Bollywood Films

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Libraries BOLLYWOOD FILMS The Media and Reserve Library, located in the lower level west wing, has over 9,000 videotapes, DVDs and audiobooks covering a multitude of subjects. For more information on these titles, consult the Libraries' online catalog. Aankhen DVD-5195 Johny Mera Naam DVD-5025 Amar Akbar Anthony DVD-5078 Junglee DVD-5079 Anand DVD-5044 Lagaan DVD-5073 Aradhana DVD-5033 Love is Life DVD-5158 Baiju Bawra DVD-5387 Madhumati DVD-5171 Bandit Queen DVD-5032 Maine Pyarkiya DVD-5071 Bobby DVD-5176 Marigold DVD-4925 Brave Heart Will Take the Bride DVD-5128 Meaning (Arth) DVD-5035 Bride and Prejudice DVD-4561 Mother India DVD-5072 C.I.D. DVD-5023 Mughal-E-Azam DVD-5040 Chupke Chupke DVD-5152 Naya Daur DVD-5211 Dark Brandon DVD-3176 Om Shanti Om DVD-5088 Deewaar DVD-5174 Paint it Saffron DVD-5046 Destroyed in Love DVD-6845 Pakeezah DVD-5156 Devdas DVD-5167 Parinda DVD-5111 Do Bigha Zamin DVD-5172 Pather Panchali DVD-8571 Garam Hawa DVD-5022 Patiala House DVD-6470 Goddess of Satisfaction DVD-5113 Pyaasa DVD-5041 Guide DVD-5168 Rangeela DVD-8587 Gunga Jumna DVD-5047 Roja DVD-5112 Happiness and Tears DVD-5124 Role DVD-5281 Hare Rama Hare Krishna DVD-5153 Saawariya DVD-3704 Heart is Crazy DVD-2695 Sahib Bibi Aur Ghulam DVD-5077 9/5/2017 Satya DVD-4720 DVD-5038 Say You Love Me DVD-5056 Shakespeare Wallah DVD-6476 Sholay DVD-5103 Shree 420 DVD-5155 Silsila DVD-5045 Taal DVD-5175 Tramp (Awara) DVD-5169 Trishul DVD-5092 Two Eyes, Twelve Hands DVD-5102 Umrao Jaan DVD-5090 Upkar DVD-5365 Veer Zaara DVD-5129 Villain DVD-5034 Waqt DVD-5324 What am I to You! DVD-5024 Yaadon Ki Baaraat DVD-5076 You Don't Get to Live Life Twice DVD-7132 Total Titles: 65 Page 2 9/5/2017.

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Complete List of Books in Library Acc No Author Title of Book Subject Publisher Year R.No
Complete List of Books in Library Acc No Author Title of book Subject Publisher Year R.No. 1 Satkari Mookerjee The Jaina Philosophy of PHIL Bharat Jaina Parisat 8/A1 Non-Absolutism 3 Swami Nikilananda Ramakrishna PER/BIO Rider & Co. 17/B2 4 Selwyn Gurney Champion Readings From World ECO `Watts & Co., London 14/B2 & Dorothy Short Religion 6 Bhupendra Datta Swami Vivekananda PER/BIO Nababharat Pub., 17/A3 Calcutta 7 H.D. Lewis The Principal Upanisads PHIL George Allen & Unwin 8/A1 14 Jawaherlal Nehru Buddhist Texts PHIL Bruno Cassirer 8/A1 15 Bhagwat Saran Women In Rgveda PHIL Nada Kishore & Bros., 8/A1 Benares. 15 Bhagwat Saran Upadhya Women in Rgveda LIT 9/B1 16 A.P. Karmarkar The Religions of India PHIL Mira Publishing Lonavla 8/A1 House 17 Shri Krishna Menon Atma-Darshan PHIL Sri Vidya Samiti 8/A1 Atmananda 20 Henri de Lubac S.J. Aspects of Budhism PHIL sheed & ward 8/A1 21 J.M. Sanyal The Shrimad Bhagabatam PHIL Dhirendra Nath Bose 8/A2 22 J.M. Sanyal The Shrimad PHIL Oriental Pub. 8/A2 Bhagabatam VolI 23 J.M. Sanyal The Shrimad PHIL Oriental Pub. 8/A2 Bhagabatam Vo.l III 24 J.M. Sanyal The Shrimad Bhagabatam PHIL Oriental Pub. 8/A2 25 J.M. Sanyal The Shrimad PHIL Oriental Pub. 8/A2 Bhagabatam Vol.V 26 Mahadev Desai The Gospel of Selfless G/REL Navijvan Press 14/B2 Action 28 Shankar Shankar's Children Art FIC/NOV Yamuna Shankar 2/A2 Number Volume 28 29 Nil The Adyar Library Bulletin LIT The Adyar Library and 9/B2 Research Centre 30 Fraser & Edwards Life And Teaching of PER/BIO Christian Literature 17/A3 Tukaram Society for India 40 Monier Williams Hinduism PHIL Susil Gupta (India) Ltd.
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Movie Aquisitions in 2010 - Hindi Cinema
Movie Aquisitions in 2010 - Hindi Cinema CISCA thanks Professor Nirmal Kumar of Sri Venkateshwara Collega and Meghnath Bhattacharya of AKHRA Ranchi for great assistance in bringing the films to Aarhus. For questions regarding these acquisitions please contact CISCA at [email protected] (Listed by title) Aamir Aandhi Directed by Rajkumar Gupta Directed by Gulzar Produced by Ronnie Screwvala Produced by J. Om Prakash, Gulzar 2008 1975 UTV Spotboy Motion Pictures Filmyug PVT Ltd. Aar Paar Chak De India Directed and produced by Guru Dutt Directed by Shimit Amin 1954 Produced by Aditya Chopra/Yash Chopra Guru Dutt Production 2007 Yash Raj Films Amar Akbar Anthony Anwar Directed and produced by Manmohan Desai Directed by Manish Jha 1977 Produced by Rajesh Singh Hirawat Jain and Company 2007 Dayal Creations Pvt. Ltd. Aparajito (The Unvanquished) Awara Directed and produced by Satyajit Raj Produced and directed by Raj Kapoor 1956 1951 Epic Productions R.K. Films Ltd. Black Bobby Directed and produced by Sanjay Leela Bhansali Directed and produced by Raj Kapoor 2005 1973 Yash Raj Films R.K. Films Ltd. Border Charulata (The Lonely Wife) Directed and produced by J.P. Dutta Directed by Satyajit Raj 1997 1964 J.P. Films RDB Productions Chaudhvin ka Chand Dev D Directed by Mohammed Sadiq Directed by Anurag Kashyap Produced by Guru Dutt Produced by UTV Spotboy, Bindass 1960 2009 Guru Dutt Production UTV Motion Pictures, UTV Spot Boy Devdas Devdas Directed and Produced by Bimal Roy Directed and produced by Sanjay Leela Bhansali 1955 2002 Bimal Roy Productions
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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
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Yash Chopra the Legend
YASH CHOPRA THE LEGEND Visionary. Director. Producer. Legendary Dream Merchant of Indian Cinema. And a trailblazer who paved the way for the Indian entertainment industry. 1932 - 2012 Genre defining director, star-maker and a studio mogul, Yash Chopra has been instrumental in shaping the symbolism of mainstream Hindi cinema across the globe. Popularly known as the ‘King of Romance’ for his string of hit romantic films spanning over a five-decade career, he redefined drama and romance onscreen. Born on 27 September 1932, Yash Chopra's journey began from the lush green fields of Punjab, which kept reappearing in his films in all their splendour. © Yash Raj Films Pvt. Ltd. 1 www.yashrajfilms.com Yash Chopra started out as an assistant to his brother, B. R. Chopra, and went on to direct 5 very successful films for his brother’s banner - B. R. Films, each of which proved to be a significant milestone in his development as a world class director of blockbusters. These were DHOOL KA PHOOL (1959), DHARMPUTRA (1961), WAQT (1965) - India’s first true multi-starrer generational family drama, ITTEFAQ (1969) & AADMI AUR INSAAN (1969). He has wielded the baton additionally for 4 films made by other film companies - JOSHILA (1973), DEEWAAR (1975), TRISHUL (1978) & PARAMPARA (1993). But his greatest repertoire of work were the 50 plus films made under the banner that he launched - the banner that stands for the best of Hindi cinema - YRF. Out of these films, he directed 13 himself and these films have defined much of the language of Hindi films as we know them today.
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Everant.in/index.php/sshj Survey Report Social Science and Humanities Journal Depiction of Real life misery through the lens of Hindi Film “ Dastak( (1970)”: An Analysis Neema Negi DSVV Uttrakahnd [email protected] ABSTRACT ABSTRACT: Cinema is considered as the tool of social transformation, changing Corresponding Author: agent and the reflection of society. The different eras of Hindi Cinema Neema Negi illustrate the different concern of a common man and their struggle. The various themes represent the image of India with a different approach. Social issues in the earlier eras were the dominant one theme on poverty , unemployment, problem of urban spaces, exploitation of peasants ,corruption, nation and nationalism were the main subject and each storytellers represent those emotions and problems in an ideal way .The present paper analyse the social issues and struggle of a common man and moreover how the director execute the human drama the agony faced by an ordinary people who live in the metropolis and their aspirations of life with the use of metaphors.. Keywords: social issues, metaphors, urban space I- Thematic trends of Hindi Cinema Hindi Cinema deals with diverse themes from last magnificent 100 years . Variety of socially relevant issues cultural issues are addressed by combining them with a fantasies, tradition and myths. Hindi film can be used to know the history of society and culture of India . Indian Cinema has been reflecting social, political and economic dynamics of the national community in it’s narrative since the beginning of the 20th century. The themes such as globalization nation and nationalism, caste, class, gender, terrorism and social issues themes but also suggest cinematic interpretation to solve the problems.
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Bollywood As National(Ist) Cinema Violence, Patriotism and the National- Popular in Rang De Basanti
Third Text, Vol. 23, Issue 6, November, 2009, 703–716 Bollywood as National(ist) Cinema Violence, Patriotism and the National- Popular in Rang De Basanti Neelam Srivastava This essay sets out to explore the relationship between violence, patrio- tism and the national-popular within the medium of film by examining the Indian film-maker Rakeysh Mehra’s recent Bollywood hit, Rang de Basanti (Paint It Saffron, 2006). The film can be seen to form part of a body of work that constructs and represents violence as integral to the emergence of a national identity, or rather, its recuperation. Rang de Basanti is significant in contemporary Indian film production for the enormous resonance it had among South Asian middle-class youth, both in India and in the diaspora. It rewrites, or rather restages, Indian nationalist history not in the customary pacifist Gandhian vein, but in the mode of martyrdom and armed struggle. It represents a more ‘masculine’ version of the nationalist narrative for its contemporary audiences, by retelling the story of the Punjabi revolutionary Bhagat Singh as an Indian hero and as an example for today’s generation. This essay argues that its recuperation of a violent anti-colonial history is, in fact, integral to the middle-class ethos of the film, presenting the viewers with a bourgeois nationalism of immediate and timely appeal, coupled with an accessible (and politically acceptable) social activism. As the 1. Quoted in Namrata Joshi, sociologist Ranjini Majumdar noted, ‘the film successfully fuels the ‘My Yellow Icon’, Outlook middle-class fantasy of corruption being the only problem of the coun- India, online edition, 20 1 February 2006, available try’.
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The Hindu, the Muslim, and the Border In
THE HINDU, THE MUSLIM, AND THE BORDER IN NATIONALIST SOUTH ASIAN CINEMA Vinay Lal University of California, Los Angeles Abstract There is but no question that we can speak about the emergence of the (usually Pakistani or Muslim) ‘terrorist’ figure in many Bollywood films, and likewise there is the indisputable fact of the rise of Hindu nationalism in the political and public sphere. Indian cinema, however, may also be viewed in the backdrop of political developments in Pakistan, where the project of Islamicization can be dated to least the late 1970s and where the turn to a Wahhabi-inspired version of Islam is unmistakable. I argue that the recent history of Pa- kistan must be seen as instigated by a disavowal of the country’s Indic self, and similarly I suggest that scholarly and popular studies of the ‘representation’ of the Muslim in “Bol- lywood” rather too easily assume that such a figure is always the product of caricature and stereotyping. But the border between Pakistan and India, between the self and the other, and the Hindu and the Muslim is rather more porous than we have imagined, and I close with hints at what it means to both retain and subvert the border. Keywords: Border, Communalism, Indian cinema, Nationalism, Pakistan, Partition, Veer-Zaara Resumen 103 Así como el personaje del ‘terrorista’ (generalmente musulmán o paquistaní) está presente en muchos filmes de Bollywood, el nacionalismo hindú está tomando la iniciativa en la esfera política del país. Sin embargo el cine indio también puede hacerse eco de acontecimientos ocurridos en Paquistán, donde desde los años Setenta se ha manifestado un proceso de islamización de la sociedad, con una indudable impronta wahabí.
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Enchantment of the Mind Preface
PREFACE 1 March 2004 marked the tenth anniversary of the death of Manmohan Desai. A fall from the terrace of his Khetwadi home brought the 57-year old filmmaker’s life to an end in the spring of 1994. The suspected suicide came as a shock both to those nearest to him and to the film world as a whole, as testified in countless articles and tributes in the Indian and international press in the month following his death. The articles that appeared spanned the gamut of reactions: praise for Desai as a man and as a filmmaker, heartfelt remembrances from those who had worked with him, indignation and disbelief over the circumstances of his death, and speculation over possible motives for suicide— depression over severe backaches being most frequently offered as an explanation. At that time, I could not help feeling a personal sadness over his death. I had, after all, spent the better part of four years studying Manmohan Desai’s work before completing an initial version of this book in 1987. It was, therefore, consoling to have immediate and direct evidence of Manmohan Desai’s work living on beyond his death, as happened one day in 1994 when I walked into an Indian carry-out restaurant in Paris and saw a colorful dance scene from Dharam-Veer playing on the conspicuously placed VCR. Those waiting in line stood transfixed before the screen, their faces radiating joy. Curious to know if Desai’s work had crossed the generations, I asked a young man in his twenties if he knew who had directed the film.
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Koel Chatterjee Phd Thesis
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Veer–Zaara Regie: Yash Chopra
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