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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. -
Cosmopolitan Consciousness of PC Barua
E-CineIndia: Jan-Mar 2021/ Parthajit Baruah 1 Article Parthajit Baruah The Question of Assameseness: Cosmopolitan Consciousness of P.C. Barua Still from Barua’s film Mukti An extensive discussion has been made on the made Devdas in three Languages - Bengali (1935), biographical sketch and works of Pramathesh Hindi (1936) and Assamese (1937). Likewise, World Chandra Barua, one of the leading pioneers of India Heritage Encyclopedia, cinema. But the aspect that has hardly been found a bollywoodirect.medium.com, amp.blog.shops- space in the writing and discussion at the national net.com and numerous sources carry the same narrative is why Pramathesh, being an ardent lover of incorrect information stating that Assamese Devdas Gauripur, Assam, did not make an Assamese film in made in 1937 was Barua’s last of the three language the span of two decades of his cinematic journey. versions of the film. Wikipedia misleadingly Displeasures across the state of Assam in the 1940s mentions that Bhupen Hazarika was the playback was seen, and many termed Barua as ‘anti nationalist’ singer of the film. It is pertinent to mention here that in Assam. Ibha Barua Datta, scion of the Barua when Jyoti Chitraban film studio was established in family, says that she is disheartened to read the sharp Guwahati and became functional from 1968, Dr. criticism on Pramathesh in the Assamese newspapers Hazarika proposed the Government of Assam to for not making an Assamese film. name the studio’s shooting floor after Pramathesh Ch. Barua. Bhadari by Nip Baruah was the first film, shot Some erroneously claim that Barua made three at Pramathesh Ch. -
The Winning Woman of Hindi Cinema
ADVANCE RESEARCH JOURNAL OF SOCIAL SCIENCE A CASE STUDY Volume 5 | Issue 2 | December, 2014 | 211-218 e ISSN–2231–6418 DOI: 10.15740/HAS/ARJSS/5.2/211-218 Visit us : www.researchjournal.co.in The winning woman of hindi cinema Kiran Chauhan* and Anjali Capila Department of Communication and Extension, Lady Irwin College, Delhi University, DELHI (INDIA) (Email: [email protected]) ARTICLE INFO : ABSTRACT Received : 27.05.2014 The depiction of women as winners has been analyzed in four sets of a total of eleven films. The Accepted : 17.11.2014 first two sets Arth (1982) and Andhi (1975) and Sahib Bibi aur Ghulam (1962), Sahib Bibi aur Gangster (2011), Sahib Bibi aur Gangster returns (2013), explore the woman in search for power within marriage. Arth shows Pooja finding herself empowered outside marriage and KEY WORDS : without any need for a husband or a lover. Whereas in Aandhi, Aarti wins political power and Winning Woman, Hindi Cinema returns to a loving marital home. In Sahib Bibi aur Ghulam choti bahu after a temporary victory of getting her husband back meets her death. In both films Sahib Bibi aur Gangster and returns, the Bibi eliminates the other woman and gangster, deactivates the husband and wins the election to gain power. she remains married and a Rani Sahiba. In the set of four Devdas makes and remakes (1927–2009) Paro is bold, shy, glamorous and ultimately liberated (Dev, 2009). Chanda moves from the looked down upon, prostitute, dancing girl to a multilingual sex worker who is empowering herself through education and treating her occupation as a stepping stone to HOW TO CITE THIS ARTICLE : empowerment. -
RTI Handbook
PREFACE The Right to Information Act 2005 is a historic legislation in the annals of democracy in India. One of the major objective of this Act is to promote transparency and accountability in the working of every public authority by enabling citizens to access information held by or under the control of public authorities. In pursuance of this Act, the RTI Cell of National Archives of India had brought out the first version of the Handbook in 2006 with a view to provide information about the National Archives of India on the basis of the guidelines issued by DOPT. The revised version of the handbook comprehensively explains the legal provisions and functioning of National Archives of India. I feel happy to present before you the revised and updated version of the handbook as done very meticulously by the RTI Cell. I am thankful to Dr.Meena Gautam, Deputy Director of Archives & Central Public Information Officer and S/Shri Ashok Kaushik, Archivist and Shri Uday Shankar, Assistant Archivist of RTI Cell for assisting in updating the present edition. I trust this updated publication will familiarize the public with the mandate, structure and functioning of the NAI. LOV VERMA JOINT SECRETARY & DGA Dated: 2008 Place: New Delhi Table of Contents S.No. Particulars Page No. ============================================================= 1 . Introduction 1-3 2. Particulars of Organization, Functions & Duties 4-11 3. Powers and Duties of Officers and Employees 12-21 4. Rules, Regulations, Instructions, 22-27 Manual and Records for discharging Functions 5. Particulars of any arrangement that exist for 28-29 consultation with or representation by the members of the Public in relation to the formulation of its policy or implementation thereof 6. -
Film Genres, the Muslim Social, and Discourses of Identity C. 1935–1945
Article BioScope Film Genres, the Muslim Social, and 6(1) 27–43 © 2015 Screen South Asia Trust Discourses of Identity c. 1935–1945 SAGE Publications sagepub.in/home.nav DOI: 10.1177/0974927615586930 http://bioscope.sagepub.com Ravi S. Vasudevan1 Abstract This article explores the phenomenon of the Muslim social film and “Islamicate” cinema of pre-Partition India to suggest a significant background to cinema’s function in the emergence of new states. In particu- lar, it seeks to provide an account of how discussions of genre and generic difference framed issues of audience and identity in the studio period of Indian film, broadly between the mid-1930s and mid-1940s. Rather than focus too narrowly on identity discourses in the cinema, I try to move among amorphous and dispersed senses of audience, more calibrated understandings related to a trade discourse of who films would appeal to, and finally, an agenda of social representation and audience address that sought to develop in step with a secular nationalist imagining of the Muslim community and its transformation. Keywords Muslim social, Mehboob, K.A. Abbas, Islamicate, oriental, Lahore This article explores the phenomenon of the Muslim social film and “Islamicate” cinema of pre-Partition India to suggest a significant background to cinema’s function in the emergence of new states. In particu- lar, it seeks to provide an account of how discussions of genre and generic difference framed issues of audience and identity in the studio period of Indian film, broadly between the mid-1930s and mid-1940s. Rather than focus too narrowly on identity discourses in the cinema, I try to move among amorphous and dispersed senses of audience, more calibrated understandings related to a trade discourse of who films would appeal to, and finally, an agenda of social representation and audience address that sought to develop in step with a secular nationalist imagining of the Muslim community and its transformation. -
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. -
Contribution of Gauripur Zamindar Raja Prabhat Chandra Barua: - a Historical Analysis
IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 19, Issue 1, Ver. V (Jan. 2014), PP 56-60 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org Contribution of Gauripur zamindar Raja Prabhat Chandra Barua: - A historical analysis Rabindra Das Assistant Professor, Department of History,Bholanath College, Dhubri, India Abstract: The zamindary of Gauripur situated in the district of Goalpara (undivided), now present district of Dhubri. Gauripur zamindary is larger in size than any other zamindary in Goalpara. The size of zamindary was 355 square miles. It was originated from the Nankar receipt from Mughal Emperor Jahangir. Kabindra Patra was appointed to the post of Naib kanangu of the thana Rangamati, situated near Gauripur. His descendants had enjoyed the office of Kananguship for more than 300 years. The zamindars of Gauripur are mainly feudal in nature. Their main motive was to occupy land and possessed a vast tract of land in the 2nd decade of 17th century. The zamindars of Gauripur were conservative in their outlook but some of the zamindars of Gauripur paid their attention to benevolent public works. Once a time western Assam was more advance than eastern Assam because of the benevolent activities of Gauripur zamindars. Raja Prabhat Chandra Barua was one of the zamindars in Gauripur zamindary who paid attention to develop the society in every sphere. He was an exchequer in the public works, viz. education 52%, hospital 16%, sadabrata 18%, donation 12%, and public health 2%. Thus he contributed in every aspect of society, education, art, culture, economic, and so on for the welfare of the mass people. -
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. -
Bollywood Sounds
Bollywood Sounds Bollywood Sounds The Cosmopolitan Mediations of Hindi Film Song Jayson Beaster-Jones 1 1 Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Oxford is a registered trademark of Oxford University Press in the UK and certain other countries. Published in the United States of America by Oxford University Press 198 Madison Avenue, New York, NY 10016 © Oxford University Press 2015 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by license, or under terms agreed with the appropriate reproduction rights organization. Inquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above. You must not circulate this work in any other form and you must impose this same condition on any acquirer. Library of Congress Cataloging-in-Publication Data Beaster-Jones, Jayson. Bollywood sounds : the cosmopolitan mediations of Hindi film song / Jayson Beaster-Jones. pages cm Includes bibliographical references and index. ISBN 978–0–19–986254–2 (pbk. -
Print This Article
The world of Assamese celluloid: ‘yesterday and today’ Violet Barman Deka, Delhi University, [email protected] Volume 9. 1 (2021) | ISSN 2158-8724 (online) | DOI 10.5195/cinej.2021.358 | http://cinej.pitt.edu Abstract The study explores the entire journey of the Assamese cinema, which means a journey that will narrate many stories from its past and present, furthermore also will try to analyze its future potential. This paper deals with the trends emerging in genres, technical advancement, and visual representation along with a cult that emphasized the commercial success of cinema by toeing the style of Bollywood and world cinema. It explores the new journey of Assamese cinema, which deals with small budgets, realistic approaches, and portraying stories from the native lanes. It also touches upon the phase of ‘freeze’ that the Assamese cinema industry was undergoing due to global pandemic Covid-19. Keywords: Assamese cinema; Regional cinema; Jyotiprasad Agarwala; Regional filmmaker; Covid-19; OTT platform New articles in this journal are licensed under a Creative Commons Attribution 4.0 United States License. This journal is published by the University Library System of the University of Pittsburgh as part of its D-Scribe Digital Publishing Program and is cosponsored by the University of Pittsburgh Press The world of Assamese celluloid: ‘yesterday and today’ Voilet Barman Deka Introduction Is there any transformation in the craft of Assamese cinema or it is the same as it was in its beginning phase? Being a regional cinema industry, has the Assamese cinema been able to make its space in the creative catalog of Indian and world cinema? Is there anything radical that it has contributed towards the current and the next generation who is accepting and appreciating experimental cinema? This paper aims to explore the elongated journey of the Assamese cinema, a journey that will narrate many stories from its past and present as well analyze its future potential.