Chapter 2 Bombay Talkies Ltd. and Indo-German Collaboration 2.1
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Application Employee of High Sr No
Application Employee of High Sr No. Seq No Rollno Applicant Full Name Father's Full Name Applicant Mother Name DOB (dd/MMM/yyyy) Domicile of State Category Sub_Category Email ID Gender Mobile Number Court Allahabad Is Present Score 1 1000125 2320015236 ANIL KUMAR SHIV CHARAN ARYA MAHADEVI 6/30/1990 Uttar Pradesh OBC Sports Person (S.P.)[email protected] Male 9911257770 No PRESENT 49 2 1000189 2320015700 VINEET AWASTHI RAM KISHOR AWASTHI URMILA AWASTHI 4/5/1983 Uttar Pradesh General NONE [email protected] 8423230100 No PRESENT 43 3 1000190 2110045263HEMANT KUMAR SHARMA GHANSHYAM SHARMA SHAKUNTALA DEVI 3/22/1988 Other than Uttar Pradesh General [email protected] 9001934082 No PRESENT 39 4 1000250 2130015960 SONAM TIWARI SHIV KUMAR TIWARI GEETA TIWARI 4/21/1991 Other than Uttar Pradesh General [email protected] Male 8573921039 No PRESENT 44 5 1000487 2360015013 RAJNEESH KUMAR RAJVEER SINGH VEERWATI DEVI 9/9/1989 Uttar Pradesh SC NONE [email protected] Male 9808520812 No PRESENT 41 6 1000488 2290015053 ASHU VERMA LATE JANARDAN LAL VERMA PADMAVATI VERMA 7/7/1992 Uttar Pradesh SC NONE [email protected] Male 9005724155 No PRESENT 36 7 1000721 2420015498 AZAJUL AFZAL MOHAMMAD SHAHID NISHAD NAZMA BEGUM 2/25/1985 Uttar Pradesh General NONE [email protected] 7275529796 No PRESENT 27 8 1000794 2250015148AMBIKA PRASAD MISHRA RAM NATH MISHRA NIRMALA DEVI 12/24/1991 Uttar Pradesh General NONE [email protected] Male 8130809970 No PRESENT 36 9 1001008 2320015652 SATYAM SHUKLA PREM PRAKASH -
A . LTHE F'xl.R-1 XNDTJSTFIYXNXNOXA . Auivro
Pix STOR-X 0-A.L E=>E:RS F'EOTX'VAE: OP** THE F'XL.r-1 XNDTJSTFIY X N XNOXA. AuIvrO ABF^OJOILD 3.1 Evolution of Film Industry in the Western Countries: Decline of feudal society that accompanied the Industrial Revolution had created a vacuum in the social and cultural life of man in the Western society. However, the parallel revolution in the field of communications could fill this vacuum by introducing the mass media like films. "• Unlike the telephone, telegraph or even wireless, the invention of film can not be attributed to any single inventor. It depended upon a whole series of small inventions by different inventors. In the U.S.A, Thomas Edison invented what he called 'Kinetoscope'.= In England, William Kennedy Laurie Dickson was the chief experimenter who demonstrated a crude system of projection as early as in 1889. The Kinetoscope inspired a number of European and American inventors to apply their talents to further improve the technique of making and projecting a film. The solution to the important problem of projecting a film for a large audience was not saught by Edison. To him, his Kinetoscope was a Peep-Show box for individual viewing. However, Lumiere Brothers in France introduced their cinematographic machine and arranged the first public show of a film on a cold 34 December night in 1895. •= This show held at the Grand Cafe m Pans was followed by similar shows all over the world including India. Economically, the Cinematographe of Lumiere which could make projection possible for large audience had far reaching implications. -
Ashoke Kumar
Ashoke Kumar The boss's wife and leading actress of a leading Film Company runs off with her lead man. She is caught and taken back but not the lead man who is unceremoniously dismissed. So now the company needs a new hero. The boss decides his laboratory assistant would be the Film Company's next leading man. A bizzare film plot??? Hardly. This real life story starred the Bombay Talkies Film Company, it's boss Himansu Rai , lead actress Devika Rani and lead man Najam-ul-Hussain and last but not least its laboratory assistant Ashok Kumar. And thus began an extremely successful acting career that lasted six decades! Ashok Kumar aka Dadamoni was born Kumudlal Kunjilal Ganguly in Bhagalpur and grew up in Khandwa. He briefly studied law in Calcutta, then joined his future brother-in-law Shashadhar Mukherjee at Bombay Talkies as laboratory assistant before being made its leading man. Ashok Kumar made his debut opposite Devika Rani in Jeevan Naiya (1936) but became a well known face with Achut Kanya (1936) . Devika Rani and he did a string of films together - Izzat (1937) , Savitri (1937) , Nirmala (1938) among others but she was the bigger star and chief attraction in all those films. It was with his trio of hits opposite Leela Chitnis - Kangan (1939) , Bandhan (1940) and Jhoola (1941) that Ashok Kumar really came into his own. Going with the trend he sang his own songs and some of them like Main Ban ki Chidiya , Chal Chal re Naujawaan and Na Jaane Kidhar Aaj Meri Nao Chali Re were extremely popular! Ashok Kumar initiated a more natural style of acting compared to the prevaling style that followed theatrical trends. -
Women Performing Artists in Colonial India There Were Few Women Painters in Colonial India
I. (A) Personal Details Role Name Affiliation Principal Investigator Prof. Sumita University of Allhabad Parmar Paper Coordinator Prof Rekha Pande University of Hyderabad Author Dr. Archana Verma Independent Scholar Content Reviewer (CR) Prof Rekha Pande University of Hyderabad Language Editor (LE) Prof. Sumita University of Allhabad Parmar (B) Description of Module Items Description of Module Subject Name Women’s Studies Paper Name Women and History Module Name/ Title, Women performers in colonial India description Module ID Paper- 3, Module-30 Pre-requisites None Objectives To explore the achievements of women performers in colonial period Keywords Indian art, women in performance, cinema and women, India cinema, Hindi cinema Women Performing Artists in Colonial India There were few women painters in Colonial India. But in the performing arts, especially acting, women artists were found in large numbers in this period. At first they acted on the stage in theatre groups. Later, with the coming of cinema, they began to act for the screen. Cinema gave them a channel for expressing their acting talent as no other medium had before. Apart from acting, some of them even began to direct films at this early stage in the history of Indian cinema. Thus, acting and film direction was not an exclusive arena of men where women were mostly subjects. It was an arena where women became the creators of this art form and they commanded a lot of fame, glory and money in this field. In this module, we will study about some of these women. Nati Binodini (1862-1941) Fig. 1 – Nati Binodini (get copyright for use – (https://commons.wikimedia.org/wiki/File:Binodini_dasi.jpg) Nati Binodini was a Calcutta based renowned actress, who began to act at the age of 12. -
Unit Indian Cinema
Popular Culture .UNIT INDIAN CINEMA Structure Objectives Introduction Introducing Indian Cinema 13.2.1 Era of Silent Films 13.2.2 Pre-Independence Talkies 13.2.3 Post Independence Cinema Indian Cinema as an Industry Indian Cinema : Fantasy or Reality Indian Cinema in Political Perspective Image of Hero Image of Woman Music And Dance in Indian Cinema Achievements of Indian Cinema Let Us Sum Up Answers to Check Your Progress Exercises A 13.0 OBJECTIVES This Unit discusses about Indian cinema. Indian cinema has been a very powerful medium for the popular expression of India's cultural identity. After reading this Unit you will be able to: familiarize yourself with the achievements of about a hundred years of Indian cinema, trace the development of Indian cinema as an industry, spell out the various ways in which social reality has been portrayed in Indian cinema, place Indian cinema in a political perspective, define the specificities of the images of men and women in Indian cinema, . outline the importance of music in cinema, and get an idea of the main achievements of Indian cinema. 13.1 INTRODUCTION .p It is not possible to fully comprehend the various facets of modern Indan culture without understanding Indian cinema. Although primarily a source of entertainment, Indian cinema has nonetheless played an important role in carving out areas of unity between various groups and communities based on caste, religion and language. Indian cinema is almost as old as world cinema. On the one hand it has gdted to the world great film makers like Satyajit Ray, , it has also, on the other hand, evolved melodramatic forms of popular films which have gone beyond the Indian frontiers to create an impact in regions of South west Asia. -
Journal of Bengali Studies
ISSN 2277-9426 Journal of Bengali Studies Vol. 6 No. 1 The Age of Bhadralok: Bengal's Long Twentieth Century Dolpurnima 16 Phalgun 1424 1 March 2018 1 | Journal of Bengali Studies (ISSN 2277-9426) Vol. 6 No. 1 Journal of Bengali Studies (ISSN 2277-9426), Vol. 6 No. 1 Published on the Occasion of Dolpurnima, 16 Phalgun 1424 The Theme of this issue is The Age of Bhadralok: Bengal's Long Twentieth Century 2 | Journal of Bengali Studies (ISSN 2277-9426) Vol. 6 No. 1 ISSN 2277-9426 Journal of Bengali Studies Volume 6 Number 1 Dolpurnima 16 Phalgun 1424 1 March 2018 Spring Issue The Age of Bhadralok: Bengal's Long Twentieth Century Editorial Board: Tamal Dasgupta (Editor-in-Chief) Amit Shankar Saha (Editor) Mousumi Biswas Dasgupta (Editor) Sayantan Thakur (Editor) 3 | Journal of Bengali Studies (ISSN 2277-9426) Vol. 6 No. 1 Copyrights © Individual Contributors, while the Journal of Bengali Studies holds the publishing right for re-publishing the contents of the journal in future in any format, as per our terms and conditions and submission guidelines. Editorial©Tamal Dasgupta. Cover design©Tamal Dasgupta. Further, Journal of Bengali Studies is an open access, free for all e-journal and we promise to go by an Open Access Policy for readers, students, researchers and organizations as long as it remains for non-commercial purpose. However, any act of reproduction or redistribution (in any format) of this journal, or any part thereof, for commercial purpose and/or paid subscription must accompany prior written permission from the Editor, Journal of Bengali Studies. -
LIST of ORDINARY MEMBERS S.No
LIST OF ORDINARY MEMBERS S.No. MemNo MName Address City_Location State PIN PhoneMob F - 42 , PREET VIHAR 1 A000010 VISHWA NATH AGGARWAL VIKAS MARG DELHI 110092 98100117950 2 A000032 AKASH LAL 1196, Sector-A, Pocket-B, VASANT KUNJ NEW DELHI 110070 9350872150 3 A000063 SATYA PARKASH ARORA 43, SIDDHARTA ENCLAVE MAHARANI BAGH NEW DELHI 110014 9810805137 4 A000066 AKHTIARI LAL S-435 FIRST FLOOR G K-II NEW DELHI 110048 9811046862 5 A000082 P.N. ARORA W-71 GREATER KAILASH-II NEW DELHI 110048 9810045651 6 A000088 RAMESH C. ANAND ANAND BHAWAN 5/20 WEST PATEL NAGAR NEW DELHI 110008 9811031076 7 A000098 PRAMOD ARORA A-12/2, 2ND FLOOR, RANA PRATAP BAGH DELHI 110007 9810015876 8 A000101 AMRIK SINGH A-99, BEHIND LAXMI BAI COLLEGE ASHOK VIHAR-III NEW DELHI 110052 9811066073 9 A000102 DHAN RAJ ARORA M/S D.R. ARORA & C0, 19-A ANSARI ROAD NEW DELHI 110002 9313592494 10 A000108 TARLOK SINGH ANAND C-21, SOUTH EXTENSION, PART II NEW DELHI 110049 9811093380 11 A000112 NARINDERJIT SINGH ANAND WZ-111 A, IInd FLOOR,GALI NO. 5 SHIV NAGAR NEW DELHI 110058 9899829719 12 A000118 VIJAY KUMAR AGGARWAL 2, CHURCH ROAD DELHI CANTONMENT NEW DELHI 110010 9818331115 13 A000122 ARUN KUMAR C-49, SECTOR-41 GAUTAM BUDH NAGAR NOIDA 201301 9873097311 14 A000123 RAMESH CHAND AGGARWAL B-306, NEW FRIENDS COLONY NEW DELHI 110025 989178293 15 A000126 ARVIND KISHORE 86 GOLF LINKS NEW DELHI 110003 9810418755 16 A000127 BHARAT KUMR AHLUWALIA B-136 SWASTHYA VIHAR, VIKAS MARG DELHI 110092 9818830138 17 A000132 MONA AGGARWAL 2 - CHURCH ROAD, DELHI CANTONMENT NEW DELHI 110010 9818331115 18 A000133 SUSHIL KUMAR AJMANI F-76 KIRTI NAGAR NEW DELHI 110015 9810128527 19 A000140 PRADIP KUMAR AGGARWAL DISCO COMPOUND, G.T. -
A Hermeneutic Study of Bengali Modernism
Modern Intellectual History http://journals.cambridge.org/MIH Additional services for Modern Intellectual History: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here FROM IMPERIAL TO INTERNATIONAL HORIZONS: A HERMENEUTIC STUDY OF BENGALI MODERNISM KRIS MANJAPRA Modern Intellectual History / Volume 8 / Issue 02 / August 2011, pp 327 359 DOI: 10.1017/S1479244311000217, Published online: 28 July 2011 Link to this article: http://journals.cambridge.org/abstract_S1479244311000217 How to cite this article: KRIS MANJAPRA (2011). FROM IMPERIAL TO INTERNATIONAL HORIZONS: A HERMENEUTIC STUDY OF BENGALI MODERNISM. Modern Intellectual History, 8, pp 327359 doi:10.1017/S1479244311000217 Request Permissions : Click here Downloaded from http://journals.cambridge.org/MIH, IP address: 130.64.2.235 on 25 Oct 2012 Modern Intellectual History, 8, 2 (2011), pp. 327–359 C Cambridge University Press 2011 doi:10.1017/S1479244311000217 from imperial to international horizons: a hermeneutic study of bengali modernism∗ kris manjapra Department of History, Tufts University Email: [email protected] This essay provides a close study of the international horizons of Kallol, a Bengali literary journal, published in post-World War I Calcutta. It uncovers a historical pattern of Bengali intellectual life that marked the period from the 1870stothe1920s, whereby an imperial imagination was transformed into an international one, as a generation of intellectuals born between 1885 and 1905 reinvented the political category of “youth”. Hermeneutics, as a philosophically informed study of how meaning is created through conversation, and grounded in this essay in the thought of Hans Georg Gadamer, helps to reveal this pattern. -
Total No. of Diesel Vehicles Registered in ROHINI
Total No. of Diesel Vehicles is registered before 07-nov-2001 or 15 years old and not have valid fitness on 08-nov-2016 Sno regn_no regn_dt fit_upto owner_name f_name p_add1 p_add2 p_add3 p_pincodedescr off_name 76028 DNH5736 10-11-1989 09-11-2004 MADHU SHARMA & VARINDER KUMAR 73-A KHANNA MARKET TIS HAZARI DELHI 0 DIESEL ROHINI 76029 DL8C7087 24-08-1994 23-08-2009 SUBODH SINGH SUGRIV SINGH A-30 EAST UTTAM NGR DELHI 0 DIESEL ROHINI 76030 DL8CB8642 09-04-1997 08-04-2012 PRITHVI RAJ SH PYARE LAL 228 VILL SAMAI PUR DELHI-42 0 DIESEL ROHINI 76031 DL8CB4169 19-06-1996 18-06-2011 DINESH RANBIR SINGH N 8 SATYAWATI COLY ASHOK VIHAR DELHI 0 DIESEL ROHINI 76032 DNH2099 15-09-1989 14-09-2004 THE TRESURER AICC (I) NA 24 AKBAR ROAD NEW DE LHI 0 DIESEL ROHINI 76033 DNH4334 23-10-1989 22-10-2004 MANJU CHAUHAN W/O SATPAL CHAUHAN 2175/114 H NO 118 PANCHSHEEL VIHAR KHIRKI EXTN.N DELHI 0 DIESEL ROHINI 76034 DL8C4418 15-04-1994 14-04-2009 RAMA KANT S/O MAUJI RAM L-159 J J COLONY AM SHAKARPUR DELHI 0 DIESEL ROHINI 76035 DL8CB7350 06-12-1996 05-12-2011 SUKDEEP SINGH BHAGWANT SINGH 8 POOSA ROAD DELHI 0 DIESEL ROHINI 76036 DL8CB7351 06-12-1996 05-12-2011 PREM WATI JILE SINGH TIKRI KALAN DELHI 45 0 DIESEL ROHINI 76037 DNH2582 27-09-1989 26-09-2004 SH RAJEEV BABEL S/O SH D C BABEL C-29 N D S E PART-I AMRIT NAGAR N DELHI 110049 0 DIESEL ROHINI 76038 DL8C8385 19-02-1996 18-02-2011 NA NA NA 0 DIESEL ROHINI 76039 DL8CB8009 04-02-1997 03-02-2012 MD ASIF NAIM JEHRA H N 98 KHUREJI KHAS DL 51 0 DIESEL ROHINI 76040 DL8CG4870 02-07-2001 01-07-2016 SOMESHWAR SINGH SH HEM PAL SINGH C-II/48 NEW ASHOK NAGAR DELHI . -
Smita Patil: Fiercely Feminine
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2017 Smita Patil: Fiercely Feminine Lakshmi Ramanathan The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2227 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] SMITA PATIL: FIERCELY FEMININE BY LAKSHMI RAMANATHAN A master’s thesis submitted to the Graduate Faculty in Liberal Studies in partial fulfillment of the requirements for the degree of Master of Arts, The City University of New York 2017 i © 2017 LAKSHMI RAMANATHAN All Rights Reserved ii SMITA PATIL: FIERCELY FEMININE by Lakshmi Ramanathan This manuscript has been read and accepted for the Graduate Faculty in Liberal Studies in satisfaction of the thesis requirement for the degree of Masters of Arts. _________________ ____________________________ Date Giancarlo Lombardi Thesis Advisor __________________ _____________________________ Date Elizabeth Macaulay-Lewis Acting Executive Officer THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT SMITA PATIL: FIERCELY FEMININE by Lakshmi Ramanathan Advisor: Giancarlo Lombardi Smita Patil is an Indian actress who worked in films for a twelve year period between 1974 and 1986, during which time she established herself as one of the powerhouses of the Parallel Cinema movement in the country. She was discovered by none other than Shyam Benegal, a pioneering film-maker himself. She started with a supporting role in Nishant, and never looked back, growing into her own from one remarkable performance to the next. -
Sample Pages
Between the Studio and the World Built Sets and Outdoor Locations in the Films of Bombay Talkies ¢ Debashree Mukherjee ¢ Cinema is a form that forces us to question distinctions between the natural world and a world made by humans. Film studios manufacture natural environments with as much finesse as they fabricate built environments. Even when shooting outdoors, film crews alter and choreograph their surroundings in order to produce artful visions of nature. This historical proclivity has led theorists such as Jennifer Fay to name cinema as the “aesthetic practice of the Anthropocene,” that is, an art form that intervenes in and interferes with the natural world, mirroring humankind’s calamitous impact on the planet since the Industrial Revolution (2018, 4). In what follows, my concern is with thinking about how the indoor and the outdoor, Publishingthe world of the studio and the many worlds outside, are co-constituted through the act of filming. I am interested in how we can think of a mutual exertion of spatial influence and the co-production of space by multiple actors. Once framed by the camera, nature becomes a set of values (purity, regeneration, unpredictability), as does the city (freedom, anonymity, danger). The Wirsching collection allows us to examine these values and their construction by keeping in view both the filmed narrative as well as parafilmic images of production. By examining the physical and imaginative worlds that were manufactured in the early films of Bombay Talkies—built sets, Mapin painted backdrops, carefully calibrated outdoor locations—I pursue some meanings of “place” that unfold outwards from the film frame, and how an idea of place is critical to establishing the identity of characters. -
THE RECORD NEWS ======The Journal of the ‘Society of Indian Record Collectors’ ------ISSN 0971-7942 Volume: Annual - TRN 2011 ------S.I.R.C
THE RECORD NEWS ============================================================= The journal of the ‘Society of Indian Record Collectors’ ------------------------------------------------------------------------ ISSN 0971-7942 Volume: Annual - TRN 2011 ------------------------------------------------------------------------ S.I.R.C. Units: Mumbai, Pune, Solapur, Nanded and Amravati ============================================================= Feature Articles Music of Mughal-e-Azam. Bai, Begum, Dasi, Devi and Jan’s on gramophone records, Spiritual message of Gandhiji, Lyricist Gandhiji, Parlophon records in Sri Lanka, The First playback singer in Malayalam Films 1 ‘The Record News’ Annual magazine of ‘Society of Indian Record Collectors’ [SIRC] {Established: 1990} -------------------------------------------------------------------------------------------- President Narayan Mulani Hon. Secretary Suresh Chandvankar Hon. Treasurer Krishnaraj Merchant ==================================================== Patron Member: Mr. Michael S. Kinnear, Australia -------------------------------------------------------------------------------------------- Honorary Members V. A. K. Ranga Rao, Chennai Harmandir Singh Hamraz, Kanpur -------------------------------------------------------------------------------------------- Membership Fee: [Inclusive of the journal subscription] Annual Membership Rs. 1,000 Overseas US $ 100 Life Membership Rs. 10,000 Overseas US $ 1,000 Annual term: July to June Members joining anytime during the year [July-June] pay the full