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Jodhaa Akbar
JODHAA AKBAR ein Film von Ashutosh Gowariker Indien 2008 ▪ 213 Min. ▪ 35mm ▪ Farbe ▪ OmU KINO START: 22. Mai 2008 www.jodhaaakbar.com polyfilm Verleih Margaretenstrasse 78 1050 Wien Tel.:+43-1-581 39 00-20 www:polyfilm.at [email protected] Pressebetreuung: Allesandra Thiele Tel.:+43-1-581 39 00-14 oder0676-3983813 Credits ...................................................2 Kurzinhalt...............................................3 Pressenotiz ............................................3 Historischer Hintergrund ........................3 Regisseur Ashutosh Gowariker..............4 Komponist A.R. Rahman .......................5 Darsteller ...............................................6 Pressestimmen ......................................9 .......................................................................................Credits JODHAA AKBAR Originaltitel: JODHAA AKBAR Indien 2008 · 213 Minuten · OmU · 35mm · FSK ab 12 beantragt Offizielle Homepage: www.jodhaaakbar.com Regie ................................................Ashutosh Gowariker Drehbuch..........................................Ashutosh Gowariker, Haidar Ali Produzenten .....................................Ronnie Screwvala and Ashutosh Gowariker Musik ................................................A. R. Rahman Lyrics ................................................Javed Akhtar Kamera.............................................Kiiran Deohans Ausführende Produzentin.................Sunita Gowariker Koproduzenten .................................Zarina Mehta, Deven Khote -
Part 05.Indd
PART MISCELLANEOUS 5 TOPICS Awards and Honours Y NATIONAL AWARDS NATIONAL COMMUNAL Mohd. Hanif Khan Shastri and the HARMONY AWARDS 2009 Center for Human Rights and Social (announced in January 2010) Welfare, Rajasthan MOORTI DEVI AWARD Union law Minister Verrappa Moily KOYA NATIONAL JOURNALISM A G Noorani and NDTV Group AWARD 2009 Editor Barkha Dutt. LAL BAHADUR SHASTRI Sunil Mittal AWARD 2009 KALINGA PRIZE (UNESCO’S) Renowned scientist Yash Pal jointly with Prof Trinh Xuan Thuan of Vietnam RAJIV GANDHI NATIONAL GAIL (India) for the large scale QUALITY AWARD manufacturing industries category OLOF PLAME PRIZE 2009 Carsten Jensen NAYUDAMMA AWARD 2009 V. K. Saraswat MALCOLM ADISESHIAH Dr C.P. Chandrasekhar of Centre AWARD 2009 for Economic Studies and Planning, School of Social Sciences, Jawaharlal Nehru University, New Delhi. INDU SHARMA KATHA SAMMAN Mr Mohan Rana and Mr Bhagwan AWARD 2009 Dass Morwal PHALKE RATAN AWARD 2009 Actor Manoj Kumar SHANTI SWARUP BHATNAGAR Charusita Chakravarti – IIT Delhi, AWARDS 2008-2009 Santosh G. Honavar – L.V. Prasad Eye Institute; S.K. Satheesh –Indian Institute of Science; Amitabh Joshi and Bhaskar Shah – Biological Science; Giridhar Madras and Jayant Ramaswamy Harsita – Eengineering Science; R. Gopakumar and A. Dhar- Physical Science; Narayanswamy Jayraman – Chemical Science, and Verapally Suresh – Mathematical Science. NATIONAL MINORITY RIGHTS MM Tirmizi, advocate – Gujarat AWARD 2009 High Court 55th Filmfare Awards Best Actor (Male) Amitabh Bachchan–Paa; (Female) Vidya Balan–Paa Best Film 3 Idiots; Best Director Rajkumar Hirani–3 Idiots; Best Story Abhijat Joshi, Rajkumar Hirani–3 Idiots Best Actor in a Supporting Role (Male) Boman Irani–3 Idiots; (Female) Kalki Koechlin–Dev D Best Screenplay Rajkumar Hirani, Vidhu Vinod Chopra, Abhijat Joshi–3 Idiots; Best Choreography Bosco-Caesar–Chor Bazaari Love Aaj Kal Best Dialogue Rajkumar Hirani, Vidhu Vinod Chopra–3 idiots Best Cinematography Rajeev Rai–Dev D Life- time Achievement Award Shashi Kapoor–Khayyam R D Burman Music Award Amit Tivedi. -
UTV Acquires the Feature Film Rights of Ashwin Sanghi's
UTV acquires the Feature Film rights of Ashwin Sanghi’s ‘Chanakya’s Chant’ ~ A film based on the #1 National Bestseller to go on floors soon ~ Mumbai, Wednesday, June 15th, 2011: UTV Motion Pictures has acquired rights to Ashwin Sanghi’s national bestseller - Chanakya’s Chant, published by Westland. The interesting fast-paced story based on politics in two radically different eras will now be adapted into a film by the studio. Chanakya's Chant, a historical political thriller, released by Westland in January 2011, shot into the Top-5 Bestsellers of India within 2 weeks of its launch, proving that Chanakya’s neetis are as relevant today as they were in ancient times. The book narrates two parallel political tales, one in Chanakya’s puranic Bharat 2300 years ago and the other in post-independence contemporary India. While the ancient story is largely historical, based upon Chanakya’s rise to power and the clever tactics applied by him towards installing Chandragupta Maurya on the throne, the modern story is mostly fictional and tells the tale of Kanpur’s Pandit Gangasagar Mishra who draws inspiration from the master strategist Chanakya and employs his strategies in a modern context to get his protégée Chandini Gupta appointed to the highest office in India. On announcing the film, Siddharth Roy Kapur, CEO, UTV Motion Pictures, said "Chanakya’s Chant is one of those rare books with a storyline that has the potential to be translated into a superbly cinematic and immensely entertaining screenplay. The tale is about the underbelly of national politics which the book superbly exposes, where strategies developed by Chanakya 2300 years ago are still as valid in the modern day political scenario. -
Bollywood Lens Syllabus
Bollywood's Lens on Indian Society Professor Anita Weiss INTL 448/548, Spring 2018 [email protected] Mondays, 4-7:20 pm 307 PLC; 541 346-3245 Course Syllabus Film has the ability to project powerful images of a society in ways conventional academic mediums cannot. This is particularly true in learning about India, which is home to the largest film industries in the world. This course explores images of Indian society that emerge through the medium of film. Our attention will be focused on the ways in which Indian society and history is depicted in film, critical social issues being explored through film; the depicted reality vs. the historical reality; and the powerful role of the Indian film industry in affecting social orientations and values. Course Objectives: 1. To gain an awareness of the historical background of the subcontinent and of contemporary Indian society; 2. To understand the sociocultural similarities yet significant diversity within this culture area; 3. To learn about the political and economic realities and challenges facing contemporary India and the rapid social changes the country is experiencing; 4. To learn about the Indian film industry, the largest in the world, and specifically Bollywood. Class format Professor Weiss will open each class with a short lecture on the issues which are raised in the film to be screened for that day. We will then view the selected film, followed by a short break, and then extensive in- class discussion. Given the length of most Bollywood films, we will need to fast-forward through much of the song/dance and/or fighting sequences. -
Brief Historical Overview A. Indus Valley Civilization
Brief Historical Overview A. Indus Valley civilization (3,000-1,500 B.C.) 1. 3,000-2,000 B.C.: high civilization, urban, literate, settled agriculture; Harappa/Mohenjo Daro (first grid plan cities) 2. 2,000-1,500 B.C.: Indo-Aryan invasion, pushed Dravidians South, and brought an Aryan group which had a strong hierarchical division between priests, warriors and nomads, and a language similar to Sanskrit (an Indo-Aryan/Indo-European language) B. Vedic Age - 1500 – 1000 BC 1. Vedas: poetic Sanskrit hymns passed down orally for thousands of years ( mostly fire sacrifices, chants, and spells) 2. Rig Veda: 1028 Hymns of praise to Aryan gods (personified forces of nature). C. Classical period (600 B.C. to 600 A.D.): Articulation of Hinduism (Vedas, Upanishads, Bhagavad Gita); establishment of varna system (Brahmins, Kshatriyas, Vaishyas, Shudras) - which provided the foundation of the present jajmani system (to be discussed Week Three) D. Islamic period: invasion by Mahmud of Ghazni in 1057 A.D., from Afghanistan; followed by the Sultanate of Delhi (1206-1526); the great Mughal empire (1527-1857): best known emperors were Akbar, Jehangir and Shah Jehan (builder of the Taj Mahal); effective rule ended in 1748. Akbar created a political system which provided a synthesis of the great diversities in India, which provides a model for accommodation between groups today. [Note: Be thinking of this as we watch Jodhaa Akbar.] E. The British Raj 1. First entered as the British East India Company in Bengal. 2. Established various kinds of taxation and land tenure systems, and organized groups (e.g., tribes, zamindars) into new forms. -
Online Piracy of Indian Movies: Is the Film Industry Firing at the Wrong Target?
ONLINE PIRACY OF INDIAN MOVIES: IS THE FILM INDUSTRY FIRING AT THE WRONG TARGET? Arul George Sea ria* INTRODUCTION .......................................................................................... 648 I. ONLINE PIRACY OF INDIAN MOVIES ................................................... 649 II. EFFECTIVENESS OF THE LEGAL MEASURES AGAINST ONLINE PIRACY ................................................................................................ 657 III. SUSTAINABLE SOLUTIONS FOR ONLINE PIRACY ................................ 660 CONCLUSION .............................................................................................. 663 ABSTRACT India has recently introduced some digital rights management (DRM) provisions to the Indian copyright law with the objective of providing "adequate" protection for copyrighted material in the online digital environment. Film industry was one of the biggest lobbying groups behind the new DRM provisions in India, and the industry has been consistently trying to portray online piracy as a major threat. The Indian film industry also extensively uses John Doe orders from the high courts in India to prevent the access of Internet users to websites suspected to be hosting pirated material. This paper explores two questions in the context of the new DRM provisions in India: ( 1) Is online piracy a threat to the Indian film industry? and (2) Are the present measures taken by the film industry the optimal measures for addressing the issue of online piracy? Based on data from an extensive empirical -
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. -
The Conference Brochure
The Many Lives of Indian Cinema: 1913-2013 and beyond Centre for the Study of Developing Societies, Delhi 9-11 January 2014 1 Credits Concept: Ravi Vasudevan Production: Ishita Tiwary Operations: Ashish Mahajan Programme coordinator: Tanveer Kaur Infrastructure: Sachin Kumar, Vikas Chaurasia Consultant: Ravikant Audio-visual Production: Ritika Kaushik Print Design: Mrityunjay Chatterjee Cover Image: Mrityunjay Chatterjee Back Cover Image: Shahid Datawala, Sarai Archive Staff of the Centre for the Study of Developing Societies We gratefully acknowledge support from the following institutions: Indian Council for Social Science Research; Arts and Humanities Research Council; Research Councils UK; Goethe Institute, Delhi; Indian Council for Historical Research; Sage Publishing. Doordarshan have generously extended media partnership to the conference. Images in the brochure are selected from Sarai Archive collections. Sponsors Media Partner 2 The Idea Remembering legendary beginnings provides us the occasion to redefine and make contemporary the history we set out to honour. We need to complicate the idea of origins and `firsts’ because they highlight some dimensions of film culture and usage over others, and obscure the wider network of media technologies, cultural practices, and audiences which made cinema possible. In India, it is a matter of debate whether D.G. Phalke's Raja Harishchandra (1913), popularly referred to as the first Indian feature film, deserves that accolade. As Rosie Thomas has shown, earlier instances of the story film can be identified, includingAlibaba (Hiralal Sen, 1903), an Arabian Nights fantasy which would point to the presence of a different cultural universe from that provided by Phalke's Hindu mythological film. Such a revisionary history is critical to our research agenda. -
C1-27072018-Section
TATA CHEMICALS LIMITED LIST OF OUTSTANDING WARRANTS AS ON 27-08-2018. Sr. No. First Name Middle Name Last Name Address Pincode Folio / BENACC Amount 1 A RADHA LAXMI 106/1, THOMSAN RAOD, RAILWAY QTRS, MINTO ROAD, NEW DELHI DELHI 110002 00C11204470000012140 242.00 2 A T SRIDHAR 248 VIKAS KUNJ VIKASPURI NEW DELHI 110018 0000000000C1A0123021 2,200.00 3 A N PAREEKH 28 GREATER KAILASH ENCLAVE-I NEW DELHI 110048 0000000000C1A0123702 1,628.00 4 A K THAPAR C/O THAPAR ISPAT LTD B-47 PHASE VII FOCAL POINT LUDHIANA NR CONTAINER FRT STN 141010 0000000000C1A0035110 1,760.00 5 A S OSAHAN 545 BASANT AVENUE AMRITSAR 143001 0000000000C1A0035260 1,210.00 6 A K AGARWAL P T C P LTD AISHBAGH LUCKNOW 226004 0000000000C1A0035071 1,760.00 7 A R BHANDARI 49 VIDYUT ABHIYANTA COLONY MALVIYA NAGAR JAIPUR RAJASTHAN 302017 0000IN30001110438445 2,750.00 8 A Y SAWANT 20 SHIVNAGAR SOCIETY GHATLODIA AHMEDABAD 380061 0000000000C1A0054845 22.00 9 A ROSALIND MARITA 505, BHASKARA T.I.F.R.HSG.COMPLEX HOMI BHABHA ROAD BOMBAY 400005 0000000000C1A0035242 1,760.00 10 A G DESHPANDE 9/146, SHREE PARLESHWAR SOC., SHANHAJI RAJE MARG., VILE PARLE EAST, MUMBAI 400020 0000000000C1A0115029 550.00 11 A P PARAMESHWARAN 91/0086 21/276, TATA BLDG. SION EAST MUMBAI 400022 0000000000C1A0025898 15,136.00 12 A D KODLIKAR BLDG NO 58 R NO 1861 NEHRU NAGAR KURLA EAST MUMBAI 400024 0000000000C1A0112842 2,200.00 13 A RSEGU ALAUDEEN C 204 ASHISH TIRUPATI APTS B DESAI ROAD BOMBAY 400026 0000000000C1A0054466 3,520.00 14 A K DINESH 204 ST THOMAS SQUARE DIWANMAN NAVYUG NAGAR VASAI WEST MAHARASHTRA THANA -
HRITHIK ROSHAN the New Emperor of Bollywood
BOLLYWOOD HRITHIK ROSHAN The New Emperor of Bollywood n all the clamour made about the ban- to the latest ‘Jodhaa Akbar’, he has essayed zling depiction of the mysterious Mr. A in ning of the Hindi period romance roles that are as diverse and wide as the ‘Dhoom-2’ — Roshan has displayed an ‘Jodhaa Akbar’ by the Indian states of gamut of emotions and acting skills that he is amazing repertoire of histrionics and Rajasthan, Madhya Pradesh (MP) and capable of exhibiting. breathed life into his on-screen personas so UttarI Pradesh, the subsequent lifting of the Be it any role — a romantic hero much so that you get to see the reel charac- ban by the MP High Court, the protests Rohit/Raj in ‘Kaho Na Pyar Hai’, where he ters and not Roshan, the actor. staged by a motley group in Maharashtra made his stunning debut and caught the But it was as Akbar in Ashutosh against the movie, and about the box-office imagination of the nation, or a convincing Gowariker’s ‘Jodhaa Akbar’ that the true mag- collections that the movie has raked in world- portrayal of a terrorist in ‘Fiza’, or a mind- nificence of Hrithik emerges. wide (about Rs. 740 million worldwide with- blowing interpretation of a growth retarded Roshan as Emperor Jalaluddin Akbar looks in 10 days of its release), one gets a feeling man-child in ‘Koi Mil Gaya’, or a fantastic absolutely larger than life. The film made by that something is not being given the atten- Indian superman avatar in ‘Krrish’, or a daz- Ashutosh Gowiraker is today hailed as one of tion that it richly deserves. -
Born Thespian Kaym ( KMC Alumnus ) VM Badola Passes Away
im 071 www.alumni.du.ac.in The University of Delhi Alumni Edition Ten 2020 Delhi – born thespian Kaym ( KMC alumnus ) V M Badola passes away Kaym Vishwa Mohan Badola Actor , Writer and Journalist BA Eng Hons KMC 1961 MA Eng 1963 Films : Swades 2004 , Jodhaa Akbar 2008 and Munna Bhai MBBS 2003 Passed away 23.11.2020 Google released an ad film about two elderly men, who had been friends in Lahore before the Partition separated them , being reunited by their grandchildren . The Pakistani was played by veteran actor director M S Sathyu .When he arrived in Delhi for the shoot, Sathyu was in for a surprise : the other actor was Vishwa Mohan Badola , his friend from the time they used to do theatre in Delhi in the 1970s, “ The whole film was a surprise,” says Sathyu over the phone from Bengaluru. Their embrace, towards the end of the clip captured a well of emotions from nostalgia and remorse to a yeaming for peace and friendship , “ He was a very strong and sensitive actor,” says Sathyu , about V M , who passed away from age related illness. He was 84 . The viral ad film was only one of V M’s several works in film, radio and stage. The 60s and 70s were marked by sociopolitical upheaval and as a journalist and a theatre practitioner , he would have long discussions about the nation with Sathyu and others. “ It was a time when a lot of theatre was being created around the Emergency and he participated in several of these . He was also a good writer, politically aware and opposed to autocracy” says Sathyu . -
Urban Biodiversity
NATIONAL BIODIVERSITY STRATEGY & ACTION PLAN – INDIA FOR MINISTRY OF ENVIRONEMENT & FORESTS, GOVERNMENT OF INDIA BY KALPAVRIKSH URBAN BIODIVERSITY By Prof. Ulhas Rane ‘Brindavan’, 227, Raj Mahal Vilas – II, First Main Road, Bangalore- 560094 Phone: 080 3417366, Telefax: 080 3417283 E-mail: < [email protected] >, < [email protected] > JANUARY 2003 TABLE OF CONTENTS Page Nos. I. INTRODUCTION 4 II. URBANISATION: 8 1. Urban evolution 2. Urban biodiversity 3. Exploding cities of the world 4. Indian scenario 5. Development / environment conflict 6. Status of a few large Urban Centres in India III. BIODIVERSITY – AN INDICATOR OF A HEALTHY URBAN ENVIRONMENT: 17 IV. URBAN PLANNING – A BRIEF LOOK: 21 1. Policy planning 2. Planning authorities 3. Statutory authorities 4. Role of planners 5. Role of voluntary and non-governmental organisations V. STRATEGIC PLANNING OF A ‘NEW’ CITY EVOLVING AROUND URBAN BIODIVERSITY: 24 1. Introduction 2. General planning norms 3. National / regional / local level strategy 4. Basic principles for policy planning 5. Basic norms for implementation 6. Guidelines from the urban biodiversity angle 7. Conclusion VI. ACKNOWLEDGEMENTS 35 2 VII. ANNEXURES: 36 Annexure – 1: The 25 largest cities in the year 2000 37 Annexure – 2: A megalopolis – Mumbai (Case study – I) 38 Annexure – 3: Growing metropolis – Bangalore (Case study – II) 49 Annexure – 4: Other metro cities of India (General case study – III) 63 Annexure – 5: List of Voluntary & Non governmental Organisations in Mumbai & Bangalore 68 VIII. REFERENCES 69 3 I. INTRODUCTION About 50% of the world’s population now resides in cities. However, this proportion is projected to rise to 61% in the next 30 years (UN 1997a).