Definition of Constitution in Urdu
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Bollywood in Australia: Transnationalism and Cultural Production
University of Wollongong Research Online Faculty of Arts - Papers (Archive) Faculty of Arts, Social Sciences & Humanities 1-1-2010 Bollywood in Australia: Transnationalism and Cultural Production Andrew Hassam University of Wollongong, [email protected] Makand Maranjape Follow this and additional works at: https://ro.uow.edu.au/artspapers Part of the Arts and Humanities Commons, and the Social and Behavioral Sciences Commons Recommended Citation Hassam, Andrew and Maranjape, Makand, Bollywood in Australia: Transnationalism and Cultural Production 2010. https://ro.uow.edu.au/artspapers/258 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Introduction Bollywood in Australia Andrew Hassam and Makand Paranjape The global context of Bollywood in Australia Makarand Paranjape The transcultural character and reach of Bollywood cinema has been gradually more visible and obvious over the last two decades. What is less understood and explored is its escalating integration with audiences, markets and entertainment industries beyond the Indian subcontinent. This book explores the relationship of Bollywood to Australia. We believe that this increasingly important relationship is an outcome of the convergence between two remarkably dynamic entities—globalising Bollywood, on the one hand and Asianising Australia, on the other. If there is a third element in this relationship, which is equally important, it is the mediating power of the vibrant diasporic community of South Asians in Australia. Hence, at its most basic, this book explores the conjunctures and ruptures between these three forces: Bollywood, Australia and their interface, the diaspora. 1 Bollywood in Australia It would be useful to see, at the outset, how Bollywood here refers not only to the Bombay film industry, but is symbolic of the Indian and even the South Asian film industry. -
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. -
Devdas by Sanjay Leela Bhansali
© 2018 JETIR July 2018, Volume 5, Issue 7 www.jetir.org (ISSN-2349-5162) Adaptation of the novel ‘Devdas’ in the Film ‘Devdas by Sanjay Leela Bhansali In Bollywood, numerous adaptations have been produced using the great books. Devdas is a standout amongst the most well known and best example of those movies. The novel Devdas was written in Bengali in 1917 by Sarat Chandra Chatterjee, who is usually acclaimed as an 'Incredible Storyteller'. The account of Devdas has been adapted by P. C. Barua who directed three variants of Devdas between 1935 to 1937, in Bengali, Hindi, and Assamese; different adaptations have been made in Tamil and Malayalam. In 1955, Bimal Roy also adapted the narrative of Devdas featuring Dilip Kumar as a male protagonist and became a huge success in the history of Bollywood film. Again in 2002, a standout amongst the most popular director of India of the present day, 'Sanjay Leela Bhanshali', who is well known for his established flicks; Monsoon, Guzaarish, Hum Dil De Chuke Sanam, Goliyon Ki Raaslila Ram – Leela, Bajirao Mastaani and the most controversial film of 2018 Padmawat, has also adapted the story of this classical novel ‘Devdas’. Devdas by Sarat Chandra Chaterjee is one of the classics of Indian Literature, subject to many film adaptations in Indian Cinema. Sarat Chandra Chatterjee was one of the leading literary deities of Bengal, he published several books earlier Nishkriti, Charitraheen, Parineeta, and Srikanta, but his most famous novel is Devdas. Devdas is a tragic story of a man called Devdas who adored however never got his beloved. -
Understanding the Cultural Significance of Tawa'if and Rudali Through the Language of the Body in South Asian Cinema" (2011)
Portland State University PDXScholar Dissertations and Theses Dissertations and Theses 1-1-2011 Performing Marginal Identities: Understanding the Cultural Significance of awaT 'if and Rudali Through the Language of the Body in South Asian Cinema Lise Danielle Hurlstone Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/open_access_etds Let us know how access to this document benefits ou.y Recommended Citation Hurlstone, Lise Danielle, "Performing Marginal Identities: Understanding the Cultural Significance of Tawa'if and Rudali Through the Language of the Body in South Asian Cinema" (2011). Dissertations and Theses. Paper 154. https://doi.org/10.15760/etd.154 This Thesis is brought to you for free and open access. It has been accepted for inclusion in Dissertations and Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Performing Marginal Identities: Understanding the Cultural Significance of Tawa‟if and Rudali Through the Language of the Body in South Asian Cinema by Lise Danielle Hurlstone A thesis submitted in partial fulfillment of the requirements for the degree of Master of Science in Communication Thesis Committee: Priya Kapoor, Chair Charlotte Schell Clare Wilkinson-Weber Portland State University ©2011 Abstract This thesis examines the representation of the lives and performances of tawa‟if and rudali in South Asian cinema to understand their marginalization as performers, and their significance in the collective consciousness of the producers and consumers of Indian cultural artifacts. The critical textual analysis of six South Asian films reveals these women as caste-amorphous within the system of social stratification in India, and therefore captivating in the potential they present to achieve a complex and multi-faceted definition of culture. -
Dev.D 1 Dev.D Is an Indian Romantic Drama Film Released on 6 February
Dev.D 1 Dev.D Dev D Theatrical release poster Directed by Anurag Kashyap Produced by Ronnie Screwvala Written by Anurag Kashyap Vikramaditya Motwane Based on Devdas by Sharat Chandra Chattopadhyay Starring Abhay Deol Mahie Gill Kalki Koechlin Music by Amit Trivedi Cinematography Rajeev Ravi Edited by Aarti Bajaj Release date(s) •• 6 February 2009 Running time 144 min Budget 60 million (US$1.0 million) Box office 215.0 million (US$3.6 million) (domestic gross) Dev.D is an Indian romantic drama film released on 6 February 2009. Written and directed by Anurag Kashyap, it is a modern-day take on Sarat Chandra Chattopadhyay's classic Bengali novel Devdas,[1] previously adapted for the screen by P.C. Barua and Bimal Roy and more recently by Sanjay Leela Bhansali.[2] Dev.D was embraced by the media, critics and public. The film is set in contemporary Punjab and Delhi, where familial ties are negotiated by the traditions of patriarchy and marriages are reduced to a game of power and "honour". Plot Dev (Abhay Deol) is the son of a rich businessman. He and Paro (Mahi Gill) are childhood sweethearts. But Dev, being an insecure narcissist, instead of acknowledging her affection and care, nudges Paro over frivolous things. Dev is sent to London for higher studies when his father senses how spoilt his son is. While separated by distance, Paro and Dev's youthful love only blossoms more. Dev arrives in Chandigarh to meet Paro. Their endeavor to make love makes for some dark comic moments. The seeds of suspicion are sown here, which the couple will never be able to weed out for a lifetime. -
Gandhi, the Making of the Mahatma, and Gandhi, My Father
The Tale Of Gandhi Through The Lens: An Inter-Textual Analytical Study Of Three Major Films- Gandhi, The Making Of The Mahatma, And Gandhi, My Father C.S.H.N. MURTHY, [email protected] OinamBedajit Meitei, Dapkupar TARIANG Volume 2.2 (2013) | ISSN 2158-8724 (online) | DOI 10.5195/cinej.2013.66 | http://cinej.pitt.edu Abstract For over half a century Gandhi has been one of the favored characters of a number of films – Nine hours to Rama (1963) to Gandhi, My Father (2007). Gandhian ethos, life and teachings are frequently represented in varied ways in different films. The portrayal of Gandhi in different films can be grouped into two broad categories: i. revolving around his life, percept and practice as one category and ii. involving his ideas, ideals and views either explicitly or implicitly. Using Bingham’s (2010) discursive analysis on biopic films, the study seeks to show how Gandhi is perceived and depicted through the lenses of these three eminent directors vis-à-vis others from the point of intertextuality both ideologically and politically. Further the study would elaborate how different personal and social events in Gandhi’s life are weaved together by these directors to bring out the character of Bapu or Mahatma from Gandhi. For all the above critique, Gandhi’s autobiography-The Story of My Experiments with Truth-has been taken as a base referent. Keywords: Comparative analysis, Inter-textuality, Gandhian Ethos, Portrayal, crisscross critiquing, Mahatma, etc. CINEJ Cinema Journal : The Tale of Gandhi through the lens New articles in this journal are licensed under a Creative Commons Attribution 3.0 United Volume 2.2 (2013) | ISSN 2158-8724 (online) | DOI 10.5195/cinej.2013.66 | http://cinej.pitt.edu 4 States License. -
23.Format.Hum-AFTER IT's CENTENNIAL, DEVDAS HAS
IMPACT: International Journal of Research in Humanities, Arts and Literature (IMPACT: IJRHAL) ISSN (P): 2347-4564; ISSN (E): 2321-8878 Vol. 5, Issue 11, Nov 2017, 179-184 © Impact Journals AFTER IT'S CENTENNIAL, DEVDAS HAS SAME RELEVANCY: A CRITICAL READING OF SARATCHANDRA CHATTOPADHYAY'S DEVDAS AKASH SATPATI Student, Department of English, Sidho-Kanho-Birsha University, Purulia, West Bengal, India ABSTRACT This paper clearly discusses why after 100th year of its anniversary, the novel Devdas has a prominent relevancy between the readers. It also upholds the theme of the novel. It is a kind of a journey from Devdas's innocence to his experience. This present paper clearly shows how Devdas's life becomes complicated and how he responsible himself for his tragic ruin. It also sheds a light on Paro, the blind innocent devotee of Devdas and the courtesan Chandramukhi, who loves her Dev-babu a lot. This present paper also vividly portrays the prevalent blind-caste system, in Saratchandra's time. Subsequently this paper depicts that, the name of the places which are mentioned in the novel are not imaginary, they has a clear existence in reality. Also, it focuses on the 'babu' culture of the rich landlords, in then Bengal and their own customs. KEYWORDS: Tragedy, Devdas, Paro, Anti-masculine, Hindu-Hamlet, Hatipota, Tal Sonarpur INTRODUCTION Saratchandra Chattopadhyay was one of the most renowned and, prolific Novelist and Short-Story writer of Bengal in early 20th century. He was born on 15 September 1876 in Devanandapur, a village in West Bengal. His childhood and youth were spent in extreme poverty. -
The Guide: Adaptation from Novel to Film
postscriptum: An Interdisciplinary Journal of Literary Studies, Vol: 1 (January 2016) Online; Peer-Reviewed; Open Access www.postscriptum.co.in Dutta, Amar. “The Guide: … ” pp. 22-34 The Guide: Adaptation from Novel to Film Amar Dutta Guest Lecturer in English, Sarat Centenary College Amar Dutta is presently working as a Guest Lecturer in English at Sarat Centenary College, Dhaniakhali, Hooghly, where he studied undergraduate Honours course in English from 2009 to 2012. He completed his M.A. in English from The University of Burdwan in 2014 and B.Ed. from the same university in 2015. His areas of interest are film studies and modern literary theory. Abstract Adaptation in the film industry is nothing new. Almost three-fourths of all films ever made have been adapted from novels, plays or short stories of the classic literature in every language. Our Indian film industry is of no exception. It is often said that the printed text is, in some way, superior to and more moral than the filmed version. The objective of this paper is to focus on such adaptation – the adaptation of R.K.Narayan’s Sahitya Akademi Award winning novel The Guide to Vijay Anand’s film Guide. After the release of the film Narayan was very unhappy because he felt that it could not capture the spirit of the story, and he did not like the unwarranted cuts and changes. This is true from the aesthetic view point, but it is equally true that a film director is not bound to the original and he or she has every right to eliminate or add some characters and incidents which are or are not there in the original text in order to cater the taste of all sorts of public. -
India Mumbai Lawrence Liang and Ravi Sundaram Contributors: Prashant Iyengar, Siddarth Chaddha, Nupur Jain, Chennai Jinying Li, and Akbar Zaidi Bangalore
Delhi SOCIAL SCIENCE RESEARCH COUNCIL • MEDIA PIRACY IN EMERGING ECONOMIES SOCIAL SCIENCE RESEARCHCHAPTER COUNCIL THREE • MEDIA • SOUTH PIRACY AFRICA IN EMERGING ECONOMIES Karachi Chapter 8: India Mumbai Lawrence Liang and Ravi Sundaram Contributors: Prashant Iyengar, Siddarth Chaddha, Nupur Jain, Chennai Jinying Li, and Akbar Zaidi Bangalore Introduction Piracy entered public consciousness in India in the context of globalization in the 1980s. The rapid spread of video culture, the image of India as an emerging software giant, and the measurement of comparative advantage between nations in terms of the knowledge economy pushed questions about the control of knowledge and creativity—about “intellectual property”—into the foreground of economic policy debates. The consolidation of Indian media industries with global ambitions in film, music, and television gave the protection of copyright, especially, a new perceived urgency. Large-scale piracy—at the time still primarily confined to audio cassettes and books sold on the street—began to be seen as a threat not just to specific businesses but to larger economic models and national ambitions. The “problem” of intellectual property (IP) protection in India—in terms of both the laws on the books and enforcement practices on the streets—took shape through this conversation between lawyers, judges, government ministers, and media lobbyists. The high-level policy dialogue has produced several important revisions to Indian copyright law, including amendments to the Copyright Act in 1994 and 1999 to address the growth of cassette and optical disc piracy, respectively. A new round of proposals, reflecting a more recent array of battles over the control of cultural goods, began to emerge in 2006 and will probably be voted on in early 2011. -
International Journal of Research (IJR) E-ISSN: 2348-6848, P- ISSN: 2348-795X Volume 2, Issue 3, March 2015 Available At
International Journal of Research (IJR) e-ISSN: 2348-6848, p- ISSN: 2348-795X Volume 2, Issue 3, March 2015 Available at http://internationaljournalofresearch.org From Devdas to Dev D: A study of the re-incarnation of Sarat Chandra Chattopadhyay’s classic “Devdas” into AnuragKashyap’s popular “Dev-D” Sarika Chhetry M.Phil Scholar (JamiaMilliaIslamia, New Delhi) H.no 157 A Sec Floor, C/O MahavirSurela Near P.N.B, GurudwaraMotibagh New Delhi-110021 Email: [email protected] 9953123263 Abstract: Indian Cinema has had an interesting history meanings, both in terms of simple since its first inception by Dada SahebPhalke nomenclature as well as depicted sexuality, in 1913. Today, it has become an influential need to be examined. medium and also a huge market industry. “Devdas”, originally written by Bengali Keywords: author Sarat ChandraChattopadhyay in 1917, Popular Culture; Re-creation; Culture Industry; is one of the most loved stories that have been Old and Modern; Mass; Identification adapted into Indian cinema. It has been re- incarnated across time, place and culture, Index Terms: Devdas; Popular Culture; keeping in mind the socio-political situation Contemporary. and the commercial demand of the masses. From Devdas to DevD: A study of the re- This paper attempts to look into this recreation incarnation of Sarat Chandra of the original Devdas, almost a cult Chattopadhyay’s classic “Devdas” into Promethean-Romeo figure, into the AnuragKashyap’s popular “Dev-D” contemporary good-for-nothing Dev. This drastic change can be read in the lines of “Every age has its own carriage, its expression, Adorno’s idea of mass consumption of the its gestures” –Baudelaire. -
The Case of the Missing Mahatma: Gandhi and the Hindi Cinema
AFTERLIFE The Case of the Missing Mahatma: Gandhi and the Hindi Cinema Rachel Dwyer M. K. “Mahatma” Gandhi (1869 – 1948) is regarded as the father of the Indian nation, or as Bapuji. Yet while Gandhi left many volumes of his work and many biographies have been written; his image is well known in India and throughout the world, mostly through photographs and chromolitho- graphs (Pinney 2004, chap. 6); every Indian town has his statue, and his image appears on every Indian banknote; and even an opera on his life has been com- posed (Philip Glass’s Satyagraha, 1980), there are surprisingly few Indian films about him and his role in the national drama, the historic struggle for indepen- dence, the most important event in twentieth- century India. Gandhi made the freedom struggle a popular movement in part through his manipulation of symbols such as khadi, the spinning wheel, and his dress, yet though a prolific writer, he eschewed the new medium of film for promulgating his message. Gandhi’s low opinion of cinema was recorded in his interview with the Indian Cinematograph Committee (ICC 1927 – 28): “Even if I was so minded, I should be unfit to answer your questionnaire, as I have never been to a cinema. But even to an outsider, the evil that it has done and is doing is patent. The good, if it has done any at all, remains to be proved.”1 Gandhi famously saw only part of one film in his life, Vijay Bhatt’sRam Rajya (1943); his curiosity was never aroused by the first all- Indian film, D. -
Advanced Structural Analysis Prof. Devdas Menon Department of Civil
Advanced Structural Analysis Prof. Devdas Menon Department of Civil Engineering Indian Institute of Technology, Madras Module No. # 1.1 Lecture No. # 01 Review of Basic Structural Analysis-1 Good morning to all of you. Welcome to this course on advanced structure analysis. This is a course that we are offering on video through the auspicious of n p tel. We are starting with the first module, where we will be reviewing basic structural analysis. This is a first lecture in this entire series of about 45 lectures. Welcome once again to advanced structural analysis. (Refer Slide Time: 00:46) So, these are the modules that we will cover in this course. There are seven modules the first is review of basic structural analysis 1, which is what we will start with today, we will go fast over it because you already studied that. Review of basic structural analysis 2, part of it you studied will be looking at in determinant structures you have learnt forced methods, but you have not learnt displacement methods, so we will study displacement methods in some more detail and then we have basic matrix concepts. This course is essentially a course which is matrix analysis of structural analysis and then we will do axial elements first, they are truss elements both plane trusses and space trusses. Then we look at beams, we look at grids, look at plane and space frames, and we will also look at second order effects and elastic instability. So, these are little advanced topics and I hope you will find it interesting, you are free to ask questions at any point.