS AND BENEFITS OF THE SCHEME A. Tips Industries Limited (hereinafter referred to as the "Demerged Company", or "TIL", as the context may admit) is a listed pubic limited company incorporated on May 8th, 1996 under the Companies Act, 1956 with CIN L92120MH19.E)6PLC099359 having its registered office at 601, Durga Chambers, 6th Floor, 278/E, Linking Road, Khar (West), Mumbai - 400052 MH IN. The equity shares of Demerged Company are listed on BSE and NSE, The company is engaged in the business of Production and Distribution of motion pictures ("Film Division") and acquisition and exploitation of Music Rights ("Music Division"). Classifying it on the basis of content, it consists of two main sectors-film and non-film music. The Company earns revenue from royalties on songs that are played on radio, mobiles, internet, etc. B. Tips Films Limited, (hereinafter referred to as the "The Resulting Company" or "TFL", as the context may admit) is an unlisted public limited company incorporated on June 5th, 2009 under the Companies Act, 1956 with CIN U74940MH2009PTC193028 and having its registered office at 501, Durga Chambers, 5th Floor, Linking Road, Khar (West), Mumbai- 400052 MH IN and has not yet commenced any significant business operations but will house Film Division of the Demerged Company. -
Management Through Films
MANAGEMENT THROUGH FILMS 1. Course Code: MG-201 Course Coordinator (Prof. Devi Vijay (CC), OB 2. Course Instructors: Prof. Devi Vijay (CC) Prof. Bhaskar Chakrabarti (PPM) Prof. Rajesh Bhattacharya (PPM) Prof. Saikat Maitra (PPM) Prof. Vidyanand Jha (OB) Prof. Anirvan Pant (SM) Prof. Smeeta Mishra (BEC) Prof. Anup K. Sinha (VF) 3. Course Description The course aims at exposing students to a variety of social, economic and ethical themes through a select set of films to sensitize them to think more about these issues. This, we believe, will contribute to the making of a good manager and better citizen. Students will be encouraged to raise critical questions about individual choices, social and economic arrangements, and corporate cultures and values. Students will be asked to relate the cinematic themes to theories and core concepts from different branches of management such as economics, public policy, operations management, strategic management, human resources, organizational behavior and corporate ethics. Each chosen film will be presented by a different faculty member who will focus on one core theme of the film, around which questions will be raised for discussion. Discussion of the cinematic techniques and aesthetic features will only be incidental in the discussion of the core theme chosen to be highlighted by the concerned faculty. Students will be expected to prepare for classes through the assigned readings and discussion questions, to actively engage in the viewing of the movie in the classroom, and to contribute to classroom discussion by sharing their interpretations and analysis. 4. Class Size: For reasons of pedagogic convenience the class will have a maximum of 45 students. -
Switzerland As Seen Through the Lens of Over a Century of Foreign Cinema Fr Backdrop Switzerland Expo/Gstaad
BACKDROP SWITZERLAND EXPO/GSTAAD SWITZERLAND AS SEEN THROUGH THE LENS OF OVER A CENTURY OF FOREIGN CINEMA FR BACKDROP SWITZERLAND EXPO/GSTAAD En venant dans l’Oberland Bernois, Backdrop Switzerland Expo est dans son élément naturel. En effet, la région a été le lieu de tournage de films mythiques commeSherlock Holmes (USA, 1922) d’Albert Parker, Secret Agent (UK, 1936) d’Alfred Hitchcock, La Symphonie pastorale (FR, 1946) de Jean Delannoy, White Cradle Inn (UK, 1947) de Harold French et bien sûr le mythique The Return of the Pink Panther (UK, 1975) de Blake Edwards, qui était également résident à Gstaad avec son épouse Julie Andrews. Evidemment il faut ajouter à cette liste les nombreuses productions Bollywoodiennes notamment Dilwale Dulhania Le Jayenge (India, 1995) d’Aditya Chopra, un des plus grand succès de l’histoire du cinéma indien qui a contribué à faire de la Suisse un des lieux de villégiature préféré des in- diens, mais aussi des cinéastes de Bollywood qui ont tourné de nombreux films dans la région. A la télévision, on notera les séries Archer (USA, 2011) et Chuck (USA, 2007), avec des épisodes se passant à Gstaad. Mais il faut tout de même mentionner The Bells Of Hell Go Ting-A-Ling (UK, 1966) de David Mil- ler avec Gregory Peck et Ian McKellen. Le tournage de ce film au budget ambitieux qui devait profiter de la vague deThe Sound of Music, sera finalement abandonné après 5 semaines de tournage en raison d’un été de pluie, et de neige… Le focus sur l’Oberland Bernois présenté au Gstaad Palace cet été fait partie d’une recherche sur toute la Suisse en tant que décor dans le cinéma étranger de 1900 à nos jours, qui a pris la forme de l’ouvrage Backdrop Switzerland (Age d’Homme, 2016). -
Heaven on Earth
Mongrel Media Presents A David Hamilton Production of A Film by Deepa Mehta Heaven on Earth (Canada, 106 minutes, Punjabi/English, 2008) Hamilton-Mehta Productions In co-production with The National Film Board of Canada Distribution Publicity Bonne Smith 1028 Queen Street West Star PR Toronto, Ontario, Canada, M6J 1H6 Tel: 416-488-4436 Tel: 416-516-9775 Fax: 416-516-0651 Fax: 416-488-8438 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com High res stills may be downloaded from http://www.mongrelmedia.com/press.html SHORT SYNOPSIS Chand (Preity Zinta) is a young woman who travels from India to Canada to marry Rocky (Vansh Bhardwaj), a man she has never met. Her dream of a new life morphs into a nightmare as marriage to Rocky and his family becomes a numbing spiral of confusion and pain. Chand finds hope in her friendship with Rosa (Yanna McIntosh), a street-smart woman from Jamaica who works with Chand at a laundry factory. Rosa gives Chand a magical root and promises that it will make Rocky fall deeply in love with her. The experiment ends in a surreal parallel life that mirrors an Indian fable involving a King Cobra. LONG SYNOPSIS Vibrant and irrepressibly alive, Chand (Preity Zinta) is a young bride leaving her home in Ludhiana, India, for the cavernous landscape of Brampton, Ontario, where her husband Rocky (Vansh Bhardwaj) and his very traditional family await her arrival. Everything is new to Chand; everything is unfamiliar including the quiet and shy Rocky who she meets for the first time at the Arrivals level of Pearson Airport.