Page 01 Jan 13.Indd
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Sex, Songs and the Desi Feminist Noir1
NCJCF 12 (1+2) pp. 97–111 Intellect Limited 2014 New Cinemas: Journal of Contemporary Film Volume 12 Numbers 1 & 2 © 2014 Intellect Ltd Article. English language. doi: 10.1386/ncin.12.1-2.97_1 Krupa shandilya Amherst College The long smouldering night: sex, songs and the desi feminist noir1 absTracT Keywords This article argues that the films Ishqiya/Romance (Chaubey, 2010) and Dedh film noir Ishqiya/Romance 1.5 (Chaubey, 2014) by Abhishek Chaubey, represent a new genre feminism of films, namely the ‘desi feminist noir’, which is characterized by all the elements of Ishqiya film noir, such as the murky distinction between good and evil, the lawlessness of the Dedh Ishqiya streets and the femme fatale. However, in these films the figure of the femme fatale is Bollywood used to forward explicitly feminist trajectories of love, romance and sex. I give a brief queer desire history of romantic coupling in Hindi cinema, and analyse the films’ departure from these articulations of romance. Next, I focus on a song sequence from each of the films to explicate the desi feminist femme fatale’s subversion of the romantic conven- tions of the Hindi film song and her inauguration of a new aesthetic of romance. In conclusion, I consider the implications of this new genre for Bollywood cinema. This article argues that the films Ishqiya/Romance (Chaubey, 2010) and Dedh 1. Many thanks to Crystal Parikh, Naomi Schiller, Ishqiya/Romance 1.5 (Chaubey, 2014) represent a new genre of films, namely Jini Kim Watson and the ‘desi feminist noir’. The ‘desi feminist noir’ is characterized by all the Joseph Keith for their elements of film noir, such as the murky distinction between good and evil, invaluable comments on an early draft of the lawlessness of the streets and the femme fatale. -
Presskit Award Winning Dj / Remixer / Music Producer
presskit award winning dj / remixer / music producer www.djangel.in biography DJ Angel is an Indian DJ and remixer based out of Mumbai, India. She was a drummer in school who realized her passion for spinning tunes in the year 2007. She has done a number of remixes and songs, including the song "Horn OK Please" by Dedh Ishqiya as a music producer with Vishal Bhardwaj. The fifth track of Dedh Ishqiya is the remixed version of "Dil ka mizaaj ishqiya" by DJ Angel. Angel has cut her way the distance to being one of the highest blenders in Bollywood and something else. Aashiqui 2, Boss, Bullet Raja, Jai Ho, Psycho (ABCD), Shaadi ke Side effects, Dishkiyaoon, Heropanti, Creature, Kick, Tevar, Khamosiyaan and Roy and these were released by some of big music companies including Sony Music India, Eros now, Shemaro, T-series etc. and these were official Bollywood remixes she has done. Her style is unique with an added experience in clubs and private parties making it high on beats and people to dance on toes, DJ ANGEL has dominated the club and music industry scene, and she prides herself on the way that she can read the gathering of people's psyche and keep them celebrating throughout the night. achievements FIRST FEMALE DJ TO GET ARTIST ALOUD MUSIC AWARD FOR BEST DANCE SONG 2018. (Beardo anthem) RANKED AS NO #2 BEST FEMALE DJ BY DJANE MAG IN 2016 AMONST TOP 10 BEST FEMALE DJS IN INDIA RANKED AS NO #2 IN INDIA ON TOP DJANES LIST IN 2017. -
First Choice Niket Shah ([email protected]); +91 22 3982 5426 Investors Are Advised to Refer Through Disclosures Made at the End of the Research Report
Initiating Coverage | 26 August 2013 Sector: Entertainment PVR First Choice Niket Shah ([email protected]); +91 22 3982 5426 Investors are advised to refer through disclosures made at the end of the Research Report. PVR PVR: First Choice Page No. Summary .......................................................................................................... 3-5 India’s largest and fastest growing multiplex chain ................................... 5-11 Profitability higher than peers; to improve further ................................ 12-19 Evolving into a lifestyle entertainment company.................................... 20-22 Expect earnings CAGR of 49% over FY13-15 .............................................. 23-24 Initiating coverage with a Buy rating........................................................ 25-26 Annexure-I: Company background ............................................................ 27-29 Annexure-II: Key industry trends ............................................................... 30-36 Financials and valuation............................................................................. 37-38 26 August 2013 2 Initiating Coverage | 26 August 2013 Sector: Entertainment PVR BSE SENSEX S&P CNX 18,519 5,472 CMP: INR368 TP: INR470 Buy First choice; aggressive expansion extending leadership Initiating coverage with a Buy rating Post the acquisition of Cinemax, PVR has become India’s largest multiplex chain with 89 Bloomberg PVR IN properties, 383 screens and 93k seats. Being the only player that is still expanding Equity Shares (m) 39.6 aggressively, it is further extending its leadership. M.Cap. (INR b)/(USD b) 14.4/0.3 With 55m footfalls annually, 23-25% Bollywood box office share and 30-35% Hollywood 52-Week Range (INR) 375/179 box office share, we expect PVR to attract greater ad spends. Post amalgamation of 1,6,12 Rel. Perf. (%) 13/18/94 Cinemax, PVR will get the benefit of economies of scale, helping to reduce costs in the F&B segment, a 70% gross margin business. -
Beneath the Red Dupatta: an Exploration of the Mythopoeic Functions of the 'Muslim' Courtesan (Tawaif) in Hindustani Cinema
DOCTORAL DISSERTATIO Beneath the Red Dupatta: an Exploration of the Mythopoeic Functions of the ‘Muslim’ Courtesan (tawaif) in Hindustani cinema Farhad Khoyratty Supervised by Dr. Felicity Hand Departament de Filologia Anglesa i Germanística Universitat Autònoma de Barcelona 2015 Table of Contents Acknowledgements iv 1. Introduction 1 2. Methodology & Literature Review 5 2.1 Methodology 5 2.2 Towards Defining Hindustani Cinema and Bollywood 9 2.3 Gender 23 2.3.1 Feminism: the Three Waves 23 2.4 Feminist Film Theory and Laura Mulvey 30 2.5 Queer Theory and Judith Butler 41 2.6 Discursive Models for the Tawaif 46 2.7 Conclusion 55 3. The Becoming of the Tawaif 59 3.1 The Argument 59 3.2 The Red Dupatta 59 3.3 The Historical Tawaif – the Past’s Present and the Present’s Past 72 3.4 Geisha and Tawaif 91 4. The Courtesan in the Popular Hindustani cinema: Mapping the Ethico-Ideological and Mythopoeic Space She Occupies 103 4.1 The Argument 103 4.2 Mythopoeic Functions of the Tawaif 103 4.3 The ‘Muslim’ Courtesan 120 4.4 Agency of the Tawaif 133 ii 4.5 Conclusion 147 5. Hindustani cinema Herself: the Protean Body of Hindustani cinema 151 5.1 The Argument 151 5.2 Binary Narratives 151 5.3 The Politics of Kissing in Hindustani Cinema 187 5.4 Hindustani Cinema, the Tawaif Who Seeks Respectability 197 Conclusion 209 Bibliography 223 Filmography 249 Webography 257 Photography 261 iii Dedicated to My Late Father Sulliman For his unwavering faith in all my endeavours It is customary to thank one’s supervisor and sadly this has become such an automatic tradition that I am lost for words fit enough to thank Dr. -
1 Sample Question Paper on Cinema Prepared by : Naresh Sharma: Director
1 Sample question paper on cinema prepared by : Naresh Sharma: Director. CRAFT Film School.Delhi.www.craftfilmschool.com: [email protected] Disclaimer about this sample paper ( 50+28 Objective questions ) by Naresh Sharma: 1. This is to clarify that I, Naresh Sharma, neither was nor is a part of any advisory body to FTII or SRFTI , the authoritative agencies to set up such question paper for JET-2018 entrance exam or any similar entrance exam. 2. As being a graduate of FTII, Pune, 1993, and having 12 years of Industry experience in my quiver as well the 12 years of personal experience of film academics, as being the founder of CRAFT FILM SCHOOL, this sample question-answers format has been prepared to give the aspiring students an idea of variety of questions which can be asked in the entrance test. 3. The sample question paper is mainly focused on cinema, not in exhaustive list but just a suggestive list. 4. As JET - 2018 doesn't have any specific syllabus, so any question related to General Knowledge/Current Affair can be asked. 5. Since Cinema has been an amalgamation of varied art forms, Entrance Test intends to check as follows; a) Information; and b) Analysis level of students. 6. This sample is targeted towards objective question-answers, which can form part of 20 marks. One need to jot down similar questions connected with Literature/ Panting Music/ Dance / Photography/ Fine arts etc. For any Query, one can write: [email protected] 2 Sample question paper on cinema prepared by : Naresh Sharma: Director. -
A Case Study on Hindi Movie Scripts
Quantitative Characterization of Code Switching Patterns in Complex Multi-Party Conversations: A Case Study on Hindi Movie Scripts Adithya Pratapa Monojit Choudhury Microsoft Research, India Microsoft Research, India [email protected] [email protected] Abstract man et al., 2017). Nevertheless, there are no large- scale quantitative studies of code-switched conver- In this paper, we present a framework sations, primarily because currently the only avail- for quantitative characterization of code- able large-scale datasets come from social media. switching patterns in multi-party conver- These are either micro-blogs without any conver- sations, which allows us to compare and sational context or data from Facebook or What- contrast the socio-cultural and functional sApp with very short conversations. On the other aspects of code-switching within a set of hand, functions of CS are most relevant and dis- cultural contexts. Our method applies cernible in relatively long multi-party conversa- some of the proposed metrics for quan- tions embedded in a social context. For instance, tification of code-switching (Gamback and it is well documented (Auer, 2013) that CS is mo- Das, 2016; Guzman et al., 2017) at the tivated by complex social functions, such as iden- level of entire conversations, dyads and tity, social power and style accommodation, which participants. We apply this technique to are difficult to elicit and establish from short social analyze the conversations from 18 recent media texts. Hindi movies. In the process, we are able In this work, we propose a set of techniques for to tease apart the use of code-switching analyzing CS styles and functions in conversations as a device for establishing identity, socio- grounded over social networks. -
Multi-Disciplinary Journal ISSN No- 2581-9879 (Online), 0076-2571 (Print) [email protected]
Multi-Disciplinary Journal ISSN No- 2581-9879 (Online), 0076-2571 (Print) www.mahratta.org, [email protected] Shifting Paradigms of Female Characters in Bollywood Movies Sundke Aatif A. Assistant Professor, Department of Law Tilak Maharashtra Vidyapeeth,. Abstract: Men in almost all the societies were considered as main source of income while the role of women was constrained to being an ideal homemaker and a decent mother. This validates to women in an extremely patriarchal society of India. As societies came into the era of Upgradation and modernization, the responsibility of women transfigured significantly. Media actively performed an imperative task in the transformation of societies and significantly influenced the persona of women in today’s contemporary world. End number of researches has been done on the role of women in various societies. Nevertheless, very little has been said about the significance of movies in depicting women in shifting paradigms over several decades and the influence it has on societies by and large. Over the last decades, Indian cinema has beheld a noteworthy makeover in the way women are represented through movies. Contemporary movies represent women as more self-governing, convinced, and career focused. Present article discusses with these rapid shifting paradigms of women represented in Bollywood and its impact on the patriarchal Indian society with a spotlight on some representative Bollywood movies. The endeavour is to connect the shifting character performed by women in movies with the promising position of women in India, as movies are a mirror image of modification in the social arrangement. Key words: Bollywood, India, Shifting, Paradigms, Movies, Women Introduction: In the 73 years since Independence, Indian cinema has gone through a lot of modification considering a shift from classic mythological blockbusters to “Bollywoodised” remakes of Hollywood’s and Tollywood’s successful films. -
Revisiting Lihaf : Queer Representations in Dedh Ishqiya
Synergies Inde n° 8 - 2019 p. 67-77 GERFLINT Revisiting Lihaf : Queer representations ISSN 1951-6436 in Dedh Ishqiya ISSN en ligne 2260-8060 Akshata S. Pai SNDT Women's University, Mumbai, Inde [email protected] Résumé Cet article porte un regard critique sur la représentation des désirs homosexuels des femmes dans le film hindi Dedh Ishqiya (2014). Cette étude aborde la relation intertextuelle qui existe entre Dedh Ishqiya and Lihaf (1941) et s’intéresse à la façon dont le film réécrit Lihaf afin d’imaginer une autre possibilité pour le désir homosexuel des femmes. Cet article approfondit également les questions sur le regard masculin et analyse la manière par laquelle le film déstabilise la position voyeuriste, hétéronormative du spectateur masculin. Il considère le film comme une intervention contre les conventions de représentation de l’homosexualité dans le cinéma populaire hindi. Mots-clés : cinéma hindi, homosexualité, bollywood, intertextualité Représentation du Queer dans Dedh Ishqiya : Lihaf revisité Abstract This paper critically engages with the Hindi film Dedh Ishqiya (2014) to study its representation of female queer desires. The paper is concerned with the inter- textual relationship between Dedh Ishqiya and Lihaf (1941) and studies how the film rescriptsLihaf in its attempt to imagine a different possibility for queer female desire. The paper also delves into questions of the male gaze and studies how the film unsettles the position of the voyeuristic, heteronormative, male viewer. It also reads the film as an intervention in queer representational conventions of popular Hindi cinema. Keywords: hindi cinema, queerness, bollywood, intertextuality There is a scene in the Abhishek Chaubey directed film Dedh Ishqiya (2014) in which its protagonist Begum Para, agitated at the prospect of marrying the smarmy Jan Sahib, frantically searches for old photographs of her and her deceased first husband. -
Same-Sex Love in Muslim Cultures Through the Lens of Hindustani Cinema Ayesha Arfeen, [email protected]
Same-sex love in Muslim cultures through the lens of Hindustani Cinema Ayesha Arfeen, [email protected] Volume 6.1 (2017) | ISSN 2158-8724 (online) | DOI 10.5195/cinej.2017.147 | http://cinej.pitt.edu Abstract This paper tries to explore same-sex love in Muslim cultures in India as represented in Hindustani cinema. My focus will be on Muslim female same-sex love which is generally not touched upon. Female same-sex love and male same-sex love is widely discussed and debated upon. The recent film Dedh Ishqiya (Bhardwaj, 2014) is taken as a case study to examine female same-sex love in a Muslim context. Other films will be dealt in periphery. The influence of language, place and peer group is to be checked. Amradparashti or male same-sex love is discussed in comparison to female same-sex love for which no particular term in North India is used that frequently. Keywords: Same-sex love, Amradparashti, Dedh Ishqiya, Laundabaazi, Muslim lesbians, Sexual Frustration, Female Sexuality 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. Same-sex love in Muslim cultures through the lens of Hindustani Cinema Ayesha Arfeen Introduction Even today, where there are burning debates over queer theories and sexuality finding increasing space on international agendas, there remains a drought in debates on Queer Muslims, especially Muslim lesbians. -
Indian Film Industry: Tackling Litigations
MUMBAI SILICON VALLEY BANGALORE SINGAPORE MUMBAI BKC NEW DELHI MUNICH NEW YORK Indian Film Industry Tackling Litigations January 2017 © Copyright 2017 Nishith Desai Associates www.nishithdesai.com Indian Film Industry Tackling Litigations About NDA Nishith Desai Associates (NDA) is a research based international law firm with offices in Mumbai, Bangalore, Palo Alto (Silicon Valley), Singapore, New Delhi, Munich and New York. We provide strategic legal, regulatory, and tax advice coupled with industry expertise in an integrated manner. As a firm of specialists, we work with select clients in select verticals on very complex and innovative transactions and disputes. Our forte includes innovation and strategic advice in futuristic areas of law such as those relating to Bitcoins (block chain), Internet of Things (IOT), Aviation, Artificial Intelligence, Privatization of Outer Space, Drones, Robotics, Virtual Reality, Med-Tech, Ed-Tech and Medical Devices and Nanotechnology. We specialize in Globalization, International Tax, Fund Formation, Corporate & M&A, Private Equity & Venture Capital, Intellectual Property, International Litigation and Dispute Resolution; Employment and HR, Intellectual Property, International Commercial Law and Private Client. Our industry expertise spans Automobile, Funds, Financial Services, IT and Telecom, Pharma and Healthcare, Media and Entertainment, Real Estate, Infrastructure and Education. Our key clientele comprise marquee Fortune 500 corporations. Our ability to innovate is endorsed through the numerous accolades gained over the years and we are also commended by industry peers for our inventive excellence that inspires others. NDA was ranked the ‘Most Innovative Asia Pacific Law Firm in 2016’ by the Financial Times - RSG Consulting Group in its prestigious FT Innovative Lawyers Asia-Pacific 2016 Awards. -
Contested Spaces: Performances of Marginality in Bollywood Cinema
Contested Spaces: Performances of Marginality in Bollywood Cinema By Lauren Bettridge B.A. (Journalism), Curtin University, 2008 B.A. (Hons), The University of Western Australia, 2009 This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Humanities (Discipline of English and Cultural Studies) Supervised by Dr Shalmalee Palekar 2016 ABSTRACT As the most dominant cultural industry in India and with an increasing audience worldwide, Bollywood is becoming a louder participant in global popular culture. Challenging Eurocentric perceptions of inadequacy, this study seeks out performances of marginality that destabilise, disturb and dislocate the apparent hegemonic modality of modern Bollywood. In considering the representation of the other in popular Bollywood, I uncover marginal genres, themes, locations and gender representations. Contested Spaces: Performances of Marginality in Bollywood Cinema traverses the complex relationship between a nation and its cinema, and contributes and connects to a rapidly growing conversation with Bollywood and its others. This thesis attends to performances of marginality and otherness in popular Bollywood cinema by critically examining the production of contested spaces. In finding spaces where marginalised identities jostle for recognition, I assess the degree to which Bollywood cinema represents the Other. Driven by the urge to uncover alternative performances, I resist Bollywood scholarship that contends Bollywood cinema merely performs a conservative version of national ideology and western scholarship that subordinates Bollywood to Hollywood. I locate this thesis within a setting that contests the idea that globalisation has destroyed the nation, by demonstrating that there are radical and resistant ruptures forming at the margin. -
Crowded Movie Calender in 2014 Information Technology and Children So Far with 'Munnabhai' Films and '3 Idiots', Is Taking on Godmen in His Dr
SUNDAY, JANUARY 5, 2014 (PAGE-4) BOLLYWOOD BUZZ SCIENCE- TECHNOLOGY Crowded movie calender in 2014 Information Technology and Children so far with 'Munnabhai' films and '3 Idiots', is taking on godmen in his Dr. Shakeel Ahmed Raina I think the stage of education up to 10th class is most important. During this period the students next, which will release on June 6. Of course the information technology has rev- January's most anticipated film is should spend their maximum energy in making King Khan as Shah Rukh is known among his fans is also in the olutionalised the world. It has converted this big their hand writing, learning of writing skill, learn- race with two films. After the triumphant journey of 'Chennai Express' globe in to a small global village. Transparency 'Jai Ho' which will mark Salman's ing of pronunciation, doing of mathematics and at the box office, SRK is back with his friend Farah Khan with the apt- and efficiency is being doubled and re doubled try their best to grasp as much bookish knowl- ly titled 'Happy New Year'. after every minute due to it. The small mobile in return to the big screen after a gap edge as possible. Any weakness of student in SRK recently revealed that he will star in Yash Raj Films' 'Fan'. The your hand means a biggest library of the world these things will not be improved easily in future of one and a half years. Slated for film where SRK will play the role of an ardent fan, will be directed by is in your hand, most efficient and fast post office and he/she will always feel that his foundation is 'Band Baaja Baarat' helmer Maneesh Sharma.