Knowledge Series / Day 1 Wednesday, November 21

Total Page:16

File Type:pdf, Size:1020Kb

Knowledge Series / Day 1 Wednesday, November 21 KNOWLEDGE SERIES / DAY 1 WEDNESDAY, NOVEMBER 21 TIME SESSION SPEAKERS PG 10.00 AM – OPEN PITCH Svetlana Naudiyal, Deputy Director, Film 6 1.00 PM Co - Production Market Bazaar 1.15 PM – Presenting Film State Policy of Sri Shishir, Member Secretary, Film Bandhu/ 7 1.45 PM Uttar Pradesh Director, Information, UP Government Sanjay Suri, Actor, Producer 2.15 PM – Public Funds for the Asian Ilann Girard, Managing Director, OLFFI 8 3.00 PM Filmmaker & the Premium OLFFI Miriam Joseph, Producer Tool 3.15 PM – Showcasing the FFO Web Portal Vikramjit Roy, Head, Film Facilitation Office of 9 3.45 PM M/O I&B at NFDC Sanjay Suri, Actor, Producer 4.00 PM – Decoding Block Chain for Orlando Pedregosa, Co-Founder, Babeika 10 4.45 PM Entertainment Industry Films (Securing IPR & Ledger Management Simran Mulchandani, Co-Founder & CEO, for Films) Mach One Safir R Anand, Senior Partner & Head Of Trademarks, Contractual and Commercial IP, Anand & Anand Rohan Sippy, Filmmaker 5.00 PM – Crafting a Brave New World In Conversation 11 6.00 PM Siddharth Roy Kapur, Producer & Founder, Roy Kapur Films Liz Shackleton, Asia Editor, Screen International KNOWLEDGE SERIES / DAY 2 THURSDAY, NOVEMBER 22 TIME SESSION SPEAKERS PG 10.30 AM – Film Bazaar Recommends Deepti Dcunha, Film Programmer 12 1.30 PM 1.45 PM – Presenting Lakshadweep - New Asar Pal Singh, Resident Commissioner, UT 13 2.15 PM Shooting Guidelines of Lakshadweep Vikash Sivaraman, Advisor, Film Tourism, UT of Lakshadweep Balram Meena, Director Tourism, UT of Lakshadweep Sanjay Suri, Actor, Producer 2.45 PM – North East - Cinemas & Pradip Kurbah, Filmmaker 14 3.30 PM Opportunities Unexplored Napoleon RZ Thanga, Filmmaker Sange Dorjee, Filmmaker Anshulika Dubey, Co-founder & COO, Wishberry 3.45 PM – The OTT Chessboard in India - Tarun Katial, CEO, ZEE5 India 15 4.30 PM Next Moves Ajay Chacko, Co-founder & CEO, Arre Rasika Dugal, Actor Rohan Sippy, Filmmaker Suri Gopalan, Founder, Vista India Digital Media Orly Ravid, Founder, The Film Collaborative 4.45 PM – Badlands & the 'Gender' In Conversation 16 5.45 PM Vishal Bhardwaj, Filmmaker, Producer Nasreen Munni Kabir, Documentary Filmmaker, Author KNOWLEDGE SERIES / DAY 3 FRIDAY, NOVEMBER 23 TIME SESSION SPEAKERS PG 10.30 AM – Filmmakers' Pitch Abhra Das, Consultant, NFDC 17 12.30 PM 12.45 PM – A Time for Violence Vetri Maaran, Filmmaker 18 1.30 PM Directors’ Jam Devashish Makhija, Filmmaker Ivan Ayr, Filmmaker Somen Mishra, Head, Creative Development, Dharma Productions 2.00 PM – South Asian Content through the Marco Mueller, Film Critic And Historian, 19 2.45 PM World Lens Artistic director of PYIFF, Pingyao Derek Malcolm, Film Critic Paolo Bertolin, Programmer, Venice International Film Festival Dominique Welinski, Producer Orly Ravid, Founder, The Film Collaborative 3.00 PM – Building Resources for the Indie & Prakash Bare, Actor, Producer 20 3.45 PM the Experimental Vivek Paul, CEO, Reelmonk Shaji Mathew, Founder, NIV Art Centre, Film Producer Jiju Antony, Filmmaker Rohan Sippy, Filmmaker 4.00 PM – Films without Borders - Bridging Marco Mueller, Film Critic And Historian, 21 5.00 PM Cultures Artistic director of PYIFF, Pingyao Meg Thomson, SVP, Worldwide Content, Globalgate Entertainment Maria Ruggieri, Head, Sales and Acquisitions, Asian shadows Deepti Dcunha, Film Programmer 5.15 PM – Engagement with Transmedia - Jeff Gomez, Founder & CEO, Starlight 22 6.15 PM Creating Worlds across Platforms Runner Entertainment Steele Filipek, Executive Editor, Starlight Runner Entertainment Gitanjali Rao, Filmmaker & Animator Rohan Sippy, Filmmaker KNOWLEDGE SERIES / DAY 4 SATURDAY, NOVEMBER 24 TIME SESSION SPEAKERS PG 10.30 AM – Storytellers First - Directors & Ramesh Sippy, Filmmaker 23 11.15 AM Producers who Changed the Game Vishal Bhardwaj, Filmmaker Directors’ Jam Abhishek Chaubey, Filmmaker 11.30 AM – The ‘Horror Platter’ Patrick Graham, Filmmaker 24 12.15 PM Directors’ Jam Krishna DK, Filmmaker Raj Nidimoru, Filmmaker Pankaj Kumar, Cinematographer Bhaskar Hazarika, Filmmaker 12.30 PM – Animation - Not Just Child's Play Gitanjali Rao, Filmmaker, Animator 25 1.15 PM Soumitra Ranade, Chairman & Creative Director, Paperboat Design Studios Pvt. Ltd. 1.30 PM – Producers' World - a Science of Anshulika Dubey, Co founder & COO, 26 2.15 PM Choices Wishberry Producers’ Jam Catherine Dussart, Producer Deborah Sathe, Director, International Operations, Cinestaan Nyay Bhushan, India Correspondent, The Hollywood Reporter 2.45 PM – Content Security in the Digital Satya Raghavan, Head, Content Operations, 27 3.30 PM Space YouTube India Miriam Joseph, Producer 3.45 PM – Talent Management and World Ranimol T.A, Business Head, Times Talent 28 4.30 PM Best Practises Caleb Franklin, Founder & Managing Partner, Matter Advisors Orly Ravid, Founder, The Film Collaborative 4.45 PM – Facebook and Instagram Platform Diwaker Chandani, Cluster Lead & Strategic 29 5.15 PM Narrative Partner Manager 5.30 PM – The Dark, The Pulpy & the Love In Conversation 30 6.30 PM Story Sriram Raghavan, Filmmaker Somen Mishra, Head, Creative Development, Dharma Productions.
Recommended publications
  • Koel Chatterjee Phd Thesis
    Bollywood Shakespeares from Gulzar to Bhardwaj: Adapting, Assimilating and Culturalizing the Bard Koel Chatterjee PhD Thesis 10 October, 2017 I, Koel Chatterjee, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 10th October, 2017 Acknowledgements This thesis would not have been possible without the patience and guidance of my supervisor Dr Deana Rankin. Without her ability to keep me focused despite my never-ending projects and her continuous support during my many illnesses throughout these last five years, this thesis would still be a work in progress. I would also like to thank Dr. Ewan Fernie who inspired me to work on Shakespeare and Bollywood during my MA at Royal Holloway and Dr. Christie Carson who encouraged me to pursue a PhD after six years of being away from academia, as well as Poonam Trivedi, whose work on Filmi Shakespeares inspired my research. I thank Dr. Varsha Panjwani for mentoring me through the last three years, for the words of encouragement and support every time I doubted myself, and for the stimulating discussions that helped shape this thesis. Last but not the least, I thank my family: my grandfather Dr Somesh Chandra Bhattacharya, who made it possible for me to follow my dreams; my mother Manasi Chatterjee, who taught me to work harder when the going got tough; my sister, Payel Chatterjee, for forcing me to watch countless terrible Bollywood films; and my father, Bidyut Behari Chatterjee, whose impromptu recitations of Shakespeare to underline a thought or an emotion have led me inevitably to becoming a Shakespeare scholar.
    [Show full text]
  • An Imaginative Film and Monumental by Its Production Values and Cinematic Brilliance in Creating a Fantasy World on Screen
    63rd NATIONAL FILM AWARDS FOR 2015 FEATURE FILMS S.No. Name of Award Name of Film Awardees Medal Citation & Cash Prize 1. BEST FEATURE BAAHUBALI Producer: SHOBU Swarna Kamal An imaginative film and FILM YARLAGADDA AND and monumental by its production ARKA values and cinematic brilliance MEDIAWORKS (P) 2,50,000/- LTD. each to in creating a fantasy world on screen. the Producer and Director : S.S Director RAJAMOULI (CASH COMPONENT TO BE SHARED) 2. INDIRA GANDHI MASAAN Producer: Swarna Kamal For his perceptive approach AWARD FOR BEST PHANTOM FILMS and to filmmaking in handling a DEBUT FILM OF A layered story of DIRECTOR Director : NEERAJ 1,25, 000/- people caught up changing GHAYWAN each to social and moral values. the Producer and Director 3. BEST POPULAR BAJRANGI Producer: SALMA Swarna Kamal Tackling an important social FILM PROVIDING BHAIJAAN KHAN, and issue in the simple heart- WHOLESOME SALMAN KHAN, warming & entertaining format. ENTERTAINMENT ROCKLINE 2,00,000/- VENKTESH each to Director : KABIR the Producer and KHAN Director 4. NARGIS DUTT NANAK SHAH Producer: Rajat Kamal and The saga on the life of the FAKIR GURBANI MEDIA AWARD FOR great spiritual master BEST FEATURE PVT. LTD. 1,50,000/- each to advocating the values of peace FILM ON and harmony. NATIONAL the Producer and INTEGRATION Director 5. BEST FILM ON NIRNAYAKAM Producer: JAIRAJ Rajat Kamal and For tackling a relevant and SOCIAL ISSUES FILMS unaddressed issue of 1,50,000/- each curtailing freedom of Director : V.K to movement for the common PRAKASH the Producer and man due to hartals and Director processions.
    [Show full text]
  • Adaptation of Shakespeare's Plays Into Films: the Dark Side
    European Journal of English Language and Literature Studies Vol. 4, Issue 7, pp. 35-39, November 201 Published by European Centre for Research Training and Development UK (www.eajournals.org) ADAPTATION OF SHAKESPEARE'S PLAYS INTO FILMS: THE DARK SIDE Azeez Jasim Mohammed Assistant Professor, Department of English Language and Literature, Jerash University, Jerash 26150, Jordan ABSTRACT: To what extent our innermost feelings can be revealed through our works? The unbearable face of human being cannot be hidden and what a director shot in a film may reveal the real sense of what is hidden from our eyes. Thus directors sometimes try to hide their dark side behind such interesting movies after having modified the events of the original text to achieve their end. This paper, however, is an overview about the technique of adaptation which varies from one adaptationist to another depending on the historical background of the screenplay writer. Although the director succeeds to project what is on one side of his curtain, he fails to hide what is on the other side that discloses his innermost feelings KEYWORDS: Dark side, Shakespeare, adaptation, Vishal Bhardwaj, Sadism, Masochism INTRODUCTION In this paper, I start from where I ended my last essay on media and literature which presented the relationship between the content of a literary work and its modified version after adaptation into films. The core of which was the role of the mass media which consisted of various layers of meaning superimposed on one another. I enhanced the study with two specific instances those served as illustrations; 'Best Defense', a Hollywood movie based on Robert Grossbach’s novel Easy and Hard Ways Out (1974) and 'World War Z'; another Hollywood movie based on the New York Times bestseller and an apocalyptic horror novel World War Z: An Oral History of the Zombie War (2006) by Max Brooks.
    [Show full text]
  • 7 KHOON MAAF Special 7 SINS FORGIVEN 7 SINS FORGIVEN 7 SINS FORGIVEN
    PS-2030:PS_ 30.01.2011 13:53 Uhr Seite 128 Berlinale 2011 Vishal Bhardwaj Panorama 7 KHOON MAAF Special 7 SINS FORGIVEN 7 SINS FORGIVEN 7 SINS FORGIVEN Indien 2011 Darsteller Susanna Anna- Länge 143 Min. Marie Johannes Priyanka Chopra Format 35 mm, Major Edwin Cinemascope Rodriques Neil Nitin Mukesh Farbe Jimmy Stetson John Abraham Wasiullah Khan Irrfan Khan Stabliste Nicolai Vronsky Alexander Regie Vishal Bhardwaj Dychenko Buch Matthew Robbins Keemat Lal Annu Kapoor Vishal Bhardwaj, Modhusudhon nach der Tarafdar Naseeruddin Shah Erzählung „The sowie Konkana Sen Merry Widow“ von Sharma Ruskin Bond Vivaan Shah Kamera Ranjan Palit Usha Uthup Dialoge Vishal Bhardwaj Harish Khanna Schnitt Sreekar Prasad Shashi Malviya Sounddesign P M Satheesh Shajith Koyeri Musik Vishal Bhardwaj Priyanka Chopra Liedtexte Gulzar Production Design Samir Chanda Maske Vikram Gaikwad 7 SINS FORGIVEN Herstellungsltg. Sanjeev Kumar Sechs Ehemänner hat die schöne Susanna gehabt in einem insgesamt 35 Produzenten Ronnie Screwvala Jahre währenden Eheleben. Keiner der Gatten hat die Ehe mit der eleganten, Vishal Bharadwaj attraktiven Frau überlebt – „die lustige Witwe“ hat sie alle zu Tode geliebt! Co-Produzenten Zarina Mehta Der erste in der Reihe war der Major, der sah so schneidig aus in seiner Deven Khote Sidharth Roy Uniform. Vielleicht war er damals schon ein bisschen zu alt für Susanna? Kapur Aber was soll’s! Liebe macht blind. Rekha Bhardwaj Sehr kurz darauf trat sie mit Jimmy vor den Altar. Der sang so schön und sah Executive Producer Ajay Rai so gut aus. Doch letztlich war Jimmy ein unbeschriebenes Blatt … Associate Producers Manish Hariprasad Susanna ist im Grunde ihres Herzens eine Romantikerin und deshalb sehr Vikas Mehta Creative Producer Vikas Bahl empfänglich für Lyrik.
    [Show full text]
  • Films 2018.Xlsx
    List of feature films certified in 2018 Certified Type Of Film Certificate No. Title Language Certificate No. Certificate Date Duration/Le (Video/Digita Producer Name Production House Type ngth l/Celluloid) ARABIC ARABIC WITH 1 LITTLE GANDHI VFL/1/68/2018-MUM 13 June 2018 91.38 Video HOUSE OF FILM - U ENGLISH SUBTITLE Assamese SVF 1 AMAZON ADVENTURE Assamese DIL/2/5/2018-KOL 02 January 2018 140 Digital Ravi Sharma ENTERTAINMENT UA PVT. LTD. TRILOKINATH India Stories Media XHOIXOBOTE 2 Assamese DIL/2/20/2018-MUM 18 January 2018 93.04 Digital CHANDRABHAN & Entertainment Pvt UA DHEMALITE. MALHOTRA Ltd AM TELEVISION 3 LILAR PORA LEILALOI Assamese DIL/2/1/2018-GUW 30 January 2018 97.09 Digital Sanjive Narain UA PVT LTD. A.R. 4 NIJANOR GAAN Assamese DIL/1/1/2018-GUW 12 March 2018 155.1 Digital Haider Alam Azad U INTERNATIONAL Ravindra Singh ANHAD STUDIO 5 RAKTABEEZ Assamese DIL/2/3/2018-GUW 08 May 2018 127.23 Digital UA Rajawat PVT.LTD. ASSAMESE WITH Gopendra Mohan SHIVAM 6 KAANEEN DIL/1/3/2018-GUW 09 May 2018 135 Digital U ENGLISH SUBTITLES Das CREATION Ankita Das 7 TANDAB OF PANDAB Assamese DIL/1/4/2018-GUW 15 May 2018 150.41 Digital Arian Entertainment U Choudhury 8 KRODH Assamese DIL/3/1/2018-GUW 25 May 2018 100.36 Digital Manoj Baishya - A Ajay Vishnu Children's Film 9 HAPPY MOTHER'S DAY Assamese DIL/1/5/2018-GUW 08 June 2018 108.08 Digital U Chavan Society, India Ajay Vishnu Children's Film 10 GILLI GILLI ATTA Assamese DIL/1/6/2018-GUW 08 June 2018 85.17 Digital U Chavan Society, India SEEMA- THE UNTOLD ASSAMESE WITH AM TELEVISION 11 DIL/1/17/2018-GUW 25 June 2018 94.1 Digital Sanjive Narain U STORY ENGLISH SUBTITLES PVT LTD.
    [Show full text]
  • Sederi 29 (2019: 221–26) Reviews Differently, with a Focus on Indianization
    Poonam Trivedi and Paromita Chakravarti, eds. 2018 Shakespeare and Indian Cinemas: Local Habitations New York: Routledge Rosa García-Periago Queen’s University, Belfast, UK Poonam Trivedi and Paromita Chakravarti’s Shakespeare and Indian Cinemas: Local Habitations (2018) is a more-than-welcome addition to the field of Shakespeare film scholarship. It is a superb and groundbreaking collection that aims to explore Shakespeare on the Indian screen beyond Bollywood cinema. Thus, it moves away completely from previous research on Indian Shakespeares, which mainly focused on Bollywood cinema, Bollywood Shakespeares (Dionne and Kapadia 2014) being a case in point. Numerous articles and chapters have been devoted to this field. Jonathan Locke Hart’s latest collection Shakespeare and Asia (2019) includes for instance a chapter on Goliyon ki Rasleela Ram Leela (a Bollywood movie based on Romeo and Juliet) and Jonathan Gil Harris’ Masala Shakespeare (2018) discusses several Bollywood Shakespearean adaptations throughout. Those essays that have gone beyond Bollywood Shakespeares have mostly focused on Vishal Bhardwaj’s trilogy, either regarded as challenging Bollywood conventions (García-Periago 2014) or examples of “auteur” films (Burnett 2013). However, the way Shakespeare has been used or reinterpreted in Indian regional cinemas has been quite scarce and limited. Burnett’s Shakespeare and World Cinema (2013) is one of the few instances with a chapter on the southern Indian filmmaker Jayaraj. Hence, this book opens uncharted territory, exploring in depth Shakespeare’s presence outside the Bollywood arena, and claims for more visibility of regional cinemas. Trivedi and Chakravarti’s collection is precisely distinctive in its emphasis on regionalism for further research in the relations between Indian film and Shakespeare.
    [Show full text]
  • 100 Essential Indian Films, by Rohit K. Dasgupta and Sangeeta Datta
    Alphaville: Journal of Film and Screen Media no. 21, 2021, pp. 239–243 DOI: https://doi.org/10.33178/alpha.21.21 100 Essential Indian Films, by Rohit K. Dasgupta and Sangeeta Datta. Rowman & Littlefield, 2019, 283 pp. Darshana Chakrabarty Among the many film industries of South Asia, the Indian film industry is the most prolific, specifically Hindi language film, more commonly known as Bollywood, which produces almost four hundred films annually. Bollywood films dominate the national market. These films have also been exported successfully to parts of the Middle East, Africa, and the Asiatic regions of the former Soviet Union, as well as to Canada, Australia, the UK, and the US. The success of these films abroad is largely down to the presence of Indian communities living in these regions; as the conventional melodramatic plot structures, dance numbers and musicals tend to deter Western audiences. Within India and abroad “the traditional division between India’s popular cinema and its ‘art’ or ‘parallel’ cinema, modelled after India's most prestigious film-director Satyajit Ray, often produced the uncritical assumption that Indian films are either ‘Ray or rubbish’” (Chaudhuri 137). Recently, Indian film criticism has begun focusing on popular Indian cinema, assessing the multi-discursive elements of the cinematic creations. Bollywood “gained prominence within academia due to its growing popularity and unique manner of glorifying Indian familial values” (Sinha 3). From a history and origin of Indian motion pictures to selecting films that best represent the diversity, integrity and heritage of the nation, 100 Essential Indian Films by Rohit K. Dasgupta and Sangeeta Dutta is a concise book on Indian cinema for connoisseurs and for film enthusiasts taking an interest in India’s classic and contemporary cinema.
    [Show full text]
  • Download Download
    "Light Your Cigarette with My Heart's Fire, My Love": Raunchy Dances and a Golden- hearted Prostitute in Bhardwaj's Omkara (2006) Madhavi Biswas, University of Texas Dallas Abstract This essay argues that Omkara (dir. Vishal Bhardwaj, 2006) foregrounds contemporary gender concerns in modern, small-town India, primarily through the film's reformulation of the three female roles in Othello. Billo/Bianca, played by a glamorous, contemporary, female star, gets her own romance and two popular and raunchy song-and-dance tracks in Omkara. These dance tracks are a peculiar mixture of traditional folk Nautanki and identifiable Bollywood masala "item numbers," whose layered lyrics have been penned by Gulzar, a well-known poet, lyricist, scriptwriter, and ex-film-director who closely collaborates with Bhardwaj. The essay argues for the recognition of the songs in Omkara as a parallel narrative that intertwines with and intersects the central narrative of the plot, inflecting it with a range of cultural and social intertexts, along with a dash of metatextual flavor. The article examines how the two song-and-dance sequences by Billo/Bianca in the film use the familiar tropes of the "courtesan" figure of Hindi films and draw upon traditional folk-theater — reflecting both its local poetry and its vulgarity — to evoke a new kind of verbal and visual "realism" that intertwines Bollywood glamor with local histories. Omkara, with its big budget stars, glossy production values, and popular song- and-dance numbers interspersing the narrative — elements that are often associated with the "Bollywood" style of Hindi cinema — is the most obviously commercial of Vishal Bhardwaj's three Shakespearean adaptations.
    [Show full text]
  • Iifa Awards 2011 Popular Awards Nominations
    IIFA AWARDS 2011 POPULAR AWARDS NOMINATIONS BEST FILM MUSIC DIRECTION ❑ Band Baaja Baaraat ❑ Salim - Sulaiman — Band Baaja Baaraat ❑ Dabangg ❑ Sajid - Wajid & Lalit Pandit — Dabangg ❑ My Name Is Khan ❑ Vishal - Shekhar — I Hate Luv Storys ❑ Once Upon A Time In Mumbaai ❑ Vishal Bhardwaj — Ishqiya ❑ Raajneeti ❑ Shankar Ehsaan Loy — My Name Is Khan ❑ Pritam — Once Upon A Time In Mumbaai BEST DIRECTION ❑ Maneesh Sharma — Band Baaja Baaraat BEST STORY ❑ Abhinav Kashyap — Dabangg ❑ Maneesh Sharma — Band Baajaa Baaraat ❑ Sanjay Leela Bhansali — Guzaarish ❑ Abhishek Chaubey — Ishqiya ❑ Karan Johar — My Name Is Khan ❑ Shibani Bhatija — My Name Is Khan ❑ Milan Luthria — Once Upon A Time In Mumbaai ❑ Rajat Aroraa — Once Upon A Time In Mumbaai ❑ Vikramaditya Motwane — Udaan ❑ Anurag Kashyap, Vikramaditya Motwane — Udaan PERFORMANCE IN A LEADING ROLE: MALE LYRICS ❑ Salman Khan — Dabangg ❑ Amitabh Bhattacharya — Ainvayi Ainvayi, Band Baajaa Baraat ❑ Hrithik Roshan — Guzaarish ❑ Faaiz Anwar — Tere Mast Mast, Dabangg ❑ Shah Rukh Khan — My Name Is Khan ❑ Gulzar — Dil Toh Bachcha, Ishqiya ❑ Ajay Devgn — Once Upon A Time In Mumbaai ❑ Niranjan Iyengar — Sajdaa, My Name Is Khan ❑ Ranbir Kapoor — Raajneeti ❑ Irshad Kamil — Pee Loon, Once Upon A Time In Mumbaai PERFORMANCE IN A LEADING ROLE: FEMALE PLAYBACK SINGER: MALE ❑ Anushka Sharma — Band Baaja Baaraat ❑ Vishal Dadlani — Adhoore, Break Ke Baad ❑ Kareena Kapoor — Golmaal 3 ❑ Rahat Fateh Ali Khan — Tere Mast Mast Do Nain, Dabangg ❑ Aishwarya Rai Bachchan — Guzaarish ❑ Shafqat Amanat Ali — Bin Tere, I Hate
    [Show full text]
  • Visual Parallels Between Two Auteur Directors in Hindi Cinema: Vishal Bhardwaj & Sanjay Leela Bhansali
    International Journal of Future Generation Communication and Networking Vol. 14, No. 1, (2021), pp. 2701–2707 Visual Parallels Between Two Auteur Directors In Hindi Cinema: Vishal Bhardwaj & Sanjay Leela Bhansali Sanika Kulkarni Assistant Professor Tilak Maharashtra Vidyapeeth Abstract: The term Auteur is commonly referred to directors who apply highly consolidated and subjective control to many aspects of a collaborative creative work; they are considered equivalent to authors of a novel or a play. In simple terms, the director of the film is the author; it is his vision of how the film should be presented and everyone in the production process is just assisting it. Though there have been several examples proving the term Auteur and legitimizing the director as the author, this theory has faced a lot of backlashes especially from the radical critics posing that the process of cinema is that of collaboration and teamwork. Some of the critics still state that this gives the director a sense of ownership and film can be seen only as a work of a collective and not as a work of a single person. What these critics fail to take in consideration is that even before the existence of Auteur theory, directors were still considered to be the most important among the people working on film. After various studies, critics coined the term and they identified that each director had individual stylistic techniques as well as specific things which were prevalent in their respective films. An examination of film authorship should cover the evolution of authorship theory from the 1960s to the present.
    [Show full text]
  • Vishal Bhardwaj the Sportsman Who Turned Music Composer to Woo His Collegemate
    nos 008 Vishal Bhardwaj the sportsman who turned music composer to woo his collegemate In his own words I did BA Pass, which we used to call the ‘royal course’ at that time. Students from sports quota, aspiring artists, basically those who didn’t want to study, opted for it ! . I had come from Meerut, and being from a small town, college was a totally new world for me. I met so many musicians and learned music here. I’d have never become a composer or a filmmaker had I not studied here. College also brought newfound freedom. But to the aspirants, I want to say that this freedom and liberty come with responsibilities. And hey outstation students, don’t ever feel like a misfit. Always remember that it is the people from outside who make it big. Even in films, people who’ve come from outside Bombay have done better. I came from a small town, but never felt lonely because I stayed in the college hostel and everyone immediately became family, including the hostel staff. I remember living on bun-anda, roaming around till 4 in the morning . Unlike most guys, we never hung out around Miranda House, because the girls in our college were so pretty. Rekha (wife, singer Rekha Bhardwaj) was my senior and just to woo her, I became a composer. But, she was not the first one I tried to woo. I had many heartbreaks before that! adapted from 28 Jun 2015 Hindustan Times (Delhi) alumnus Vishal BA and alumna Rekha (a well – known singer).
    [Show full text]
  • From Shakespearean Text to Cinema: a Study of Select Dramaturgic Adaptations
    FROM SHAKESPEAREAN TEXT TO CINEMA: A STUDY OF SELECT DRAMATURGIC ADAPTATIONS THESIS SUBMITTED FOR THE AWARD OF THE DEGREE OF Doctor of philosophy In English By FATIMAH JAVED UNDER THE SUPERVISION OF PROF. SAMINA KHAN DEPARTMENT OF ENGLISH ALIGARH MUSLIM UNIVERSITY ALIGARH-202002 (U.P) INDIA 2017 Professor Samina Khan Department of English Aligarh Muslim University, Aligarh Phone No: 09997398308 [email protected] Certificate Certified that the thesis entitled “From Shakespearean Text to Cinema: A Study of Select Dramaturgic Adaptations” submitted by Ms. Fatimah Javed for the award of the degree of the Doctor of Philosophy is an original work carried out under my supervision and has not been submitted, in part or full, to this University or any other University. Prof. Samina Khan Date: Supervisor Acknowledgements I am sincerely indebted to all those people who have helped, guided and encouraged me while I was working on my thesis. First and foremost, I thank my supervisor, Prof. Samina Khan who appreciated the idea and supported me at each and every phase of my research. I owe her my heartfelt gratitude for being there as my guide. This work would not have been possible without her able guidance and support. I would like to thank the Chairperson, Department of English, for her help and support. I would also like to extend a big thanks to Dr. Jawed S. Ahmad for his diligent proofreading of my various chapters. I am equally thankful to Dr. Akbar Joseph A. Syed and Dr. Rashmi Attri for their valuable suggestions and feedback. I also thank my friend Dr.
    [Show full text]