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Srinivasan College of Arts and Science
SRINIVASAN COLLEGE OF ARTS AND SCIENCE (Affiliated to Bharathidasan University, Tiruchirappalli) Perambalur-621 212 COURSE MATERIAL OF INTRODUCTION TO FILM STUDIES-16ACCJM8 For II B.A Journalism and Mass Communication Prepared by V.ChandraChowdry & Dr.S.Revathi Core Course VIII - Introduction to Film Studies Objective: To enable the students understand and appreciate the historical, social, political, cultural and economical aspects of film locally, nationally and globally. UNIT I Film as a medium: Characteristic - Film perception: levels of understanding - Film theory and semiotics - formalism and neo formalism - film language - film and psycho - analysis - film and cultural identity: hermeneutics, reception aesthetics and film interpretation. UNIT II Film forms: narrative and non-narrative - Acting, costume and music - Film and post modernism -post structuralism and deconstruction. Impressionism, expressionism, and surrealism. UNIT III Film production: Visualisation - script - writing - characterization - storyboard - tools and techniques. Continuity style: composing shots - spatial (mise en scene) - temporal (montage) - Camera shots: pan, crane, tracking, and transition. Sound in cinema: dimensions and functions. UNIT IV Film festival - Film awards - Film institute’s censorship certification - Cinema theatres and Projections. UNIT V Film business and Industry - Economic- finance and business of film - film distribution - import and export of films - regional cinema with special reference to Tamil cinema. Budgeting and schedules UNIT-I Movie Film, also called movie or motion picture, is a visual art used to simulate experiences that communicate ideas, stories, perceptions, feelings, beauty or atmosphere by the means of recorded or programmed moving images along with other sensory stimulations.[1] The word "cinema", short for cinematography, is often used to refer to filmmaking and the film industry, and to the art form that is the result of it. -
Spectacle Spaces: Production of Caste in Recent Tamil Films
South Asian Popular Culture ISSN: 1474-6689 (Print) 1474-6697 (Online) Journal homepage: http://www.tandfonline.com/loi/rsap20 Spectacle spaces: Production of caste in recent Tamil films Dickens Leonard To cite this article: Dickens Leonard (2015) Spectacle spaces: Production of caste in recent Tamil films, South Asian Popular Culture, 13:2, 155-173, DOI: 10.1080/14746689.2015.1088499 To link to this article: http://dx.doi.org/10.1080/14746689.2015.1088499 Published online: 23 Oct 2015. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rsap20 Download by: [University of Hyderabad] Date: 25 October 2015, At: 01:16 South Asian Popular Culture, 2015 Vol. 13, No. 2, 155–173, http://dx.doi.org/10.1080/14746689.2015.1088499 Spectacle spaces: Production of caste in recent Tamil films Dickens Leonard* Centre for Comparative Literature, University of Hyderabad, Hyderabad, India This paper analyses contemporary, popular Tamil films set in Madurai with respect to space and caste. These films actualize region as a cinematic imaginary through its authenticity markers – caste/ist practices explicitly, which earlier films constructed as a ‘trope’. The paper uses the concept of Heterotopias to analyse the recurrence of spectacle spaces in the construction of Madurai, and the production of caste in contemporary films. In this pursuit, it interrogates the implications of such spatial discourses. Spectacle spaces: Production of caste in recent Tamil films To foreground the study of caste in Tamil films and to link it with the rise of ‘caste- gestapo’ networks that execute honour killings and murders as a reaction to ‘inter-caste love dramas’ in Tamil Nadu,1 let me narrate a political incident that occurred in Tamil Nadu – that of the formation of a socio-political movement against Dalit assertion in December 2012. -
8 19 MARCH 2019 Newstodaynet.Com Newstodaydaily Ntchennai CHENNAI ‘QUALITY MATTERS
TUESDAY 8 19 MARCH 2019 newstodaynet.com newstodaydaily ntchennai CHENNAI ‘QUALITY MATTERS Arun Vijay completes shooting for Saaho Actor Arun Vijay has completed the shooting for the mega venture Saaho starring Prabhas in the lead. He tweeted, Its a wrap for me!! THE MOST’ #Saaho. Happy to have been a part of this incredibly hard work- ing team. Thanks to #Prabhas @ u sujeethsign @UV_Creations & the Rai Laxmi speaks rest of da cast n crew for makin this about Neeya 2 & more journey a memorable one! Wait for an exhilarating experience in thea- tres from Aug 15! C u all..’ | M BHARAT KUMAR | Saaho, directed by Sujeeth stars GOLLAPUDI AWARD Prabhas and Shraddha Kapoor in ‘I want to be part of good stories. I don’t mind waiting till I get lead roles. It also has Arun Vijay, the right project’, says actress Rai Laxmi. Jackie Shroff, Neil Nitin Mukesh, She awaits the release of her next Neeya 2 in which she is “ paired opposite Jai. Directed by Suresh, the movie also features Evelyn Sharma and others play- FOR 96 FILMMAKER Varalaxmi Sarathkumar and Catherine Tresa in key roles. A ing pivotal roles. The movie is I aappearppear iinn sequel to yesteryear hit Neeya, it is about a snake that wants | NT Bureau | simultaneously made in four lan- guages - Tamil, Telugu, Hindi and to take revenge. he Gollapudi Srinivas national Malayalam.ttwowo ddifferentifferent Speaking to News Today, she says, ‘I appear in two different Taward for the best debut fi lm Saaho has music by Shankar- get-ups in the movie. -
Aayirathil Oruvan 2010 Hd Full Movie Uncut Version 16
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Influence of Celebrity Endorsement of Advertisement on Students
PJAEE, 17(6) (2020) CELEBRITY ENDORSEMENT AND EMOTIONAL APPEAL: A STUDY ON ADVERTISEMENTS BY POPULAR TAMIL CINEMA ACTORS Dr. Rajesh R Head, Department of Visual Communication, Faculty of Science and Humanities, SRM Institute of Science and Technology Kattankulathur- 603 203, Chengalpattu Dist., Tamil Nadu, INDIA Dr. Rajesh R, Celebrity Endorsement And Emotional Appeal: A Study On Advertisements By Popular Tamil Cinema Actors– Palarch’s Journal of Archaeology of Egypt/Egyptology 17(6) (2020). ISSN 1567-214X. Keywords: Celebrity, Endorsement, Advertising, Tamil Cinema, Emotional Appeal. Abstract: Advertising industries have executed various techniques in persuading customers to increase constructive responses about their products and services. Celebrity endorsement, one such popular advertising technique employed in influencing the customers. The construction of Brand or Product promotion that engages a popular personality using the reputation of the Brand, Product, or service is known as celebrity endorsement. That is, a celebrity endorsement is a promotional approach of a brand or product recommended by the famous person in the society to the customers or buyers. Here, the notable thing is that the celebrity endorses the brand or product powerfully evoking emotional feelings instead of usual appeal to the customers. In the fast movie world, the public likely to pay less attention to any advertisements in printed or visual form but optimistically get noticed when the advertisements are referred or recommended by their favorite celebrity. People in country like India, always grace about their stars from sports, politics, and particularly from the film industry. This article analyzes and evaluates various celebrity endorsements and emotional appeal, particularly the Tamil cinema actors. -
Siyahi-Catalogue-2015-16.Pdf
Siyahi, in Urdu means ‘ink’, the dye that stains the shape of our thoughts. Tell us your story. And we’ll help you tell it to the world. Here at Siyahi, we’re with you right from the beginning. From assessing and editing the manuscript to finding the right publisher and promoting the book after publication, we stand firm by our authors through it all. While we deal primarily with manuscripts in English, we are actively involved in facilitating translation of books to and from various languages. We also organize literary events – everything from intimate readings to international literary festivals. RIGHTS LIST ALL RIGHTS AVAILABLE WORLD RIGHTS AVAILABLE LANGUAGE RIGHTS AVAILBLE AUTHORS FORTHCOMING PUBLISHED EVENTS TEAM RIGHTS LIST ALL RIGHTS AVAILABLE FICTION All Our Days by Keya Ghosh An Excess of Sanity by Anshumani Ruddra In Another Time by Keya Ghosh Indophrenia by Sudeep Chakravarti Men Without God by Meghna Pant Mohini’s Wedding by Selina Hossain (English Translation by Arunava Sinha) No More Tomorrows by Keya Ghosh Poskem by Wendell Rodricks The Ceaseless Chatter of Demons by Ashok Ferrey You Who Never Arrived by Anshumani Ruddra NON-FICTION Dream Catchers: Business Innovators of Bollywood by Priyanka Sinha Jha Dream Moghuls: Business Leaders of Bollywood by Priyanka Sinha Jha Folk Music and Musical Instruments of Punjab by Alka Pande Indian Street Food by Rocky Singh, Mayur Sharma Like Cotton from the Kapok Tree by Kalpana Mohan Managing Success...and Some Seriously Good Food by Rocky Singh, Mayur Sharma Magician in the Desert -
Spoofs and the Politics of the Film Image's Ontology in Tamil Cinema
Spoofs and the Politics of the Film Image’s Ontology in Tamil Cinema * Constantine V. Nakassis All Film Spoofs, No Spoof Films Commercial Tamil cinema has long been a travesty of itself, its textuality woven from so many citational allusions, homages, and self-parodies; and yet, until recently there was no such recognized genre of the spoof film, only “comedy tracks” trailing in the shadows of the grandiose hero and his more serious narrative, parodying his potent image here and there, most often through scenes of comically inverted or failed heroism (Nakassis 2010:209–221). In 2010, this was seen to have changed, with the release of a surfeit of spoof films—Venkat Prabhu’s Goa, Simbudevan’s Irumbu Kottai Mirattu Singam, and, most importantly for this paper, C. S. Amudhan’s aptly titled Thamizh Padam, or ‘Tamil Movie.’1 And then of course, there was that unwitting spoof hero, the self-proclaimed “Power Star,” Dr. S. Srinivasan, who entered the scene in 2011 with his unbel- ievably absurd, yet ambiguously self-serious, film (Lathika) and public persona (figure 1).2 Industry insiders and film enthusiasts often explain this seeming par- adox that Tamil cinema is all spoof with no spoofs by pointing to the self- seriousness of the industry—that is, that it can’t take a joke; or alter- natively by pointing to its cultural and historical particularity—that is, that “spoofs” are a foreign genre. But what is so notable is that the ind- ustry has long made jokes at its own expense. Think, for example, of Nagesh’s memorable comedy track from Sridhar’s classic 1964 romantic comedy Kadhalikka Neeramillai (‘No Time for Love’), which turns on Nagesh’s nascent film production: a parody of the film producer, Nagesh * Constantine V. -
Desire, Youth, and Realism in Tamil Cinema
05.JLIN.17.1_077-104.qxd 3/29/07 4:34 PM Page 77 I Constantine V. Nakassis UNIVERSITY OF PENNSYLVANIA I Melanie A. Dean UNIVERSITY OF PENNSYLVANIA Desire, Youth, and Realism in Tamil Cinema This article first examines representations of women’s desire in Tamil cinema, from highly implicit and non-transgressive representations of desire in an older movie to lin- guistically explicit and transgressive representations of desire in a recent hit movie. We then examine how such contemporary filmic representations are related to what we call a mode of realist spectatorship, and how this mode of spectatorship is linked to a partic- ular social group (male youth) and to film form. We argue that the emergence of this mode of spectatorship, the films associated with it, and their connection to male youth are due to changes in the film market and to differential socialization by generation. Finally, we argue for realism in film as holding when film form and spectatorship are highly calibrated in the following way: some set of filmic representations are evaluated by viewers and filmmakers through culturally mediated classifications of “real” and “unreal” which are operationalized truth-functionally in events of evaluation; such rep- resentations presuppose these classifications, and by virtue of regular presupposition can entail an experience of “reality” for viewers. [anthropology of the media, realism, spectatorship, Indian cinema, Tamil Nadu] Introduction ndian cinema is famously popular in India, and this is no truer than in Tamil Nadu, India where the Tamil film industry rivals Hindi cinema in output, I(arguably) in quality, and in fan devotion.1 Most work on Tamil cinema empha- sizes either its connection with politics (Hardgrave 1973; Pandian 1992), its escapist utopian content (Dickey 1993, 1995), or, more recently, its relationship to the middle classes and the nation (Prasad 1998). -
Decision on Cong Chief Today, Mukul Wasnik Frontrunner
Follow us on: RNI No. TELENG/2018/76469 @TheDailyPioneer facebook.com/dailypioneer Established 1864 ANALYSIS 9 TOLLYWOOD 13 SPORTS 16 Published From HYDERABAD DELHI LUCKNOW INDIA’S DIPLOMATIC MEET MAHESH BABU AS NADAL STEPS CLOSER BHOPAL RAIPUR CHANDIGARH CHALLENGE MAJOR AJAY KRISHNA TO HISTORY RANCHI BHUBANESWAR DEHRADUN VIJAYAWADA *LATE CITY VOL. 1 ISSUE 307 HYDERABAD, SATURDAY AUGUST 10, 2019; PAGES 16 `3 *Air Surcharge Extra if Applicable WON’T APOLOGISE FOR HONESTY: TAAPSEE { Page 14 } www.dailypioneer.com A NON-GANDHI WILL BE PARTY PRESIDENT FOR THE FIRST TIME IN TWO DECADES 66TH NATIONAL FILM AWARDS Decision on Cong chief today, Keerthy Suresh wins Best Actress award for ‘Mahanati’ Mukul Wasnik frontrunner "Mahanati" sweeps three awards Tollywood bags seven awards Sudha Rani Relangi PNS n NEW DELHI PNS n HYDERABAD ners from Tollywood include recordist of the Final Mixed In its 134-year history, Rahul Ravindran who won Track. Sudha Rani A new Congress president Keerthy Suresh bagged the the award for Best Original Meanwhile, Prashanth will be chosen when the India's oldest political Best Actress award at the Screenplay for Chia La Sow Varma's directorial venture Relangi is party's top decision-making party has mostly had a 66th National Film Awards while Ram Charan starrer Awe, produced by actor Nani body meets tomorrow, sources for her terrific performance Rangasthalam has received and starring Kajal Aggarwal, CBI's new said on Friday after a meeting member of the Nehru- in the Telugu film Mahanati. the Best Audiography award Nithya Menon, Regina at Sonia Gandhi's home. Gandhi family in The film, based on the life of in the category - the Re- Cassandra, Eesha director (pros) Mukul Wasnik has emerged as charge. -
A Critical Analysis of Predominant Colours in the Movie Pudhupettai
International Journal of Computer Sciences and Engineering Open Access Review Paper Vol.-6, Issue-12, Dec 2018 E-ISSN: 2347-2693 A Critical Analysis of Predominant Colours in the Movie Pudhupettai Chandra Mouly V1*, Nandhini C2 1Dept. of Visual Comm, Vels Institute of Science, Technology and Advanced Studies (VISTAS), Chennai 2Dept. of Comm, Madras Christian College, Chennai *Corresponding Author: [email protected] Available online at: www.ijcseonline.org Accepted: 26/Dec/2018: Published: 31/Dec/2018 Abstract: This research papera aimed to anylse the predominant colors like red, blue, and green used in the newly released movie named ‘Pudhupettai’. Also, this research examines the use of red and green colour lightings in the movie Pudhupettai to expose the scene mood and the character’ state of mind with reference to colour psychology in movies. Colour has always been one of the nonverbal languages in communication. Story telling has been followed around the world for ages in various forms including the traditional and new media. Films have paved a massive way among the audience to attain exposure in various platforms. The aim of the directors in general would be making the scene clearer and more realistic to watch and to attract numerous viewers on the stand. Hence, this explores the possibilities of such used emotions using the colours and the pattern of character discourse according to the state of mind. Green again is used in both negative and positive terms to depict the character’s start of mind. Green is unique in the sense that it is the quintessential colour of nature, yet green light can also make a place look eerie or portray illness. -
Thiruvaiyaru Thyagaraja Aradhana Is for the Soul
SUNDAY 8 27 JANUARY 2019 newstodaynet.com newstodaydaily ntchennai CHENNAI | R CHITRA | when we arrived. People, sitting on the the Pancharatna Kritis (the soft sand spread on the ground, were fi ve gems of Thyagaraja kri- ot all the years of watching Thyagaraja Aradhana on busy taking selfi es and videos with their tis), as many raiskas could TV prepared us for the sheer grandeur and mesmeris- N phone. be found singing along. A ing atmosphere at Thiruvaiyaru on Pushya Bahula THIRUVAIYARU Another surprise element was that I had Tamil daily had specially Panchami, the day the saint-composer attained samadhi. expected to be surrounded by Carnatic published and distributed a The festival pandal, set up as usual in front of Thya- music afi cionados from Tamilnadu. But I booklet containing the fi ve garaja’s samadhi this year, as always, was fi lled to found many groups talking animatedly in kritis. capacity not just with the scores of Carnatic musicians Telugu; another family was speaking in Using this booklet, but also rasikas. The audience spilled on to outside the Kannada; then came many Malayalees. many joined the chorus, pandal and were standing 10-deep in some never mind that they were spots. I was hoping nobody would see my jaw drop. pushed and pulled in the THYAGARAJA Attending the Thyagaraja Aradhana I have come from Chennai and this relative of mine has come from Banga- crowd outside the pandal this year was the fulfi lment of a long- or that they could barely time wish. Apart from the electrify- lore for the Aradhana, said one of the rasikas I struck up a conversation with keep their balance in the ing atmosphere, it was the village rush. -
UPCOMING THEATRICAL -2021 7.Xlsx
UPCOMING THEATRICAL RELEASES as on 1 March 2021 Date Movie Title Language Cast Director March 04th Mar Chaos Walking English Tom Holland, Daisy Ridley Doug Liman 04th Mar The Priest Malayalam Mammootty, Manju Warrier Jofin T Chacko 05th Mar Hiralal Malayalam Swatawata Chatterjee, Kharaj Mukherjee Arun Roy 05th Mar Raya And The Last Dragon English Kelly Marie Tran, Awkafina Don Hall, Carlos Lopez 05th Mar Judas And The Black Messiah English Daniel Kaluuya, LaKeithStanfield, Jesse Plemons Shaka King 05th Mar Hero Kannada & Dub Rishab Shetty, Ganavi Laxman, Pramod Shetty M Bharath Raj 05th Mar Anbirkiniyal Tamil Keerthi Pandian, Arun Pandiyan Gokul 05th Mar Nenjam Marappathillai Tamil S J Suryah, Regina Cassandra Selvaraghavan 05th Mar Mirugaa/Garjana Tamil, Telugu Raai Laxmi, Srikanth Krishnamachari J.Parthiban 05th Mar A1 Express Telugu Sundeep Kishan, avayna Tripati Jeevan 05th Mar Climax Telugu Rajendra Prasad, Sasha Singh Bhavani Shankar Kaipa 05th Mar Shaadi Mubarak Telugu Sagar RK Naidu, Drishya Raghunath Padmasri 11th Mar Roohi Hindi Rajkummar Rao, Janhvi Kapoor Hardik Mehta 11th Mar Roberrt Kannada & Dub Darshan, Jagapathi Babu Tharun Sudhir 11th Mar Nayattu Malayalam Rahul Madhav, Richa Panai P Chandrakumar 11th Mar Tsunami Malayalam Aju Varghese Jean Paul Lal 11th Mar Gaali Sampath Telugu Sree Vishnu, Rajendra Prasad Anish 11th Mar Jathi Ratnalu Telugu Naveen Polisetty, Faria Anudeep K V 11th Mar Sreekaram Telugu Sharwanand, Priyanka Kishore Reddy 11th Mar Puaada Punjabi Ammy Virk, Soonam Bajwa Rupinder Chahal 12th Mar The King's