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EMPIRICAL ARTICLE a STUDY on CONTEMPORARY KANNADA CINEMA and HUMAN RIGHTS Jayadatta S1, Krishna Murthy B
DOI: 10.14260/jadbm/2015/35 EMPIRICAL ARTICLE A STUDY ON CONTEMPORARY KANNADA CINEMA AND HUMAN RIGHTS Jayadatta S1, Krishna Murthy B. Y2 HOW TO CITE THIS ARTICLE: Jayadatta S, Krishna Murthy B. Y. “A Study on Contemporary Kannada Cinema and Human Rights”. Journal of Advances in Business Management; Vol. 1, Issue 3, July-September 2015; Page: 305-310, DOI: 10.14260/jadbm/2015/35 INTRODUCTION: India is the larger film producer in world. It produces nearly 800-1000 films per year. Out of which regional language films also add their contribution to national and international scenario. Bollywood is the name of Hindi cinema, Tollywood is of Telugu cinema, Molly wood is of Tamil cinema, Sandal wood is of Kannada cinema etc. Celebrated its 75th year in 2009 and moving towards century. Kannada film industry has its own history from 1934 Saathi sulochana to Puttakkana Highway-2012 industry has seen many up and downs. It has its audience across all over the globe. Industry has the great talented directors, actors, novel writers like late Dr. Rajakumar and Mr. V. K. Murthy have been honored by prestigious Dada Saheb Palake awarded, the director like late Mr. Puttanna Kanagal, late Lakshmi Narayana Rao, Mr. Girish Kasaravalli, Late Mr. G. V. Iyer, Actor/director Jnanapeeta award Dr. Girish Karnad, Late Shankarna, etc Have contributed their achievements and laid milestone in film industry. Master Kishan’s Care of Footpath and Film Shanthi received in the book of Gunnies Award. Observing the film trends from past 1934-2011 it can be conclude that the early film age was about theater oriented content, 1940-50 was on mythology and social oriented subjects, 50-60s were the devotional subjects, 60-70s were based on Kannada Unification stories, 70-80s were on aggressive and love stories, Women oriented majority based on Novels works.80-90s on mixed western culture with crime stories, 90-2000 expose of half nudity and double meaning in dialogue and songs, 2001- 2011 half nudity, crime, violence, vulgarity themes. -
Cinema of the Social: Stars, Fans and the Standardization of Genre in Tamil Cinema
Western University Scholarship@Western Digitized Theses Digitized Special Collections 2011 CINEMA OF THE SOCIAL: STARS, FANS AND THE STANDARDIZATION OF GENRE IN TAMIL CINEMA Ganga Rudraiah Follow this and additional works at: https://ir.lib.uwo.ca/digitizedtheses Recommended Citation Rudraiah, Ganga, "CINEMA OF THE SOCIAL: STARS, FANS AND THE STANDARDIZATION OF GENRE IN TAMIL CINEMA" (2011). Digitized Theses. 3315. https://ir.lib.uwo.ca/digitizedtheses/3315 This Thesis is brought to you for free and open access by the Digitized Special Collections at Scholarship@Western. It has been accepted for inclusion in Digitized Theses by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. CINEMA OF THE SOCIAL: STARS, FANS AND THE STANDARDIZATION OF GENRE IN TAMIL CINEMA r , ' (Spine title: CINEMA OF THE SOCIAL) (Thesis Format: Monograph) by : Ganga Rudraiah Graduate Program in Film Studies A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Ganga Rudraiah 2011 THE UNIVERSITY OF WESTERN ONTARIO SCHOOL OF GRADUATE AND POSTDOCTORAL STUDIES CERTIFICATE OF EXAMINATION r Supervisor Examiners Dr. Christopher E. Glttings Dr. James Prakash Younger Supervisory Committee Dr. Constanza Burucúa Dr. Chris Holmlund The thesis by Ganga Rudraiah entitled: Cinema of the Social: Stars, Fans and the Standardization of Genre in Tamil Cinema is accepted in partial fulfillment of the requirements for the degree of Master of Arts Date Chair of the Thesis Examination Board Abstract The star machinery of Tamil cinema presents itself as a nearly unfathomable system that produces stars and politicians out of actors and fans out of audiences in an organized fashion. -
Research Paper Impact Factor
Research Paper IJBARR Impact Factor: 3.072 E- ISSN -2347-856X Peer Reviewed, Listed & Indexed ISSN -2348-0653 HISTORY OF INDIAN CINEMA Dr. B.P.Mahesh Chandra Guru * Dr.M.S.Sapna** M.Prabhudev*** Mr.M.Dileep Kumar**** * Professor, Dept. of Studies in Communication and Journalism, University of Mysore, Manasagangotri, Karnataka, India. **Assistant Professor, Department of Studies in Communication and Journalism, University of Mysore, Manasagangotri, Karnataka, India. ***Research Scholar, Department of Studies in Communication and Journalism, University of Mysore, Manasagangotri, Karnataka, India. ***RGNF Research Scholar, Department of Studies in Communication and Journalism, University of Mysore, Manasagangothri, Mysore-570006, Karnataka, India. Abstract The Lumiere brothers came over to India in 1896 and exhibited some films for the benefit of publics. D.G.Phalke is known as the founding father of Indian film industry. The first Indian talkie film Alam Ara was produced in 1931 by Ardeshir Irani. In the age of mooki films, about 1000 films were made in India. A new age of talkie films began in India in 1929. The decade of 1940s witnessed remarkable growth of Indian film industry. The Indian films grew well statistically and qualitatively in the post-independence period. In the decade of 1960s, Bollywood and regional films grew very well in the country because of the technological advancements and creative ventures. In the decade of 1970s, new experiments were conducted by the progressive film makers in India. In the decade of 1980s, the commercial films were produced in large number in order to entertain the masses and generate income. Television also gave a tough challenge to the film industry in the decade of 1990s. -
Application of Film Marketing Tools in Kannada Film Industry: an Empirical Analysis 1M.Prabhudev, 2Dr.M.S.Sapna, 3Dr.Bhargavi D.Hemmige and 4Dr
International Journal of Trend in Research and Development, Volume 4(2), ISSN: 2394-9333 www.ijtrd.com Application of Film Marketing Tools in Kannada Film Industry: An Empirical Analysis 1M.Prabhudev, 2Dr.M.S.Sapna, 3Dr.Bhargavi D.Hemmige and 4Dr. B.P.Mahesh Chandra Guru, 1Research Scholar, 2Assistant Professor, 3Assistant Professor and HOD, 4Professor, 3Department of Communication and Journalism, Mahajana’s First Grade College, Mysore, Karnataka State, India 1,2,4 Department of Studies in Communication and Journalism, University of Mysore, Manasagangotri, Karnataka, India. Abstract: Film marketing process has been enriched by the remarkably. About 80 to 100 films were made every year in revolutionary changes in the field of communication science Kannada. and technology. The article is based on empirical study of Kannada film industry is marching towards progress application of film marketing tools in Kannada film industry. despite competition from other films, challenges of other film The Kannada film industry has achieved commendable personalities, video piracy, dubbing of films, inadequate film progress during the last eight decades. The film marketing theatres and other drawbacks. Kannada film industry is strategies have undergone revolutionary changes consequent on recognized at various levels for the rare accomplishments. several media campaigns, fairs and festivals in India. The There is a significant rise in the number of films (Banakar, 2016:03). review of literature clearly indicates that not even a single Kannada film industry has grown confidently both in terms of scientific investigation has been carried out on film marketing number and quality. It has the capacity for the attainment of with special reference to Kannada film industry. -
67Th National Film Awards, 2019 Most Film Friendly State Award Sr. No. State Medal 1. Sikkim Rajat Kamal & Certificate 67Th
67th National Film Awards, 2019 Most Film Friendly State Award Sr. No. State Medal 1. Sikkim Rajat Kamal & Certificate 67th National Film Awards, 2019 Best Writing on Cinema Award for Best Book on Cinema: Sr. No. Title of the Book Language Name of Name of the Medal and the Author Publisher Cash prize 2. A GANDHIAN English Sanjay Suri HarperCollins Swarna AFFAIR: INDIA’S Publishers Kamal and CURIOS PORTRAYAL India Rs. OF LOVE IN CINEMA 75,000/- Special Mention: Sr. No. Title of the Book Language Name of the Award Author 1. CINEMA PAHANARA Marathi Ashok Rane Certificate MANUS 2. KANNADA CINEMA: Kannada P R Ramadasa Certificate JAGATHIKA CINEMA Naidu VIKASA-PRERANE- PRABHAVA Award for Best Film Critic: Sr. No. Name of Critic Language Medal and Cash Prize 1. Sohini Chattopadhyay English Swarna Kamal and Rs. 75,000/- 67th National Film Awards, 2019 Non-Feature Films Section 67th National Film Awards 2019 Non-Feature Films Results S.No. Category of Award Title of the Film Awardee Medal & Cash Prize 1. BEST NON-FEATURE AN ENGINEERED Producer & Swarna Kamal FILM DREAM (HINDI) Director : Rs. 1,50,000/- Hemant Gaba each 2. BEST DEBUT NON- KHISA Producer : P P Rajat Kamal FEATURE FILM OF A (MARATHI) Cine DIRECTOR Production Director : Raj Rs. 75,000/- Pritam More each 3. BEST ETHNOGRAPHI CHARAN-ATVA Producer : Rajat Kamal C FILM THE ESSENCE OF Films Division BEING A NOMAD Director : Dinaz (GUJARATI) Rs 50,000/- Kalwachwala each 4. BEST BIOGRAPHICAL ELEPHANTS DO Producer : Rajat Kamal FILM REMEMBER Films Division Rs 50,000/- (ENGLISH) Director : Swati Producer Pandey, Rs. -
Girish Karnad 1 Girish Karnad
Girish Karnad 1 Girish Karnad Girish Karnad Born Girish Raghunath Karnad 19 May 1938 Matheran, British India (present-day Maharashtra, India) Occupation Playwright, film director, film actor, poet Nationality Indian Alma mater University of Oxford Genres Fiction Literary movement Navya Notable work(s) Tughalak 1964 Taledanda Girish Raghunath Karnad (born 19 May 1938) is a contemporary writer, playwright, screenwriter, actor and movie director in Kannada language. His rise as a playwright in 1960s, marked the coming of age of Modern Indian playwriting in Kannada, just as Badal Sarkar did in Bengali, Vijay Tendulkar in Marathi, and Mohan Rakesh in Hindi.[1] He is a recipient[2] of the 1998 Jnanpith Award, the highest literary honour conferred in India. For four decades Karnad has been composing plays, often using history and mythology to tackle contemporary issues. He has translated his plays into English and has received acclaim.[3] His plays have been translated into some Indian languages and directed by directors like Ebrahim Alkazi, B. V. Karanth, Alyque Padamsee, Prasanna, Arvind Gaur, Satyadev Dubey, Vijaya Mehta, Shyamanand Jalan and Amal Allana.[3] He is active in the world of Indian cinema working as an actor, director, and screenwriter, in Hindi and Kannada flicks, earning awards along the way. He was conferred Padma Shri and Padma Bhushan by the Government of India and won four Filmfare Awards where three are Filmfare Award for Best Director - Kannada and one Filmfare Best Screenplay Award. Early life and education Girish Karnad was born in Matheran, Maharashtra. His initial schooling was in Marathi. In Sirsi, Karnataka, he was exposed to travelling theatre groups, Natak Mandalis as his parents were deeply interested in their plays.[4] As a youngster, Karnad was an ardent admirer of Yakshagana and the theater in his village.[] He earned his Bachelors of Arts degree in Mathematics and Statistics, from Karnatak Arts College, Dharwad (Karnataka University), in 1958. -
A Non-Take on Kannada Cinema
A Non-Take on Kannada Cinema Chandan Gowda BIPOLAR IDENTITY: REGION, NATION, AND THE KANNADA LANGUAGE FILM By M.K. Raghavendra Oxford University Press, New Delhi, 2011, pp. 209, `695.00 n 2002, the Government of Karnataka trends in the newly unified State explain the prohibited the sales of a massive two- shifts in Kannada film conventions. And, Ivolume history of Kannada cinema publi- throughout this process, Kannada cinema shed by Hampi University Press. It apparently managed to retain its local identity vis-á-vis the had factual errors and, more importantly, had ideology of the Indian nation. A parallel point misrepresented Dr. Rajkumar, the Kannada to note is that Kannada films have all along film superstar. The prohibition still holds. And, been ambivalent about Bangalore’s status as a well-documented work on Kannada cinema Kannada city since it was initially identified continues to be unavailable. A scholarly book more with the British than with Mysore and on Kannada cinema, therefore, would normally later became home to many central govern- be an occasion for cheer. ment public sector enterprises. A dominant tendency within film studies Bipolar Identity never clarifies whether the has been to track the effects of social power Kannada films themselves strove to manage and ideology in cinematic texts. Here, the their regional self-identity within a national emphasis is less on the aesthetic properties of frame. Retaining Kannada cinema’s distinctive- cinematic images and sound and more on ness and autonomy appear to be ever-present they came ‘from a space relatively insulated their institutional coordinates in social space. -
December 1: Textual and Narrative Representation of P Sheshadri's Film
Review Article Global Media Journal 2021 ISSN 1550-7521 Vol. 19 No.40: 246 December 1: Textual and Narrative Representation of P Sheshadri’s Film. December 1: Illustrating Documentary Description of P Sheshadri’s Film Illustrating Documentary Description of P Sheshadri’s Film D r. Prashanth G Malur* Manipal Academy of Higher Education, MGA-BFSI Campus, Bangalore, India *Corresponding author: Dr. Prashanth G Malur, Associate Professor-Digital Media, Manipal Academy of Higher Education, MGA-BFSI Campus, Bangalore, India, E-mail: [email protected] Received date: April 30, 2021; Accepted date: May 14, 2021; Published date: May 21, 2021 Copyright: © 2021 Malur PG. This is an open-access article distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. Citation: Malur PG (2021) Illustrating Documentary Description of P Sheshadri’s Film. Global Media Journal. 19.40 from academic circle and critics from the scholars pursuing media Abstract studies. The first film Kannada film industry (presently popular as A Sign is the primary non-verbal visual language to Sandalwood), produced was film Bhakta Kabir, a play enacted communicate and communicating through a sequence of sign by veteran theatre artist Gubbi Veeranna who tried to film it, in forms a vital structure adopted to display the theme in films. 1924. Ten years later in 1934 Sati Sulochana made its first release The study attempts to analyse the thematic narration of the and hence is considered as the first film of the language, followed film December 1, drawing upon the social reality of a political by Bhakta Dhruva. -
TAMIL CINEMA Tamil Cinema
TAMIL CINEMA Tamil cinema (also known as Cinema of Tamil Nadu, the Tamil film industry or the Chennai film industry) is the film industry based in Chennai, Tamil Nadu, India, dedicated to the production of films in the Tamil language. It is based in Chennai's Kodambakkam district, where several South Indian film production companies are headquartered. Tamil cinema is known for being India's second largest film industry in terms of films produced, revenue and worldwide distribution,[1] with audiences mainly including people from the four southern Indian states of Tamil Nadu, Kerala, Andra Pradesh, and Karnataka. Silent films were produced in Chennai since 1917 and the era of talkies dawned in 1931 with the film Kalidas.[2] By the end of the 1930s, the legislature of the State of Madras passed the Entertainment Tax Act of 1939.[3] Tamil cinema later had a profound effect on other filmmaking industries of India, establishing Chennai as a secondary hub for Telugu cinema, Malayalam cinema, Kannada cinema, and Hindi cinema. The industry also inspired filmmaking in Tamil diaspora populations in other countries, such as Sri Lankan Tamil cinema and Canadian Tamil cinema.[6] Film studios in Chennai are bound by legislation, such as the Cinematography Film Rules of 1948,[7] the Cinematography Act of 1952,[8] and the Copyright Act of 1957.[9] Influences Tamil cinema has been impacted by many factors, due to which it has become the second largest film industry of India. The main impacts of the early cinema were the cultural influences of the country. The Tamil language, ancient than the Sanskrit, was the medium in which many plays and stories were written since the ages as early as the Cholas. -
CURRICULUM VITAE Chandan Gowda
CURRICULUM VITAE Chandan Gowda ADDRESS Azim Premji University (Tel) 91-80-66145100 PESSE Campus, Electronics City (Fax) 91-80-66145103 Hosur Road Email: [email protected] Bengaluru – 560100 [email protected] PRESENT POSITION 2011 – Present Professor of Sociology, Azim Premji University, Bengaluru 2008 – 2011 Associate Professor of Sociology, National Law School of India, Bengaluru EDUCATION 2007 PhD, Sociology, University of Michigan 1998 PhD Certificate, Cultural Studies, University of Pittsburgh 1996 MA, Sociology, University of Hyderabad 1994 BA, Social Science, St. Joseph’s College, Bengaluru 1993 Diploma, French, Alliance Francaise, Bengaluru DISSERTATION Title Development, Elite Agency and the Politics of Recognition in Mysore State, 1881-1947 Committee Jeffery Paige (co-chair), George Steinmetz (co-chair), Sumathi Ramaswamy, Margaret Somers, Julia Adams (Yale University) 1 HONOURS AND AWARDS Visiting Fellow, Watson Institute for International Studies, Brown University, USA, March-May 2015. Schomburg Fellow, Ramapo College, USA, October 2013. Dissertation Research Grant, National Science Foundation, 2003-2004 Rackham Predoctoral Fellowship, University of Michigan, 2002-2003 Dissertation Fieldwork Fellowship, American Institute of Indian Studies, 2002-2003 International Predissertation Research Award, International Institute, University of Michigan, 1999 Regent’s Fellowship, University of Michigan, 1998-1999 Junior Research Fellowship, University Grants Commission, 1996. Gold Medal, MA Sociology, University of Hyderabad, 1996 AREAS OF RESEARCH AND TEACHING INTEREST Social Theory; Cultural Sociology; History of Development Thought; South Asian History and Culture; Caste; Indian Normative Traditions; and Kannada Literature and Cinema PUBLICATIONS Books A Life in the World: UR Ananthamurthy in conversation with Chandan Gowda (Harper Collins-India, October, 2019). Editor, Sahitya Sahavasa (Lectures by UR Ananthamurthy), Shimoga: Aharnishi Prakashana (Forthcoming, August 2019). -
South Asian Film & Television 16 + Guide
SOUTH ASIAN FILM & TELEVISION 16 + GUIDE www.bfi.org.uk/imagineasia This and other bfi National Library 16+ guides are available from http://www.bfi.org.uk/16+ IMAGINEASIA - SOUTH ASIAN FILM & TELEVISION Contents Page IMPORTANT NOTE ........................................................................................ 1 GENERAL INFORMATION ............................................................................. 2 APPROACHES TO RESEARCH, by Samantha Bakhurst.................................. 4 INTRODUCTION ............................................................................................ 6 BANGLADESH............................................................................................... 7 Focus on Filmmakers: Zahir Raihan................................................................. 9 BHUTAN, NEPAL & TIBET.............................................................................. 9 PAKISTAN..................................................................................................... 10 Focus on Filmmakers: Jamil Dehlavi ................................................................ 16 SRI LANKA .................................................................................................... 17 Focus on Filmmakers: Lester James Peries ..................................................... 20 INDIA · General References............................................................................ 22 · Culture, Society and Film Theory ......................................................... 33 · Film -
Routledge Handbook of Indian Cinemas
ROUTLEDGE HANDBOOK OF INDIAN CINEMAS Edited by K. Moti Gokulsing and Wimal Dissanayake Editorial Assistant Rohit K. Dasgupta Routledge R Taylor &. Francis Group LONDON AND NEW YORK CONTENTS List of illustrations List of contributors Acknowledgements 1 Introduction K. Moti Gokulsing and Wimal Dissanayake PART I Historical analysis 2 From cultural backwardness to the age of imitation: An in film history M. Madhava Prasad 3 The Indian New Wave Ira Bhaskar 4 Regional cinemas 4.1 'Bengali' cinema: Its making and unmaking Sharmistha Gooptu 4.2 Assamese cinema: Dreams, reality and dichotomies Manoj Barpujari 4.3 Odia cinema at seventy-five Shyamhari Chakra Contents 4.4 Marathi cinema: The exile, the factory and fame 72 Amrit Qangar 4.5 Gujarati cinema: Stories of sant, sati, shethani and sparks so few 88 Amrit Gangar 4.6 Matriliny to masculinity: Performing modernity and gender in Malayalam cinema 102 Meena T. Pillai 4.7 Kannada cinema and Princely Mysore 115 M.K. Raghavendra 4.8 The star-politicians of Tamil Nadu: The origin and emergence 127 S. Theodore Baskaran 4.9 Beyond the star: Telugu comedy films and realpolitik in Andhra Pradesh 137 Joe Christopher 4.10 Mapping the invisible world of Bhojpuri cinema and its changing audience 150 Ratnakar Tripathy 4.11 From Lahore to Bombay ... to Vancouver: The checkered journey of Punjabi cinema 162 Prabhjot Parmar PART II Themes and perspectives 177 5 The evolution of representing female sexuality in Hindi cinema 1991-2010 179 Shoma A. Chatterji 6 Queer times in Bollywood 193 Rama Srinivasan 7 The