How Rural Is Hindi Cinema? 14 Shoma A
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The Literary Herald
ISSN : 2454-3365 THE LITERARY HERALD AN INTERNATIONAL REFEREED ENGLISH E-JOURNAL A Quarterly Indexed Open-access Online JOURNAL Vol.1, No.1 (June 2015) Editor-in-Chief: Dr. Siddhartha Sharma Managing Editor: Dr. Sadhana Sharma www.TLHjournal.com [email protected] hhhhhhhhhhhhhhhhhhkkkkkkkkkkkkkkkkk;khngggh www.TLHjournal.com The Literary Herald ISSN: 2454-3365 An International Refereed English e-Journal The Representation of Agony during Partition as shown in M S Sathyu’s film “Garm Hawa” Ms Rekha Paresh Parmar Associate Professor Department of English Veer Narmad South Gujarat University, Surat Abstract “Garm Hawa” (Scorching Winds/Hot Winds) is a 1973 Hindi Urdu drama film directed by M S Sathyu with veteran actor Balraj Sahni as the lead. It was written by Kaifi Azmi and Shama Zaidi, based on an unpublished short story by a famous Urdu writer Ismat Chughtai. This controversial film has won several national awards in 1974 including a National Integration award. This political narrative deals with the plight of a North Indian Muslim businessman Salim Mirza and his family in 1947 in Agra. He is a patriot and a Muslim shoemaker, struggles to survive in this pathetic and critical condition of communal riots. He is in a dilemma either to live in India or to emigrate to Pakistan like his other family members. The Mirza family suffers for not doing anything wrong in this post-partition environment. They could neither manage their business nor got the job. The social and marital relations are affected. Salim Mirza’s elder son Baqar moves to Pakistan with his family. His daughter Amina is frustrated having two affairs with her cousins and committed suicide. -
Odissi Dance
ORISSA REFERENCE ANNUAL - 2005 ODISSI DANCE Photo Courtesy : Introduction : KNM Foundation, BBSR Odissi dance got its recognition as a classical dance, after Bharat Natyam, Kathak & Kathakali in the year 1958, although it had a glorious past. The temple like Konark have kept alive this ancient forms of dance in the stone-carved damsels with their unique lusture, posture and gesture. In the temple of Lord Jagannath it is the devadasis, who were performing this dance regularly before Lord Jagannath, the Lord of the Universe. After the introduction of the Gita Govinda, the love theme of Lordess Radha and Lord Krishna, the devadasis performed abhinaya with different Bhavas & Rasas. The Gotipua system of dance was performed by young boys dressed as girls. During the period of Ray Ramananda, the Governor of Raj Mahendri the Gotipua style was kept alive and attained popularity. The different items of the Odissi dance style are Mangalacharan, Batu Nrutya or Sthayi Nrutya, Pallavi, Abhinaya & Mokhya. Starting from Mangalacharan, it ends in Mokhya. The songs are based upon the writings of poets who adored Lordess Radha and Krishna, as their ISTHADEVA & DEVIS, above all KRUSHNA LILA or ŎRASALILAŏ are Banamali, Upendra Bhanja, Kabi Surya Baladev Rath, Gopal Krishna, Jayadev & Vidagdha Kavi Abhimanyu Samant Singhar. ODISSI DANCE RECOGNISED AS ONE OF THE CLASSICAL DANCE FORM Press Comments :±08-04-58 STATESMAN őIt was fit occasion for Mrs. Indrani Rehman to dance on the very day on which the Sangeet Natak Akademy officially recognised Orissi dancing -
Odisha Review Dr
Orissa Review * Index-1948-2013 Index of Orissa Review (April-1948 to May -2013) Sl. Title of the Article Name of the Author Page No. No April - 1948 1. The Country Side : Its Needs, Drawbacks and Opportunities (Extracts from Speeches of H.E. Dr. K.N. Katju ) ... 1 2. Gur from Palm-Juice ... 5 3. Facilities and Amenities ... 6 4. Departmental Tit-Bits ... 8 5. In State Areas ... 12 6. Development Notes ... 13 7. Food News ... 17 8. The Draft Constitution of India ... 20 9. The Honourable Pandit Jawaharlal Nehru's Visit to Orissa ... 22 10. New Capital for Orissa ... 33 11. The Hirakud Project ... 34 12. Fuller Report of Speeches ... 37 May - 1948 1. Opportunities of United Development ... 43 2. Implication of the Union (Speeches of Hon'ble Prime Minister) ... 47 3. The Orissa State's Assembly ... 49 4. Policies and Decisions ... 50 5. Implications of a Secular State ... 52 6. Laws Passed or Proposed ... 54 7. Facilities & Amenities ... 61 8. Our Tourists' Corner ... 61 9. States the Area Budget, January to March, 1948 ... 63 10. Doings in Other Provinces ... 67 1 Orissa Review * Index-1948-2013 11. All India Affairs ... 68 12. Relief & Rehabilitation ... 69 13. Coming Events of Interests ... 70 14. Medical Notes ... 70 15. Gandhi Memorial Fund ... 72 16. Development Schemes in Orissa ... 73 17. Our Distinguished Visitors ... 75 18. Development Notes ... 77 19. Policies and Decisions ... 80 20. Food Notes ... 81 21. Our Tourists Corner ... 83 22. Notice and Announcement ... 91 23. In State Areas ... 91 24. Doings of Other Provinces ... 92 25. Separation of the Judiciary from the Executive .. -
List of Members (Ex-Employee) Enrolled in Base Policy As on 11.05.2020 for Fy 2020-21
LIST OF MEMBERS (EX-EMPLOYEE) ENROLLED IN BASE POLICY AS ON 11.05.2020 FOR FY 2020-21 Sr. EMP No. LOCATION CODE Insured name Relation PolicyNo Card_Number 1 CO 00016G MS. REENA JHINGAN WIFE 130200/130132028120000030 0611070000000103 2 CO 00016G MR. K K JHINGAN EMPLOYEE 130200/130132028120000030 0611070000000126 3 DELHI 00030B MS. PRITPAL KAUR VIJ WIFE 130200/130132028120000030 0611070000000203 4 DELHI 00030B MR. ANOOP SINGH VIJ EMPLOYEE 130200/130132028120000030 0611070000000226 5 DELHI 00037K MS. ASHA RANI PURI WIFE 130200/130132028120000030 0611070000000303 6 DELHI 00037K MR. D D PURI EMPLOYEE 130200/130132028120000030 0611070000000326 7 DELHI 00041H MS. VIDYAWATI RANGRA WIFE 130200/130132028120000030 0611070000000403 8 DELHI 00041H MR. BIDHU RAM RANGRA EMPLOYEE 130200/130132028120000030 0611070000000426 9 AHMEDABAD 00042A MS. CHANDER TANEJA WIFE 130200/130132028120000030 0611070000000503 10 AHMEDABAD 00042A MR. VAS DEV TANEJA EMPLOYEE 130200/130132028120000030 0611070000000526 11 CO 00043D MS. LALTHANZAUVI WIFE 130200/130132028120000030 0611070000000603 12 CO 00043D MR. SAJEEVAN LAL EMPLOYEE 130200/130132028120000030 0611070000000626 13 DELHI 00045L MR. SRI KRISHAN GANDHI EMPLOYEE 130200/130132028120000030 0611070000000726 14 CO 00050G MS. KANAK CHAUHAN WIFE 130200/130132028120000030 0611070000000803 15 CO 00050G MR. K S CHAUHAN EMPLOYEE 130200/130132028120000030 0611070000000826 16 DELHI 00051E MR. K K SACHDEVA EMPLOYEE 130200/130132028120000030 0611070000000926 17 DELHI 00055H MS. SAROJ BALA NAGPAL WIFE 130200/130132028120000030 0611070000001003 18 DELHI 00055H MR. VINOD KUMAR NAGPAL EMPLOYEE 130200/130132028120000030 0611070000001026 19 CHANDIGARH 00064G MS. VEENA PURI WIFE 130200/130132028120000030 0611070000001103 20 CHANDIGARH 00064G MR. V K PURI EMPLOYEE 130200/130132028120000030 0611070000001126 21 CO 00065E MS. KAMLESH SHARMA WIFE 130200/130132028120000030 0611070000001203 22 CO 00065E MR. BADRI NATH SHARMA EMPLOYEE 130200/130132028120000030 0611070000001226 23 DELHI 00069H MS. -
Unit Indian Cinema
Popular Culture .UNIT INDIAN CINEMA Structure Objectives Introduction Introducing Indian Cinema 13.2.1 Era of Silent Films 13.2.2 Pre-Independence Talkies 13.2.3 Post Independence Cinema Indian Cinema as an Industry Indian Cinema : Fantasy or Reality Indian Cinema in Political Perspective Image of Hero Image of Woman Music And Dance in Indian Cinema Achievements of Indian Cinema Let Us Sum Up Answers to Check Your Progress Exercises A 13.0 OBJECTIVES This Unit discusses about Indian cinema. Indian cinema has been a very powerful medium for the popular expression of India's cultural identity. After reading this Unit you will be able to: familiarize yourself with the achievements of about a hundred years of Indian cinema, trace the development of Indian cinema as an industry, spell out the various ways in which social reality has been portrayed in Indian cinema, place Indian cinema in a political perspective, define the specificities of the images of men and women in Indian cinema, . outline the importance of music in cinema, and get an idea of the main achievements of Indian cinema. 13.1 INTRODUCTION .p It is not possible to fully comprehend the various facets of modern Indan culture without understanding Indian cinema. Although primarily a source of entertainment, Indian cinema has nonetheless played an important role in carving out areas of unity between various groups and communities based on caste, religion and language. Indian cinema is almost as old as world cinema. On the one hand it has gdted to the world great film makers like Satyajit Ray, , it has also, on the other hand, evolved melodramatic forms of popular films which have gone beyond the Indian frontiers to create an impact in regions of South west Asia. -
LIST of MEMBERS (EX-EMPLOYEES) ENROLLED in BASE POLICY AS on 20.04.2020 for FY 2020-21 S.NO EMPCODE Name Relation LOCATION Policyno Card Number 1 PRMB22 MR
LIST OF MEMBERS (EX-EMPLOYEES) ENROLLED IN BASE POLICY AS ON 20.04.2020 FOR FY 2020-21 S.NO EMPCODE Name Relation LOCATION PolicyNo Card_Number 1 PRMB22 MR. SWAPAN KUMAR ROY EMPLOYEE KOLKATA :130200/130132028120000030 :0611070000283626 2 PRMB22 MS. DIPALI ROY WIFE KOLKATA :130200/130132028120000030 :0611070000283603 3 PRMB19 MR. M AKBARSHA EMPLOYEE BANGALORE :130200/130132028120000030 :0611070000283526 4 PRMB19 MS. A HAMIDA BANU WIFE BANGALORE :130200/130132028120000030 :0611070000283503 5 PRMB09 MR. T S VIJAYAKUMAR EMPLOYEE CHENNAI :130200/130132028120000030 :0611070000283426 6 PRMB09 MS. V KALAIVANI WIFE CHENNAI :130200/130132028120000030 :0611070000283403 7 14819J MR. P N PATRI EMPLOYEE BHUBANESHWAR :130200/130132028120000030 :0611070000283326 8 14819J MS. GEETANJALI PATRI WIFE BHUBANESHWAR :130200/130132028120000030 :0611070000283303 9 14027J MR. JATINDERJIT SINGH EMPLOYEE CHANDIGARH :130200/130132028120000030 :0611070000283226 10 14027J MS. JASWANT KAUR WIFE CHANDIGARH :130200/130132028120000030 :0611070000283203 11 13346J MS. D RAMADEVI EMPLOYEE HYDERABAD :130200/130132028120000030 :0611070000283126 12 13314L MS. P SABIRUNNISA EMPLOYEE HYDERABAD :130200/130132028120000030 :0611070000283026 13 12435D MR. H C RAJPUT EMPLOYEE MUMBAI :130200/130132028120000030 :0611070000282926 14 12435D MS. MANJU RAJPUT WIFE MUMBAI :130200/130132028120000030 :0611070000282903 15 12363C MR. N R DAS EMPLOYEE MUMBAI :130200/130132028120000030 :0611070000282826 16 12358G MR. BHIM CHANDRA HALDER EMPLOYEE KOLKATA :130200/130132028120000030 :0611070000282726 -
375 © the Author(S) 2019 S. Sengupta Et Al. (Eds.), 'Bad' Women
INDEX1 A Anti-Sikh riots, 242, 243, 249 Aarti, 54 Apsaras, 13, 95–97, 100, 105 Achhut Kanya, 30, 31, 37 Aranyer Din Ratri, 143 Actress, 9, 18, 45n1, 54, 67, 88, 109, Armed Forces Special Powers Act, 170, 187, 213, 269, 342, 347–362, 255, 255n24 365–367, 369, 372, 373 Astitva, 69 Adalat, 115, 203 Atankvadi, 241–256 Akhir Kyon, 69 Azmi, Shabana, 54, 68 Akhtar, Farhan, 307, 317n13 Alvi, Abrar, 60 Ambedkar, B.R., 31, 279n2 B Ameeta, 135 Babri Masjid, 156, 160 Amrapali, 93–109, 125 Bachchan, Amitabh, 67, 203, 204, Amu, 243–249 210, 218 Anaarkali of Aarah, 365, 367, 370, 373 Bagbaan, 69 Anand, Dev, 7n25, 8n27, 64 Bahl, Mohnish, 300 Anarkali, 116, 368–369 Bandini, 18, 126, 187–199 Andarmahal, 49, 53 Bandit Queen, 223–237 Andaz, 277–293 Bar dancer, 151 Angry Young Man, 67, 203–205, 208, Barjatya, Sooraj, 297, 300, 373 218, 219 Basu Bhattacharya, 348, 355 Ankush, 69 Basu, Bipasha, 88 1 Note: Page numbers followed by ‘n’ refer to notes. © The Author(s) 2019 375 S. Sengupta et al. (eds.), ‘Bad’ Women of Bombay Films, https://doi.org/10.1007/978-3-030-26788-9 376 INDEX Bedi, Bobby, 232–235 237, 261, 266–268, 278, 279, Benaras, 333, 334 283, 283n8, 285, 291, 318, 332, Benegal, Shyam, 7n23, 11, 11n35, 13, 334, 335, 338, 343, 350, 351, 13n47, 68, 172n9, 348, 351, 366 355, 356, 359, 361, 372n3 Beshya/baiji, 48, 49, 55, 56 Central Board of Film Certification Bhaduri, Jaya, 209, 218 (CBFC), 224, 246, 335, Bhagwad Gita, 301 335n1, 336 Bhakti, 95, 98, 99, 101, 191n11, 195, Chak De! India, 70 195n18, 196 Chameli, 179–181 Bhakti movement, 320 Chastity, 82, -
Gender, Biasness and Indian Cinemas
JOURNAL OF CRITICAL REVIEWS ISSN- 2394-5125 VOL 7, ISSUE 09, 2020 Gender, Biasness and Indian Cinemas Sanchayita Khakholary Research Scholar, Gauhati University, Assam, India Indian cinema, a billion dollar entertainment institution, today earns the position of the largest film producing industry with worldwide audience. It produces about thousands of films each year and in comparison to other institutions, Indian cinemas have millions and millions of viewers, reaching to almost every part of the society. Since its very inception it have been playing the role of the most prominent source of entertainment to the people of India. Along with dramas, lots of dancing and singing, powerful contents it have successfully attracted massive interests. One can trace back the history of Indian cinemas to the year of 1896 when the first 6 silent films shot by Lumiere Brothers were shown at one of the hotels at Bombay( now Mumbai). Thus, marking the entry of cinematography in India (Hafeez, p. 62). In 1898, Hiralal seth had directed the Flower of Persia, a pioneer of short films. But it was not until 1913, that the first full length silent film was released. ‘Raja Harishchandra’, the movie directed, shot and produced by Dadasaheb phalke sets the base for the pre-Bollywood scenario in India. However, the term Bollywood is a misnomer to define ‘the whole of Indian cinemas’, since it stands for only the Hindi cinemas and in reality Indian cinemas represents films or movies of all genres and of all languages of India. After 1913, featured films gained acceleration in its production and by 1920s; Indian film industry started producing 27 featured films annually (Hafeez, p. -
Nahiiin! Face Gallery the Nahiiin! Face Gallery Celebrating the finest Histrionic Achievements in Indian Cinema, One Actor at a Time
The Nahiiin! Face Gallery The Nahiiin! Face Gallery Celebrating the finest histrionic achievements in Indian cinema, one actor at a time. Celebrating the finest histrionic achievements in Indian cinema, one actor at a time. http://memsaabstory.wordpress.com http://memsaabstory.wordpress.com Ajit Amjad Khan Amrish Puri A. Nageswara Rao Anil Kapoor Bindu Biswajeet Brownie Moti Heeralal Pannalal Mooga Manasulu Hare Kanch Ki Teri Meherbaniyan Yaarana (1981) Kasam Paide Karne Bandie (1978) Trishna (1978) (1977) Wale Ki (1984) (1963 - Telugu) Beta (1992) Mastan Dada (1977) Chooriyan (1967) (1985) Anwar Hussein Aruna Irani Asha Parekh Chandramohan Chandrima Bhaduri Chiranjeevi Chiranjeevi Chitra Zindagi Aur Maut Kirathakudu SP Parasuram Trip to Moon (1967) Gaddar (1973) Doodh Ka Karz Shikar (1968) Chirag (1969) Shaheed (1948) Zimbo (1958) (1990) (1965) (1986 - Telugu) (1994 - Telugu) Asha Parekh Ashoo Deepti Naval Dev Kumar Dharmendra Mere Hamdum Mere Kati Patang (1970) Samadhi (1974) Rani Aur Lalpari Kab? Kyon? Aur Yeh Ishq Nahin Yalgaar (1992) Jeevan Mrityu (1971) (1975) Kahaan? (1972) Dhund (1973) Aasaan (1982) Alibaba (1977) Dost (1968) Babita Baby Rani Bindu Dharmendra Dilip Kumar Haseena Maan Jayegi Kab? Kyon? Aur Nanha Farishta Rani Aur Lalpari Ab Kya Hoga Yaadon Ki Baarat Kahani Kismat Ki Badle Ki Aag (1982) Shaheed (1948) Aadmi (1968) (1968) Kahaan? (1972) (1969) (1975) (1977) (1972) (1973) All content on this page is for informational purposes only, and has been compiled from movies and other sources in my possession. If any copyright has been All content on this page is for informational purposes only, and has been compiled from movies and other sources in my possession. -
FACT FILE We Filmed
Star Watch have done this film. I had a stern word with god the moment Birthday October 28 I read the script and it worked! Lalitha and I possibly have similar cores — a squeaky clean heart! Hometown Hyderabad/New Delhi School/College Rich Valley School (KFI) / Lady Shriram College High point of your life This year, my screen award for Ye Saali Zindagi — big surprise! We both believe that music or any art form has no Low point of your life This year, my nani landed boundaries. Ali and I love music and that’s what we bonded in hospital 2 days before I left for the shoot of over. Ali has a Sufi core and I’ve grown up surrounded by London Paris New York. Buddhist and Sufi philosophy… divisiveness is a political agenda and it has no place in our hearts and minds. A song that describes you best Voh Dekhne Mein from London Paris New York. Actors/actresses you admire Audrey Hepburn, Waheeda Rehman, Vidya Balan, Madhuri Dixit, I’ve sung the love song Theree Si Zindagi with Ali and the Shah Rukh Khan, Aamir Khan, Natalie Portman female version of Voh Dekhne Mein which was recorded with me in the studio and Ali on Skype from Pakistan… we did it Fashion style Casual chic to classic in one take! I’ll sing if someone asks me to, I will never force it down anyone’s throat! I love music and I sing all the time. Favourite author Isabel Allende — Magic Realism Aditi is a student of renowned dancer Leela Samson and has danced since she was five and Fabulous! Could it be anything less? We worked very hard performed all over the world. -
F a S Hionab
Bollywood actors Aishwarya Rai Bachchan and hus- band Abhishek Bachchan leave after casting their vote Johnny Galecki, Jim Parsons, Kaley Cuoco, Simon Helberg, Kunal Nayyar, Mayim Bialik and Melissa Rauch from the cast of ”The Big Bang at a polling station during the fourth phase of general Theory” attend their handprint ceremony at the TCL Chinese Theatre IMAX on in Hollywood, California. election in Mumbai FASHION DeVon Franklin and Meagan Good arrive at the Premiere of 'The Intruder' at ArcLight FOCUS Hollywood in Hollywood, California. I O N A H B Actress Lucy Liu speaks during her Walk of Fame ceremony in Hollywood. Bollywood actor Hrithik Roshan leaves after casting his vote at a polling station during the fourth phase of general S L election in Mumbai, A E F Bollywood actor Salman Khan poses for photographs after casting his GLOBE vote at a polling station in Mumbai. Kaley Cuoco from the cast of ”The Big Bang Theory” poses during their hand- print ceremony at the TCL Chinese Thea- tre IMAX in Hollywood, California. Actress Drew Barrymore, Cameron Diaz and Lucy Liu Bollywood actress Preity Zinta poses for photographs as stand on the star during Liu's Walk of Fame ceremony in she leaves a polling station after casting her vote in Hollywood. Mumbai. Bollywood actress Ihana Dhillon and actor Dev Kharoud pose for pho- tographs during the promotion of the upcoming Punjabi film 'Blackia', in Amritsar. Host Kelly Clarkson performs onstage dur- ing the 2019 Billboard Music Awards at MGM Grand Garden Arena in Las Vegas, Nevada. From left, Japan’s new Emperor Naruhito, Empress Masako, Crown Prince Akishino and Crown Princess Kiko arrive to attend a ceremony to Bollywood actress Vidya Balan poses for Princess Alexia, King Willem-Alexander, Princess Ariane, Queen Maxima and Princess Alexia arrive to Amersfoort to cele- receive the first audience after the accession to the throne at the Mat- photographs as she leaves a polling sta- brate Kings Day. -
Tagore & Cinema
See discussions, stats, and author profiles for this publication at: https://www.researchgate.net/publication/286452770 Tagore, Cinema and the Poetry of Movement Article · March 2015 CITATIONS READS 0 957 1 author: Indranil Chakrabarty LV Prasad Film & TV Academy 8 PUBLICATIONS 1 CITATION SEE PROFILE Some of the authors of this publication are also working on these related projects: Narrative Strategies in the Postmodern Biopic: History and Counter History View project All content following this page was uploaded by Indranil Chakrabarty on 11 December 2015. The user has requested enhancement of the downloaded file. This essay, published in ‘Lensight’ (Jan-Mar, 2015 issue), was presented at a JNU conference titled ‘Rethinking Tagore’ in November, 2011.The essay that follows is a modified version of that presentation. TAGORE, CINEMA AND THE POETRY OF MOVEMENT Indranil Chakravarty Introduction It must have been almost impossible to be a writer in the twentieth century in any part of the world without some kind of response to the new and emerging narrative form called cinema or ‘motion pictures’. As cinema’s birth coincided with the onset of the 20th century, its own development and growth as an art form as well as an industry went almost hand-in-hand with the vicissitudes of social, political and cultural developments in the past century. The popular and frivolous base of cinema led most ‘high brow’ writers to turn their back towards it and many of them were oblivious of the extraordinary narrative experimentations that were being explored in this new form of expression. Whether cinema could at all be considered a valid ‘art form’ was debated till the 1960s though through the 1920s and 1930s, there was a sporadic phenomenon – mainly in Europe and USA - of painters, theatre directors and writers collaborating on film projects.