DOCSLIB.ORG

Berlinale Special Berlinale Special Gala Im Friedrichstadt-Palast

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Berlinale Special Berlinale Special Gala Im Friedrichstadt-Palast Berlinale Special Berlinale Special Gala im Friedrichstadt-Palast The Boy Who Harnessed the Wind von Chiwetel Ejiofor mit Chiwetel Ejiofor, Maxwell Simba, Lily Banda, Noma Dumezweni, Aïssa Maïga, Joseph Marcell, Lemogang Tsipa. Produktion: Potboiler Productions, London. Weltvertrieb: Cornerstone Films, London. Originalsprache: Englisch/Chichewa. Untertitel: Deutsch/Englisch Gully Boy von Zoya Akhtar mit Ranveer Singh, Alia Bhatt, Siddhant Chaturvedi, Kalki Koechlin, Vijay Raaz, Amruta Subhash. Produktion: Excel Entertainment, Mumbai; Tiger Baby, Mumbai. Weltvertrieb: C International Sales/Cinestaan Intl., London. Originalsprache: Hindi. Untertitel: Englisch Lampenfieber (Kids in the Spotlight) von Alice Agneskirchner. Produktion: gebrueder beetz filmproduktion, Berlin. Deutscher Verleih: NFP marketing & distribution, Berlin. Originalsprache: Deutsch/Arabisch. Untertitel: Englisch (Dokumentarfilm) Photograph von Ritesh Batra mit Nawazuddin Siddiqui, Sanya Malhotra, Farrukh Jaffar, Geetanjali Kulkami, Vijay Raaz, Jim Sarbh, Akash Sinha, Saharsh Kumar Shukla. Produktion: Poetic License, Mumbai; Pola Pandora, Berlin; filmscience, New York. Deutscher Verleih: NFP marketing & distribution, Berlin. Weltvertrieb: The Match Factory, Köln. Originalsprache: Hindi/Gujarati/Englisch. Untertitel: Englisch Weil du nur einmal lebst - Die Toten Hosen auf Tour (Die Toten Hosen - You Only Live Once) von Cordula Kablitz-Post/Paul Dugdale. Produktion: avanti media fiction, Berlin. Deutscher Verleih: NFP marketing & distribution, Berlin. Weltvertrieb: MAGNETFILM, Berlin. Originalsprache: Deutsch/Englisch/Spanisch. Untertitel: Englisch (Dokumentarfilm) Berlinale Special Gala im Zoo Plast Celle que vous croyez (Who You Think I Am) von Safy Nebbou mit Juliette Binoche, François Civil, Nicole Garcia, Marie-Ange Casta, Guillaume Gouix, Jules Houplain, Jules Gauzelin, Charles Berling, Claude Perron. Produktion: Diaphana Films, Paris. Deutscher Verleih: Alamode Filmdistribution, München. Weltvertrieb: Playtime, Paris. Originalsprache: Französisch. Untertitel: Englisch Berlinale Special im Haus der Berliner Festspiele ANTHROPOCENE: The Human Epoch von Jennifer Baichwal/Nicholas de Pencier/Edward Burtynsky. Produktion: Mercury Films, Toronto. Weltvertrieb: Seville International, Montréal. Originalsprache: Englisch/Russisch/Italienisch/Deutsch/Mandarin/Kantonesisch. Untertitel: Englisch (Dokumentarfilm) (2) Brecht von Heinrich Breloer mit Burghart Klaußner, Tom Schilling, Adele Neuhauser, Trine Dyrholm, Mala Emde, Franz Hartwig, Friederike Becht, Ernst Stötzner, Lou Strenger, Leonie Benesch, Marie Luise Stahl. Produktion: Bavaria Fiction, Geiselgasteig; Bavaria Filmproduktion, Köln; Satel Film, Wien. Deutscher Verleih: Filmwelt Verleihagentur, München. Weltvertrieb: Bavaria Media, Geiselgasteig. Originalsprache: Deutsch. Untertitel: Englisch (Doku-Feature) (1) Es hätte schlimmer kommen können - Mario Adorf (It Could Have Been Worse – Mario Adorf) von Dominik Wessely. Produktion: COIN FILM, Köln. Deutscher Verleih: NFP marketing & distribution, Berlin. Originalsprache: Deutsch. Untertitel: Englisch (Dokumentarfilm) (1) El Norte (The North) von Gregory Nava mit Zaide Silvia Gutiérrez, David Villalpando, Ernesto Gómez Cruz, Alicia Del Lago, Lupe Ontiveros, Trinidad Silva, Tony Plana, Enrique Castillo, Diane Civita, Gregory Enton. Produktion: Independent Productions, Los Angeles. Weltvertrieb: Lionsgate, Santa Monica. 1984/2017, restauriert durch das Academy Film Archive, mit Unterstützung durch die Getty Foundation. Originalsprache: Spanisch/Englisch. Untertitel: Englisch (2) Peter Lindbergh - Women Stories von Jean Michel Vecchiet. Produktion: DCM Pictures, Berlin; B|14 Film, Hamburg. Deutscher Verleih: DCM Film Distribution, Berlin. Originalsprache: Französisch/Deutsch/Englisch/Polnisch/Italienisch. Untertitel: Englisch (Dokumentarfilm) (1) Watergate - Or: How We Learned to Stop an Out of Control President von Charles Ferguson mit Douglas Hodge, John Hopkins, Mark Dexter, Elliot Levey, Will Keen. Produktion: Representational Pictures, Berkley. Weltvertrieb: Dogwoof, London. Originalsprache: Englisch. Untertitel: Deutsch/Englisch (Dokumentarfilm) (2) Berlinale Special im Kino International Anlässlich der Verleihung der Berlinale Kamera an Hermann Zschoche Das Mädchen aus dem Fahrstuhl (The Girl in the Lift) von Herrmann Zschoche mit Barbara Sommer, Rolf Lukoschek, Henry Schröder, Diane Damerau, Stefanie Wegener, Alexandra Falkner, Thomas Grimm, Oliver Fischer, Matthias Hühne, Wolfgang Ullrich, Frieder Uhlmann, Christian Anders, Michelle Herrmann, Philipp Tietz. Produktion: DEFA-Studio für Spielfilme, Potsdam, DDR. Weltvertrieb: Stiftung Deutsche Kinemathek – Museum für Film und Fernsehen, Berlin. Originalsprache: Deutsch. Untertitel: Ohne Who Will Write our History? (Das Geheimarchiv im Warschauer Ghetto) von Roberta Grossman mit Jowita Budnick, Piotr Glowacki, Karolina Gruszka. Produktion: Katahdin Productions, Los Angeles. Weltvertrieb: Cinephil, Tel Aviv. Originalsprache: Englisch/Polnisch/Jiddisch. Untertitel: Deutsch (Dokumentarische Form) Berlinale Series im Zoo Palast 8 Tage (8 Days) Creator: Rafael Parente/Peter Kocyla; Regie: Stefan Ruzowitzky/Michael Krummenacher mit Christiane Paul, Mark Waschke, Lena Klenke, Fabian Hinrichs, Nora Waldstätten, Devid Striesow, Henry Hübchen, Murathan Muslu, David Schütter, Luisa-Céline Gaffron, Claude Heinrich. Broadcaster: Sky Deutschland. Produktion: NEUESUPER, München. Weltvertrieb: Sky Vision, London. Originalsprache: Deutsch. Untertitel: Englisch Bedrag III (Follow the Money III) Creator: Jeppe Gjervig Gram; Regie: Søren Balle mit Thomas Hwan, Esben Smed, Maria Rich. Broadcaster: DR1. Produktion: DR Drama, Kopenhagen. Weltvertrieb: DR Sales, Kopenhagen. Originalsprache: Dänisch. Untertitel: Englisch (1) Il était une seconde fois (Twice Upon A Time) Regie: Guillaume Nicloux mit Gaspard Ulliel, Freya Mavor, Patrick D’Assumçao, Steve Tran, Claire Sermonne, Sacha Canuyt, Sylvain Creuzevault, Jonathan Manzambi. Broadcaster: Arte France; Netflix. Produktion: Unité de Production, Paris; ARTE France, Paris. Weltvertrieb: Federation Entertainment, Paris. Originalsprache: Französisch/Englisch. Untertitel: Englisch (1) False Flag 2 Creator: Maria Feldman/Leora Kamenetzky; Regie: Oded Ruskin mit Miki Leon, Hanna Azoulay Hasfari, Neta Riskin, Yiftach Klein, Yousef (Joe) Sweid, Lihi Kornowski, Moran Rosenblatt, Angel Bonanni. Broadcaster: Keshet Broadcasting. Produktion: Masha Productions, Tel Aviv. Weltvertrieb: Keshet International, Tel Aviv. Originalsprache: Hebräisch. Untertitel: Englisch (1) Hanna Regie: Sarah Adina Smith mit Esmé Creed-Miles, Joel Kinnaman, Mireille Enos, Rhianne Barreto, Phaldut Sharma, Lyndsey Marshal, Kemaal Deen-Ellis, Benno Fürmann, Joanna Kulig, Justin Salinger. Broadcaster: Amazon Prime Video. Produktion: NBCUniversal International Studios, London; Working Title Television, London. Originalsprache: Englisch. Untertitel: Ohne (1) M - Eine Stadt sucht einen Mörder (M - A City Hunts a Murderer) Regie: David Schalko mit Sarah Viktoria Frick, Christian Dolezal, Verena Altenberger, Lars Eidinger, Sophie Rois, Moritz Bleibtreu, Bela B Felsenheimer, Udo Kier, Gerhard Liebmann, Dominik Maringer, Johanna Orsini-Rosenberg, Murathan Muslu, Julia Stemberger, Gabriel Barylli, Juergen Maurer, Brigitte Hobmeier. Broadcaster: ORF; TV NOW. Produktion: SUPERFILM Filmproduktions, Wien. Weltvertrieb: Beta Film, Oberhaching. Originalsprache: Deutsch. Untertitel: Englisch (1) Störst av allt (Quicksand) Regie: Per-Olav Sørensen mit Hanna Ardéhn, Felix Sandman, William Spetz, David Dencik, Reuben Sallmander. Broadcaster: Netflix. Produktion: FLX, Stockholm. Weltvertrieb: Netflix, Amsterdam. Originalsprache: Schwedisch. Untertitel: Englisch (1) (1) mit Q & A, (2) mit Filmgespräch .
Load more

Recommended publications
  • Rajesh Sethi 17 LIKE a PRODUCT” MOST-VIEWED ADS Best Creatives 20 MX Player Recently Raised $110 Million
    November 16-30, 2019 Volume 8, Issue 10 `100 INTERVIEW 16 KARAN BEDI MX PLAYER 12 IMAGICA Be Amazed New ads pit rollercoasters against binge watching. 18 COFFY BITE New Coffee-Toffee TVC There’s finally an ad for the iconic toffee brand. 10 KNORR Subs riber o yf not or resale No Mom-Kid Routine The new Knorr ad features “WE TREAT EACH Karan Johar, instead. PIECE OF CONTENT INTERVIEW Rajesh Sethi 17 LIKE A PRODUCT” MOST-VIEWED ADS Best Creatives 20 MX Player recently raised $110 million. MOVEMENTS/APPOINTMENTS An interview with CEO Karan Bedi. Who’s Where 22 EDITORIAL This fortnight... Volume 8, Issue 10 EDITOR Sreekant Khandekar hough relatively new in the larger scheme of entertainment, algorithm based PUBLISHER November 16-30, 2019 Volume 8, Issue 10 `100 T content consumption has been around long enough for ‘pro’ and ‘against’ Sreekant Khandekar INTERVIEW 16 KARAN BEDI camps to have developed. The latter, which I belong to, is based on a simple premise EXECUTIVE EDITOR MX PLAYER 12 – if recommendation engines keep pushing content of the kind we’ve already Ashwini Gangal IMAGICA Be Amazed PRODUCTION EXECUTIVE New ads pit rollercoasters watched, how will we ever discover new, contrarian types of content? Where’s the against binge watching. Andrias Kisku 18 serendipity and human folly in a world in which humans have less volition than a ADVERTISING ENQUIRIES platform? I’ve disabled YouTube’s auto-play option, in a bid to take back some of Shubham Garg COFFY BITE New Coffee-Toffee TVC the agency I feel a sense of having lost to it.
    [Show full text]
  • Hindi DVD Database 2014-2015 Full-Ready
    Malayalam Entertainment Portal Presents Hindi DVD Database 2014-2015 2014 Full (Fourth Edition) • Details of more than 290 Hindi Movie DVD Titles Compiled by Rajiv Nedungadi Disclaimer All contents provided in this file, available through any media or source, or online through any website or groups or forums, are only the details or information collected or compiled to provide information about music and movies to general public. These reports or information are compiled or collected from the inlay cards accompanied with the copyrighted CDs or from information on websites and we do not guarantee any accuracy of any information and is not responsible for missing information or for results obtained from the use of this information and especially states that it has no financial liability whatsoever to the users of this report. The prices of items and copyright holders mentioned may vary from time to time. The database is only for reference and does not include songs or videos. Titles can be purchased from the respective copyright owners or leading music stores. This database has been compiled by Rajiv Nedungadi, who owns a copy of the original Audio or Video CD or DVD or Blu Ray of the titles mentioned in the database. The synopsis of movies mentioned in the database are from the inlay card of the disc or from the free encyclopedia www.wikipedia.org . Media Arranged By: https://www.facebook.com/pages/Lifeline/762365430471414 © 2010-2013 Kiran Data Services | 2013-2015 Malayalam Entertainment Portal MALAYALAM ENTERTAINMENT PORTAL For Exclusive
    [Show full text]
  • Bhopal Governor Not
    5 > "$! #,("".,"/*"$! $ !/.,"/*"$! !"#$% RNI Regn. No. MPENG/2004/13703, Regd. No. L-2/BPLON/41/2006-2008 4 56578 4!!,! !#**,( %,/0 1 2,'3 4 #,'- . !"#$ % & ' +3 9 & "&'$(%') )'$ ! + :; )'!") '$!*') 0 <3+3 +30 =3 )'"$ +)'&' !,'+%'' &' ( ("#')*)"+, #-%: . . (# ) R + R Sonia Gandhi. # Sources told The Pioneer that the CM, during an hour- he turbulent political winds long meeting with Rawat, reit- !"## $$"'( Tblowing across Punjab erated that he would abide by #"!!"!($$#*!"$"$** Congress on Saturday showed the party president’s decision. !"$+! signs of abating, but the heat Expressing displeasure over "" "(!(,"!#!#"!"!! wave continued. Captain “leakage” of reports regarding $$#!*"!. !!$'!/!"$! Amarinder Singh, who reiter- Sidhu’s elevation in the media !$$ ated his earlier stand on abid- before taking him in confi- ing by Delhi’s decision, also dence, Amarinder underlined # $$+"! $0$!L!"$ ,"$/$$", 3 $*!*,"$,!$"!#$,!"# made it clear that he is still the that the Congress central lead- *"/!#/$##//(!"## $*",$ monarch. ership should always involve ,"$!/"$$$M The Captain told Punjab him in important decision- he Uttar Pradesh party affairs in-charge Harish sought public “apology” for The much-awaited making processes in the party TGovernment, after inter- Rawat, who flew on Saturday Sidhu’s “150 odd derogatory announcement of Sidhu’s coro- and regarding the Government, acting with the Kanwar asso- midst heightened tension morning from Delhi, that his tweets
    [Show full text]
  • Monsoon Wedding
    Sondervorführung/IFB 2002 MONSOON WEDDING MONSOON WEDDING LE MARIAGE DES MOUSSONS Regie: Mira Nair USA 2001 Darsteller Lalit Verma Naseeruddin Shah Länge 116 Min. Pimmi Verma Lillete Dubey Format 35 mm, 1:1.85 Ria Verma Shefali Shetty Farbe P.K.Dubey Vijay Raaz Alice Tilotama Shome Stabliste Aditi Verma Vasundhara Das Buch Sabrina Dhawan Hemant Rai Parvin Dabas Kamera Declan Quinn C.L.Chadha Kullbhushan Kameraassistenz Zsolt Kadar Kharbanda Schnitt Allyson C.Johnson Shashi Chadha Kamini Khanna Schnittassistenz Anna Dinuovo Tej Puri Rajat Kapoor Ton Henri Morelle Ayesha Verma Neha Dubey Tonschnitt Magdaline Volaitis Aliya Verma Kemaya Kidwai Musik Mychael Danna Varun Verma Ishaan Nair Choreografie Farah Khan Rahul Chadha Randeep Hooda Production Design Stephanie Carroll Mohan Rai Roshan Seth Ausstattung Sunil Chhabra Saroj Rai Soni Razdan Requisite Robin Thomas Vikram Mehta Sameer Arya Kostüm Arjun Bhasin Uday Verma Rahul Vohra Maske Luann Claps Parvin Dabas Sona Verma Natasha Rastogi Prakash Maruti Lad Veena Verma Vimla Bhushan Casting Loveleen Tandan Uma Da Cunha MONSOON WEDDING Dileep Shankar Eine Familie am Rande des Nervenzusammenbruchs: Lalit und Pimmi Verma Herstellungsltg. Shernaz Italia bereiten die Hochzeit ihrer Tochter Aditi vor. Doch was so harmlos beginnt, Freny Khodaiji entwickelt sich zu einem wilden, vier Tage währenden Reigen . Produktionsltg. Jessica Huppert Fünf Handlungsstränge, immer wieder unterbrochen von Musik und Tanz, Berman Aufnahmeleitung Varsha Dewan ranken sich um diese arrangierte Hochzeit im wohlhabenden Mittelstand Produzentinnen Caroline Baron von Neu Delhi, zu der die weit verstreute Verwandtschaft aus allen Ecken Mira Nair der Welt anreist. Zum Bräutigam erkoren ist Hemant, ein indischer Ingeni- Executive Producers Jonathan Sehring eur, der schon seit mehreren Jahren in Houston lebt und die Braut noch nie Caroline Kaplan gesehen hat.
    [Show full text]
  • Indische Filme
    Indische Filme Titel Jahr Regie Länge 102 Not Out 2018 Umesh Shukla 102 Min. 1942 - A Love Story 1994 Vidhu Vinod Chopra 159 Min. 1983 2014 Abrid Shine 138 Min. 2 States 2014 Abhishek Varman 149 Min. 3 Deewarein 2003 Nagesh Kukunoor 115 Min. 3 Idiots 2009 Rajkumar Hirani 165 Min. 36 Chowringhee Lane 1981 Vanraj Bhatia 122 Min. 7 Khoon Maaf 2011 Vishal Bhardwaj 148 Min. 99 2009 Raj Nidimoru 133 Min. A Wednesday 2008 Neeraj Pandey 104 Min. Aaja Nachle 2007 Anil Mehta 153 Min. Aakrosh 2010 Priyadarshan 146 Min. Aamir 2008 Raj Kumar Gupta 96 Min. Aar-Paar 1954 Guru Dutt 146 Min. Aarakshan 2011 Prakash Jha 158 Min. Aashayein 2010 Nagesh Kukunoor 125 Min. Aashiqui 2 2013 Mohit Suri 132 Min. ABCD 2 2015 Remo D'Souza 154 Min. Abhijan 1962 Satyajit Ray 145 Min. Abhimaan 1973 Hrishikesh Mukherjee 122 Min. Adaminte Makan Abu 2011 Salim Ahmed 105 Min. Ae Dil Hai Mushkil 2016 Karan Johar 157 Min. Afsana Pyar Ka 1991 Shahjahan 143 Min. Agantuk 1991 Satyajit Ray 120 Min. Agneepath 2012 Karan Malhotra 174 Min. Agneepath 1990 Mukul S. Anand 167 Min. Airlift 2016 Raja Menon 130 Min. Aisha 2010 Rajshree Ojha 126 Min. Aiyaary 2016 Neeraj Pandey 157 Min. Aiyyaa 2012 Sachin Kundalkar 146 Min. Ajaana Anjaani 2010 Siddharth Anand 152 Min. Akele Hum Akele Tum 1995 Mansoor Khan 154 Min. Akira 2016 A. R. Murugadoss 138 Min. Aligarh 2016 Hansal Mehta 120 Min. All Is Well 2015 Umesh Shukla 215 Min. Allah Ke Banday 2010 Faruk Kabir 132 Min. Amal 2007 Richie Mehta 101 Min.
    [Show full text]
  • IMS MANAGEMENT JOURNAL ISSN: 0975-0800 Volume: 11; Issue 1; January 2019
    IMS MANAGEMENT JOURNAL ISSN: 0975-0800 www.imskolgroup.com Volume: 11; Issue 1; January 2019 REPRESENTING A CHANGED CULTURE IN DELHI BELLY (MOVIE), BAISHE SRABON (MOVIE) AND ALTAF GOMES (THEATRE): A CONTEMPORARY THOUGHT IN DISCOURSE IMS Management Journal/Volume: 11, Issue: 1/Jan-19/ISSN No. 0975-0800 By MAUMITA CHAUDHURI ASSISTANT PROFESSOR, HEAD OF THE DEPARTMENT OF JOURNALISM AND MASS COMMUNICATION, AND JOINT COORDINATOR OF DEPARTMENT OF BBA, BARRACKPORE RASTRAGURU SURENDRANATH COLLEGE, 6, RIVERSIDE ROAD & 85, MIDDLE ROAD, BARRACKPORE, NORTH 24 PARGANAS, WEST BENGAL – 700120. INDIA. Ph. No. +919674339059, +919433065888. E – Mail: [email protected], [email protected]. ADDRESS FOR COMMUNICATION: 26, NAGENDRANATH ROAD, ANANDA BIHAR, BLOCK – III, FLAT – 1B, SATGACHHI, KOLKATA – 700028, WEST BENGAL. INDIA. IMS Management Journal/Volume: 11, Issue: 1/Jan-19/ISSN No. 0975-0800 Abstract Cinema is the mirror of the society. In this paper I have chosen two movies and one theatre to justify how the usage of language in media can make changes in the stereotype communication form. Delhi Belly (rated A certification) is a 2011 Bollywood Hindi Movie, Baishe Srabon (rated A certification) is a 2011 Bengali Movie and Altaf Gomes is 2013 Bengali Play (strictly for adults). These three forms of communication and media have one single thing in common i.e. their language. They didn’t miss a single opportunity in any shot or sequence to use slang languages in its optimum. This paper will try and analyze how these mediums of communication have
    [Show full text]
  • Three Capitals for Andhra, Hints Jagan
    Follow us on: @TheDailyPioneer facebook.com/dailypioneer RNI No. APENG/2018/764698 Established 1864 Published From OPINION 6 MONEY 8 SPORTS 12 VIJAYAWADA DELHI LUCKNOW GLOBAL FM SETS RS 1.1L CR MONTHLY INDIA OUT BHOPAL RAIPUR CHANDIGARH WARNING TO SAVE SERIES BHUBANESWAR RANCHI DEHRADUN GST COLLECTION TARGET HYDERABAD *Late City Vol. 2 Issue 47 VIJAYAWADA, WEDNESDAY DECEMBER 18, 2019; PAGES 12 `3 *Air Surcharge Extra if Applicable RAJINIKANTH: I WANT TO PLAY THE ROLE OF A TRANSGENDER { Page 11 } www.dailypioneer.com Bihar woman, AP House set on fire adjourned after failed Three capitals for Andhra, hints Jagan sine die rape bid, dies Visakhapatnam may be executive capital, Legal capitalin Kurnool and Legislative capital in Vijayawada PNS n VIJAYAWADA PNS n PATNA From TDP’s Singapore model to YSRCP’s South Africa style, decisions help ruling pary gain political capital Andhra Pradesh Legislative Assembly was adjourned sine The 23-year old woman, who PNS n VIJAYAWADA die by Speaker Tammineni was set on fire after a failed Sitaram. rape bid in Bihar's Muzaff- Ending the uncertainty over The seven day assembly arpur district on December 7, future of Amaravati as Andhra Why this much hatred against session has passed the Disha died here on Monday night. Pradesh capital, Chief Minister Bill, which seeks expeditious She was undergoing treat- Y. S. Jagan Mohan Reddy on trial of cases pertaining to ment in Patna'a Appolo hos- Tuesday said the state may crime against women and pital after receiving 80 per have three capitals with exec- Amaravati, asks Chandrababu children.
    [Show full text]
  • Written & Directed By
    It all started with a … PHOTOGRAPH WRITTEN & DIRECTED BY RITESH BATRA SYNOPSIS struggling Mumbai street photographer pressured to marry by his grandmother convinces a shy stranger to A pose as his fiancée during a family visit. Despite vast cultural differences, the pair develop a surprising connection that challenges their worldviews in a wistful and funny romance from Ritesh Batra (THE LUNCHBOX). Rafi ( Nawazuddin Siddiqui) came to Mumbai from a small village him to marry, he sends her a photo of a to earn money to pay off an old family debt. Working as a street shy stranger, claiming that the girl, Miloni photographer, he shares one small room with friends and (Sanya Malhotra), is his fiancée. When sends almost everything he makes to his grandmother, Dadi his grandmother insists on a meeting, he (Farrukh Jaffar), in the hope she will be able to buy back tracks Miloni down and asks her to pretend her ancestral home. To satisfy the elderly woman’s desire for to be his betrothed. A sheltered young woman studying to become an accountant, Miloni lives a quiet, middle-class life with her parents, and awaits an arranged marriage to a suitable boy when she ­f­­inishes school. She impulsively agrees to Rafi’s scheme, opening the door to an unexpected adventure at the crossroads of tradition and modernity. Featuring some of Indian cinema’s most popular actors, Photograph is a heartwarming and comical snapshot of life in contemporary Mumbai. ABOUT THE PRODUCTION ince the international success of his 2013 debut feature film,THE LUNCHBOX (aka DABBA), S writer and director Ritesh Batra has traveled far and a classic Shakespeare comedy from his hometown of Mumbai to helm the romantic when he wrote Photograph.
    [Show full text]
  • Gully Boy and Its Silent Mutinies
    ISSN (Online) - 2349-8846 Gully Boy and Its Silent Mutinies ADITYA MOHANTY Aditya Mohanty ([email protected]) is a doctoral candidate in Anthropology at the University of Aberdeen, United Kingdom. Vol. 54, Issue No. 8, 23 Feb, 2019 The film Gully Boy is a subtle introduction to the sociology of everyday life in cities of the global South. It rallies home the point that one of the easiest ways to work through the contentious spaces of urban social life in the neo-liberal Indian city is jugaad (the ability to juggle/ creatively tinker with the rules of the game). Kohl-eyed, moderately gaunt-faced, but with a dash of swagger, Murad, the protagonist of Gully Boy, played by Ranveer Singh, enters into a packed stadium that vociferously roots for him. For some, it is the rise of the subaltern slum-dweller to the status of a star rapper, who rallies through the numerous rounds of auditions, and beats contestants coming from rich families. For others, this rapping in Hindi is seen as an act of coming of age; a symbolic moment of social mobility where old-school, African-American hip-hop has been Indianised. The film takes the viewer on a parallel journey of transformation both at a personal level through self-discovery, and at a societal level portraying the salience of small, yet significant changes in the lives of people who inhabit a lower-middle class Muslim neighbourhood in a Mumbai slum. Though the film is an inspirational, reel-life adaptation of the lives of contemporary rappers Divine and Naezy, it is an allegorical smirk at the small ways in which the teeming millions living in the underbelly of glitzy cities carve a niche for themselves.
    [Show full text]
  • Ethnic Awareness in Vikram Seth's 'A Suitable Boy'
    Quest Journals Journal of Research in Humanities and Social Science Volume 9 ~ Issue 5 (2021)pp: 14-19 ISSN(Online):2321-9467 www.questjournals.org Research Paper Ethnic Awareness in Vikram Seth’s ‘A Suitable Boy’ Mrityunjoy Sing M.A. in English & SET Qualified, WB. ABSTRACT: There has been quite a lot of work in the studies of Language in relation to the Society explaining how speakers are gentle in behaviour to one another in what they say and do, and how they try to mitigate impolite behaviour linguistically in order to uphold social aspect. As literature, in many ways, reflects societies, the investigation of principles of politeness in literary discourse can tell us a lot about language, society, culture and thought and thereby can uncover new meanings, implications, and insights into the nature of literary communication that are generally not explained through a strictly traditional analysis. Based on the premise of who speaks; to whom; when; where; how; and why in a variety of contexts, including social contexts, the present paper examines some supra-sentential stretches of dialogic discourse in diverse inter-personal relationships from Vikram Seth’s magnum opus A Suitable Boy in the light of Brown and Levinson’s (1987) Face Saving view of Politeness. Various issues concerning face management related to personal motives, solidarity principle, power principle, etc. that are opened up through the analysis of the conversational behaviours of characters and the governing force for their choices of one strategy over others within the framework of face-saving politeness can help us better account for the aspects concerning the construction and performance of various personalities and identities— particularly through the inferences generating about the changes in one’s character in different inter-personal and socio-cultural contexts.
    [Show full text]
  • A Diachronic Investigation of Hindi–English Code-Switching, Using
    Article International Journal of Bilingualism 15(4) 388 –407 A diachronic investigation © The Author(s) 2010 Reprints and permission: of Hindi–English code-switching, sagepub.co.uk/journalsPermissions.nav DOI: 10.1177/1367006910379300 using Bollywood film scripts Ijb.sagepub.com Aung Si Australian National University, Canberra, Australia Abstract Code-switching (CS) between an Indian language and (Indian) English is, and has long been, a normal feature of everyday speech in urban Indian society. Although much has been written about the status and role of English, and about the sociological variables associated with English usage in India, there have been, to date, no studies explicitly investigating changes in CS patterns over time. Bollywood movies are a rich source of information on the speech patterns of urban Indians throughout most of India’s post-independence history. CS patterns in Bollywood movies (from the 1980s, 1990s and 2000s) were therefore investigated in this study, by means of lexical transcripts of the dialogues between characters of equivalent age and socioeconomic status. A survey of seven movie dialogues revealed that CS can be accomplished through a range of syntactic and morphological strategies. Quantitative analyses showed a massive increase in the overall use of English over this period, a trend particularly evident among young speakers. Moreover, the complexity of CS increased over the period under consideration, with ‘alternations’ at clause boundaries increasing in frequency at the expense of single-word ‘insertions’. Keywords Bollywood, code-switching, diachronic, mixed code Introduction The phenomenon of code-switching (CS) has, in recent years, received much attention from lin- guists, particularly from those working with postcolonial or immigrant populations.
    [Show full text]